How to frame a heist: Cinematographer KM Bhaskaran spills the beans

The film’s cinematographer KM Bhaskaran, who is known for his works in films like Kuttram 23, says that the success of the film feels overwhelming.

Published: 04th March 2020 09:51 AM  |   Last Updated: 04th March 2020 09:51 AM   |  A+A-

Cinematographer KM Bhaskaran

Cinematographer KM Bhaskaran

Express News Service

Desingh Periyasamy’s Kannum Kannum Kollaiyadithaal has been receiving a majorly positive response from the audience and is enjoying a successful run at the box office.

The film’s cinematographer KM Bhaskaran, who is known for his works in films like Kuttram 23, says that the success of the film feels overwhelming.

“I’ve been part of the film since day 1 and I know the kind of hard work that was invested in the making. Desingh and I knew the film would be successful, but getting to know that the film is a ‘super-hit’ is a wonderful feeling,” he says.

The cinematographer, who places friendship and passion for work over fame and money, had rejected almost 10 offers to work in KKK.

Kannum Kannum Kollaiyadithal review: A clever film that subverts expectations from start to finish

“Post Kuttram 23, people started recognizing my work and I got overflooded with offers. But I turned down all of them, as I loved KKK’s script and I wanted to be alongside my friend, Desingh, for his debut film, regardless of the delays.”

Bhaskaran says that their mutual love for cinema kept the team going despite multiple hindrances.

“We used the delay in going on floors to plan every single shot in the film with the help of storyboards. Desingh and I kept telling each other that the quality of our project must be nothing short of a Bollywood film.”

While Bhaskaran used serious colour tones for his previous films, KKK is a youthful film with bright and colourful visuals. He says both the kinds of films are equally challenging.

“For Kuttram 23, we stuck to one consistent tone to establish the seriousness surrounding the story. The colours of all the costumes and locations were chosen keeping this in mind. But, for KKK, our prime aim was to show Chennai from a picture-perfect, yet unseen, perspective. We chose to break visual stereotypes, and worked on the details of every element the audience sees on screen, starting from the unexplored locations of Goa to Dulquer’s sneakers,” he says.

Bhaskaran also reveals that KKK’s script was written with Dulquer in mind and they wouldn’t have proceeded with the story, if he had rejected the film.

“We wanted someone who could pull off the look of a charming techie. During the initial days, he sensed our nervousness and made us feel comfortable by addressing us as ‘Machan’. Despite being a pan-Indian star, he is quite friendly and down to earth.”

The cinematographer, who’s is currently in the lookout for interesting scripts, wraps up the conversation with a line on the kind of films he would like to be a part of.

“Commercial, off-beat or art; as long as a film is challenging and demands me to come up with something new, I am game for all kinds of films.”


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