In a candid conversation with South First, 'Sookshmadarshini' cinematographer Sharan Velayudhan spoke about his shooting process and the challenges while working.
Published Dec 16, 2024 | 4:20 PM ⚊ Updated Dec 16, 2024 | 4:20 PM
Sharan Velayudhan. (Supplied)
The recent Malayalam thriller Sookshmadarshini has been the talk of the town for its skilful narration and splendid performances. Another aspect of the film that was appreciated is its cinematography by Sharan Velayudhan.
Ad filmmaker and cinematographer Sharan Velayudhan made a mark in the Malayalam industry with films like Ambili, Saudi Vellaka, Pachuvum Athbutha Vilakkum, I am Kathalan and Thalavan.
In a candid conversation with South First, Sharan Velayudhan spoke about his shooting process and the challenges while working.
Here are the edited excerpts
Q. Sookshmadarshini’s director MC Jithin said that the success of the movie is teamwork. How was it working with the team?
A. A good movie is made when there is a balance between the direction, script, music, art, editing, and sound departments and in Sookshmadarshini, this is what happened, all the teams were great. There were discussions at all phases of the filmmaking, and there was proper execution. Art will have a good outcome with proper teamwork.
Q. Locations and settings of the neighbourhood in Sookshmadarshini were widely appreciated. Was it challenging?
A. If the movie was shot in a particular set, then the workflow would have been easy. Shooting in real locations was challenging due to the congestion. For instance, Priyadarshini’s (Nazriya Nazim) kitchen was extended, and Manuel’s (Basil Joseph) house was located farther away.
We faced visibility issues while shooting from different angles, as many trees were in the way. We used miniatures and windows to address this in some scenes.
It was important for the audience to understand the distance between the houses and how the characters communicated. Managing multiple perspectives and the space was a new experience for me, but I believe the emotions of the characters and the setting were effectively conveyed.
Q. Is it easier to shoot in a studio set-up compared to a live location?
Sharan Velayudhan in action. (Supplied)
A. Both approaches have their advantages, depending on the script. Real locations present more challenges, such as crowds and other factors. However, they offer a more organic feel due to natural light, which a studio setup can’t provide.
While we can create a similar atmosphere in a studio, it won’t have the same sense of reality. The real location was the better choice for this film.
Q. Thalavan and Sookshmadarshini are investigative thrillers but have a completely different treatment. How was it working with Jis Joy and MC Jithin?
A. Both directors have different styles and approaches. Jis Joy focuses more on dialogue and script. In Thalavan, there is realism, but it’s elevated, offering a fresh take on thrillers. Unlike typical thrillers, it prioritizes the emotions of the characters.
In Sookshmadarshini, executing the minute details in the script was more challenging. We took micro shots to enhance window scenes and close-ups of the lead character’s eyes. These shots were added to emphasize and deepen the character.
There were discussions with both directors, and I addressed most concerns during pre-production. Some aspects were adjusted spontaneously during shooting.
Q. The climax scene had a great impact in theatres. How difficult was it to shoot it?
Sharan Velayudhan’s new movie is ‘Sooksmadarshini’. (Supplied)
A. The climax wasn’t originally designed this way. The decision was made after discussions with producers, Sameer Thahir, and Shyju Khalid. Shooting the scene wasn’t difficult. As the movie starts slowly and picks up pace with more events as it progresses, there was a suggestion to provide a better payoff for the audience at the end, which led to the new treatment. This change made the climax more impactful.
The car crash scene, including the smashing of glass panes, was shot with the actors’ safety as a top priority.
Q. The producers are senior cinematographers and they are your mentors too. What were your conversations like?
A. Yes, the producers are also my mentors. They were involved in every discussion and their inputs were taken as it’s a collective effort.
Q. Jis Joy said that you are very choosy in selecting films. What are your criteria for choosing films?
A. The first thing I focus on is the script itself. I listen to the narration, read the script, and choose those that I feel are sensible and can be executed well. I contribute as much as possible to ensure a quality product. Another thing I do is assess the team to see if there’s space for my input. When I start working, I put all my efforts into understanding the full scope of the movie.
Q. Your films starting from Ambili, to Sookshmadarshini belong to different genres. Is there any process while starting work on a new movie?
A. After hearing the script, I spend the most time with the director, as it’s his vision. I work to bring the scenes in the script to life in the way the director conceived them. I don’t follow a particular style; I adapt to the director’s vision.
In Jis Joy’s Thalavan, we discussed the requirements, and I worked accordingly. Each project in my filmography has a different feel, which I do intentionally. I aim to explore new approaches and avoid repetition in my work.
In Ambili, the lead character is innocent and raised in a village, which is why green was used to represent him. As he travels, everything changes. I use such visual elements to keep the audience engaged.
In Sookshmadarshini, I used extreme close-ups of Priyadarshini’s eyes and looks to help the audience connect with her character.
Sharan Velayudhan has done some impressive works. (Supplied)
Q. Who are those cinematographers who have inspired you?
A. Emmanuel Lubezki and Roger Deakins are some of the foreign cinematographers who I was inspired by. In India, Santosh Sivan, Pankaj Kumar, Sameer Thahir, Shyju Khalid, PC Sreeram, and KV Anand are some of the veterans whom I admire.
Q. Can you share about your Lamborghini ad shot in Kerala?
A. I work as both a director and Director of Photography for ad films. My friend Vimal Chandran and I run a production house, focusing on art-driven products rather than typical advertisements.
During the Covid period, Lamborghini launched the “With Italy, For Italy” program worldwide. From India, we submitted a concept, that they liked. They sent us a Lamborghini car, and we created a film and an illustration series.
I directed the film, while Vimal did the illustration. We shot it in Palakkad district, and it gained significant attention. We’ve also worked on projects for Uber, Saint Gobain, and Estilocus. I met Fahadh Faasil through the Estilocus ad which featured him as the brand model. Later I collaborated with him on Pachuvum Athbutha Vilakkum.
Q. Any plans to direct a movie as you had directed ad films?
A. I am not doing it immediately. I want to explore myself as I am able to learn different aspects from various directors.
Q. What are your future projects?
A. Discussions are happening for a Tamil project and a Malayalam project. An official confirmation isn’t out yet.
Q. How do you think our theatres must change according to new cinematography technologies?
A. A uniform approach is necessary, and everyone involved must decide and make the necessary corrections. As a cinematographer, I want the scene to maintain the same quality as I shot it. However, quality loss occurs at various levels due to poor projection quality.
(Edited by Sumavarsha Kandula)
