Interview : Senthil Kumar
Aug 14, 2006, 06:39




Senthil Kumar


Young and talented cinematographer K K Senthil Kumar burst on to the Telugu cinema map with a bang. His first film, Aithey, had not only critically appreciated and brought laurels to everyone involved in the film but also brought special recognition for its cinematographer. Sye, Chatrapathi, and now Ashok followed. Today, he is most sought after cinematographer in Telugu film industry and also one of the busiest. After Madhu Ambat, he is the only FTII graduated working cinematographer in Tollywood. Telugucinema.com caught up with this young cinematographer at director S S Rajamouli’s residence. Excerpts from the interview..

What made you want to become cinematographer and tell us about your background?

I am born and brought up in Hyderabad. My family has no-connection with film world. Actually my father and other relatives are into defense. Even I had no plans of entering into film world then. After graduation, I was preparing for Civil Services and competitive examinations. I knew basic photography. But I never wanted to be professional cinematographer. It is my friend Ram Mohan who initiated into this field. He asked me to apply for FTII as I was anyhow preparing for various competitive exams. I got into Film and Television Institute of India (FTTI) in Pune.

The Film Institute changed my life and the way I see films. Till then I had never seen ‘world cinema’ and ‘classics’. The first film that I saw at the institute was Akira Kurasowa’s Red Beard. That film changed my thinking and then I had decided to become professional cinematographer and nothing else. Mine was 1995 - 1998 batch. After graduating there I came back to Hyderabad. But I was at crossroads. To join filmdom or Television Industry was the question that I pondered for many days.

Then how did you get your first break?

At that time no one who graduated from FTII was working in Telugu Cinema field. There was a misconception that Institute graduates take too much time to deliver and they insist for more artistic liberty. So it was tough getting into it.

As I am not financially independent, I had no choice but to join someone. So I joined Sharat gaaru (cameraman) as assistant. My first film with him was S V Krishna Reddy directed Premaku Velayare. I did work with him till Jabili and then I wanted to be independent. In between, I have also worked for Ravi K Chandran for Hindi film, Calcutta Mail (which was remake of Telugu film, Choodalani Undi) and did some ads.

As my desire to work as Independent cameraman was increasing, I had to stop assisting and looking for offers. I didn’t get any chance in films. One day, a friend of mine (Sri Guha) introduced me to Chandu who was planning to do a Television serial for Just Yellow Company. I was reluctant to join him because I did not want to do Television work but again I had no choice. Finally I joined Chandu for the serial, Amritham, which went on to become a big success. After we shot 12 episodes, Chandu put a film proposal to Just Yellow. And he got clearance from them for film, Aitey. Chandu believed in me and my work and took me as Director of Photography (DoP). But everyone discouraged him about my choice. “You are newcomer (Chandu) and you are taking a new cameraman for the film. It will be a big risk,” they warned him but Chandu insisted on me. And the rest is history. Before Aitey went on sets, I also worked for a Marathi film, Adhar. It is a very low budget movie directed by my FTII friend and shot just in 28 days. Technically it is my debut film. But Aitey is the first commercial film.

Aitey was a low-budgeted movie. Day for night effect was perfect and also your work in the film was great. How did you achieve it?

Day for night effect (shooting the film in day but bringing the night effect) was perfect because we shot the film mostly in forests. There was no artificial light in the forests; hence the job for me became easier. But the effect was much better because I had used 5248 film stock; at that time 5246 D Stock was the norm. Using 5248 brought great effect. Personally I don’t like vibrant colors. Other than this, I had received accolades from big directors and industry personalities for my work in Aitey. Many of them thought that we didn’t use much ‘lights’ for the film. I felt it as a great compliment. Because I have used lots of lights but people thought I had just used natural light. Bringing that effect is not easy. So I felt really proud. That was happiest moment in my life. Aitey was the best launch pad I could have asked for.

Yet, there was huge gap after Aitey. Why was it so?

Yes, there was a gap. I didn’t expect it, either. After Aitey, I got two offers – Missamma and another film from another first time director. I chose the latter because that film was being directed by a former cinematographer. I did work for 3 days but I found it is impossible to work with him with his interference. So I walked out of it. Then I was back to square one. That was the most depressing phase in my life. Financial problems kept on. I was desperate for another film. At that time, Rama gaaru (Rajamouli’s wife) suggested my name to Rajamouli for Sye. She was an associate for Aitey. Because of her and Rajamouli’s confidence, I could get Sye. From then, I never looked back.


