“Personally, I’m an atheist. I don’t believe in god. I don’t believe in any religion. But I understand the power of spiritualism. For me, spiritualism is an emotion. And I write stories filled with emotions,” Rajamouli told The Associated Press.

To The New Yorker, he said, “There might be some overlap, but I don’t try to bring my personal beliefs into my films. For me, there is a very clear and pure relationship between the audience and me. The audience is paying me their hard-earned money, giving me their time, and expecting some kind of entertainment. That’s my job.”

In a departure from his otherwise cookie-cutter interactions with the Indian media, Rajamouli’s recent spate of interviews to the US press have seen him shoot straight when it comes to hot-button topics, sometimes at the cost of being not-so-politically correct.

Delving further into his personal beliefs, he told the outlet recently that at one point in his life, “I got caught up in my family’s religious fervour. I started reading religious texts, going on pilgrimages, wearing saffron cloth, and living like a sanyasi for a few years. Then I caught onto Christianity, thanks to some friends. I’d read the Bible, go to church, all kinds of stuff. Gradually, all these things somehow made me feel that religion is essentially a kind of exploitation...My love for stories like the Mahabharata or the Ramayana never diminished. I did start pushing away from those texts’ religious aspects, but what stayed with me was the complexity and the greatness of their drama and storytelling.” 

Among the other topics the filmmaker’s touched upon are religious extremism, the Andhra Pradesh-Telangana bifurcation connect in RRR, his political leanings and whether or not there’s an undercurrent of the latter in his films.

“I hate extremism. I hate extreme people in any section of society,” said Rajamouli, when quizzed about his own politics and whether his films may reflect them. While talking about the rise of extremist sentiments in society and their impact on its films, the filmmaker added, “I don’t think in those terms. I always feel like films reflect the society that created them, whatever that society’s feelings are. Films reflect the pace of society because filmmakers have to cater to audiences. They’ll see what audiences like, what their present mood is, and make films for that. If there is a rise in that kind of sentiment in society, those kinds of films will come out. But I always stay away from that. I go a completely different route,” he said.

“I don’t have any kind of hidden agenda. I make films for people who are willing to pay their hard-earned money for the film ticket ,” he reiterated to AFP, adding, “I like to get them entertained, make them feel dramatic about the characters, about the situations, have a good time, go back and live their lives.”

During The Hollywood Reporter’s Awards Chatter podcast, Rajamouli addressed the bifurcation of Andhra Pradesh, saying, “The bifurcation of the state itself was not a painful one. You can bifurcate a state, but nothing is going to change. The distance is not going to change, the people are not going to change. The relationships are not going to change. It’s just a matter of thinking they are two different states. But what really troubled me was in the process of bifurcating the states, the kind of angst and the kind of anger the people were spewing against each other. And, like, for a small period of time, which part of the state we belonged to became a major topic of discussion for everything. For 45 years, we didn’t even have this notion. Why is this suddenly coming up? Why are the people whom we thought of as brothers and sisters suddenly asking about my regionality and looking at each other as enemies? That really made me feel bad. And there was nothing I could do. So when the idea of RRR came out, my main idea was to bring the two heroes together. And I realized, what if I can bring these two people – one from Andhra, one from the Telangana region – and if I could say these two people were friends? Yes, it is completely fictional, but it’s my way of saying, ‘guys, these two heroes, whom we look up to as demigods, are friends. If they can be friends, if they can sacrifice their life for each other, we can also be the same’. I don’t think many of the people would have got it. I was not vocally saying, that is the reason why I was making it, but it’s almost for myself that I was making it .”

On accusations that RRR’s concluding musical number highlights Subhas Chandra Bose and Bhagat Singh but omits others like Mahatma Gandhi and B R Ambedkar, Rajamouli told The New Yorker, “Whichever stories touched me, made me cry, or made my heart swell with pride – those are the historic figures that I chose for that scene. I could also only highlight eight people in that musical number. I would need room for 80 in order to put all the figures that I respect in the movie. Still, I respect all of the revolutionaries that I chose, and, if I didn’t put Gandhiji’s portrait there, it doesn’t mean I disrespect him. I have huge respect for Gandhiji, no doubt about that. My question is : If I were to replace Netaji Subhas Chandra Bose’s portrait with Gandhiji’s, would all these people ever question me, saying that I disrespected Subhas Chandra Bose by not portraying him there?”

Ahead of his Best Foreign Film and Best Song win for Naatu Naatu at the 28th edition of the Critics Choice Awards, Rajamouli spoke to international publication Hollywood Reporter about RRR’s dream run at the Hollywood awards season so far (which includes the New York Film Critics Circle Award for the Best Director and a Best Original Song – Motion Picture Golden Globe for Naatu Naatu).

When asked if it was frustrating or disappointing to learn the film would not be India’s official Oscar entry, Rajamouli told the publication, “Yeah, it is disappointing. But we are not the kind of people who would sit and brood on why it didn’t happen. What has happened has happened and we should go forward with it. But I am happy because it (Chhello Show) is also an Indian film and it has also been shortlisted for Oscars. I’m quite happy for it. Of course, everyone knew RRR had a much bigger chance. Here (in the US) everyone felt RRR had a bigger chance.”

