![]() It all depends on their frame of mind at any given time. Have the actors understood that scene completely? Do they have anything more to understand? Can we do that scene in a different way? Only once we got the output of the actors right did we start thinking about the shots. We played out the scenes to get a sense of the rhythm and timing. First, it was all about giving the script and actors the necessary space. Everything else - the shots, lighting, etc. The first priority for us was to get the performances right. When it comes to the performances, did you plan the shot divisions in advance, or did you do all that later? Syam followed in his script the same approach he had with all his other films. Once we had everything in place, writing the script didn’t take that much time. All that preparation was needed just to get the entire story in a basic synopsis form. Fleshing out all the characters and the surrounding details required a lot of time. Considering the challenge that comes with a script populated by so many characters, we knew we had to approach everything patiently. ![]() I, Syam and my assistant spent close to two years in Kumbalangi, getting ourselves acquainted with the place and finding not only the apt locations for our film but also the actors who could play some of the background characters. Is that because you guys spent a lot of time on preparation?Ībsolutely. ![]() One of the notable characteristics of any film coming from the Dileesh-Syam Pushkaran camp is their superior quality. ![]()
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