Senthil Kumar at work


Sye was the first sports-based full-length feature film in Tollywood. And the game, Rugby, that Rajamouli had chosen is also new to us. Then how did you prepare it?

Rajamouli had just finished Simhadri that was a blockbuster and started Sye. Even though he is such a big director, he narrated the story to me and asked whether I was interested in doing. He is such a nice person. He has no airs. As I told you already I was frustrated and was proving to myself again, I worked hard for Sye. Rajamouli had deputed an assistant for recording Rugby matches on TV. We saw that matches and decided to bring the ‘live match’ experience on the screen.

I also told Rajamouli garu that I want to bring new tone for the villain scenes. The color tone involving villain and the rest of the film are different in the film. Rajamouli had expressed his doubts over how would I balance the tone when hero and villain meet but I had achieved it. The best compliment that I got for Sye was from a person who won technical Oscar. After watching Sye he said, “It’s almost like a Hollywood film.”

You and Rajamouli seem to have bonded a special relationship!

If a film has to come out visually beautifully, the director and his director of Photography should understand each other very well. That is happened in our case. I know what he wants. By the time when I signed for his next film, Chatrapathi, I knew what exactly he wanted before he told me.

What is your best work so far?

Chatrapathi, without doubt. What I really love is that it didn’t deviate from the film. Perfect in sync with the direction. Chatrapathi was also my first commercial film with a big star. Despite the commercial trappings, I didn’t go for dramatic taking. My camera work in the film was in mood of the film. This is also the film that I used monotones (single dominant color). In the song, A Vacchi B Pai Vale, the backdrop was white, and the hero, heroine and group dancers all wore white dresses. So choreographer Lawrence worried that his dance steps would not be visible for audiences. He went to director that his steps would dissolve on the backdrop. But I asked Rajamouli to believe in me and I created the required depth despite the dominant white in the song. When the film got released every one kept praising me for that work.

There is also a night fight sequence in the film. I wanted to bring soft look for that sequence. When normally fight sequences are shot, many people would prefer harsh lights. But I wanted soft mellow look. I saw a film called Sleepy Hollow. In that film they have used a technique of using 'huge soft boxes' to bring ‘soft night look’. So I asked my producer to bring a huge industrial crane and huge 'softboxes' to lit up. We then covered the area with satin. I achieved that effect that was done for Sleepy Hollow. After the film’s release one critic termed it as visual poetry.

In a short span, you have got good recognition as one of the best cinematographers. Do you want now to have your own signature style like P C Sriram’s?

No. I don’t believe in this concept of signature style of filmmaking. Every film demands its own visual language. Sticking to one style means you are limited. Actually, I am trying to evolve as a cinematographer. For example, if you consider Aitey was my signature style, would it have been good had I used the same pattern for a bright film like Sye?

What is cinematography essentially? How do you feel when people say that your work stands out in the film?

When people come and say that my work/any other’s cinematographer’s work dominated in the film I believe it’s a failure. Film is primarily a director’s medium. Cameraman should help him in narrating the film. We should not dominate. How best we can help in achieving the director’s point of view is all about cinematographer’s job. Cinematographer does not mean one who photographs. Cinematographer is a not a fashion photographer who tries to elevate the looks. He/She is also telling the story in his/hers own way. Till now, I had tried to stick to this. Yet, wherever there was a scope to do experiment as a cinematographer I did but never thought of deviating from the film’s content. I don’t want my work alone stand out in the film.

But people have this conception that good cinematography means that one that shows hero/heroine in handsome way and captured the nature in bright colors!

That’s sad. I know actors prefer to look handsome but that is not cinematographer’s job. I accept that people come to see their favorite stars and we have to show them good in best possible way but showing stars handsomely alone is not the cinematography. Anyhow, today things have changed. No one is asking like that.


Senthil on location
Today everyone is taking about Super 35mm Camera. You have also used for Ashok. Tell us about this camera and how this elevates visual experience?