Rajamouli was also asked about The Lunchbox (2013), which wasn’t submitted for International Feature (at Oscars) either, despite many speculating that it was the sure-shot winner that year, and his view on the process of selection of India’s official entries.

The director said, “I don’t know how the committee (Film Federation of India aka FFI – which selects India’s Oscar entry), or the guidelines of the committee...how they do the stuff. I don’t know that and I can’t comment on it. What I really feel bad about for is The Lunchbox. For me...I don’t make films for critical acclaim. I make films for money, I make films for the audiences, it (RRR) is a commercial film, and once my film commercially does well, I’m very happy with it. And Awards are an extension to it. It is for the hard work that my unit put in and I’m happy for that. But for The Lunchbox, it is different. It is different and it would have been a great achievement for India – and it is not just for The Lunchbox – but for many many filmmakers and many, many films (that) would find encouragement to tell their stories to the world. So that’s a huge opportunity lost. I feel very bad for that.”

When asked if he thought RRR’s many wins will make the committee rethink its selection process, Rajamouli replied, “Hopefully”.

Even as social media and the small screen are filled with content pertaining to the promotions of RRR, director S S Rajamouli is uncertain about when the Alia Bhatt-starrer will finally see the light of day. However, what he is certain about is the trick to crack the code of making a smashing pan-India movie that can outperform the finest from Bollywood.

The Baahubali hitmaker shares the tricks of the trade with mid-day. “You have to be honest, persistent and a believer. When you write an honest story, ask yourself if it will connect with everyone, right from Kashmir to Kanyakuamri. [Does] it have an emotion that is universal, or regional? Once you ask yourself that, be honest with the answer. If the answer is no, make it a regional film. If you don’t do that, then no matter how much money you pump into it, you can’t make it a crossover film,” he says.

What if the answer is yes? “Then you have to believe you can take it ahead. If it’s not easy, make every effort to tell that story anyway.”

So engrossing are Rajamouli’s ventures that despite its glamorous reign, fans haven’t had enough of the Baahubali franchise. “That’s a different world [that] is difficult to bring to an end. Work [on the third edition] is in progress in different branches. We will make an announcement once we are [in control].”

How do you surpass the success of the Baahubali franchise? If you’re S S Rajamouli, you strip down the films to find the cause of the success — in this case, the larger-than-life experience hitherto almost unseen in Indian cinema. “I wouldn’t start a film unless I am sure I have that kind of experience to offer,” begins the director, counted among the most imaginative Indian storytellers today.

With RRR, Rajamouli has moved from fantasy to a chapter of Indian history, as he tells the story of revolutionaries Alluri Sitarama Raju and Komaram Bheem. The genre has changed, as has the cast. But his signature extravagance remains. “I can’t look at stories in any other way. Only larger-than-life stories excite and engulf me. My characters might have abilities [of a superhero], but the audience connects to the real emotions. The reason the Ramayana and Mahabharat resonate with us is not because of the [characters’] superpowers, but because of human emotions,” explains the director, who is known to pen his stories by hand. “My stories are entirely handwritten. No one can read my scrawly writing. But everything you see on the screen is on that paper.”

The period drama features Ram Charan, Jr NTR, Ajay Devgn and Alia Bhatt. Rajamouli reveals the deep friendship between Charan and Jr NTR led him to cast them as protagonists. “I needed conflict between the two good guys. Even though they have massive fan bases [who consider each other rivals], the two actors are good friends.”

While Bhatt was chosen for her “fragile” appearance that hides a strong spirit, Devgn’s casting was crucial. “The character [had to personify] honesty. We did a poll in the story and direction department to see which actor [fit the bill]. Everyone named Ajay.”

His stories, which have grown to gain pan-India appeal, highlight the valour and virtues of men, painting them in a heroic light. Would he ever consider making a woman-centric film? “It’s a male-dominated society. What happens in society is reflected in the arts. But I believe you need a character that touches people’s hearts; male or female is secondary. If I have an impactful female character, I will definitely make a film.”

Two of his films have been remade in Hindi as Rowdy Rathore and Son of Sardaar, each grossing Rs 100 crore. In 2012, he made a hero out a housefly in the critically and commercially acclaimed Telugu film, Eega, which was released in Hindi as Makkhi. In the south, he is a superstar director but S S Rajamouli was unfamiliar with Hindi-speaking audiences till last week when his Baahubali - The Beginning made a record-breaking Rs 50 crore on its opening day across Telugu, Tamil, Malayalam and Hindi, the highest ever for an Indian film. Rajamouli has consistently broken new ground, but Baahubali is his biggest undertaking to date. It took three years to make and is reported to be the most expensive Indian film ever. Kalpana Nair spoke to the director about what it takes to make a truly national blockbuster.

