Feb 07, 2026 3:55pm IST
Anil Ravipudi On Fear Of Failure And The Post-Covid Reset: ‘Streaming Has Trained Audiences To Wait’ (EXCLUSIVE)
Few filmmakers can claim to have the Midas touch that guarantees consistent box office success. Telugu director Anil Ravipudi is steadily building that reputation, and his latest release only strengthens the claim. Fresh off the success of his most recent film, "Mana Shankara Vara Prasad Garu", Ravipudi chats with Variety India.
Now, as "Mana Shankara Vara Prasad Garu", starring Chiranjeevi, Nayanthara and Venkatesh (in a special appearance), is all set to hit Zee5 on February 11, Ravipudi discussed his latest star vehicle, what he is working on next, and how he is most scared of failure at this point in his career. Ravipudi also talks about how streaming has changed the grammar of theatrical culture and how both scale and soul must walk together to give a film a beating heart, not one without the other.
One term that is always attached to your name is ‘Mass Entertainer’, but over the years, you have also managed to very successfully blend a lot of other genres. How do you manage to crack it every single time?
Since "Sankranthiki Vasthunam", I have been trying different genres. I go with the family element and at the same time, I put some crime elements into the script and a lot more. When you blend these genres correctly with the right hero, the reach becomes huge, and that is actually the plan that has been working for me all this time. I already have my audience who are following my films. Every film comes with huge expectations, so I have to give the audience something new and fresh. To blend other genres with mass elements depending upon who my hero is and his appeal in the core of the country, to give him a stylish pedestal and stick to my strength where I am strongest, are what have worked the most for me.
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What superpower do you have that you manage to get the biggest stars for your movies?
No superpower. If the content is good, they will definitely get on board the project. Because I write good content that excites them, they say yes easily. It also depends on how you treat them, how you convince them by showing your intent, conviction and perspective of the project. For example, Nayanthara got on board "Mana Shankara Vara Prasad Garu" immediately after I narrated the script to her and explained everything very clearly. Being transparent and clear makes things easy for both the stars and me.
Which star was the most surprising for you to work with?
As of now, every star I have worked with. It feels like my dream comes true with every project. I grew up watching them all during my childhood. Shri Ranjeet Garu, Balakrishna Garu, Venkatesh Garu — they have been massive stars from the time I was in school. Now, when I am directing them and sitting in front of them, talking to them every day, it feels like a dream. Every film I have worked on is memorable for me. I cannot express in words what it feels like to sit there and direct them. It is a feeling that can only be felt and not defined. I have danced to their songs as a kid, celebrated them in theaters, and now my films are being celebrated by fans and audiences in theaters. That is a beautiful journey.
When you have these superstars who are also brilliant actors, they come with massive stardom and fandoms. How do you balance servicing that stardom while staying true to your script?
Servicing that stardom is a part of the entire process because every star has a unique style, and fan expectations are different for every actor. When I write a script, I keep in mind what works for a particular star and what doesn’t. If comedy suits them, I go all out. If drama is their forte, I stick to that. Luckily, I adapt very easily. When I am working with Chiranjeevi, I think like him, write like him and dance like him. I behave as if I have become the star I am working with at that moment, and then calculate what I should be doing. This way, you never lose the style the star brings while also adding what you intend to.
Cinema in the post-COVID world is struggling to balance scale and soul. Why do you think this is happening?
The biggest plus point we had before the pandemic was the audience’s attraction to the big screen, theaters and the magic of collective viewing. We forced them to switch to streaming and made them comfortable with home viewing, and that was a huge mistake. Films are sold to OTT platforms at huge prices even before their theatrical release. Some movies are released directly on OTT. The theatrical window has shortened. Slowly, like a slow poison, this became a big roadblock. Audiences became selective.
They no longer step out to watch films randomly. They only invest in very good content; otherwise, they wait for the digital release because the window is anyway small. Average films no longer have takers because the benchmark has shifted to above average or beyond. If the content is a super hit, people come to the theaters. That is the biggest change I have noticed after COVID.
So, what you said is absolutely right. If the scale is perfect, the film becomes a super hit. If the soul is perfect, it will still have takers. When scale and soul come together, it becomes a massive blast. You have to excite audiences from the teaser and announcement itself. Spectacle matters now — casting, positioning, presentation. Throughout the film, engagement is key. This approach may not work for every film, but it has worked for me. Luckily, I became a director before the pandemic and held good content close to my heart, because that always brings audiences, even if it is a day or two later.
Are you scared of failure? Does the ecosystem even allow a filmmaker to fail silently anymore?
I am very scared of failure. After eight films, now nine, back-to-back hits, if one film does not work, automatically, I am out. I cannot explain that pressure in words, even creatively. I keep reminding myself every day that I have to beat my own best because I am scared of failing right now. Best is not the benchmark, extraordinary is. I do not take success lightly. Before going on sets, I spend a lot of time with my team. We conduct multiple sessions until we are satisfied. Even during shooting, I constantly seek suggestions, even late at night, about what can be improved or improvised. That is a huge challenge.
With nine hit films behind me, I have nothing else on my mind except the next film. I am currently working on a fresh project, and that is what keeps me grounded. Fear drives me. If I am not scared of failure, I will become relaxed, and I cannot afford that.
Do you think comedy is not given enough weight as a genre?
Comedy is the most difficult genre. I love it because it is extremely judgmental. If a joke works, people laugh in different ways. If it works deeply, they laugh from the heart. Comedy is tough to write and tough to execute. But I love it because my audience loves it. I am ready to take stress and work hard if it means making people laugh happily at the end of the day. That is my motto.
As for respect, the people who should give comedy its due are already doing so. Some people on social media may not like it, but the numbers speak. "Sankranthiki Vasthunam" crossed 300 crore, and "Mana Shankara Vara Prasad Garu" crossed 370 crore. That means people are watching and celebrating these films. If comedy is done right, audiences will respond. You cannot worry about a few voices online.
Do reviews bother you?
No, never. Individual opinions do not affect a film or its audience. If people like a movie, no number of reviews will stop them from going to the theaters. I respect opinions. If I like them, I take them. If I do not, I ignore them. They do not affect my work.
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