ONFILM

I grew up in a village in Kerala.

My earliest memories were of watching the star-studded sky, lying on the white sand bed by the river. The narrow pathways lined up with trees.Green and golden paddy fields extending all the way up to the horizon. The flooded river, running like hundred elephants stomping through the valley, during monsoon. In summer, you could stare into the clear water of the narrow stream, as if you were looking into the blue eyes of a pretty girl.There was no dearth of visuals in life, and every visual came with it’s own emotion.And I wanted to create emotions with visuals.

A village library with the latest books, literary movements and the film societies of the eighties pulled me in to art, literature and cinema.

FTII, Pune opened a big window to world cinema, and thereby to the art of creating emotions through visuals.

I believe that I am a storyteller and not just a technician. Cinematography is not just about technology. Which hue, colour, black or white to go on screen or what to include in a frame is an artistic decision a cinematographer takes while lighting and framing a shot. The characteristics of the emulsion become the strong point in creating these visuals. I try to paint the screen with the emotions the characters go through, with my lighting, framing and movement. I need to transport the viewers in to the mood of the story.

A series of Indian and international documentaries, number of commercials and some good films are my experiments with images.

All my films were shot on Kodak. Over the years Kodak became a habit, a trusted companion who walked with me through my journey.

Muraleedharan C.K.’s credits include films like Naina, Ek Hasina Thi, Lage Raho Munnabhai, Johnny Gaddaar, 3 Idiots and Agent Vinod.

M u r a L e e d h a r a N c . k . , I s c

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