What would you be missing if you weren’t a part of Bahubali?
Your work experience with the director
Any particular moment that you cherish?
Any hangover after the completion of the shoot?
On the producer and VFX department
(Sunita Yalavarthi)
What would you be missing if you weren’t a part of Bahubali?
Your work experience with the director
Any particular moment that you cherish?
Any hangover after the completion of the shoot?
On the producer and VFX department
(Sunita Yalavarthi)
Is this is the first time you’ve worked on a period film?
What kind of excitement did you go through?
What did you observe about Rajamouli?
On the people around him
Your current projects
(Sunita Yalavarthi)
[dropcap]W[/dropcap]ithout a villain, there is no hero, says critically acclaimed actor Nasser, who played protagonist in the much awaited multi-lingual Baahubali. As the movie heads to release amidst high expectations, we present you the exclusive interview of Nasser. Read on to know more about Baahubali secrets!
Why is Rajamouli unique?
[pullquote position=”left”]Rajamouli dragged me to do villain, I like doing such roles. Without a villain there is no hero. I got really excited when he narrated the story, even then I never thought it would be in such a big canvas.[/pullquote]
Any special effort?
Any comparisons to Bahubali?
Tell us something about your role ?
Your best moment?
Vijayawada born Vadlamudi Srinivas Murali Mohan makes it big as a visual effects designer. He has won three national awards and there is no stopping him. His next big project is Bahubali; from being an amateur logo and title designer to becoming one of the most popular VFX Supervisor in Chennai, he has come a long way. This simple and humble man lives with his wife Philomena and child in Chennai and makes his Telugu debut finally.
What is the percentage of visual effects in Bahubali?
Ninety percent comprises of visual effects. It is a period film and there are no set locations, we had to create them. Some films are based on history and since it is a story that had already taken place, one can go accordingly. Here Rajamouli used his imagination and created the story and he had ample creative liberty. For a fiction like this the scale, grandeur is unimaginable. He showed us that in olden days our ancestors lived like this, he showed it in a believable manner. More than emotions, if there is VFX in the background, we can create a story like this. VFX on the set is small, in live location but after we put everything on green and chromo screen and set up the rest of the screen as a digital extension. There is a waterfall sequence in the story and we were to go to Kerala and shoot the waterfall but he wanted a huge waterfall that would fall from the height of a sky and that is possible only through VFX. Since it is a period film, all non existing locations can be created digitally, it is comfortable.
[pullquote position=”left”] I worked for all Shankar’s films and looking back at the technology used then you won’t be impressed at all. But at that point of time and within the budget given to me I think I did a fairly good job. [/pullquote]
What would be the impact?
We began with the story and enhanced it on paper and converted it into a visual. Scale wise this is the biggest, money wise I don’t know. People abroad think India is poverty ridden nation but Rajamouli wanted to showcase the luxurious culture and the hugeness comes out of this culture. When you convert it visually it looks very believable and people abroad will know India was this lavish aeons back.
How many worked on VFX?
Around 600 artistes, from 15 to 16 studios all over the world worked on it. A Bison sequence is made in an Indian branch of the foreign company. We can’t go to a Bison and stand in front of it. We can’t trouble the animals, but now we have the capacity to mould the subject as per our requirement in a photo realistic manner. All action has been created on CG, the necessity of animals has been cut down and we could bring any kind of emotion we wanted through it digitally for example the elephant gets up stands and does namaskar.
Has special effects been upgraded post Robot?
I worked for all Shankar’s films and looking back at the technology used then you won’t be impressed at all. But at that point of time and within the budget given to me I think I did a fairly good job. The next five years you will see the highest upgradation in special effects. What was shot then was the benchmark at that time. Anything digital is CG and CG is part of visual effects. In Brothers both people are stuck together, we shot them separately and replaced the head, we didn’t divide them on computers. What you shoot on live differently and mix is CG (special effects)and what you manipulate over all is visual effects.
How did you four important men work together?
Budget and time is important for technicians. Rajamouli and his father told a story three years back. One and a half year was spent in pre production. The story board, concept and thought is father and son’s vision. Once the story creation has been done by the director, me, Senthil, Sabu Cyril would convert it to paper. The first part comprised of – how to use the concept thought, how to shoot and bring it on screen. When DoP gives the visuals how do I convert it digitally. Once that has been done, Sabu garu would in an area would put up a set, use blue screen and green screen and after the shoot I would execute it digitally. It is a combination effort of four people. The artiste’s talent is unbelievable..we show them a drawing of a palace and tell them to act when there is nothing existing there physically. They stand in front of an empty blue screen and they imagine and act. It is tough and our job became comfy as all the artistes were extraordinar
Your first film with Rajamouli?
