I walked out of the theatre after watching “Wonder Woman” feeling a complete sense of empowerment and self-belief that I can take on the world. I can’t remember feeling invincible or this elated after any film that I have seen and this is one of the reasons why this film is a global blockbuster success. Grossing $572 million worldwide it has set records for the biggest opening for a female-centric film. Superhero movies so far empowered only half the world’s population. Patty Jenkins, the first woman director of a studio super-heroine movie, empowers the other half.
When I first heard the title, I thought it was corny, expecting the film to just be a male version of “Superman”. I have never been a fan of superhero movies despite subjecting myself to several versions of “Superman”, “Batman” and “Spiderman”, more to humour my spouse than for my own interest. The worlds these movies inhabited were artificial to me and I could never suspend my disbelief enough to buy into these characters. I marvelled only slightly at the special effects and never got involved in the action sequences knowing fully-well who was going to be the victor at the end. But it was magical to feel the goose bumps on my skin and the rush of blood as I watched Diana (Gal Gadot), Princess of the Amazons take on the various men who tried to stop her.
When Rajiv and I were preparing to shoot Kadal, we saw lot of films which involved shooting in the sea. Very few Indian films were shot in the sea, but one film which caught our attention was Chemmeen, based on the famous book by Thakazhi Sivasankara Pillai, directed by Ramu Kariat and shot by Marcus Bartley the legend. It is still a classic and even today, some of the shots take your breath away.
The concept of using miniatures in cinema to create an illusion of a real object has existed since the inception of filmmaking.
When circumstances do not allow us to carry out shoots in real locations with real objects, it necessitates the scenario of miniature shooting. It may be due to technical reasons, safety restrictions, economics of production, time constraints, or the non availability of the actual object or location.
Requirement for miniature shooting continues to be relevant even today for most of the CG works like compositing with graphics and real objects.
As a child my first impression of English films was seeing Mackenna’s Gold, a big budget western film, where cowboys went looking for the mountain of gold and got corrupted and died by its lure. I was fascinated by Cowboys, read cowboy comics, tied a handkerchief around my neck galloped around my house waiting to lasso a wild horse. Since I used to live in a flat in Bombay, I could only lasso, the carpet that was rolled and kept under our divan, which would be spread out when visitors came in the evening. How did the image of the cowboy and westerns come to dominate world cinema, how did this uniquely American invention become one of the great cultural exports of America?
Isn’t the Eiffel Tower symbolic of the ever-romantic Paris? Or is the clock tower of Westminster, the only symbol of London and British sophistication? In Francis Ford Coppola’s The Godfather, The Statue of Liberty in New York is shown as a beacon of welcoming immigrants into the Unites States of America.
How many times in American films have you seen the typical opening shot of an automobile crossing a bridge and then the car coming to a halt, in a suburban neighbourhood and the protagonist coming out of the car and getting into the house? The Great American obsession for the automobiles and their cities results in shots that have become visual clichés. The establishing long shots in films are not just images representing a location; they also set the mood of the film. Some shots rise above the ordinary, like the Brooklyn Bridge and the two lovers seated below in Woody Allen’s Manhattan – a truly classic Long shot.