The road from Black to Fanaa
One of the country's most sought after cinematographers, Ravi K Chandran (inset) was in Chennai on his way back from the India International Film Awards in Dubai after collecting a predictable and deserved prize for his work in Sanjay Leela Bhansali's Black. From Chennai, he was heading back to Mumbai to continue his work on Bhansali's new film Saavariya.
Shobha Warrier caught up with the ace lensman, and discussed his work on Kunal Kohli's Fanaa. Excerpts:
Last year, you shot two of the most talked about films, Black and Paheli. In 2006, you have Fanaa. How different were the three projects?
Black was more of an indoor film where Sanjay Leela Bhansali created a world of his own. Like in all Sanjay Leela Bhansali films, his characters lived in a space created by him which was artistically beautiful. All his characters, I feel, have a surreal quality to them.
Paheli is a folk story, a fantasy. So, we used a lot of colours, and vibrancy in the costumes, set designs, etc. It had the totally opposite colour palette from Black. I even overexposed the film to get the heat-feel of Rajasthan. That is the style of Paheli.
It was challenging to make Bombay look like Rajasthan! Not many know that we created even the desert in Bombay. For Black, we had to make Bombay look like Shimla! The snowfall in Shimla was actually created in Bombay. So, when we started Paheli, everybody said, if you can make Bombay look like Shimla, you can make Bombay look like Rajasthan too.
In Fanaa, we had to make Poland look like Kashmir!