'Fame Changes Every Three Days'

'A lot of people are famous. But for how long will you be there?'
'It changes after every three days of release, Friday, Saturday, Sunday.'

Remember the dreamlike visual landscape of Barfi and Jagga Jasoos?

Or the poetic visual language of Goliyon Ki Raasleela Ram-Leela and Tamasha?

The imagery of these films was one among the most important elements, skillfully put together by Cinematographer Ravi Varman's artistic and technical brilliance, also seen in films like Anniyan, Kaatru Veliyidai, Ponniyin Selvan I and II.

Leaving behind the traces of his rocky childhood, Varman began his journey into cinema at a very tender age. Over the last 25 years as lensman, he built an illustrious behind-the-camera career working across languages in film and advertising world.

Varman's talent gives him a global pedestal as he becomes the member of the prestigious American Society of Cinematographers, putting him in the company of Roger Deakins (1917, Blade Runner 2049), Wally Pfister (Inception, The Prestige), Greig Fraser (Lion, The Batman, Dune series), among others.

Varman, who becomes the second Indian to be inducted into the American Society of Cinematographers after Santosh Sivan, hopes that this recognition will inspire many budding cinematographers to follow in his footsteps.

"We tell everybody that cinema is art. I don't agree that cinema is only for art. Cinema is a business. Within that, we do art," Varman tells Mayur Sanap/Rediff.com.

What does this honour mean to you?

With this honour, the future generation will get a lot of benefits.

Something that was not possible before is possible now.

It is not a community, it's a club and they are inviting you according to your work quality.

The gate will open for the young generations in coming years and hopefully, there will be more members from India.

From Jalamaram to Indian 2, how has your journey been so far?

I never planned anything in my life.

I never planned to become a cinematographer either.

I wanted to become rich, that was my only intention.

I came to the industry by accident, and one thing led to another.

My work pushed me and brought me credit.

You have spent 25 years in the industry.

That's 25 years only as a cinematographer. I came into the industry in 1987 when I was 14.

Between 1987 and 1999, I did so many jobs. I worked as a car washer, cleaner, hotel server...

I wanted to survive in a city like Chennai.

I became a cinematographer when I was 26 (in the Malayalam film, Jalamarmaram).

There's a beautiful quote from celebrated cinematographer Roger Deakins: 'Your whole life informs your eye'. Similarly, how much of your life experiences reflect in your work?

So many things. Growing up, I wanted to see it as bright, dreamy, colourful and rich life.

This is all I can see through my inner eye. My naked eyes search for that kind of life.

So finally, when I made it to the film world, I'm doing the same thing. That's why my film world is mostly colourful like a fairy tale. Something that is surreal.

That's a part of my inner person.

What was the first time you held a camera?

I remember when I came to Chennai, I bought a Zenith camera for myself.

I didn't have any knowledge about this camera. I studied it.

I still remember I shot the sunrise with this camera.

It is like a blurry image. It's not the exact image. That was my first shot.

Your collaboration with Mani Ratnam yielded some of your best work. Tell us about your creative partnership with him.

I am a big fan of his. Every aspiring cinematographer wants to work with him.

Luckily, I have worked with him on three films.

He is not just a great filmmaker, he is also a wonderful human being.

He's very encouraging and knows how to bring out your knowledge. He gives a lot of freedom to every technician.

He always has a bound script and will give references about how he wants.

Even (Sanjay Leela) Bhansali, Anurag Basu and Imtiaz Ali are like that. They are very special directors for me.

Is language a hindrance when you work with Hindi filmmakers?

No. You see, the picture has no language.

How do I work with all these big directors? Because they understand my images. After our discussion, I make my process.

When the frame is lit up, they understand.

Who are your favourite filmmakers to work with?

I worked in 35 films, with almost 33 directors.

Each one is unique. I cannot pick who is the best.

What about the actors?

My all-time favourite actor is Kamal Haasan.

He brought me to the commercial format. Till then, I was an art filmmaker.

I also like Ranbir Kapoor and Ranveer Singh.

You once said that you never feel like you are famous. What's your equation with fame and money?

Fame is important because if you have that, you can make money. If money is there, you can survive because your life will not be difficult.

It will not be a bad situation like my sufferings during my childhood.

We tell everybody that cinema is art. I don't agree that cinema is only for art. Cinema is a business. Within that, we do art.

When you feel you are an artist, you won't bother about the fame sometimes.

A lot of people are famous. But for how long will you be there? It changes after every three days of release, Friday, Saturday, Sunday.

Nowadays, you don't even know many technicians. They won't give credit to any technician other than director and actor.

I don't want to be famous. I want a happy and peaceful life.

Did you watch a lot of cinema while growing up?

Yeah, of course. I am here today because of my cinema-watching experience. It taught me so much.

I used to watch a lot of MGR films. His were very happy films.

After you come out of the theatre, you feel happy and positive.

During my childhood, I would watch four films every week. There was a cinema theatre 10-12 km away from my village.

That experience has brought me to this level today.

Cinema has made me everything.

Cinematography is a visual art that's best experienced on the big screen. How do you look at the change that OTT has brought in?

That is also very good for cinematography.

The medium has changed, but whatever you see on your TV, cellphone, laptop, everything is cinematography.

Technology is helping you to connect with each other.

Maybe theatre nowadays is like a festival, when a lot of people go out and watch something.

Technology will change, but the viewer will not.

A lot of cinematographers would consider film direction as their next step. Do you see yourself getting there?

Yes. I have written the story. I'm looking for an actor and producer.