I enjoy both cinematography and direction, says Dinesh Babu

Bangalore, Feb 27 (IANS) Cinematographer-turned-filmmaker Dinesh Babu is a name to reckon with in the Kannada film industry. He is one of the few directors whose art is firmly founded in photography.

"I started my career as a photographer and, even after I became a director, I have worked as a cinematographer for most of my films. I enjoy working both as a director and as a cinematographer."

After working as a cinematographer in more than 30 Tamil films, he debuted as a director with the Tamil movie "Ananda Aradhanai". But it was the Kannada film "Suprabhatha" that gave his career a new turn. There was no looking back for him after that.

"A chance meeting with Vishnuvardhan in Chennai made me sit and write a different type of script for a Kannada film. Though he was already a big star in the Kannada film industry then, he told me I should write a story without bothering about his screen image. That is how the story of 'Suprabhatha' was created."

Apart from being a hit filmmaker, Dinesh Babu is also a trendsetter. He is the one who introduced a hi-definition digital camera in "Magic Ajji" and "Kanakambari".

Right now he is doing a comedy with actor Jaggesh.

"It will be an out-and-out comedy on the lines of 'Hendthige Helthini'. Another film is on the cards for producer Ramesh Yadav with 'Nenapirali' Prem as the hero."

Excerpts from an exclusive chat:

Can you tell us something about your life before you came to the Kannada film industry?

I am from Kerala. I was interested in films from my childhood. I went to the Pune Film Institute for a course in cinematography. I got my first break as a cinematographer in director R. Selvaraj's "Railway Platform". My work was appreciated and I started getting offers. I have worked in more than 30 Tamil films including "Udayageetham". I got into direction with the Tamil film "Ananda Aradhanai".

Then a chance meeting with Vishnuvardhan in Chennai made me sit and write a different kind of script for a Kannada film. Though he was already a big star in the Kannada film industry then, he told me that I should write the story without bothering about his screen image. That is how the story of "Suprabhatha" was created.

You have done many films with Vishnuvardhan, but it is "Suprabhatha" that is remembered all the time. Was it difficult to create another film like that?

I don't agree. Even "Laali" is being talked about in superlatives to this date. Vishnuvardhan got his best actor award for this film and I got the best director award.

Yes, I did many films with Vishnuvardhan, and I am proud to say that they were different from each other. I did a revenge drama like "Nishabdha" and the narrative technique was Western. I took a huge risk in this film by making it without any songs. I made many comedies as well.

"Amruthavarshini" is another trend-setting film you made with Suhasini and Ramesh Arvind. Did you base this script on a Hollywood film?

Many people have asked me the same question again and again. I would like to clarify that I might have been inspired by an English novel before I started working on the script. But I shot the film mostly in Kodai and Ooty and most of the picturisations were spontaneous and decided on the spot. It was technically my best film and my best script. I got an award for best scriptwriting for the film.

Anant Nag is another favourite actor of yours. But you did only comedies with him. Why didn't you try to make an emotional film with Anant as he is such a versatile actor?

I had to make commercially viable films with Anant who, as you said, is certainly a complete actor. He is also my favourite actor. My first film with Anant was "Hendthige Helthini", and it was a murder mystery laced with comedy.

Then a series of films brought out the best in Anant. I used him in the recently released "Neenello Naanalle", based on the Telugu hit "Nuvvosthaanante Nenoddantaana". And I enlarged an entire comedy sequence to showcase his talent.

Most of your films are based on your stories, but there have been exceptions like the remakes -- "Chitra" and "Neenello Naanalle".

I would have preferred to make original films, based on my own scripts. But sometimes, commercial compulsions and pressures of relations in the industry have made me do the remakes.

You have also worked with young stars like Upendra in "Hollywood", Ravichandran in "Panduranga Vittala" and Puneet Raj Kumar in "Abhi", besides a multifaceted personality like Shankar Nag.

Yes, you are right. Thankfully, I have carved out a name in the Kannada industry. I can go to any big hero with a script and I am sure I will be heard with rapt attention. All the people you have mentioned above are talented and I had an exciting experience working with them.

I did a film in 48 hours with artists like Shankar Nag and Anant in the lead and it was a wonderful experience. I set the trend and, thereafter, there were many attempts to make the film in 48 hours and 36 hours, and now a film has been made in just two hours.

You have also worked as a cinematographer. Which work is more satisfying to you?

I started my career as a photographer and even after I became a director, I have done cinematography of most of my films. I enjoy working both as a director and as a cinematographer.

Direction is a creative job where you have to create something and channelise as well as supervise the work in other technical departments. That way, a director is like a painter who makes use of the canvass, brush and the paint.

But working as a cinematographer is a tension-free job as you are not responsible for a film's success or failure.

You were also a trendsetter in using a hi-definition digital camera for the first time in the country.

Yes, I used the high-definition camera technique in two of my films - "Magic Ajji" and "Kanakambari" - with different types of stories. The 'HD cam' allowed me to do on-the-spot colour corrections and helped me see the result of what I had shot almost instantaneously.

The camera has a set of built-in filters, which required minimum lighting. Above all, most of the post-production features can be incorporated at the production stage itself.

But the post-production work took over 10 months, which included incorporating 40-minute-long graphics. A team of 20 people from Mumbai and Chennai worked to put the graphics together. The graphics included juxtaposing 2D and 3D animation graphics.

What are your future projects?

I am doing a new comedy film with Jaggesh as the hero. It will be an out-and-out comedy on the lines of "Hendthige Helthini". Another film is for producer Ramesh Yadav in which Prem is doing the lead role.

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