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"The strangest thing about photography in India": Rajeev Jain ICS WICA – based in Dubai, India, Kenya photo

"What Strangest of photography in India ": Rajeev Jain ICS WICA – Dubai India Kenya-based photography

Rajeev Jain curses as a broker, partly because it had been one in some way, before discovering photography and film (who worked as a child of point / corridor).

 

 

 

Rajeev Jain may be the greatest director working in film today. He is without doubt one of the most respected and perhaps the finest Indian director of photography / Base picture in Bollywood – Mumbai, India. An Indian by birth, lives and works mainly in India (among his films are multi-texture Kalpvriksh Manika Sharma – The Wishing Tree and Paaji Ayyo) with excursions to Kenya (where he shot, among other films, only Rasstar Wanuri Kahiu) and India (the nice parts Continue Pandu).

I managed to squeeze an interview in his busy schedule in the morning before his "film class" presentation, How to the resolution was not easy, but once you find a space for ourselves, turned to me as I was a new friend and said: ". … So my name Rajeev is "So began a memorable interview, marked by street puckish comments, many of them so risque that leave color charts, and bursts funny that defy description, somewhere between a bray and a laugh, however, totally unarmed. But most of the interview was taken with his ideas passionate about making images and telling stories, and his philosophy of filmmaking. We began the interview looking over some DVDs work with Wanuri Kahiu Rajeev. He took the Rastar!, His collaboration. "You have to get the original version," he said. "The color is wrong in this case. It is not enough blue. Everything was blue, but then kind of "correction" when I was not there. They took the blue because they thought I did not know what he was doing. "

Did you know what I was doing then?

No. I think I started to know what he was doing in the middle of Kalpvriksh – The Wishing Tree which until then was like – in India, said, "The eye is high, but his hand is low", which means you can not achieve what you want done. You have all these aspirations, is expected to do something big, and really complicate things. Because your hand is low. Amid Kalpvriksh – The Wishing Tree, it was either going to be fired or was about to leave, or simply a kind of step back a step. I think that's the point. That's what I try to talk now. The intimacy of the act – that is how, and You know, at my age, you need glasses to see something close up – and then how to step back.

That's the thing: the balance between being so involved in something that has power, has privacy of people you contact, yet removed enough to say, "Yes, no, yes, no, no." That's the job. And it was actually in the midst of Kalpvriksh – The Wishing Tree what happened, because I had this picture really complicated, I had five filters to the camera, and we are trying to make this long shot with incredible moves. It was just at that moment, we were thinking about the style, instead of discovering the style. We were imposed instead of receiving. I think [receive] is what has happened since then. You get the point, for example, Badhaai Ho Badhaai, where you realize that you can not turn big street in New Delhi. If we are, you say: "We can not illuminate the whole street, so let's go with it." That's the difference, and I think which is possibly the Indian point of view, possibly a more mature perspective on how things really happen, and possibly just getting older. Is a mixture of all these things.

It is interesting how he described as intimate, while at the same time to step back for perspective …

That's just it. I think the whole thing in film is that it must be effective enough that I have to believe enough of what I'm seeing that is universal. It's that simple. That is why it does not matter what language it is the cause, if they're really saying something, then we will listen. To start the cloning Next year, we are all more or less biologically and spiritually … There are places where the interconnection and the only way is if you disconnect interconnection with yourself. If you do not know … I think that's the point. People go to film school to learn about movies. No. Why not go out and learn about life and then …

I was in Nairobi two weeks ago and everyone speaks English, learning English. I thought, "This is the future." That there are people from other disciplines interested in film. We spent the day together. It was the most attractive I've had in. .. I'm making a film in Kenya next year because that's all, this is life, not about technicalities. Will you show me the red button and the press and film rolls. That's it. That's what I know.

Of course there is some experience, but basically this is how to see things and this is what the voice he has. If you have something to say then people will listen. If you have nothing to say, then do and redo. [He laughs his hyena laugh] Or, as in India, how come all these stories have interesting? and then does not count until the Commonwealth Games in New Delhi in 2010, the extent to which India is gone, and then you say, [whispering] "Hell." And that is what will happen. This is the future of the nest in fifteen to twenty years. And it is happening. The cinema in India is much more dynamic because people have a voice. People have a voice because they have a story, because they are actually living rather than negotiate or litigate. [Laughter]

That is why further work in India?

