In an interview for "All We Imagine As Light," Payal Kapadia and Raghu Daggubati discussed the specifics of their camera and lenses they utilized throughout production, as well as Raghu's approach to working on the movie together. The film 'All We Imagine As Light' is scheduled for release on November 22, 2024.
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00:00I really like cook lenses and they can be very cinematic and really great so I enjoyed
00:15using these lenses. I used a lot of different filters also to give it more celluloid look
00:21to it. We experimented a lot with filters. I like this technical stuff. I have a lot
00:30of fun doing it with my DOP. And we used an Alexa Mini but we also used a DSLR for the
00:38documentary shots.
00:44Fully, he's gone.
00:45What a cinephile.
00:55Sometimes we did enhance in post. Sometimes we had some lights and some streets we
01:02rocked and lit up also. That scene was lit. But for example, when we are walking in Muhammad
01:10Ali road, that is shot more gorilla style. It was not possible. But for example, in the
01:18train, we couldn't have any lights. So it is the light of the train. So we did a lot
01:23of that like mixing things. Whenever they get a chance, then one light will come. But
01:32if they don't have a chance, only then they have to figure out how to do it. And that
01:35is fun like that I think because of our background in documentary filmmaking. We are
01:44forced to work with what we have.
01:50I mean, let's take before Bahu Budi happened. I'm saying when we were much, much younger
01:54and watching movies. There's a Tamil movie called Roja which Manish sir made. It didn't
02:00matter which language it was in. We all watched it. There's a Malayalam film. It's
02:04called Chota Chetan here. It was the first 3D film that I saw. It's a Malayalam film.
02:09I saw it in Telugu. You would have seen it in Hindi. It didn't matter at that point
02:13either which film it was. But then somehow we are all differentiated by industries.
02:18And that's like states are divided by language. That's the normal norm of what it is.
02:24But cinema unites. Art always unites people. It doesn't need a language. Once it's
02:29entertaining, it's entertaining. Then I think before Bahu Budi, I have to give credit to all the
02:35satellite channels that took cinema and started dubbing it for the Hindi audience.
02:42And I think just Bahu Budi came and sat on top of all of that. And it just became acceptable.
02:48I'm saying post that whether it's a big Bahu Budi or a film like Ghazi that I made right after,
02:54Hanuman, Kantara, all the films that are very unique, language didn't matter.
03:00It didn't matter if the filmmaker spoke the language or not. It's the audience that watched it.
03:05Like once story has taken front seat, ultimately you want to experience new things. You want to
03:10watch new stuff. Only in the business back end, we don't know what that means.
03:16So as a creator, you consistently need to find new stories because that's what the audience wants.
03:22But as a businessman, you keep trying to repeat the formula that you wanted to make.
03:29So I just feel like that repeat formula doesn't do the job anymore because now everyone's aware
03:34of everything. Post the pandemic, we've watched content like crazy. Whether it's on OTT, whether
03:40it's in a theater, doesn't matter where it is. We are watching a lot of stuff and our phones buzz
03:45with short content like every one second of our time is just gone there and people are just
03:51telling stories in all kinds. So I just feel like what we don't get to see in cinemas is depth.
03:58Depth of character, depth of emotion, depth of drama which is kind of gone away or it's
04:05there in a superficial much larger underlying kind of way and I felt like as soon as I
04:12saw All We Imagine is I was transported into world that I felt like I kind of knew but
04:17I was just deep into their lives, their problems became mine. I started identifying with myself
04:24like it's just there are too many things that you can connect with and I felt like that's a cinema that
04:29enough of audience haven't seen and once they start seeing it will start enjoying.
04:34Whether you see it like we just did, we didn't know how to get it in the rest of the South India
04:39where people aren't so aware of the Khans or they're not so aware of international film festivals
04:45but how do local people know it. We said let's do a small release in Kerala and see how people get.
04:50So we did a limited release and the day we announced it in two minutes the tickets were sold out.
04:54So you know that there is an audience there but we just have to go and find the right people
05:01and make sure enough people know about the film even before it's out. So I think
05:06and also we don't have a set pattern for independent or alternative films. We have a
05:12set pattern for commercial films. So I think once we just crack that little model I think
05:18you'll have a lot more films.
05:24Well cinema like India is definitely very very underscreen in terms of the number of screens
05:29it has. Now 14,000 is a very large number it's only about 6,000 to 8,000 working screens
05:36that we have. The rest are not diminishing in many many ways out of which to the large part
05:42of it's in Andhra and Telangana, the areas that I live in. But we just feel like
05:48it can be much more screened for the kind of people, number of people that are around.
05:55It would solve that problem but it also it's India's real estate is not as cheap as the rest
06:00of the world because we have less land and many more people unlike America or unlike China which
06:05have much more landmass than us, we can build many more things. So that would change but
06:12but it's like a chicken and egg. So you look at the cinemas now, every festival we are over
06:17food and we feel like there's no space for new films but the rest of the year as exhibitors
06:22we just sit idle because there's no film. So it's that trick that we're following and I just feel like
06:28unless some exhibitors also know that there is more cinema that they can play,
06:32different types of audience that they can reach out to, the different types of marketing
06:38techniques that they can start exploring. So I think all of this will lead to a certain
06:43different types of change.