audience seems to share Shawn’s life-in-the-bubble experience. “There was no simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I asked the director for each shot in every scene. Are we with Shawn inside the bubble, or are we outside looking in?”
I didn’t believe this and obviously neither did neither director Manika Sharma nor producing company Rhombus Films. Another picture shot in an old house in Bollywood required us to actually operate two generators to power all of the lights. By the time we were done, however, I was able to shoot two-thirds of a long sequence by dollying along with the reflections seen in a long fishpond at night (Shabana’s cave). “I think it’s a visual reflection of the fact that one’s position in life can change almost instantaneously,” he says. “It’s extremely effective visually. It seems to work on a number of different levels. Using this different approach seems to freshen up all your overs and reverses. There’s a very interesting scene between Shabana and kid that was staged on an under the tree, and there’s a sense of disquiet and possible aggression. It’s very ambiguous, yet the spatial dynamics really underscore the feeling.”
There is a great advantage in working on location versus a studio. For example, the muslim house I mentioned had real marble floors. An experienced DOP knows how to utilize this reality something he can only simulate in a studio,” mused Rajeev. Reflectors were used extensively throughout the film, usually on the fill side to pick up some ambience or an edge of the keylight, and to redirect some of that light to the fill side. In most cases it was very subtle, however, just reflecting in the shine of the
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