"Minnalae," "Manmadhan" and more ...
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R. D. Rajashekar, cinematographer who has made a mark in a short span, shares the highlights of his career with MALATHI RANGARAJAN ...
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Silambarasan and Gopika in "Thotti Jaya."
NONE WHO watched "Kaakha ... Kaakha" could have missed the mesmerising camera angles, bewitching lighting, alluring sheen and poetic visuals — all the handiwork of young cinematographer R. D. Rajashekar. Now into his eighth film, "Gajini," a Surya-Asin starrer by Murugadas, (the famed maker of "Ramana"), which is just about to take off, Rajashekar has made heads turn towards him, with his imaginative use of the lens. So quite expectedly he would be cranking the camera for Kamal's next project after "Mumbai Express." Over to the talented technician, who began with graduation in Zoology, wanted to make it as film director, changed tack to cinematography and worked at the DD studios in Guwahati for a while before he alighted on the film firmament as director of photography (DOP)...
The Rajeev Menon days ...
Fresh after the course at the Film Institute in Chennai, Rajashekar knocked at the doors of ace cinematographer and filmmaker Rajeev Menon. "He asked me just one question, `I have two departments, commercials and features, which do you prefer?' I said that I'd like to learn shooting commercials and then become a feature film cameraman. I think he liked my reply, because he told me to join him. And I was given the black bag," he laughs. Black bag in the lens man's lingo means the last in the order of assistants. "My entire training was under Rajeev. I was with him nearly all the 24 hours in a day ... it was like a gurukulam. When he began directing "Minsara Kanavu" I was the first assistant director and operating cameraman. That was when director Gautam joined the unit as seventh assistant... " Later when Gautam began "Minnalae," Rajashekar took over as the cameraperson. "My rapport with Gautam is perfect," he says. It appears so, because after "Minnalae," Gautam and Rajashekar teamed together again for both the Tamil and Telugu versions of "Kaakha ... Kaakha."
The chance to shoot the "Pookaara ... " song sequence for "Citizen" led him to the Ajit film, "Red." Singapuli (now helming Bala's "Maayavi") directed it under the name Ram Sathya. The film wasn't a grosser, but Rajashekar's skill in lighting was well noticed.
And now "Thotti Jaya" ...
Silambarasan was so taken in with Rajashekar's work in "Kaakha ... " that he offered him "Manmadhan." Rajasekar is now cranking the camera for Silambarasan's next release, "Thotti Jaya." "It is more a night effect film and so gives me much scope," says Rajashekar. "And Simbu is a very nice person to work with, intelligent and quick on the uptake. Can you believe it? He's been facing the camera since he was nine months old! He has come out with a very sincere and mature performance in "Thotti Jaya."
R. D. Rajashekar
"Four The People" ...
When Jayaraj, the reputed Malayalam filmmaker called up Rajashekar and asked him to shoot his next film, he was elated. He thought that it would be an offbeat venture. But it was to be a commercial film — "Four The People." The film was a runaway hit. "In Kerala they go to the sets with a cent per cent perfect script. The budget and timeframe are made clear to you at the outset. Our projects overshoot the budget only because of lack of planning. When a crew goes to check out a location abroad, they find lush spots and return happy. Only when they go back for the shoot and see the whole place filled with snow do they realise the drastic seasonal changes in foreign lands ... and naturally schedules go haywire. This is just one example," says Rajashekar.
Challenges of a cameraman
"The DOP should be quick to think of alternatives and make best use of what's available. Generally, indoor shooting will help the camera work earn appreciation, because everything from lighting to colour and tone is in your hands. Outdoor shots, however, depend on what the Sun God wills," laughs Rajashekar.
His dreams ...
The urge to turn director seems dominant in many lens men ... "I am no exception," he smiles. "After all it is the director who is the captain of the ship. Initially I wanted to become a director only. But since a sound technical know-how and eye for aesthetics would help me later in direction I took up cinematography."
His dream is to work in Hollywood at least for a year. "Their planning is so impeccable. I would love it to be an underwater film ... " His obsession for under water stuff is obvious. "My dream house will be under water ... " Rajashekar goes into a reverie.
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