Case studies
also very interesting because we had so
many people from different parts of the
world coming together to make the film.
We had American producers, Linus Roache
and Jennifer Ehle, Rahul Bose and Nandita
Das from Bombay, then we had a lot of
local talent, we had Paul Schwartz from
London on sound… It was very interesting
to see them collaborating to make the film.
But India does have very good film craftsmen.
Now it’s become more interesting because,
since I’ve worked on a lot of foreign films
as DoP I’m familiar with their way of
working. I think our way of working is a
bit chaotic, but it makes sense sometimes.
There’s something good to learn from each
way of working. Some of the things that
come from the West are very good, but some
of them I don’t like. In India there are
some very interesting things and some are
not so great, but you try to take the best
from both worlds. It’s good fun. I also like
the follow-up process after the film is done.
We did all the post in LA. After that all
these festivals like Toronto and Tribeca,
then the film was released in the US and
was very good. I love the idea of releasing a
film that has a little Malayalam language
even though it is an English film, to be in
the Paris theatre and having a very good
run there. You tend to discover yourself
after the film is over, and also how people
Linus Roache and Nandita Das in Before the Rains
react to the film.
You chose to do the post in LA even though
the post-production in India has become
“I guess every format throws up challenges,
very good.
as long as you don’t try and make video imitate
Indian post-production facilities are very
good. For me it was nice to do it in LA
film and just go with the video feel then it’s OK.”
because I had not done it before, so it is the
different systems that you learn, from what
you do all the time in India. I also like the
fact that I can see some test screenings with form you have shot. And sometimes you challenges, as long as you don’t try and
a different kind of audience, which might love to see old film with all the scratches, make video imitate film and just go with
not be possible in India. so there’s a nostalgia factor. I think it is the video feel then it’s OK.
interesting because you have so many
As a cinematographer, have you ever options. I’ve done some digital stuff for It seems that everyone is trying to make
considered the move to digital? documentaries. In fact, I have my own digital look like film. It’s like vegetarian
One thing is we should embrace change. digital camera that I make diaries with, sausages. Everyone wants to make them
Maybe I’m not too much of a digital person because I travel to so many countries, taste like meat, but it’s not meat. If you
because I like the way film translates itself so it’s like a diary of events. Sometimes I want the meat flavour, then eat meat. If you
onto what you see in real life, whereas in think that immediacy and candidness you want it to look like film, then shoot on film.
digital you tend to analyse what you’ve would never get on film because you would Exactly. Film has an organic quality and
shot on the monitor, because that’s what tend to be very restrictive about it because also the ability to see so much detail,
you’ll get finally. So when you shoot of cost. I think that the high-end cameras even with digital platform and digital
something, what appeals to the naked eye are pretty decent now. I find the video intermediate I think it is still a good thing
may not appeal on the monitor. At the noise very interesting. I don’t mind saying to shoot on film, especially if it is of a serious
same time I like the immediacy of digital it’s on video. I even like shooting and interesting nature where you have an
and you know for a fact that if you marry something on my telephone, which has its artistic vision to it. I still find that an acrylic
film and digital technology, your film will own quality and its advantage of being painting is an acrylic painting, but it is not
tend to have much more life in the original there. I guess every format throws up an oil painting. It’s the same concept. n
60 By Filmmakers. For Filmmakers.
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