Quite obviously, Srinivas has DV (digital video) to thank for keeping his costs in check. The technology, which enables one to record a movie without the conventional reel, saves the cost of expensive raw stock and is an economically viable and accessible way of making movies. However, for him the film’s truly independent spirit shines through in the way the team went about making it. “The process has been the key,” says Srinivas, who’s been making documentaries and shorts and worked as associate director on the Hollywood production, The Pool, which won the special jury award at the Sundance festival.
To begin with, none of the actors was paid any fee. “Their day jobs paid for them. They knew what we were getting into; I hadn’t promised them a vanity van,” says Srinivas, tongue-in-cheek. Not just that, they also had to be multi-taskers, managing their own costume and makeup and ordering their own food on location. Most of the budget was spent on hiring equipment and props and on post-production.
There were four significant locations—the house, office, coffee shop and the bar. The attempt was to can all scenes at a specific location together, which worked sometimes, but not at other times, since they never seemed to have more than two hours in one location. This was because this cheeky team tried to shoot and scoot before anyone could realise they didn’t have the necessary permissions. Some part of the budget was also spent on doling out nominal bribes. The waiters at the bar were given kickbacks to allow early morning shooting.
The production made do with whatever lights were available and most of the film has been done in wide shots and long takes. “Despite the restrictions in terms of money and equipment, they have been able to maintain the quality, nothing feels amateurish,” says filmmaker Anurag Kashyap, the cheerleader of the Indie brigade. Srinivas hopes his film, which he aims to release commercially, will find the audience it deserves.
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