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| Banner | Sri Karthikeya Entertainments Pvt Limited |
| Director | Krishna Vamsi |
| Writer | Krishna Vamsi |
| Producer | Krishna Vamsi |
| Music Director | Mani Sharma |
| Cinematography | G. Ram Prasad |
| Film Editing | |
| Art Director | K.V. Krishna Reddy |
| Camera Operator | |
| Assistant Cameramen | |
| Playback Singers | Shankar Mahadevan, Mallikharjun, Tippu, Shreya Ghoshal, S.P. Balasubrahmanyam |
| Character | Actor / Actress |
| Arjun | |
| Nitin | |
| Charmy | |
| Prakash Raj | |
| Ramya Krishna | |
| Pilla Prasad | |
| Ananth | |
| Goutham Raju | |
| Jogi Brothers | |
| Subhashini | |
| L.B. Sriram | |
| Vimalasri | |
| Lavanya | |
| Subbaraju | |
| Pruthvi |
| when I saw Jayam and Dil. I observed him for a couple of months. After deciding that Nitin is an apt actor for this role, I approached him and signed him for the main lead role. The hero in this film is a fanatic devotee of Lord Anjaneya. After observing his loyalty to Lord Anjaneya, the village men start calling him 'Anji'. I wanted an actor who possesses those qualities of divinity, authority and purity. I don't want the image of that actor to dominate the character he is playing. He should look soft. But there should be enormous strength behind that soft looks. The best example is 'Oke Okkadu' film in which Arjun looked so soft, but shows his enormousness and power with his deeds as CM. I met Arjun at the marriage of Soundarya. I went there along with Jagapati Babu. Jagapati Babu and Arjun are good friends. We spent 5 hours together. I observed his body language and the way he communicates. And it connected to the characterization I have done for Lord Anjaneya in this film's script. I waited for 15 more days and then called up Arjun over the phone. When I narrated this story to Arjun, he cried three times. After listening to the story, Arjun said that he had been waiting to do even a single scene role in my films. He is a great devotee of Lord Anjaneya. The stage 3 of Disney studios has the visual effects section in Orlando, USA. There are lots of visual effects wizards who worked for lots of Hollywood projects. We consulted technical directors like Edward and Chakri (Chakri acted as a child artist - camera boy - in K Viswanath's Sagara Sangamam). We gave them the story board of 'Sri Anjaneyam'. Those guys would do the graphics part of the film. Some other unit would do visual effects. Roll flaming and digitalization would take place at Prasad Labs in Mumbai in co-ordination with a Canadian Lab. Sai Prasad (grand son of LV Prasad and son of Ramesh Prasad) established Prasad Labs at Mumbai with international standards. This film lab offers 50% better quality negative developing and printing. If they charge Rs 2/- per meter for developing the roll in Hyderabad, Prasad Labs at Mumbai do charge Rs 9/- per meter. The print cost is also more. I am going to get it done at Prasad Labs, Mumbai. The reason in simple! There are lots of fabulous scenes in my film. Let me narrate a scene here. I have to create an Anjaneya Swamy of 15,000 feet height. Widest lens available here (24 mm) is not wide enough to capture it. I have to capture Lord Anjaneya with movement. The height of Anjaneya is so huge that the peak of temple comes to half of his knee's height. I want to show Lord Anjaneya to such an extent that it exceeds the weirdest imaginations we have. A fight in this film is canned using the motion capture camera, motion control camera and regular cameras. Amin Ghani (Bollywood stunt coordinator) got a very costly equipment to assist this action sequence. The technicians working from this film are Germans, Americans, Canadians, Hong Kong people and Indians.[1] |
| Release date | 24-July-2004 |
| Budget | |
| Revenue |
None.
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