Well, born and raised in India. It is a matter of "keep working" or not. When the DOP and have been a foreigner for 25 years. I've never been one an alien thing. I think he is involved. I think that's very important to my way of working because, as a foreigner you see things differently, and as a cameraman, you have to do things differently to inform the image. Everything, everything, everything makes sense. I started making films in India, Kenya. I started doing Swahili movie so, yes, I consider myself a PDO India Kenya, but I just happen to be brown or pink, actually. It's a sort of adolescence late. I feel I grew up there. I was in my thirties when I was growing up. I have not grown. It's just more familiar. However, as we said, have that balance. The point is, you have that balance, you know enough about it, but you still have a parry. I know the Indian culture, but I do not know academically. I know that every day, sleeping with … that's OK, let's not talk about it. You live. And yet, of course, still I have my Jainism, I have all that. Balance is very liberating.

How did you become a director of photography? His official biography lists a lot of activities but says nothing about photography or filmmaking in the past.

No, no, no. In my family, rusted batteries in the camera before it ends a roll of film. I finally found two or three photos of when I was a kid, but I think it's probably the only existing ones. I was reading since I was five years old and was always interested in literature. Never was a dream, it just happened that I was away for a while. I think out of frustration language, which had been a stranger for so long that I reached a point where he had been traveling for many years and was like, "Oh, yeah, oh, oh ay. "My English was reduced to that level because he had not spoken for years. And I thought," What is the alternative to the language? " There are pictures, I suppose, and I just happened to be with the artists. I am always with the musicians, I am always with the dancers, and a way to convey the power of music and the dance is its translation into another form. And that's all. It was nothing, just happened to … [Waiter walks into the room and movements Rajeev him] to come to speak Swahili? Do you know the word "Waka Waka"?

How to close behind a camera for the military [produced by Mukul Anand S] This was his first movie, right?

Yes, yes, yes, the first film I did. At that time was important because it was giving a voice to indigenous women (played by Sridevi), basically. Western women would appropriate her as a feminist film, and is in good meaning of feminism. It was, "Okay, so let's talk about things", and basically, is a woman talking and trying to translate ideas into visual things.

And then we made this film that won the prize and I did not know what he was doing. The Fluke. And then I got really scared and thought, "Maybe I should learn about filmmaking. "And then I become serious and try to learn film and I realized that I do not give a oooops, in fact, and returned to filmmaking, basically as I could until Kalpvriksh – The Wishing Tree. So basically, learning through mistakes.

That's what happens with movies we've done, they are an appropriation of a lot of mistakes, and I think that is a very important dialogue that should be with other children. Because the rest of the world in film schools, which they say is that it may be logical, you can learn how to make movies. You can not learn how to make movies. You have to commit errors and having to right the mistakes and then learn from those things, and then you have a voice. That is the real path, that is the real trip. When you write, you know, looks and … "I do not need so many adjectives, no." Really. I studied writing and then I could not write for twenty years. Now that I have fifteen to twenty magazines because it's just a pleasure. To get away from the bad, when you move away from the academic, when you move away from … But you have absorbed enough of it. Of course, you have to work on technique, but the thing is working so well that the technical side becomes so familiar that even exists. Then you're starting to write, then you're starting to make movies, then you are beginning to articulate, then you're starting to do badly as I am now.

Do not create images and not really know how to talk about them, but I like getting lost in them and moves them. Not knowing how the process works. How does a picture with a director to get the image of the director on the screen?

First, I think we're at a point in history … Everyone says that, after silent era, sound film destroyed. That is the historical perspective retro. What it means is that a film like Sholay, Ramesh Sippy directors, were so eloquent visually. I think we're back to the same place, and that has happened because everyone on the internet.

In India, for example, one or two young women who have met in my life, would spend at least four hours a day – this is a typical Indian woman in her twenties – probably four to six hours a day online probably two or three hours in a karaoke bar, and the rest of the time in front of the MTV – [a burst of laughter] – so I think they have more sophisticated visual that my friend Rajesh Filmfare magazine. Even you and I are from another culture. I think it's still a literary culture, I think the tide of film and all, since the 60 that the educated, the author's theory – "author" is the French word for the author. These are the words. And I think this is what is happening in reality are moving in an area where the public is more sophisticated than the critics.

