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Home Actor Kamal Haasan HD Photos and Wallpapers July 2021 Kamal Haasan Instagram - Reposted from @rkfioffl By the time we reached the end of the film, it was constant impromptu improvisation and Ms.Khushboo was a person who shed all her stardom airs and got down to it and worked along side me as an assistant director..That Said now I am coming to my tricks.The cummerbund /belt she was wearing in the climax is unusual and wouldn’t usually be given to a figure such as hers. . However I needed it as I was going to use it as a mark for a double exposure masking . I hence convinced her by saying it would double up the purpose and lend the corset look and she instantly agreed. I asked her to get me 6 similar ones , that could be used as a belt. Mr.Subbu, the line producer, and she got the idea and ran around to get it organised for me in time to move on with what I wanted to do. My idea for insisting on it was because I wanted Subramanian Raju and Madhan to interact with Ms.Khushboo while the building was tilting and the question was how would we cut a mask while they were in close proximity, and remember we didn’t have CG where you rotoscope that to pull it off. So we had to cut her in the middle and that belt band was the Mark as we chose a most immobile part of the body when you are struck by gravity. This was designed by me and it was quickly understood by another who had worked as an assistant director in “Maya Bazaar” ,which was none other than Mr.Singeetham himself. I suggested why not build a square set and move it and have tractions on either side with manual pulling and lock positions so that it can stay in one position whenever we wanted it to. The next of the challenges was about 'how do you make a whole set move up and down '.Too many engineering problems were being discussed .Then I told them about the blotter that was on my father's desk which was actually a see-saw and I suggested why not build a square set and move it and have tractions on either side with manual pulling and lock positions so that it can stay in one position whenever we wanted it. The art director Mr.Ranga Peketi had ancestry so none of the techniques baffled him. He built that set the way I had visualised it. #KHspeaks #InHone #KaHa #30yearsofMMKR

Kamal Haasan Instagram – Reposted from @rkfioffl By the time we reached the end of the film, it was constant impromptu improvisation and Ms.Khushboo was a person who shed all her stardom airs and got down to it and worked along side me as an assistant director..That Said now I am coming to my tricks.The cummerbund /belt she was wearing in the climax is unusual and wouldn’t usually be given to a figure such as hers. . However I needed it as I was going to use it as a mark for a double exposure masking . I hence convinced her by saying it would double up the purpose and lend the corset look and she instantly agreed. I asked her to get me 6 similar ones , that could be used as a belt. Mr.Subbu, the line producer, and she got the idea and ran around to get it organised for me in time to move on with what I wanted to do. My idea for insisting on it was because I wanted Subramanian Raju and Madhan to interact with Ms.Khushboo while the building was tilting and the question was how would we cut a mask while they were in close proximity, and remember we didn’t have CG where you rotoscope that to pull it off. So we had to cut her in the middle and that belt band was the Mark as we chose a most immobile part of the body when you are struck by gravity. This was designed by me and it was quickly understood by another who had worked as an assistant director in “Maya Bazaar” ,which was none other than Mr.Singeetham himself. I suggested why not build a square set and move it and have tractions on either side with manual pulling and lock positions so that it can stay in one position whenever we wanted it to. The next of the challenges was about ‘how do you make a whole set move up and down ‘.Too many engineering problems were being discussed .Then I told them about the blotter that was on my father’s desk which was actually a see-saw and I suggested why not build a square set and move it and have tractions on either side with manual pulling and lock positions so that it can stay in one position whenever we wanted it. The art director Mr.Ranga Peketi had ancestry so none of the techniques baffled him. He built that set the way I had visualised it. #KHspeaks #InHone #KaHa #30yearsofMMKR

Kamal Haasan Instagram - Reposted from @rkfioffl By the time we reached the end of the film, it was constant impromptu improvisation and Ms.Khushboo was a person who shed all her stardom airs and got down to it and worked along side me as an assistant director..That Said now I am coming to my tricks.The cummerbund /belt she was wearing in the climax is unusual and wouldn’t usually be given to a figure such as hers. . However I needed it as I was going to use it as a mark for a double exposure masking . I hence convinced her by saying it would double up the purpose and lend the corset look and she instantly agreed. I asked her to get me 6 similar ones , that could be used as a belt. Mr.Subbu, the line producer, and she got the idea and ran around to get it organised for me in time to move on with what I wanted to do. My idea for insisting on it was because I wanted Subramanian Raju and Madhan to interact with Ms.Khushboo while the building was tilting and the question was how would we cut a mask while they were in close proximity, and remember we didn’t have CG where you rotoscope that to pull it off. So we had to cut her in the middle and that belt band was the Mark as we chose a most immobile part of the body when you are struck by gravity. This was designed by me and it was quickly understood by another who had worked as an assistant director in “Maya Bazaar” ,which was none other than Mr.Singeetham himself. I suggested why not build a square set and move it and have tractions on either side with manual pulling and lock positions so that it can stay in one position whenever we wanted it to. The next of the challenges was about 'how do you make a whole set move up and down '.Too many engineering problems were being discussed .Then I told them about the blotter that was on my father's desk which was actually a see-saw and I suggested why not build a square set and move it and have tractions on either side with manual pulling and lock positions so that it can stay in one position whenever we wanted it. The art director Mr.Ranga Peketi had ancestry so none of the techniques baffled him. He built that set the way I had visualised it. #KHspeaks #InHone #KaHa #30yearsofMMKR

