Director Krishna, who is gearing up for the release of his action thriller Pathu Thala, believes that the long gap between his ventures Sillunu Oru Kadhal (2006) and Nedunchalai (2014) has made him realise that he should not have any emotional attachment with his projects. Opening up about his experience, the director said, “After I finished Sillunu Oru Kadhal, I immediately started one more film called Yen Ippadi Mayakinai. The film was completed, and the copy was ready. However, the production company went bankrupt. So we couldn’t present the film to the public. Every creator has a certain emotional attachment with the film he is making. Similarly, I had an emotional attachment to that film. It was a huge setback for me. It’s only after my experience with that film that I realised that henceforth, I shouldn’t have such a huge emotional attachment to my films.”
Pathu Thala marks the director's return to Tamil cinema after nine years. The film's release comes at a time when actor Silambarasan has delivered consecutive successes with Maanadu and Vendhu Thanindhathu Kaadu. Talking about the responsibility of delivering a successful movie with Simbu in the lead after the actor has had two hits in a row, Krishna said, "There is definitely a lot of pressure. Because both his films have done extremely well. Everybody would have a certain expectation and curiosity to see what he does next. I am working with that pressure."
Despite the pressure, Krishna observes that the experience of working with Simbu was fascinating. “It was a very interesting experience working with Simbu. As a director, more than what we expect from him, he will give his 100 percent. Our job is only to explain the character to him. Once it enters his mind, there is nothing else to be concerned about. He will handle everything else. His continuity is something that genuinely astonishes me. Even if the assistant directors make continuity errors, he will point out the mistakes. He would never miss the continuity. His memory is powerful. He is a very interesting artiste.”
The director credited Simbu for giving him complete creative control and allowing him to make the film the way he desired. “As far as Simbu was concerned, he told me to make the film with the vision I had in mind without any compromises. He told me not to contemplate anything and shoot the film the way I wanted until I was satisfied. If the film hero gives such an assurance, the director does not need anything else.”