With movies in multiple languages, commercials and documentaries, cinematographer Sanu John Varughese is a busy man. His filmography includes movies like Karthik Calling Karthik, Elektra, Vishwaroopam, David, Wazir, Take Off, Badhaai Ho, Jersey and Android Kunjappan Version 5.25. The much-awaited Malik, directed by Mahesh Narayanan with Fahadh Faasil in the lead, is getting ready for release.
In an interview, Sanu talks about his work as a cinematographer and Malik . Edited excerpts.
After Mahesh’s Take Off, you are working with him again in Malik . What was your approach towards the two movies?
Both these movies are in totally different zones. Take Off was more of an internal story where we were travelling along with the character. The geography of the location in Malik is a major factor. The formats and the pitching are different as well.
When you are narrating a story based on true events or on people who actually lived, is it more challenging than narrating a fictional tale?
We have treated both Take Off and Malik as fiction though both are based on real incidents. When compared to Take Off, the visual language of Malik is more dramatic.
Sanu John Varughese
What were the challenges in creating the time frame in Malik?
That was a combined responsibility of mainly five departments — costume, make up, art, cinematography and direction. Malik has been an exciting project and it was creatively satisfying. I did feel nostalgic on seeing costumes from the 1970s, which brought back memories of my younger days in my home town.
Looking back, what prompted you to become a cinematographer?
My focus was on still photography while studying at the College of Fine Arts. Then I became a news cameraman. One thing led to another and in a matter of six years since the start of my career, I shot my first feature film, Main Madhuri Dixit Banna Chahti Hoon in 2003.
Do cinematographers look for ways to leave their signature each time they work on a movie?
I don’t believe in that. Having said that, it is true that there would be some elements that come from our tastes, which could be seen as the director of photographer’s signature work. Cinematography can also be seen as a tool that sets the mood of a story pretty much like music, sound and silence.
So what is your working pattern like?
I accept only scripts that resonate with me. From the time of listening to a script, I make it a point to proceed through constant communication with the director. It is easier with directors like Mahesh who is good at visualising the story. Moreover, being an editor himself, he is sure about what he wants and that initial editing process is evident even in his writing.
When directors can visualise their story, there is more clarity during the shooting. See, movie-making is a collaborative effort. My process is always to find the director’s vision and to move in tandem with that. I have worked with many first-time directors and my effort is to go with them without tampering with their spirit. Usually, a well-written script will have its own visual flavour.
Is there a difference in the way you approach movies belonging to various genres?
Definitely, that difference will be there. For instance, while doing the sports movie Jersey (2019) in Telugu, the treatment was to capture the action as such. I approach each script based on the emotion that it intends to convey. The composition and lighting of every frame depend on the mood of the story.
Is there a huge difference in the shooting of Hindi and Malayalam films?
As the working costs are more in Hindi, I believe there are more experiments in regional languages these days. For instance, it would be quite difficult to make a fresh concept like Android Kunjappan Version 5.25 in Hindi.
Does the performance of the actors matter to a cinematographer?
Where you place the camera, how you light it and how you compose depend on the actor’s performance. There are times when seeing the eye of the actor is crucial to communicate the emotion of a scene. There are certain other times when seeing the body language in the context of the background is more effective in communicating the emotional content of the scene. This is again dependent on what the scene is conveying in the story being narrated. Performance does change the nature of cinematography. But the challenge for the cinematographer is to creatively interpret it in the context of the story being told.
