When we are seated in front of theatre screens, diving deep into the world of a film, seldom do we understand the technical effort that goes behind creating the fictional world. Director Shankar, a luminary when it comes to technical and visual innovations in Indian cinema, says it is essential for audiences to know what goes behind achieving such visual grandeur. “It’s important for these behind-the-scenes insights to be shared because they offer valuable lessons for audiences and aspiring filmmakers.
I once came across a brief yet brilliant shot in a Hollywood film, and when I looked into how it was created, I discovered that the team had invested an entire year of effort for that single moment. Such dedication explains why it takes someone like James Cameron 11 years to craft a sequel,” he says, as he wistfully wishes the making video of 2.0 sees the light of day.
Close to the release of his upcoming film with Ram Charan, Game Changer, Shankar explains the work that went into shooting a song in the film. “We wanted to experiment with infrared cinematography for the ‘Lyraanaa’ song.
This technique requires vast, dust-free landscapes, which New Zealand’s unique weather conditions provided,” he reveals, before elaborating, “I chose this approach for the song because people say love is blind—when people are in love, everything feels surreal and beautiful. Infrared cinematography naturally shifts colours, reflecting the altered perception and dreamlike state that comes with being in love.”
Those who have managed to catch up with Shankar’s filmography over the years know that the filmmaker and visual grandeur are synonymous. Shankar, however, begs to differ, as he says that he only chooses to go for extravagant visuals when the story demands it, calling visual magnificence “useless” without a competent storyline.
He then takes an example from Mudhalvan (1999) to elaborate on his point. “In Mudhalvan, there were no extravagant sets for the ‘Uppu Karuvadu’ song. We chose a location in Theni, using simple costumes and organic props. In that scene, the chief minister wants to meet his lover without the constraints of protocols, so he goes in disguise. On the other hand, I spent six months preparing the set and props—from sunflowers to mud pots—for ‘Azhagana Ratchiyasiye.’ The scale of the visuals is always dictated by the story, not the other way around,” he affirms.
Coming back to Game Changer, Shankar’s Telugu debut, the auteur confirms rumours by divulging that Pawan Kalyan was indeed his initial choice for the film. “It’s true that I initially wanted Pawan Kalyan sir as the lead due to the film’s political storyline. However, casting involves extensive discussions, and for Game Changer, Ram Charan ultimately became the final choice for the protagonist,” he shares.
Speaking about his leading man, he says, “In my view, Ram Charan has explosive potential, but he doesn’t express it in an overtly extroverted way. He performs with subtlety, yet his talent is unmistakable—you can sense that it’s waiting to be fully unleashed.”
Shankar is no stranger to working with stars, having delivered some of the most iconic hits for actors like Rajinikanth, Kamal Haasan, and Vijay. However, working with a Telugu star is a different ball game altogether. Sharing that he didn’t have to do anything specific for Ram Charan, the director explains, “In my films, the heroism of the protagonist naturally intensifies as the story unfolds.
My protagonists have always been larger-than-life if not outright superheroes. I didn’t have to make any special effort to cater to Ram Charan’s fans. As with my other films, the script for Game Changer was crafted with elevation and high-impact moments for the lead. Ram Charan’s exceptional performance has only enhanced those moments.”
On watching the trailer, many questioned if Game Changer would join the list of the director’s previous anti-corruption films. Shankar denies the same and says, “While many of my films are seen as focused on corruption, especially with Game Changer involving bureaucracy and politics, the film goes beyond that. It explores the responsibilities of a government officer, the workings of various departments, and more, in an engaging and thought-provoking way.”
Ever since his debut, Gentleman, Shankar’s films have always had a message in them, most of which are political in nature. When asked if he has political aspirations, the director refuses, saying, “I’m a filmmaker, and I express my views through my films. Growing up, I was aware of social and political issues, and filmmaking became my way to address them. Filmmaking can be more than entertainment.”
With Indian 3 in the pipeline after Game Changer, and Velpari to follow, Shankar’s schedule is packed. The director signs off by commenting on the criticisms he received for Indian 2, “Criticism is inevitable, and as filmmakers, it’s our responsibility to take constructive feedback and improve. I don’t focus on personal attacks or hate comments. With that being said, it is also important for people to understand that cinema is more than just entertainment; it’s an industry that provides livelihoods for thousands.”
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