S Gopinath, cinematographer
What director Hari o ers in Rathnam, starring Vishal and Priya Bhavani Shankar
Shankar in Rathnam. happens, which doubles as the screenplay, and from there, I jump to dialogue writing. At that point, I ask them to tell me what they have written while I come up with the lines for those scenes. Once that’s done, then comes the paperwork, but even then, I don’t write anything though it’s been 17 lms (laughs). Improvisation happens until the day before the shoot.
Q:...And this unorthodox style, I heard, spills over during the shoot and post-production as well?
I don’t use precise technical terms to describe a scene to my technicians; I just explain how I want it to be. If I’m going to use editing terms with an editor, he might get irritated after a point. When they’re specialists in those streams, you leave it to them about
A:how it’s done. Not only does this increase their con dence it also makes them feel comfortable to work with us again. Contrary to my discussion space, my shooting spots buzz with activity. There, I aim to do a minimum of two shifts a day.
Q:Your lms have always concentrated on male protagonists but Rathnam seems to revolve around the female lead character.
You’ve guessed it right; Priya Bhavani Shankar’s role in this lm is of utmost importance. Apart from her character, Priya, as an artiste, also had a lot of challenges in this
lm. She pulled o a single-shot scene, 300 feet in lm length, involving a lot of movement and
lled with dialogue brilliantly. Positioning, especially in such long shots, is of much importance, and the actor should be talented enough to pull it o. The fact that Priya can do all of that and knows the language makes it perfect.
A:Q:
It’s been 17 years since you rst collaborated with Vishal. How do you think the two of you have evolved?
I think I’ve been the same
(smiles) and I’m glad that I’m getting work — which I believe I’ve been doing well. It’s nice to see the growth of Vishal, both business-wise and how he has gained an audience even in the North. He is easy to work with, and likes to keep everyone happy.
A:Q:For a lmmaker known for fast cuts, having single-shot sequences, toning down action sequences are some examples of change we spotted in your last lm Yaanai. Is that you evolving as a lmmaker?
My move comes from needing challenges while making a lm; the
Yaanai interval shot, for example, runs for around 350 feet. As far as the other changes are concerned, I see lms made by my friends and that could probably inuence my work as well. In
Rathnam, I’ve pulled o a ve-minute single shot, without any stitching, where there are vehicle tracking shots, an action sequence involving rope work, and a chase sequence involving blasts and vehicles toppling.
A:Rathnam is scheduled to release on April 26
I’m thrilled about the re-release hype, and I still fondly recall shooting at the massive seven-acre set, which was conceived by art director Maniraj, where all the lighthouse and beach sequences were shot. I was injured during its shooting and had to take a small break while recuperating; so, while I shot the entire film, I requested KV Anand (the late cinematographer) to step in to shoot the ‘Appadi Podu’ song sequence alone.