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‘HIT’ is a racy thriller, says Garry BH, who is fast becoming the go-to editor for thrillers in Telugu cinema

Garry BH

Garry BH   | Photo Credit: By arrangement

The film stars Vishwak Sen and Ruhani Sharma, and is directed by newcomer Sailesh Kolanu

This time it isn’t an engineer who has switched to a career in films, it’s a dentist. Editor Garry GH hails from Visakhapatnam. He took up photography before joining the Kshanam team as an assistant director and then became an editor.

His new film is HIT, releasing this week. It stars Vishwak Sen and Ruhani Sharma, is directed by newcomer Sailesh Kolanu and produced by actor Nani and stylist Prashanti Tipirneni.

He didn’t go to a film school but writer Abburi Ravi mentored him on the narrative styles and perspective of watching films and Adivi Sesh’s supervision and Sai Kiran Adivi’s encouragement helped him to analyse the technicalities of editing. His work got noticed through Kshanam, and soon he got offers to work on films such as Goodachari and Jersey; Garry has edited more than 20 films in the last four years.

Vishwak Sen in the thriller ‘HIT’

Vishwak Sen in the thriller ‘HIT’   | Photo Credit: By arrangement

Isn’t he being typecast as an editor for thrillers just as Sricharan Pakala is being signed on as a music composer for the same genre? “My last film was Aswathama and now there’s HIT coming up. Mallik Ram’s film and the Sushanth starrer is my next. Sricharan and I worked together for 14 films. Probably yes, but the two films I mentioned — a rom-com and a love story — will help break that image,” says Garry.

Ask Garry if he doesn’t lose perspective as editors sometimes do online editing from day one, and how does he deal with directors who don’t allow certain scenes to be chopped off? At the time of reading or hearing the script, he says the editor has a clear picture and a conviction about certain parts of the film and knows what has to be retained. The emphasis should be on improving the graph [of the story or character].

Garry gives us an insight shared by editor Sreekar Prasad, “When I was editing for Ghazi, Sreekar Prasad told me that after writing the script, director Mani Ratnam would spend at least a month discussing it with the editor. Before the shoot they edit the whole script and as a result, there won’t be unnecessary footage. Sreekar Prasad still does script editing with Mani Ratnam. I tried asking my folks but it never worked here.” Garry explains that in most Indian films, editors are roped in barely 15 days before the shooting commences and there’s no time for prior discussion: “We can save money for the producer if we do script editing, but directors shoot so much because they love their script. The creator doesn’t see the film from the audience’s point of view and also there are many generic equations. They work under constraints because the heroes have a certain craze and they need to keep commerce in mind. It’s often said that a film is made or slayed at the editing table. A bad film can be made into a hit and a great film can be killed by an editor.”

Adivi Sesh in ‘Goodachari’

Adivi Sesh in ‘Goodachari’   | Photo Credit: By arrangement

Editing is an underrated craft and only in recent years editors have begun getting their share of recognition.

Garry states there is no hard and fast rule that a film’s duration should last only 2 hours 15 minutes. He cites an example of Arjun Reddy which was three hours long and still managed to keep the audience hooked. “What’s important is to convey the right emotions and sustain interest. Editors watch a film as an audience, think like them and edit,” he says.

The freedom that an editor gets depends on the director. Garry on his part has had his share of debates and discussions and finds a middle ground. How does he edit a thriller? He shares, “The graph of a thriller lies in how the suspense is built and unveiled. At every interval, there should be a high point to keep audience engaged. The interval is based on the first, second and third acts of the film. The graph changes based on the momentary interest and interest the scenes can generate.”

Garry explains that thrillers are of various types — informative, horror, or action. Goodachari is an action thriller. HIT is an informative thriller.

Talking about director Sailesh, Garry is all praise and says that the had immense clarity and every gesture of the actors have been written in the script. The minute detailing makes editing easier. “The pace and emotion of the film was challenging. It had to be tight and gripping,” he explains. HIT has a racy but non-linear screenplay and Garry’s job was to ensure that it reaches the audience.

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Printable version | Apr 5, 2020 4:25:27 PM |

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