I Couldn't Sleep That Night After Seeing Shankar's Blueprints; Didn't Need My “Monkey Method” on Game Changer

Editor Ruben opens up about his experience working on Game Changer, discussing his collaboration with Shankar and Ram Charan. He shares insights into his innovative editing and techniques, addresses industry rumors, reflects on Sukumar's statements, and offers a deeper look into the making of this highly anticipated political drama, Game Changer.

Q: What's your experience working on Game Changer?

Ruben: I’m not a huge fan of politics, but I loved Shankar's Oke Okkadu when I watched it. I learned a lot about how the system works and saw the dirty side of politics. There’s also a movie called Co by KV Anand, and Game Changer reflects many aspects of politics. It also brings in democratic leadership, which adds depth to the story.

Q: Do you think Shankar's magic from Oke Okkadu and Shivaji has been revived in Game Changer?

Ruben: Absolutely. The screenplay of this political story is fantastic, and it definitely carries Shankar’s hallmark. There’s an emotional flashback in the second half that turned out beautifully, which showcases his touch.

Q: What's it like working with Shankar and Ram Charan?

Ruben: I usually don’t prefer working with seniors, but Shankar is like my guru. Working with him, you have to shed your shyness. The creator wants everything to be perfect, but the ultimate goal is the film’s success. It’s a tough task to communicate that effectively. If I were working with peers, it might be easier. Despite his seniority, Shankar didn't behave like one. Even after the previous movie didn’t do well, he was calm. Ram Charan is a very handsome man and very particular about his scripts. It's not just about the story or screenplay; it's about the actor complementing the movie. When the actor supports the story, it motivates the editor as well.

Q: Can you tell us about your editing technique? Did you implement it in Game Changer?

Ruben: I use what I call the "Monkey method”. While editing, I jumble the screenplay order. I might move the climax to the beginning and the beginning to the climax. I’ve been fortunate that my directors trust me with this process. I did this with Pushpa: The Rise, and it’s something I do with many movies. Sometimes, we even reshoot scenes after editing if we feel it's necessary. After I finished editing Game Changer, I called Shankar to check everything, and he made me feel so comfortable. They did some patchwork for the film, and it was simple. You remove the first and last scenes, and it’s ready. Shankar works with a blueprint for every scene. I saw a drawing of every scene, and he referred to it as a blueprint. I couldn’t sleep that night, thinking, “How can a filmmaker work like this?”

Q: How was the experience of working with other editors?

Ruben: It’s a healthy collaboration. We worked like a cricket team, contributing our best. For Daku Maharaj I edited the final version and made adaptations. I’ve been busy this year with Baby John, Game Changer, Daku Maharaj, and several other movies. I really enjoyed working with Bobby because we were in sync with everything. Niranjan is also a good editor, and Balayya is looking great in the work we've done.

Q: Sukumar said he will “quit cinema” during the Game Changer event. What do you make of that?

Ruben: That statement came from a place of exhaustion. Every artist or creator gets tired at some point and feels the need to step away. Sukumar is simply tired. What he really needs is a break.

Q: Do you think the Sandhya Theatre stampede incident and its aftermath made him say that?

Ruben: No, that’s a calamity, and we feel sorry for what happened, but you can't blame one person. Everyone has their own share in it. People should be responsible for their own actions. No artist should be denied the right to watch their movie. If people had the patience to admire their actor from a distance, it could have been avoided. We can't make one person accountable for this.

Q: Directors are upset with you nowadays?

Ruben: It's not anything controversial, just an availability problem. Every artist has date issues, and it’s a survival issue. If someone wants us to be exclusive, it should be a premium arrangement. They pay you for regular work and ask for premium work, which isn’t right. This is all organic. We are still in touch with Sukumar, and we’ve spoken naturally. I contributed around 50% for Pushpa: The Rule and I gave its trailer cut. Our relationship is still strong.