The CAMERA as a PEN
The language of a camera primarily is broken in compositions and movements which largely dependent on the placement of actors.
I give a lot of importance to the placement of actors in a scene. To give you an example there is a scene in Company when Mallik comes to meet Sreenivasan along with Chandu and Pandit. I made Mallik sit in front of Sreenivasan whereas Chandu and Pandit are sitting in the back. Mallik wears his glares so as not to allow Sreenivasan to read his eyes whereas Chandu being new to such atmosphere leans forward to catch the conversation. And both Sreenivasan and Chandu have to raise their voices to be heard across the room whereas Mallik and Sreenivasan talk in lower tones as they are near to each other. Pandit, I placed him in a profile to Sreenivasan. This odd kind of placement serves to establish the hierarchical differences between the characters determine their body language and also the camera compositions become uniquely different.
Imagine if I shot the same scene with all 3 characters sitting right in front of Sreenivasan at the table facing him. It will not anywhere have the same impact even though the scene content will remain the same. That’s how important placing a subject will be in connection to how camera framing comes about. But yes, the placing has to come from within the emotional and the dramatic context of the scene. This scene in Company still is pretty simple in illustrating my point as it’s of very steady and non-movement compositions. If you take the case of Sarkar, I used a lot of foregrounding movement which makes the frame more intense and energetic.
But compositions and camera movements can be applied to the maximum effect in a thriller format for the obvious reason that you are constantly playing around with the audience’s imagination and manipulating their minds with what you show and what you don’t show in the frame.
I used the camera to literally write the story of Agyaat and that’s why I am calling it a PEN.
P.S: I am just putting another video from the film here.
Tagged as Agyaat, Ajay Devgan, Camera, Chandu, company, mallik, Mohanlal, Pandit, Pen, sarkar, Sreenivasan, Vivek Oberoi + Categorized as Film
July 12th, 2009 at 6:49 AM
well I always fall short of words when it comes to character placement and camera angles that you use … would it make a person good director to have a strong script and camera placement / characterization and less on daramatization of the scene using music? because i can always envision a scene in my mind when i write a story but never able to imagine dramatizing it with sound … what does it take to get there?
July 1st, 2009 at 12:25 AM
Dear “IndiaMyCountry”
I am sure most of us had similar experiences with SHIVA
June 30th, 2009 at 10:46 PM
Dear AutoJani
Enjoyed going through your memories of Shiva release.I was 10 th class in HPS Ramanthapur.Whole of our class used to Drop into Devi theatre, Chikkadpally.
Nostalgia of our telugu fims is altogether a memories worth cherished.reflected,identified, connected.Let us hope RGV heart does not stop like Michael Jackson one day.
He is the best Scoundrel playing around leaving our politicians far Behind.
“The alternative to despair is courage. And human life can be viewed as a continuous struggle between these two options. Courage is the capacity to affirm one’s life in spite of the elements which threaten it. The fact that courage usually predominates over despair in itself tells us something important about life. It tells you that the forces that affirm life are stronger than those that negate it.”
Indiamycountry
June 30th, 2009 at 5:44 PM
Hi RGV,
I agree that with this thought “Camera as a pen, you write in the film and the audience who reads it interpret according to their own thoughts and rewards it according to their emotions”. Most of the times, the director fails to connect with the people. I hope you have seen Varanaam Aaiyram. It may be a super hit and got a few awards but I feel that all the efforts/acting of Suriya is wasted by Gautam. Till the very end, I couldnt connect with the director, couldnt conceive the character and felt betrayed at the end of the movie. I heard that you are directing Suriya as ‘Suri’ in Raktha Charithra. He is an attractive actor but the arrogant,vulnerable Suriya is a tough ask from him. Waiting for the magical midas touch of RGV in that character!Fingers crossed,I hope you will do justice to his hardwork!With prayers…anitha
June 30th, 2009 at 10:58 AM
i remember the scene from jungle where a commando a standing and the camera moves like a snake crawling through the tree trunk. how did u place the camera and how was that shot ultimately achieved. it one hell of an high angle shot
June 30th, 2009 at 7:31 AM
RGV :
I do not understand why you have not considered COMPANY as one of your all time great movies. All the characters have done justice to their role or should I say you have extracted the best what they are capable off !! The reason I say that is most of the actors can act with their shear sense of expression; be it their eyes, voice or a combination of both. But the way you have shown Malik Bhai’s character is just too good. Most of the movie he wears dark glasses but even with his eyes being completely covered you/ Ajay conveyed how chillingly cold a character could be portrayed. Well there could be no complains whatsoever on Ajay’s talents but very few have it in them who can bring out the best from an Actor. This by no means is a judging platform of your capability as a director. It feels extremely good that talented individuals like you who prove to the world time and again that you are there because you belong there and not just a fact sheet provided by destiny !!
June 29th, 2009 at 5:56 PM
I always have curiosity about the direction. What’s in the director’s mind, what he wanted to present and what do i perceive. A good insight. I would like to see more such kind of mail and hope others also might be interested. Don’t say “i don’t write for your interest.”
June 29th, 2009 at 12:36 PM
Hey .. What is this Camera and what is the PEN are you talking about ?
June 29th, 2009 at 10:52 AM
Nice post.
though i would love to see more light in you movies. its sometimes too dark.
also i would like to know how u came wiht MOHANLAL. i mean how did u kno bout him as an actor, did u watch his movies in malayalam?if yes.then which ones?
what do u think of him as an actor. i would like to see him in a more prominant role in any of your future movie. i hope u make some movie with him soon.
regards,
krishna raj
June 28th, 2009 at 10:22 PM
After Kay Kay kills “his film’s hero” in Sarkar, Big B confronts him in front of everyone. That scene is an impact scene as well. The women standing quietly away and speaking nothing, speaks volumes of respect and fear that they carry vis-a-vis Sarkar. Chander speaking away whenever he wants and whatever he wants depicts the mutual respect and trust that Sarkar and Chander carry for each other. Abhishek speaking when he feels he has to shows his utmost confidence. And of course Kay kay was very vulnerable and powerless in front of Sarkar. Well done Sir.