Stars : Star Interviews : Exclusive Interview: Rajamouli

NTR, Mamata, Rajamouli on sets of Yamadonga

Sri: The film apparently relies very much on the visuals. How are art and camera blended to throw a visual treat to the audience?

Rajamouli: Thinking of the big picture and having talented technicians was a key decision we made for our film. When we thought of creating periodic sets, we made sure we obtained visual references from the classic masterpieces. Anand Sai's yamalOkam set looked marvelous and was beyond our imagination. The set was designed on par with Hollywood standards. Senthil geared up with his lighting scheme and wanted to use soft lighting scheme matching the said standards. The set made me relax so much that I was concentrating on shot division until there was a dialogue between Senthil and Anand Sai about the lighting pattern.

Anand Sai was worried that Senthil's soft lighting scheme might not showcase the detailed artwork. There was a logical problem about enhancing the beauty of jewelry and set properties. Senthil, however, was persistent on his idea of using soft lighting. Senthil and I then worked on finding a solution about how our maestros managed to pull the hard task of projecting the glitter of the jewelry. With no advanced projection system in theatres using old techniques, it might be dominating the actors.

"I am planning to produce more films on my banner in the future."

Senthil came up with a solution to make the stones shine on gold using regular household bare bulbs behind the camera, so that other lighting will not be affected but the stones studded in the ornaments are will still glitter. This is no rocket science to our cinematographers but this incident will remain memorable as it was conflicting with the work of my key talent - both of them lived up to their work while being creative. I really appreciate their working style on not compromising any element and still helping to drive towards a solution, while catering to my larger vision.

Sri: After Student No. 1, you have evolved as director in your way. There was hardly any influence of your guru K. Raghavendra Rao. But when we see the trailers of Yamadonga, we feel the influence of your guru (like he did for Jagadeka Veerudu-Atiloka Sundari). What are your comments on it?

Rajamouli: I am surprised that you found resemblances of Raghavendra Rao gaari work in Yamadonga trailers. To the best of my knowledge, his visual senses and color taste are completely different from mine. I do copy some of his shot making, but add my own zing to them. In any case, those shots were not put in the trailers.

Sri: You said the film has several graphics-based scenes. In most Telugu films though, the graphical work doesn't really look appealing, due to time constraint and/or budget. Even in your Chatrapathi, the special effect with the shark was not all that impressive. What cautions you have taken this time?

Rajamouli: There are hundred and one reasons why graphics might not work in a film. Time constraint is the major one among them. As far as Yamadonga is concerned, we shot most of the graphical shots in January and February itself, giving the FX guys enough time to work on the finer nuances.

Sri: Is it true that a graphic designer from Iran helped you in sets and graphics?

Rajamouli: Yes! Adel Adili, an Iranian, worked on the the exterior of Yama's palace and yamalOkam. He did a splendid job. We entrusted him with another job.

Sri: Are you satisfied with the final product of sets and graphics when you see the edited film now?