We are Part of Director’s Storytelling Journey: Cinematographer Aseem Bajaj

Why did you choose cinematography?

Getting into cinematography was accidental. I was initially into music, playing rhythm, and doing theatre. A casting director for the film ‘Bandit Queen’, Tishu Bhai, now known as Tigmanshu Dhulia, approached me. He allowed me to intern with him for three months, which marked the beginning of my journey. I then came to Bombay with him after finishing the film and went on to assist him and other prominent cinematographers like Santosh Chavan, Madhu Ambat, and Vinod Pradhan. I feel fortunate to have learned from these gurus and consider it a privilege to have connected with them.

Movie is a collaborative effort. How do you balance the director's vision with your own artistic input?

As a cinematographer, I believe our role is to serve the story and the director. It’s essential to understand that the director is the one making the film, and we are assisting them in bringing their vision to life. Our job is to be an extension of the director’s vision, not to impose our own. This is why our work and vision vary with each film, as we are part of the director’s storytelling journey. By serving the director, we ensure we are all working towards the same goal, rather than creating multiple films within one. When working with actors, capturing their best performance is also crucial.

How do you ensure you capture the essence of a scene without formal training in cinematography?

Before shooting, I don’t really get time to sit down and talk with actors. Directors barely get that time, let alone a cameraman. Actors are often surrounded by people and lose touch with reality, becoming vulnerable because they are always ‘acting’ even in real life. My father, a director at the National School of Drama and a pillar of modern Indian theatre, believed actors are a different species due to the many personas they embody. Coming from a theatre background, I have a deep love for actors and feel dedicated to them during the 12 hours we work together. As for honing my craft without formal training, I believe cinematography is about vision and artistry, not technical expertise. I learn by observing life, day, and night, and applying those observations to my work.

What specific challenges did you face in filming ‘Son of Sardar 2’, and how did you overcome them to achieve the desired visual effects?

Filming ‘Son of Sardar 2’ had its challenges, mainly due to the weather in Scotland, which is known for being quite unpredictable. The constant changes in light made it tough to match sequences over five days of shooting. However, the film itself is a straightforward comedy, a family entertainer, not technically driven or focused on showy VFX. Our director, Vijay Arora, and writer, Jagdeep Singh Sattu, had a clear vision, which made the process smoother. Interestingly, Vijay Arora was actually my ex-boss, a cinematographer I assisted on films like ‘Vaastav’. He’s now directing this film, which is special to me because of our past connection. His films, particularly those focusing on gender inequality in a funny yet meaningful way, resonate with me. I am hoping our film, with its nuanced portrayal of the female lead, Rabia, played by Mrunal Thakur, doesn’t sacrifice morality for comedy and treats women as more than just props.

How do you stay updated with the latest trends and technologies in cinematography?

Staying updated with the latest trends and technologies in cinematography just happens naturally when you are passionate about your work. Technical specifics like 2K, 4K, or 8K are just jargon; what truly matters are human emotions, which have remained constant for centuries. As a cinematographer, my primary tool isn’t the lens or camera, but the actor—the human emotion they are conveying. I am more interested in capturing that emotion than in the technical aspects, regardless of whether I am using a mobile phone or a high-end camera like a Sony Venice or Arriflex. Cinematography allows me to be the first audience to see the scene, which is a huge thrill. Even after 33 years, I still get jitters before every shot, unsure if I am doing it right, and that’s what keeps me going. I learn on the job, and I am always teaching myself, often learning from my assistants as well. I am far from being a ‘know-it-all’; I am constantly doubtful about my work.

How do you balance technical preparation with instinctual, emotional approaches to cinematography?

I do want to approach each movie differently, reflecting on past work and trying new things in every project. Last year, I even took a one-year hiatus to upgrade myself technically, training in the USA with IMAX Corporation and learning 3D from experts who worked on ‘Avatar 2’. However, I believe technique shouldn’t drive the process. In India, we often don’t get scripts ahead of time, so planning is challenging, and we end up going with our instincts and feelings on the day of shooting. I personally use my emotions to connect with the actor’s performance, trying to feel what they are feeling and putting myself in their shoes. This immersion sometimes leads to me even crying during shoots because I am so into the character’s emotions. I am completely involved in the project when allowed, though sometimes the process can become mechanical due to the demands of the job. At the end of the day, it’s a job, and we are all serving in some capacity.