[As an aside to me, smiling: "What sorry. "]

But they do not know what they know. They are still children, still crawling on hands and knees. That is the great freedom the time for someone like me. This is the best since the 20's to be a director of photography and the impact of the image, either the box office hit with the bad effects special, which is an area that is being pursued, or if it is to articulate the touch, very subtly Kalpvriksh – The Wishing Tree, for example. I think this is a period of remarkable and I just happen to be a cinematographer.

What it means is, we return to the same, so if you have something to say, how can I say? And my job is: "Beyond Words" That was the name of my movie, by the way Kalpvriksh -.. The Wishing Tree is a play on words. "Outside with words "is to remove words so that the image conveys the emotion or the light transmitting the mood or the composition conveys integrity, for example. Y" the words "is: What do you say, tell me what to do and then tell me," is blue ", or say:" Maybe we're here, "[marks part of the room with his fingers].

I think that job is to take words, if in a page, or if you and about me, or is the dialogue – Those are the three basic aspects of film – and my job is to articulate, is trying to find a [sniff, sniff] smell the essence of the thing, cut through evil, and I think it is work.

So how do I prepare for that? That is the question. And I think it's for life. I have the most wonderful job in the world because I I'm looking for. Every day. I realize the light in your face. I complained about shoes [its director] Manika yesterday. That's my job. And that is the pleasure that I can convey to you. You can actually sit there and say, "No history, but wait, it's so wonderful the way up the stairs", or enjoy the beauty of it. And what really is beauty, is a celebration of beauty. And beauty can Shabana Azmi, which can be a decapitated head. That is also beautiful in its way. O blood the ground. I'm not saying that beauty in the sense of angels in heaven, Aishwarya Rai kind of thing, I'm talking about the beauty within the meaning of the celebration of life.

What do you think about the digital world compared to the film?

[Shrugs] I do not even go there. Digital is a different visual experience. The thing is, it is the same as a zoom lens, which is the same as … Remember that in the 60's the first time he had machines that could make multiple images? So there are films Babu Bhai Mistry [repetitive motion images across the screen]. So what? It is all tools. The thing is, what does it express? The digital material is a way of seeing things, but nobody has found. And the only people who are are children. Children will find the language of digital cinema. This dialogue is bad. So why is a critical piece Rasstar? It's the same thing. [Snaps fingers] Bang! It was precisely this way at the time, using this way – he jumped, skipped a step in the history of painting in the articulation of ideas.

Same thing, honey [Judas]. Do not waste your time talking about tools. Children will find the language of digital technology. Not because, for us – I do not know about you, but I'm older than you – for me, remains uncomfortable because, you know why? Because we are accustomed to seeing the film. No other reason. There is another reason that there is no dialogue on the digital film except that Kodak is still working out the amount of money to put into developing and Agfa has given up on making films. They are holding a dialogue because we have not met a person, and will be a child, going to be a boy of twenty years of age.

So we have nothing to talk about. There are only two ways to go. Or we educate, that may not be necessary, by the way, or hold attitudes conservative and say, "Oh, no, no, the film is the texture, when playing the movie …" oooops and all this evil. Oooops just a tool. The point is that the ideas and that's what we go again a.

My job is to be as faithful as possible to what you need, as close as possible to myself, and then takes it from there. So doing a film with Manika Sharma. Manika bagels just complains all day [laughs] and talk about books. I have no idea about literature. She talks about cars, you know. It is not my culture. But then, yes, we have found a middle ground. That's the job. Whether to eat or go on tour with a tour group Kenya is the same. The journey is the point. Now, I must take the road to be prepared and the passport is full. The passport is, as I say, life. You spend a little energy to live, but you have to go where you take your energy. And I know I'm the strangest of photography in the world. I know, because most directors of photography are very conservative. Are real straight guys and are very technical and can fix your machine if it breaks. I can not even find the battery. [Laughter] So I think that it. That is true. I do not think everyone should live and work as I do. I think the government does not think so. [Laughter]

You and Sharma Manika have a striking convergence of style and approach and film philosophy. When I see his films, which are triggered, they are so different from any films another person in the world.

Take more time to make. [Laughter]

And then you see Kalpvriksh – The Tree of Wishes, which is a beautiful film, every frame of it, but do not look anything like a movie Manika Sharma. It has nothing similar to the texture.