Kalpana Nair (THE TIMES OF INDIA; July 19, 2015)

Baahubali took over 500 days to shoot  and one year of pre-production. You dealt with 17 VFX studios in India, China and South Korea. One battle sequence featured 2,000 junior artistes. How did you manage such a mind-boggling project?
You either have to be extremely organized or you have to be mad. I think one day I was extremely organized and the next I was mad, and somehow we did it. At the core is the belief of everyone in the unit that we are going to make something big, some thing extraordinary. That drove us.

Mythological films in India usually tap into existing sources like the Mahabharata or Ramayana, but Baahubali is an entirely original epic. How did it come about?
My father narrated these characters to me about a decade ago and I found them very interesting. Initially, we didn't have the full story, we only had some characters like Sivagami (the character you see at the beginning of the film) and Katappa the bodyguard, in the last scene. About three years ago, we started putting these characters together to form the story.

Salman Khan praised the film and admitted that its box office gross scared him. Has the film proved that a truly all-India blockbuster is possible outside of Bollywood?
In theory I know that if you have a universal theme and a good story told well, it will work everywhere. The success of Baahubali across the country proves my theory right. Audiences are always open to an interesting story. In our childhood, we used to read stories of the Arabian Nights; why were we so interested when it happens somewhere in Arabia, in a different culture? Until now, we hadn't gone to the Hindi audience with a good story. There were films like Roja by Mani Ratnam and Shankar's Endhiran (Robot) which did well nationally. I think we haven't exploited the market enough and from now on we should be able to do it.

Do you think a film like this could be made in Bollywood, given the way budgets are skewed towards star remuneration.
Baahubali did not happen just because Prabhas (the lead actor) and I kept our remuneration low and pushed all the money into production. Baahubali did not happen overnight. The producer Shobhu Yarlagadda, Prabhas and I kept talking and discussing and imagining. It happened because of the huge amount of trust we had in each other. Baahubali is not about big budgets, big visuals or massive marketing. If a hero, producer and director in Bollywood can have that kind of trust, something even bigger than Baahubali is possible.

Baahubali has been criticized for the portrayal of its heroine Avantika (Tamannaah Bhatia). She starts as a strong warrior but is relegated to the sidelines once she falls in love with Bahubali (Prabhas)...
Generally people look at female characters and think if she is against love, she is a strong character, but if she falls in love, she is weak. I don't think so. In fact, if you find a soulmate, falling in love makes you stronger. I think her character is even stronger once she finds her soulmate.

After the second part releases next year, what are your plans?
We are enjoying the success of Baahubali-The Beginning but there is a huge task ahead in Baahubali--The Conclusion. We don't have the luxury of thinking beyond it right now.

Southern hitmaker S S Rajamouli, who is currently helming a Rs 150 crore epic, is ready for B'town and Aamir Khan

In Hyderabad’s sprawling Ramoji Film City, a movie set spread over an acre instantly catches the eye. Over 1000 junior artistes, wearing peacock feathers, are lifting a 100-feet statue, weighing nearly 20 tonnes. The gold-plated figurine bears a stark resemblance to Rana Daggubati, who plays the antagonist in the film being shot, Bahubali.

The film with a budget of over Rs 150 crore, is being directed by S S Rajamouli, known for blockbusters like Vikramarkudu (remade as Rowdy Rathore), Maryada Ramanna (remade as Son Of Sardaar) and Magadheera (Sajid Nadiadwala is remaking it with Shahid Kapoor). The Telugu bi-lingual with a Tamil version, Mahabali which is being filmed simultaneously, also features Southern stars Prabhas, Anushka Shetty and Tamannaah Bhatia.

“My father (writer-director K.V Vijayendra Prasad) wrote a story about the bitter fight between two cousins vying for a kingdom. It took me over a year to develop it as I wanted to make the film on a sweeping scale,“ says Rajamouli, who starts working with his crew, comprising over 250 technicians, at 6 am  and packs up at sunset.

His association with producers, Shobu Yarlaggada and K Raghavendra Rao, ensured that he can live out his grandiose dream on celluiod. “Like Eega (dubbed in Hindi as Makkhi) we want to reach out to an audience beyond our two Southern states. We will be dubbing it in Malayalam, Hindi and foreign languages,” informs the filmmaker.

The four-hour film, the costliest in Telugu cinema, is being made in two parts. A sizeable chunk of money has been spent on the sets-a sweeping kingdom with a towering statue, life-sized elephants and horses guarding its entrance. A museum nearby houses the props including fake pigs and a flying crocodile, swords and shields, drums and arrows.

Art director Sabu Cyril who bagged the National Award for Om Shanti Om and Krissh 3, has been working meticulously on these props for over a year. “A digital 3D replica of the storyboard was made before the actual construction began,” says Rajamouli.

What next? A Bollywood period drama? “Why not?” he quips. “I don’t want to be restricted linguistically. I don’t watch many Hindi films but I always find time to watch Rajkumar Hirani and Aamir Khan’s films. I’d like to make a film with Aamir one day. I hope he agrees,” he smiles before striding back to his waiting kingdom.