Super 35mm film brings larger image. I mean, in Super 35mm film, we can use the space normally reserved for sound track. By using the space that is provided for Sound track the picture looks rich. It captures dramatic situations well. The advantage of the film is one can also effectively shoot in very low lights.

In Ashok, you have also used 500 frames speed to give that slow effect. Though many of the cinematographers have tried it in the past in Tollywood but could not succeed as you did!

Yes. But the basic idea of using 500 frames speed for that introduction scene in rain effect is director Surendar Reddy’s. His idea was to capture the sound impact visually. So then I suggested of using 500 frames speed to get that extreme slow motion. When he narrated the storyline, two things made me to accept the film – the hero’s introduction scene and the villain’s. I have used 16mm camera for this scene. The toughest part was to expose it to normal 35mm film and retain the same quality without distortions.

Apart from this, In Ashok, the tint that I have given for villain’s introduction scene was well appreciated by everyone. My favorite work that I did for this film the effect that I brought when actor Rajeev Kanakala (who is dead) comes to see his friend. I wanted to show that he was dead but he (or his soul) came to see his friend. I used a technique here. The whole frame is in 'natural colours but Rajiv is seen only in Black and White. In another scene (flashback episode of Rajiv's death), I gave the effect called ‘desaturation of colors’( the film actually slowly gets desaturated, until you're watching a black and white film) but only blood as visible in red color. I had used this because of voilence involved in the scene, I wanted to portray the depth of the situation in visual way. This was an inspiration from Steven Spielberg’s Schindler’s List.

It was a great experience. I tried the similar effect in Chatrapathi. But I have used it in major part in Ashok.

There is a criticism that the present day cameramen are increasing the cost of film production. What is your comment?

That is baseless comment. Cinematographers are not the reason for the increasing cost of production. I tell you why these comments are appearing. Today fight masters demand more number of cameras. And the fight masters’ budget is also included in camera budget. For songs, choreographers seeking more lights and using more number of working days. That is also being included in our budget. It goes on the list. If producers can’t control number of days why blame it on Cinematographers. Cameramen’s budget has always been very limited in Telugu films and we are not in way responsible for the budget hike.

With the onset of Digital Cameras and High Definition Digital Cameras, will the conventional film roll be obsolete?

No. I don’t think so. When Internet came, people thought newspapers and TV would be outdated. But that has not happened. Similarly, HD format and film roll (negative) cameras would co-exist. For another 10 years or so, digital format is in no way competition to the conventional method. At least in India. As of now the best quality is negative only.

Who are you favourite Cinematographers?

Oh, there are lots of them. In Indian cinematographers, I love Santosh Sivan’s work. He is the best. I am also great favorite of V K Murthy (who photographed for Late Guru Dutt’s most of the films). He is master at lighting and he had come up with haunting visuals.

In world cinema, my favorite is Gorden Willis (of Godfather fame). He broke the conception that psychology and photography has no relationship. I am also great fan of Sven Nykvist's work (of Russian film, Sacrifice, fame)

What is this color psychology that international film cinematographers refer to?

Vittorio Storaro who won two Oscar Awards went absent for two years to study colors. When asked why he left cinematography, he said, “I want to know about colors. I know nothing about them.” He commented it after winning two academy awards. That shows how important to know about colors. Each color has its own language. For Hindus, Saffron is the scared symbol. For Muslims, green is the sacred. Each culture has its own symbolic color language. Hence cinematographers like Vittorio have started using Color psychology extensively to highlight the mood of the film. He has used it for Little Buddha. In India no one cares about this but I am trying to put in application.


How much film schools help in learning film cinematography?

A lot. Film Schools help you getting in channelised knowledge. With proper syllabus and exposure to great cinema, you learn a lot not only about cinematography but also about all the crafts about filmmaking. You may learn the craft if you assist an established cinematographer but the knowledge is scattered.

Every cinematographer eventually becomes director. Do you have such aspirations?

That is my ultimate goal. In a few years down the line, you will see me wearing director’s cap. As I said, cinema is ultimately directors’ medium.

What are your forthcoming films?

1. NTR’s new film to be directed by S S Rajamouli that will soon begin.
2. I am going to do a film for a new director Amar Vishwaraju (he assisted Chandu for Aitey).

Interviewed by Navya Vaitla