This is the quality of film director and that's my job. I have to be the best bitch in the world, you know? I have to be brilliant. I have to make happy. Pay me, I make you happy. That's my work to a certain level. Of course, some are genius. Mine happens to be Manika Sharma. [Laughs] I mean, really, that's what it is. Of course you can do these things, I can go through the motions, I can cry when I need it, but there are sparks. If you look at the great filmmakers, Mani Ratnam and Santosh Sivan as they were making movies together, why are different movies? Because there is a wholeness, there is a communion between partners, and there is a trust. And I think that makes a difference of, as you say, Kalpvriksh – The Wishing Tree. Or as much as I like Manika [Manika Santiago], Manika movies are movies a little more academic.

O Chandrakant Kulkarni's "Carry On Pandu.

There you go. I'm still there. I'm not doing a bad work, but not the same job. I know. And we must celebrate. Is not that what marriage is about? Is not that what a good restaurant is? Privacy is, and we should celebrate that. It is a film critic kind of thing. Not accessible intellectually. Access is only one, in bed or whatever. It's a small thing, is that be.

So how do you work with Manika Sharma, who is so different? Why are your films take much longer to do?

Because you're always looking for the movie. That premise is basically a film school we do not know what we're doing, so let try. And actually, we're talking about millions of rupees, which is very brave. It's almost arrogant, that's so brave – to think and work and, in fact I think I have to that is much more important than money and the time it takes. What is a kind of naive, is an idea of film school. It's like when you make your first film, you have idea of what you're really doing, you just go on instinct. It's just that costs more than a film student. [Laughter]

How you come up with blurred style skip-frame used in films like Kalpvriksh – The Wishing Tree and continue Pandu?

Boredom. I think it was about boredom. And I think Bollywood is like that. I think it was simply an unconscious response to the energy of the place we live. Have you ever been in Bollywood? Is full all the time and I think that's all. And maybe also trying to save film stock [laughs]. Just shoot four frames per second, you get three times over the film.

When interviewed prior to Kalpvriksh – The Wishing Tree, you said Manika Santiago fire all scenes in different ways, in essence, made a number of different movies and then decided it was done in the editing room.

Yes, yes, yes. I call it looking for the movie, which means that if you and I are sitting here and maybe our dialogue is not perfect, maybe tomorrow we're going to sit there or maybe we'll test it on the street. Or why not just forget and walk alone dialogue. And that's what happens. What is an intuitive response. I do not know if is anal, or in French they say, "Nombrilisme." You know what that means? That means looking at your navel.

I do not know. What am I doing, so how I can judge? But basically means: Is there a better way to express this idea, or what is the resonance of this idea, or what is the space of this idea? I think that's what we're saying. So what is the space for this event or the emotion or idea about this? No one else in the world who dares to work in this way. And you are looking for the movie, and I think that is an important idea that when we return to what is speaking, the West and East, is a philosophical point of view. In the East, speaking of Confucianism and Confucius said, has the larger body – whatever you call it, heaven or whatever – then we have, then you have the state, then you have the city, then you have the family, and then all … is a cycle.

While in the West, you have a law, Act 2 and Act 3. What wrong! It's Shakespeare, is 500 years old. "So you have the police and you have the Indian stars, and hate the guts of the other at first but then something happens and become similar to each other and then a happy ending. "That's the cinema of India.'re Imposing an idea." So what we to do is take this wall. "Why?" I like the wall. Keep the wall! That's the difference, you have this idea that films can be structured, and that's bad. As we said, must come from us. That's why the East is so … He made nine films that have been bought for remake. [Laughter] "What are you doing? "You are admitting that they have nothing to say. No matter how you say, no matter how digital reach, no matter how many special effects you get, no matter how great confidence Media suffer. It's bad. It's just a clone.

You are listed as "Consultant Cinematography" La Mia Kenya. What does that mean? Is that some kind of contract Mumbo Jumbo?

No, no, no. This means that I designed the look of the film. I shot the first ten days, then had to go and do something else. Actually I did a movie in Uganda, Amin's past life. It's beautiful. I love the movie. Probably I have so much money as the director of that film. So I could not take my crew. So what I do with my team of Mumbai? We arrived at a job. [Laughter] So I started the film, I shot the first ten days, and then I went to Uganda, and then came back a few times during filming, and then I did the post-production. So I do not know why they call me.

Do not have any influence as director of photography?

