Ravi K. Chandran Reflects on His Cinematic Evolution
When Ravi K. Returns to the beginnings of Chandran, he does not make a confectionery. “When I started as a young cinematographer, I always tried to show it. I lighting is very flashy, very noisy – even if the scene was needed, even if it was needed. It was bad photography”.
This style did not fully like him to serious filmmakers. “I have never received a call from great directors. My opportunities were mostly commercial films in Malayalam. Nobody thought I was a serious cameraman. And my brother Ramachandra Babu was already a respectable cinematography, winning awards and working on prestigious films.
But fate had other plans. A chance meeting with Priyadarshan turned the tide. “The moment saw my work in a film directed by IV Sasi, and ‘Who shot it?’ He asked me that he was at the end of the meeting.
From this point on, Ravi K Chandran’s visual language matured. “I noticed that Flamoyance was not good. Photography is about storytelling. Visuals should serve the film and not scream for attention.”
To cooperate with the managers of different worlds
Chandran’s career is defined by collaborations between languages and sensitivities – Mani Ratnam, Rajkumar Santoshi, Sanjay Leela Bhansali, Karan Johar, Ar Murigadoss, Farhan Akhtar and recently ‘OG’ for Sujeeth.
How does it adapt to various visions such as keeping his signature alive? “I never want the two films to look the same.
Turning points
Asked about the milestones on his journey, Chandran is fast to remember two films. “Virasat was absolutely a turning point. Then he came to the language of the language of the language – this film changed the visual language of Indian cinema. After that came black, agneepath, ghajini, Fanaa, my name Khan – all of them are very different films,” he says.
Interestingly, he never tied himself to a director for a long time. “Except Mani Ratnam – I made four films with him. Otherwise, often one or two films per director. I wanted to work with as many different directors as possible, because each brings a new energy and a new storytelling way.”
First the story, technology then
Cinematography has changed greatly with the arrival of digital cameras, drones, virtual production and artificial intelligence. But Chandran is open -eyed about what is really important.
“Technology is like an iPhone. Every year a new one comes. You want to try. But get the iPhone 10 or 16, still calling. Similar cameras are vehicles. The important thing is the storytelling. A film like Kantara is not Marvel film. This is a simple and honest village story.”
“A look from a good actor can destroy you more than any visual effect. These tools – virtual reality, cgi, drones – are useful, but they should not crush the story. A rolex or titan watch – time. The story is time.”
When the director calls the hat
Ravi K Chandran also tried his hand while he was a director. But it wasn’t easy to leave the cinematographer. Um I was shooting as a directing and continued to take over the cameraman. Next time I realized that I had to step back from the camera and focus on the direction. The actors, staging, arrangement. Respect for the directors increased after this experience. ”
He says that the arrangement is the most cruel part of film production. “You might think you’ve taken the most beautiful scene, but if it doesn’t serve the film, it has to go. Earlier, the editors would fight to cut my shots. Now I understand. I don’t care about your film ego.”
Cinema, ott and changing times
The view of the cinema is changing rapidly. “Smaller movies are fighting because the audience prefers to wait for OTT. But OTT – especially for actors.
In his latest ‘OG’ project, he admits that he does not expect much spotlight in his work. “I thought people would just look at Pawan Kalyan Sir. But every review talked about every tweet cinematography. Very dark and pessimistic – an unusual – unusual for a star vehicle.
Recommendation for young cinematographs
The sector is much more competitive today, he warns. “In my time, there were maybe 15 best cameramen in India. Now there are hundreds of good ones. The area with digital is completely open. So, if you notice a good director, if you remain loyal to them. Do not do what I do – too much experiment. Create lasting collaborations.”
At the same time, he believes that the foundations have not changed. “Technology will come and will go. Trends will come and will go. But if you don’t have a story to say, nothing will hold. As an image director, not to show your job, but to serve the story.”
