For filmmaker Prakash Veer, cinema has always been less about spectacle and more about intent. Known for his grounded storytelling and sharp understanding of mass emotions, Veer sees films as living conversations with audiences rather than finished products frozen on screen. His latest project, The Devil, marks a significant chapter in his career, not only because of its scale and ambition, but also because it brings him together with actor Darshan, a collaboration that has generated intense interest within the Kannada film industry.
Speaking about The Devil, Prakash Veer describes the film as a journey into moral ambiguity rather than a conventional tale of heroism. He explains that the title itself is symbolic, representing the inner conflicts individuals carry and the choices they make under pressure. According to him, the film does not aim to glorify violence or rebellion but instead seeks to question the circumstances that push people toward extreme decisions. He says that The Devil was conceived as a character-driven narrative where emotions dictate action, not the other way around.
Working with Darshan, Veer says, was both a challenge and an opportunity. Darshan’s immense screen presence and loyal fan base come with certain expectations, but Veer was clear from the beginning that the film would demand restraint as much as intensity. He recalls early discussions where both of them spoke at length about tone, silence, and the power of understatement. Darshan, he says, surprised him with his willingness to shed familiar tropes and embrace vulnerability, which became central to the character’s arc.
Veer believes that Darshan’s strength lies not just in his physicality but in his ability to convey emotional weight through stillness. In The Devil, there are moments where the actor speaks very little, yet communicates volumes through his eyes and body language. The director says these moments were deliberately written and shot to allow audiences to sit with discomfort and reflection rather than being constantly guided by dialogue or background score.
The making of The Devil was also an exercise in discipline. Veer says he was determined to avoid excess, whether in action sequences or emotional beats. Every scene, he notes, was questioned for relevance. If it did not move the story or deepen character understanding, it was reworked or removed. This approach, he believes, is essential in an era where films often rely on noise and scale to hold attention. For him, silence can be just as powerful, if not more.
On the writing process, Prakash Veer explains that the script went through multiple revisions, especially after casting Darshan. While the core idea remained unchanged, certain layers were added to align with the actor’s strengths. He stresses that this was not about tailoring the film to stardom, but about using Darshan’s experience to add credibility to the character. The actor’s understanding of mass psychology, Veer says, helped refine several scenes to make them more authentic.
Veer also speaks about the responsibility that comes with directing a star of Darshan’s stature. He acknowledges that expectations from fans can be overwhelming, but insists that honesty to the story must come first. He says he never felt pressured to insert unnecessary hero moments, and credits Darshan for supporting this approach. According to Veer, mutual trust was the foundation of their collaboration, allowing both to push boundaries without fear.
Music and background score, Veer says, play a crucial but controlled role in The Devil. Rather than using music to dictate emotion, he wanted it to subtly enhance the atmosphere. He believes that over-scoring can manipulate audiences in ways that dilute genuine emotional responses. In this film, sound design and silence work together to create tension and introspection, reflecting the protagonist’s internal struggle.
Cinematography was another area where Veer was deeply involved. He says visual framing was used to mirror the character’s psychological state. Confined spaces, shadow-heavy compositions, and restrained color palettes dominate the film, reinforcing themes of isolation and moral conflict. Veer explains that these choices were intentional, aimed at making viewers feel the weight of the character’s decisions rather than merely observing them.
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Discussing action sequences, Veer clarifies that while The Devil does contain moments of intensity, they are not designed for spectacle alone. Each action scene is rooted in emotion and consequence. He believes that action without emotional context becomes hollow, and was careful to ensure that violence, when it appears, serves the narrative purpose. Darshan, he adds, was fully aligned with this philosophy and approached such scenes with seriousness rather than flamboyance.
Veer also reflects on the changing landscape of Kannada cinema. He feels that audiences today are more receptive to layered storytelling and are willing to engage with complex characters. This shift, he says, gives filmmakers greater freedom but also increases responsibility. Viewers are no longer satisfied with surface-level narratives, and filmmakers must respect their intelligence.
On working conditions and the set environment, Veer says he prioritised calm and clarity. He believes that chaos on set often reflects in the final product. By maintaining open communication with actors and technicians, he aimed to create a space where ideas could flow freely. Darshan’s professionalism, he notes, set the tone for the entire team, fostering discipline and focus.
Veer is particularly proud of the supporting cast, whom he feels add depth and texture to the story. He says that every character, no matter how small, was written with intent. These characters, he explains, act as mirrors to the protagonist, reflecting different responses to similar circumstances. Their interactions with Darshan’s character help reveal layers that would otherwise remain hidden.
When asked about the title The Devil, Veer reiterates that it is not meant to be taken literally. For him, the devil represents unresolved anger, suppressed guilt, and moral compromise. He says the film challenges viewers to question who the real devil is: the individual who commits an act, or the system and circumstances that shape that act. This moral ambiguity, he believes, is what gives the film its emotional resonance.
Veer admits that making such a film comes with risks, especially in a star-driven industry. However, he believes that taking creative risks is essential for growth. He says that playing safe may guarantee short-term success, but meaningful cinema requires courage and conviction. The Devil, according to him, is a film made with that belief.
Reflecting on his collaboration with Darshan, Veer says it has been one of the most fulfilling experiences of his career. He describes the actor as deeply intuitive and emotionally invested in his work. Despite his stardom, Darshan remained open to discussion and critique, which Veer says is rare and invaluable. Their partnership, he adds, was built on mutual respect rather than hierarchy.
As for audience expectations, Veer hopes viewers approach The Devil with an open mind. He does not promise comfort or easy answers, but assures an honest cinematic experience. He believes the film will provoke discussion and introspection, which, for him, is the true measure of success.
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Looking ahead, Prakash Veer says The Devil has reinforced his belief in storytelling driven by emotion and integrity. While he remains open to exploring different genres, he insists that his core focus will always be on characters and their inner worlds. Success, he says, is fleeting, but staying true to one’s creative voice is enduring.
In The Devil, Veer sees not just a film, but a reflection of the choices that define people and societies. Through his collaboration with Darshan, he hopes to offer audiences a story that lingers long after the final frame, urging them to confront uncomfortable questions rather than escape them. For Prakash Veer, cinema’s greatest power lies not in distraction, but in its ability to hold up a mirror, and The Devil is his attempt to do just that.
Veer also spoke about the audience reception he anticipates across different sections of viewers. He believes that while mass audiences may initially be drawn by Darshan’s presence, the film’s emotional depth will gradually reveal itself. According to him, repeat viewings may allow audiences to notice subtler details, including visual cues and narrative pauses that are easy to miss on first watch. He says the film has been designed to grow with the viewer rather than deliver instant gratification.
Addressing criticism that serious films often struggle at the box office, Veer said commercial success and meaningful cinema need not be opposites. He argues that audiences respond to honesty when it is presented with conviction. For him, the challenge lies in balancing accessibility with depth, a balance he consciously pursued while shaping The Devil. He believes that respecting the audience’s intelligence is the most commercially sound strategy in the long run.
Veer also reflected on how his own worldview influenced the film. He said personal observations about power, guilt, and moral compromise found their way into the narrative organically. Rather than preaching, he wanted the film to ask questions and leave space for interpretation. He feels that cinema should provoke thought without dictating conclusions, allowing viewers to engage with the story on their own terms.
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