Yes I do believe that music and movement, dance, you know, and literature to inform my images. It's so strange. As with with Manika Sharma. We come from different backgrounds – she is native to Canada, I am supposed to India Kenya – and yet we read the same books, we're both completely to literature and music. What usually happens is that you to sit, have a chat, and she will play some music and say, "How wide should this be?" It's very abstract. So if we the main street of Mumbai, says, "You think so?" "Oh, yes, and then play music and says:" It is as if you were together? " And that's what happens. Music informs this ambiguous relationship between two friends lost in Mumbai. I think we are the anti-thesis and I think that is the East-West dichotomy.

All are references to other films, instead of arriving there.

That's a jerk-off. How it works, is still a jerk-off. Remains intellectual pride, as pedestrians while trying to pretend it is, like the working class, while trying to pretend it is. Considering we're a little more … I would not call intellectual, I would not say that it is educated, but comes from different sources that are more basic. I think music is more basic than the movie. I think that dance is more basic than the movie. And I think the way the film is also based in dance. Not movies, dance. The relationship between me, the camera, and actor is a dance, always a dance. There is a structure. Can form a unit, can be a unit that has its own structure, too. And I think the way triggers such as dance, too. I do not know if you know anything about dance, but most of the dancers, martial arts and more people actually build work as they progress. They can say, "Let's start here and we'll end up outside the door," but that's it. [Laughter] And dance is the same. What if we start at the table and I pick up and throw me in that way.

I spoke with Saroj Khan last year and it sounds like the way you described the choreography of a song. Just to know what people can do and then building scenes around them.

Yes, especially if you are working in industry Indian cinema. You may not have any dancing skills, so what you gonna do? You do what you can and bring it to where we can. I think it's an attitude of Bollywood. It is also an Indian attitude, instead of imposing appropriate, and to evolve rather than dictating. I think that is very Indian.

"You do not can learn how to make movies. The point is that ideas and that's what we go again. "

To read more: http://www.rajeevjain.com/

Tags: Bollywood, videographer, photographer, director of photography, DOP, India, India, Kenya, Kenya, Bombay, Videographer

About the Author

A former reviews editor at Empire Magazine, Christine Markee has written on film for numerous UK publications including the Guardian, Maxim, the Radio Times and Eve Magazine. The author of The Ultimate DVD Easter Egg Guide, she is also a co-writer to 1001 Movies You Must See Before You Die and co-author of Chick Flicks. Jo has made numerous TV appearances as a film critic on British TV and also was a script writer for MTV’s Cinematic in the 1990s.

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12 pack X-Large Tetra Whisper Bio Bag Aquarium Filter Cartridges Assemble $38.75

TETRA WHISPER BIO BAG 24 PACK BOX LARGE CARTRIDGES $28.28

Tetra Bio Bag Large 12 Pack Whisper Filter Cartridge $12.75

Tetra Whisper Bio-Bag Replacement Filter Cartridge 3 pack Large Assembled $9.79

TETRA WHISPER BIO FOAM KIT FOR POWER FILTER 101 #25996 $6.99

Tetra Bio Bag Large 12 Pack Whisper Filter Cartridge $12.99

Tetra Whisper Bio-Bag Disposable Filter Cartridges $2.99

Tetra Whisper Bio-Bag Disposable Filter Cartridges $8.99

Tetra Whisper Bio-Bag Disposable Filter Cartridges $9.99

Tetra Whisper Bio-Bag Disposable Filter Cartridges $11.99

Tetra Whisper Bio-Bag Disposable Filter Cartridges $9.99

Tetra Whisper Bio-Bag Disposable Filter Cartridges $10.99

Tetra Whisper Bio-Bag Disposable Filter Cartridges $14.99

Tetra Whisper Bio-Bag Disposable Filter Cartridges $9.99

Whisper Unassembled Bio-Bag Cartridge X-Large (4 pack) $9.88

LOT OF 12 WHISPER BIO-BAG REGULAR SIZE FILTER CARBON CARTRIDGES $20.00

Whisper Assembled Bio-Bag Cartridge Small (2 pack) $2.23

Whisper Assembled Bio-Bag Cartridge Small 2 pack $2.23

Whisper Bio Bag 8pk “Large” Fits 20-60 and 40i Filters $9.59

Whisper Unassembled Bio-Bag Cartridge Large (12 pack) $12.64