LIGHTS, CAM­ERA, PARKOUR

Chetan Ram­sai d’Souza is the co-founder of a parkour en­sem­ble called Chaos Fak­tory. This month, he marks the re­lease of the third film to fea­ture some of his work, Op­er­a­tion Alame­lamma

India Today - - INSIDE - —with Anil Nair

Chetan Ram­sai d’Souza’s tal­ent hits the sil­ver screen again

Q. How did you break into films? A.

Af­ter earn­ing a black belt in karate, I came across a YouTube video about parkour in 2007. We then be­gan putting up videos of our own work. Af­ter one of our own films, Wrong Moves, got 1,900,000 views, I got a call from Kan­nada film di­rec­tor Pawan Ku­mar, in 2015, ask­ing that we chore­o­graph a few stunt scenes for the film U-turn.

Q. What’s the dif­fer­ence be­tween chore­ograph­ing a stunt and per­form­ing a move your­self?

A.

A stunt scene in a film usu­ally does not have a long run­ning se­quence. On the other hand, while per­form­ing parkour, one aims to al­low the body to move freely over ob­sta­cles, build­ings and ob­jects.

Q. Have you brought new think­ing to the stunt busi­ness?

A.

When I took up stunt chore­og­ra­phy, I made sure to present as­pects like a sto­ry­board of the stunt. I also pre-vi­su­alised and at times pre-shot the se­quences. This is un­heard of in In­dian cin­ema. My current goal is to help rev­o­lu­tionise the stunt and fight chore­og­ra­phy in­dus­try.

Q. Have you got­ten any grief for com­mer­cial­is­ing the sport? A.

Yes, there are some parkour ath­letes who dis­agree with my de­ci­sion to show­case the sport or do some flips and moves in main­stream cin­ema and com­mer­cials. I don’t un­der­stand why any­one should be bothered by the fact that I am us­ing my tal­ents and skills to make money and also to pop­u­larise the sport among masses.

Newspapers in English

Newspapers from India

© PressReader. All rights reserved.