Yes and he wanted me in Magadheera it didn’t happen. Rajamouli also knows what all we know; so that too became easy since he already has knowledge of visual effects, he would give inputs. We all were here for three years since pre production. On paper there is concept ..that there would be a huge waterfall and it is not the level you imagine..everyone has a different level of hugeness. Before we embark we would base the concept on the visual we had on mind. There is no location so Sabu Cyril suggested the waterfall and area beneath was present in Kerala and it was decided we shoot a small portion and the rest would be created on VFX. Senthil knew how huge a waterfall would look if the camera is placed in a particular angle. We would take that frame that has been shot and draw and go for shoot. In post production it was all about how to execute and the budget allocated for it and picking the best studio to do the job. The film has 90 percent visual effects and it is there in every frame, we took support of 6 studios. The shoot would be during the mornings. In the evening we would work on it till 12 in the night, would be up at 6 am again for work. For 3 years this would continue and would sleep 3 or 4. hours. The excitement is that we would shoot slowly bit by bit..and the output would give us happiness. Whatever we visualised is coming true, it is like predicting future.
(Sunita Yalavarthi)
[dropcap]F[/dropcap]or Baahubali producer, Shobu Yarlagadda, choosing a project depends on the relationship that he shares with director and artistes. Read on to know more about him.
[pullquote position=”left”] Around four thousand screens all over the world will come out with Bahubali. There is so much post production which is a big aspect. For all of us artistes and technicians, producers..it is a once in a life time experience. [/pullquote]
How do you choose your project and people?
It is the relationship that we have with the director and artistes. Krish came and narrated the story. It was more of an accidental narration and we did it. Maryada Ramanna was our first film and we wanted to do it with someone we could trust and we are comfortable with it. We are not in a hurry to do a film; television is our bread and butter and that goes on. Movies, unless we have rapport comfort level and we see some value as we bring as producers to the project, we don’t do it. We bring a lot to the table, not just money. There are two or three lines but Rajamouli wanted to do a folklore or a period film and not a contemporary subject. He and his father went back and forth and both of us liked this subject.
You are being called the real hero for believing in the project
How important is Bahubali for TFI ?
Risks involved in the making of the film
Reason to split the film into two parts?
Confidence levels after execution of the project
This is at a different level and scale. It required a lot of patience, persistence, lot of detailing, going into minute things. The bigger picture is to ensure the film is made in time in this much budget and it travels to all languages and rest of the world as far as possible. To ensure this happens, you need to do a lot of things at many levels and I was lucky to have people to take it everywhere. Lot of support came in from family and friends for financial and emotional support. RFC played a key role. They provided infrastructure and lot of financing for the film. That is one aspect and to have a place spanning over 2000 acres and getting to do multiple things in one place, the logistics would have been difficult but for RFC. We had sets, a floor with 1000 people working. We could go and check when we wanted. Eighty percent in RFC and then little in Mahabaleshwar, Kerala and Bulgaria. After the visual effects and CG, it will transport you into a different world. Around four thousand screens will be ready for Bahubali. There is so much post production, which is a big aspect. For all of us artistes, technicians and producers, it is a once in a life time experience.
(Sunita Yalavarthi)
[dropcap]O[/dropcap]ne of the stylists for Bahubali, Prashanti Tipirneni has worked for Vedam, Golconda High School and she is now currently working on Anushka’s costumes for Size Zero. Prashanti gives more importance to simplicity and comfort and is not a flamboyant person at all. She however says, she likes to be funky sometimes and some other time very sobre, depending on how she is feeling that day. In a chat with Telugu360, she says she is missing Bahubali shoot and is looking forward to wrapping up the remaining 40 percent soon. “After Size Zero, I think I will get a month and a half break after which I will move to Bahubali Part II. The reviews and inputs from people will let us know where we are lacking and we might do a better job.”
Do costume designers and stylists need to be present on the sets every day till the shoot gets finished?
