Cinematographer KK Senthil Kumar, known for his long collaboration with SS Rajamouli on films like Baahubali and RRR, now brings his visual scale to Swayambhu. A period drama, the film stars Nikhil Siddhartha as a village youth who aspires to join an elite force. In this interview, Senthil Kumar speaks about creating a period-appropriate world, designing a powerful hero entry, adapting to the demands of theatrical spectacle in the OTT era, and why Eega remains one of his most challenging films.
Excerpts:
Tell us about how you shot the world of Swayambhu.
Swayambhu is an inspirational story loosely based on our history, set in the southern part of India, a chapter many people are not very aware of. The director wanted to bring that aspect out in a big way. I always want to represent India in the best possible way with my films. At the same time, it is always about telling the story and helping the director tell it the best possible way. I don’t try to overpower. My work is meant to complement the vision and remain invisible. Swayambhu is a story about a commoner from the village who wants to join the elite forces. In today’s time, it would be similar to a boy from a village wanting to play for the Indian cricket team. It is a challenging thing. The film is set around 900 AD, so we wanted to ensure it was period-appropriate in every aspect, whether it was the costumes, the sets or the overall detailing. We had a great team which pulled it off. In that way, all the ideas came together. Based on that, we decided the kind of cameras to use, the lighting style, and the colour palette. After that, everything slowly fell into place.
Give us a breakdown of the visuals?
We first discussed how we want to tell the story. Based on that, we designed the sets. The story is told in three parts across two different time periods, and I wanted each segment to have its own distinct identity. We were particular about the architectural style and the surrounding landscape. Some areas have extreme greenery, while others are dry. When it came to palace interiors, we were clear that we did not want any visual resemblance to films such as Baahubali or Magadheera, since those are the ones people think of when they think about period cinema in India. In terms of lighting, I aimed for a pleasant soft light.
The hero’s entry is mounted on a grand scale.
In the trailer, Nikhil Siddhartha arrives on a horse and saves a village. He uses an Indian boomerang (Valari) that was true to that period. We wanted to introduce him in action mode. So, rather than showing it in a typical wide-angle shot, we introduce him in a close-up. The intensity which he brought to that shot was amazing. Initially, I had doubts about whether Nikhil would suit the role of a warrior because of the kind of films he had done in the past. But now, I do not see anyone else as a warrior apart from him. He has done complete justice to the role, from transforming his body, bringing intensity and sticking to the film for more than two years.
Is there now a template for pan-Indian films?
OTT has infiltrated our homes. So to bring audiences to theatres, we have to give them an experience they cannot get sitting at home. For that, we need to create visual wonders. Even Hollywood has similar templates, because we need to get the audience out of the comfort of their rooms and bring them to the theatres. If a story works just as well on a smaller screen, people may prefer to watch it at home. But when you watch a film in a theatre, you should feel something that cannot be recreated at home, whether it is the sound design or the visuals. Maybe to get the audience in the theatre, we are trying to make huge, larger-than-life films. When you create a visual experience, people flock to the theatres.
At the end of the day, we as human beings enjoy collective experiences. Today, time and money have become important factors. Entertainment has become expensive. So going to the theatre should be worth one’s time. I would request the audience to come to the theatres and watch Swayambhu.
Out of all the films you have worked on, which was the most challenging?
Even after doing Baahubali and RRR, the most challenging one was Eega (Makkhi). The way the whole idea was conceived, our ‘hero’ was not available on the set. We had to imagine that he was present on the set and shoot it. The main character was a fly, and it was challenging to present things from a fly’s perspective. We had to do a lot of technical research. But we were happy that people loved that film. I still keep getting messages from people telling me how Eega was.
You have a long-standing collaboration with SS Rajamouli. How challenging is it to be on the same page all the time?
Anyone will have creative differences. Those differences are definitely there, but I like the freedom I enjoy with him. If I do not like something, I tell him, and if he does not like the way I shoot, he tells me. That is the comfort we share. At the end of the day, we are trying to tell a story in the best way. The story and film are more important than either one of us. We are always trying to push the boundaries of Indian cinema to the next level, and I think we have succeeded to an extent. What’s next for you?
Swayambhu was an extremely challenging film, and I am proud to be a part of this. After this, I am doing another film with Nikhil called The India House. It is about our freedom struggle.
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