Sign of success
SANGEETA
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Award-winning cinematographer Manoj Pillai says it is important to understand a director's vision to do justice to a film.
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ROAD TO FAME: Manoj Pillai will be working in Lal Jose's `Arabi Katha.'
The Sivan's Studio in Thiruvananthapuram has been the grooming ground of some of the best cinematographers in the industry. A generation of directors of photography, beginning from Sivan to Santhosh Sivan, Sanjeev Sankar and Bejoys, commenced their foray into image-making from the premises of this little studio.
The latest addition is Manoj Pillai, Sivan's nephew. With five films to his credit, Manoj's style reflects the stylistic features of the Sivan school - artistic, aesthetic and original. The State film award for the best cinematographer (`Kaiyyoppu') for Manoj comes as a confirmation that he is one of the best in the State.
Introduction
"I started as an assistant in Sivan's Studio. Gradually, I got interested in motion picture photography," recalls Manoj. Impressed by the prints he took, Santosh Sivan asked Manoj to join his film ventures. Starting with `Malli,' Manoj assisted Santosh in 12 films, including three Hollywood productions.
"I worked as second unit cameraman in `Bride and Prejudice,' `Mistress of Spices' and `Road to the Sky.' I was also part of films such as `Dil Se,' `Terrorist' and `Ashoka.' Every film with him is a unique learning experience primarily because he works with great film makers."
The best quality to be imbibed from Santosh is his ability to turn limitations into advantages, says Manoj. It is the same mantra that drives Manoj as well.
" You should know how to tackle problems and get your work done without compromising on the aesthetics. `Kaiyyoppu' was one such film. It was a low-budget film and could not afford high-end lenses, accessories or raw stock. But I am glad I could film it the way the director wanted it. It feels great to have won my first award. Recognitions, word of appreciation or even a pat means a lot to up-and-coming people like me," he admits.
"Director Ranjith told me that the film is about a bomb blast at a bus stand. Once I heard the one-line story, I prepared myself for the work. I used to observe bus stands, how people gathered and moved there and how light is dispersed during the day and so on."
Manoj's first independent assignment was Lal Jose's `Achanurangatha Veedu.' He went on to wield the camera for `Bhargavacharitham Moonam Khandam,' `Vaasthavam' and `Kaiyyoppu.'
"I should thank Lal Jose for the break he gave me, and also for the confidence and trust he had in my work. Your work gets noticed if you are launched by somebody of his profile," he adds.
Elements of a scene
A cinematographer's vision should go hand in hand with the director's, feels Manoj. "It is also important that you understand all the elements of the scene - the actors, emotions, space and light. I don't think one can stick to a style of cinematography in all the films. It depends on the mood of the film. The tone set for `Kaiyyoppu' could not have been used for `Bhargavacharitham,' because the subject demanded a different treatment."
Manoj will be working on Lal Jose's forthcoming `Arabi Katha.' "I am also a part of Santosh Sivan's latest film on HIV/AIDS. The film is special because it was shot with a Panavision camera, which is generally not used in Indian productions. The only time it was used was in `Vanaprastham' by Reneto Berto and Santosh Sivan."
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