‘Visuals can never compensate for the lack of a story,’ says 'Maaveeran's' DoP Vidhu Ayyanna

For someone who works primarily in films, it is interesting to note Maaveeran cinematographer Vidhu Ayyanna’s observation that the evolution of content consumption from the textual realm to images has tarnished people’s innocence. While it is definitely ironic coming from a cinematographer, Vidhu strongly believes that rapidly developing technology only snatches people from savouring the art that is meant to be consumed quaintly.

“With phones on our hands 24/7, we got used to all the art forms and I feel there is a sense of judgement prevailing among people. There are many who want to just say something about it, beyond feeling it. Now, even as we make it to FDFS, people take up their phones and start clicking at the screen even before the title card appears. However, on a positive note, I think image consumption has also evolved people’s choices and aesthetics,” says Vidhu.

 

Vidhu places utmost importance on content over compositions and has no qualms when his shots are used just as additions to tell a story. “If certain shots are to be shown as is, I do that. I don’t want to fancify it. What is the use if audiences like a shot, but forget what is being told in the story? For example, there was one shot in Maaveeran where Mysskin comes to Sivakarthikeyan’s house and as they bend over for a slipper, half of each of their faces are seen. I received appreciation from many for that shot, through which I wanted to show their state of mind. Everyone liked the shot, but they forgot what was spoken. That is why I avoid highlighting my visuals over the story,” explains Vidhu.

Talking with Vidhu not only gives a peek into the mind of a cinematographer but also explains the symbiotic relationship between the various crafts that have to come together to give a wholesome film. Maaveeran marks Vidhu’s second collaboration with director Madonne Ashwin after the National Award-winning Mandela. In fact, Madonne insisted on involving Vidhu and his Mandela composer Bharath Sankar right from the scripting stage.

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“Mostly, as they finish writing a set piece, I begin my reference work. For example, I wanted Maaveeran’s climax like the French painting Liberty Leading the People, which inspired the film’s thematic colours. I wanted to project people’s revolution. The case was different for Mandela. Bharath Sankar had composed the Mandela tribute when I did not have a visual representation, the African beats of the music gave me the idea to present the film in similar aesthetics. We used brown soil, darker skin tones, warm and earthy colours. So right from the political flags, we drew inspiration from Africa. The Boy Who Harnessed The Wind, and Paruthiveeran too served as inspirations,” he adds, giving examples of art inspiring art.
 

Speaking of Maaveeran, the team may not have had enough time to go through this elaborate process, but that didn’t stop them from getting inspired. With an idea to execute action similar to the Malayalam film Thallumaala, the team had one thing chalked out. They did not want to show the fantasy element visually but go the realistic way. 

Vidhu explains, “If all the shots were beautified, then there would have been no connection to the story and visuals. Instead, we went for a rooted approach. Even while introducing Sivakarthikeyan’s character onscreen, we did not go for an elaborate build-up so that the audience wouldn’t start seeing him as a superhero right from then. Instead, we just showed him as an underdog, and unwilling to start a fight.” But that wouldn’t have been easy considering Sivakarthikeyan has developed a certain stardom over the years. However, Vidhu clarifies that the story took precedence over the stardom in Maaveeran. “This was not that type of film. Even if it’s Sivakarthikeyan, his character is meek. Didn’t we see a simplistic Rajini sir in Kaala and Kabali?”

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Maaveeran came into a lot of praise for its elaborative set pieces that were crafted to perfection with top-notch stunt sequences, impressive editing choices, and on-point dialogues. Vidhu credits this to storyboarding and shot division. “In most of the set pieces, the momentum increases gradually and the rhythm was already in the writing. We knew the number of shots needed and not a single one was thrown in the bin. This was because we had planned everything in the storyboard,” reveals Vidhu, adding, “We may have shot divisions made, but storyboarding details camera placement, perspective, and more. It helps you to take it to the next level, along with helping in budgeting and equipment management.”

As we wrap up the conversation, Vidhu once again puts forth an interesting observation that showcases his ability to always look at the bigger picture. “From the business side, Maaveeran producers gave me enough space. But going forward, I would also like executive producers to be able to judge what is needed for the script, understand the expense it demands, and strategise the budgets accordingly. Also, more importantly... the visuals can never compensate for the lack of story.”