Kamal Haasan Instagram – Reposted from @rkfioffl By the time we reached the end of the film, it was constant impromptu improvisation and Ms.Khushboo was a person who shed all her stardom airs and got down to it and worked along side me as an assistant director..That Said now I am coming to my tricks.The cummerbund /belt she was wearing in the climax is unusual and wouldn’t usually be given to a figure such as hers. . However I needed it as I was going to use it as a mark for a double exposure masking . I hence convinced her by saying it would double up the purpose and lend the corset look and she instantly agreed. I asked her to get me 6 similar ones , that could be used as a belt. Mr.Subbu, the line producer, and she got the idea and ran around to get it organised for me in time to move on with what I wanted to do.

My idea for insisting on it was because I wanted Subramanian Raju and Madhan to interact with Ms.Khushboo while the building was tilting and the question was how would we cut a mask while they were in close proximity, and remember we didn’t have CG where you rotoscope that to pull it off. So we had to cut her in the middle and that belt band was the Mark as we chose a most immobile part of the body when you are struck by gravity. This was designed by me and it was quickly understood by another who had worked as an assistant director in “Maya Bazaar” ,which was none other than Mr.Singeetham himself.

I suggested why not build a square set and move it and have tractions on either side with manual pulling and lock positions so that it can stay in one position whenever we wanted it to.

The next of the challenges was about ‘how do you make a whole set move up and down ‘.Too many engineering problems were being discussed .Then I told them about the blotter that was on my father’s desk which was actually a see-saw and I suggested why not build a square set and move it and have tractions on either side with manual pulling and lock positions so that it can stay in one position whenever we wanted it. The art director Mr.Ranga Peketi had ancestry so none of the techniques baffled him. He built that set the way I had visualised it.
#KHspeaks #InHone #KaHa #30yearsofMMKR | Posted on 04/Jul/2021 19:53:40

Kamal Haasan Instagram – Reposted from @rkfioffl Here’s the interesting part ,most of the shots in the film don’t rely on masking as most of them are in pans and that also adds speed. I was very good at it from my experience of being a dance assistant and shifting to different locations without losing continuity, which can also be seen in “Manmadhan Ambu” where you stop block pans and Mr.B.S.Loganath, who’s also my guru, was a master of slow pans without panic .You could use the pan at the speed you require as long as you know the continuity.We used speed pans and if you look at it closely all the shots are “cut shots”but will look like one single shot like the mother coming to help the son and father teetering on the edge we changed from K to Madhan to Raju using once the mother as a frame wipe and Michaels walking towards the camera as a second wipe during that wipe we replaced Madhan the dupe to Madhan the real KH. There was no blue matte then and hence the Ooty background had to be real so once again we built the set on a real location and the my most trusted lieutenant Mr.Vikram Dharma had the stunts taken to the length as I kept narrating . The climax rocking hilltop set was built in 3 locations.The first was inside the studio to capture the “rocking “ effect ,second in the the actual location at Conoor and then we created a 30 feet model after a lot of mathematical calculation at “campa -cola grounds” where Kameshwaran and other characters were made as little puppets. Some of the puppets were being handled between the art director and me and we shot it in slow motion from down and it was a controlled situation .There were 2 people who really enjoyed working with the miniature building and they were none other than Mr.Singeetham and me , as we Iove the feeling and effect of “make believe”. I did bend over backwards to make it extra realistic . #KHspeaks #InHone #KaHa #30yearsofMMKR
Kamal Haasan Instagram – Reposted from @rkfioffl I was not ready for this and tried to get myself out of it , but he was very convinced that it was me who should sing that song and pumped that confidence into me. I did not know what he had in his mind about the background score. I still had only margazhii in mind but he had added drums and made it modern and this was the only song that would fit into that mood. He came out of prasad studio, retied his dothi and added on a very excited and positive note that this is going to be a sure shot HIT! That is the magic not many people can create. I ,Mr.Panchu ,Mr.Illiaraja Mr.Singeetham – all of us were able to create this because we were a community. Technique alone does not make a film. Democracy ,love and endeavour to make a project work was what we believed in .Mr.Panchu kept away initially ,he was unhappy that we did not involve him on any of the discussions because he was a writer himself but he understood it was not his style and that I was going towards another direction . Another very interesting story was Nagesh saw a shot of what we shot of Ms.S.N.Lakshmi and literally fought to play that role also. His point in argument was that if I could play 4 roles, so could he. He wanted me to remove her and give him that part also and Ms.S.N Lakshmi was aware of this too. He brought it up during Avvai Shanmugi and reminded me how he wanted to play the old woman and now I was doing it. Moorthy sir was another person who elevated his role as the suspicious stupid father adding his own quirks to it and making it so memorable. #KHspeaks #InHone #KaHa #30yearsofMMKR

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