How Will You Add Layers of Detailing in Your Film: This Talent Shows the Way

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Filmmaking is quite a vast concept than what we actually know. It involves a very large amount of reasoning, philosophy and the craftsmanship behind all of this that is always evolving over the time. Many of us don’t really perceive the idea of detailing in films. When that is the case where people don’t value detailing in feature films itself, What is the fate of short films then?

There are a very few of them that have taken detailing to next levels in the short film circuit itself. One among them is Kaushik V Subramaniam, the director of films Kelvi & Synchronicity. We here at Student Filmer had an opportunity to have an healthy discussion with this person and some of the excerpts from the discussion that could be useful for fellow short filmmakers have been listed below!

‘For Multiple Interpretations- Don’t be Preachy’

His film synchronicity had many layers to it. On how he was sure that audience would be able to take these layers home, he said ‘I personally didn’t want to take any stance here and left it to the audience’. To achieve this point where the audience take home these layers, the detailing was required (read article about detailing in this film in another article posted by us). He says, ‘any piece of an art should necessarily have multiple interpretations and one cannot be preachy and force in one’s subjective stance when one wants the audience to take in interpretations.’

‘I was inspired by the famous ear cutting scene!’

His film kelvi (Video Below) is entirely based on a single incident, an accident that influences several lives. But, nowhere does he actually portray the accident visually! Yet, the effect stays intact and on why he did not portray it, he says ‘I maybe somewhere influenced by the famous ear cutting scene from reservoir dogs where he doesn’t show it’ in a jovial way. He also said, it was his early days into filmmaking and it was one of those economical decisions where he wasn’t confident enough to be pulling of an accident scene.

‘Colouring has something to do with each of our Subconscious Minds’.

The colouring had an immense effect on his film synchronicity (read another article to know how) and on how he was able to pull it off with so much ease, he says ‘I used colouring on a very basic level and applied it to my writing’ where he gives the example of a wall with pale colour paint with the emotion associated with it. He says, a bright yellow colour is always associated with happiness on a subconscious level because like, Sunrise (a fresh and a bright start to the day). The opposite to this bright yellow is the pale yellow which would signify the opposite emotion to this ( a dull start). This is why he made the mother character in synchronicity wear a pale yellow saree signifying grief stricken.

‘The Frantic cut was Quite Helpful to me’

The frantic edit popularised by Edgar Wright was used in the film synchronicity. This cut basically refers to several quick shots that are used to convey a lot of information in a very short span of time. He used this because, he had a threshold limit  for the duration his film of about only 3 minutes as it was being sent for  a film competition. So, he says ‘the frantic cut was quite helpful to me in delivering a lot of information quickly’.

‘I’m open to someone else writing for me’

During the course of our discussion, kaushik was on the point that one shouldn’t necessarily hesitate to lift upon ideas from any material at least for starters. He says one isn’t going to be copying the entire events from the material but is rather going to apply one’s own line of thought to the basic idea from the material which isn’t bad technique at all and also says that, ‘creativity is nothing but an amalgamation of inspirations’ . He also says ‘I’m open to someone else writing for me as it is a tedious job for me’ but isn’t opting that right now because he says ‘I’m not gutsy enough to be touching someone else’s writing for now as I haven’t reached that point.’ He believes at a point where he becomes capable of it and finds a writing that reflects his worldview, He definitely will do it.

He Sketched Characters that he saw in his Daily Life.

On how he would approach characters in his film with whom he isn’t familiar with, he gives the example of a cab driver and says ‘I’d probably interview cab drivers and watch several films that had cab drivers’. Until now he says he has sketched characters that he was familiar only. For his film synchronicity, He first finalised the concept, then the characters and finally the story!

‘D16 Had a Better Look and Feel than Uriyadi’

He gives example of two feature films, D16 and uriyadi where D16 was made on a lower budget than that of uriyadi. He points out on the fact that D16 has a better look (the overall look of the film) than uriyadi. He says this is entirely dependent on the technicians and hence they are very important for a film in determining the overall look.

‘For the start, Just Go with the Flow!’

He tells all short filmmakers not to restrict themselves for the start on the hunt for originality and rules. He says he was blindfolded in the start and didn’t know much of the nuances of filmmaking back then. But he feels he wants to be that guy yet again as he believes the look out for original content has made him self-critical that turns into an obsession. He says this is one of the reasons why he hadn’t made a film for an year or so now.

Do watch the film below and take a look at another article by us on the detailing of this film!

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