I haven’t travelled for my other films but for jewellery and research for Bahubali I travelled a bit. Mostly I did from scratch in Hyderabad. For Size Zero, I am travelling a bit to Mumbai once or twice. I only work for movies and that too one at a time. I am in a particular zone and would prefer to be in that zone till I finish. For some scripts, our presence is not needed. For Vedam, I wasn’t there. I would go on the first day, see if everything was going smoothly and return. Even with Golconda High School, I would just pack, tag them and give it but for Size Zero and Bahubali, it is different. We had to make Anushka look heavy, there will be problems with the body suit, some fit and some don’t. So, I got to be there. Moreover every production is different, so is the director. It is okay if you aren’t there. The assistant directors will handle it but we can’t rely on them. So I go everyday.
[pullquote position=”left”] We had to be in ready at 5 am in Ramoji Film City, and all the junior artistes would be ready standing in a line with costumes. We would paint them black, on their faces especially the Kalakeyas and in the last would send them for breakfast. We did that for nearly five months.[/pullquote]
What metal and stones were used to dress the artistes?
In the beginning we were banking on brands to make the jewellery and were trying to team up with jewellers and in the process lost lot of time. They wouldn’t understand our requirement, we needed something new and didn’t like things they already had. I went to Jaipur and as I love Amrapali jewellery, I went to the head of Amprapali and got antiques that I liked as samples. If I carried earrings from there, we would make necklaces and hip chains here. It depends from deal to deal and we got some in exhibitions. Most of it, we got it made as we had a silver smith with us. In RFC now there is an art related museum and an entire floor has been given to display jewellery used for Bahubali.
it was very exciting as it is has to be built from scratch and Bahubali is fiction not history based. It gave us leverage to do what we wanted. It was physically tiring nevertheless. I am not a morning person and waking up at 3.30 am was torture but once on the set it didn’t feel like work. Everyone from small to high technicians, they owned this product, it didn’t feel taxing at all. Now I am missing the shoot as I do ‘Size Zero.’ I keep calling Rama and tell her that I am missing the shoot. What you imagine on screen is high level images but this is ten times more bigger, you are in awe of it, it is a fantastic feeling.
She is not fussy at all and she is a close friend..not that she says yes for everything, she will only tell you no, only with a reason, and why it will work or why it won’t. She has the clarity..that makes our job easier. She sees the ability in a person and if she feels you will do full justice she will not even question you. If she feels somewhere your notice should be brought she will tell you. There is no discomfort or stressed feeling working with her and moreover in the last three years we have become really close friends.
(Sunita Yalavarthi)
[dropcap]T[/dropcap]he title Baahubali just came out from me..it wasn’t thought about, it was spontaneous. It has nothing to do with history, says script writer Vijayendra Prasad.
1) When did the idea of making Baahubali trigger?
Three years back my son Rajamouli came to me and said he is making a film with Prabhas and wanted me to write a story. He likes swords, horses and emotions and wanted a period story, he also said that every character in the story should have a logical ending; a third dimension, they should be in flesh and blood and with grey shades.
2) How long did it take to develop it?
Next day I narrated the last scene in the first part of Bahubali. I could see the spark in his eyes, then the second scene was about a baby placed on a palm emerging from the waters. I could see the same spark in his eyes. The third scene was from the second part of Bahubali. It was totally unconnected, I knew he liked it and it took three months to develop it. The moment he started narrating it to others and discussing it, I knew he liked it. He usually doesn’t do that.
3) What was the necessity for a sequel?
There were too many scenes, the justice wasn’t being done to all so it was imperative that we make two parts. [pullquote position=”left”]If Bahubali, the hero in the story is important so are others, we can’t write them off…..may be in footage they could occupy small space but the importance is monumental.[/pullquote]
4) Why name it Bahubali?
The title Bahubali just came out from me..it wasn’t thought about, it was spontaneous. It has nothing to do with history. Then I got to know that in the North of India, Bahubali meant a title, any great person is called Bahubali, nothing to do with Gomateswara.
5) What importance does Baahubali hold at the box office?
Narrating a story gives me complete happiness, getting money, being paid is just a bonus. I love my craft so much. I want the film to be a hit for two reasons. A producer has believed in a vision, if he doesn’t get his money back, it is not fair at all. This is a project that will take Indian cinema to the next level. The hero is Shobu Yarlagadda, there is always a smile on his face even as the budget kept escalating. Next hero is Ballary Sai, the distributor.
6) Any happy moments?
Of course yes. My son told me his ambition is to make Mahabharat. Bahubali is a big test to check if he has it in him to do it. Our country has rich heritage and culture, great history, this is Seva and nothing less than that if we make the epic. There was a poll recently in Tamil Nadu, Shankar got 170 votes and Rajamouli 180. The latter shows variety and the former deals with the wrong done to the society.
(Sunita Yalavarthi)