Cinema is an audio-visual experience and an intriÂnsic part of the viewer’s evaluation of a film lies in the assessment of the film’s cinematography. By this count, Sujith Vaassudev scores big tiÂme, considering he was the cinematographer of two recent mega hits — 'Memories' and 'Drishyam'.
'Drishyam' is the brightest feather in his cap. He reveals that the script of Drishyam had come to him two years ago and he knew it was a film he wanted to shoot. In the meantime, he shot Jeethu Joseph’s 'Memories', which was when Jeethu mentioÂned 'Drishyam' again. 'Drishyam' is his tenth film in Malayalam.
Mentioning that 'Memories' had variations in levels and a lot many shades because of the investigative genre, but 'Drishyam’s' frames were more crisp since it was a family story, Sujith made sure that the lighting, gimmicks and camera angles were seamless. He says, “It is not about showing off my prowess but about ensuring that the audience is not able to differentiate the camera work. Jeethu knows exactly where to cut and draw the line. It is this give and take and exchange of ideas that creates a healthy chemistry, and only then will there be good cinema.”
Very often, there are whispers of actors chipping in with their suggestions… So how conducive is that when it comes to work? Sujith very candidly opines, “Actors can give suggestions and I have worked with brilliant actors like Prithviraj, who are very well-versed with new equipment and patterns and are technically very sound. Prithviraj gives me new suggestions regarding lenses and frames, which are very relevant. On the other hand, I also get suggestions from some which I oppose, if incorrect, but I make sure that egos are diplomatically managed.” He adds that the audience today can converse in technical lingo and are very intelligent.
Sujith ensures that each frame in every film is as different as chalk and cheese. Be it the camera angles, tones, equipment or lighting patterns, he makes sure that the tones and colour changes and is treated differently in each film. City Of God was a challenging experience for Sujith because there was a lot of hand-held movements and a lot of lengthy takes.
Most of the cinematographers have taken the leap to direction. Does he have such plans too? Sujith smiles, “I am looking forward to direction and I have some subjects in mind. One is a female-oriented subject which is a blend of the imaginary and fantasy. It is a dream project and will happen next year.”
Sujith has been receiving offers from Tamil and Hindi industries but the subjects have not caught his fancy. He has an explanation, “When I step into an industry, everybody will be sizing up the new entrant and I don’t want to make a wrong move! Even if it is a small project, it should have a good script!” He also lays bare his secret desire, “I want to be known as a Bollywood cameraman! There is space, time, respect, technical advancements and of course hefty remuneration in Bollywood.”
When not busy with work, Sujith loves to spend time with an equally busy wife Manju Pillai and daughter Daya. Ask him the secret behind his great marriage and both Manju and Sujith answer in unison, “We are still so much in love because we hardly see each other!” Manju quips, “I miss him terribly when he is not around, but five days with him and I ask him when he begins his next schedule!”
Sujith is currently working on the Prithviraj-starrer 7th Day.
