On the second day the crowd turn out was larger. The news had spread that Bharat Jadhav was shooting in BDD chawl No. 69 and the fact that Sanjay Narvekar too had arrived made matters more exciting for the dear public.
We had expected this and hence planned the second day shoot entirely indoors- on the first floor room which we had shown to be the house of Ashutosh Pawar (Bharat Jadhav) in the film. As a result we could manage a controlled shooting atmosphere.
The third day was going to be demanding. We had to take an extreme wide shot where Bharat Jadhav walks t
hrough the area in between the chawls and then chats with some boys sitting at the entrance of the chawl.By the third day the unit had become familiar with each other…the usual frictions and bonds had started taking shape. Now for those who are unaware let me explain to you the magic of a film shoot…it is not the actors or the songs or the stunts that create the atmosphere…it is the “film unit”…the crew.
It is a very weird bunch of people who come together for the duration of the film shoot…spend most part of day and night with each other, working under pressure in harsh environments. There are people who are extremely passionate, there are people for whom shooting is an everyday affair and your project is just ‘one more day’ and there are people who are simply difficult! There is fighting…arguments…camaraderie…team spirit….everything!
As such, we (direction department) needed to capture the wide shot mentioned above in a certain manner, for which the cameraman- Prasad Bhende- had asked for a certain lens. The lens did not arrive!! We were not going to get this opportunity (to shoot at this location) again; there was only one solution- “Get the best result in whatever you have!.”
We did precisely that.
After the initial shot there was some interior work and again we had to move to the terrace of the chawl- which I must mention was quiet a daunting task!!
Considering the sunlight available and the time we would need to can the scene we had to be up there by 3.00 p.m.
At 3.30 p.m., we were still down on the road where we were to complete a sequence wherein Sanjay Narvekar comes with a car and then follows Bharat Jadhav to a point near the chawl and they have some interaction before both of them together drive away.
The crowd was unmanageable…Uttung was screaming his orders for no one could hear anything in the noise the crowd was making. The cops did little to help. I was running in every possible direction to push people out of the shooting area. I was getting very angry and was showing it too.
I believed very genuinely that no one at that point understood the importance of crowd control. I was being nasty to the production team and wanted to physically push each one of them for their lack luster manner…but that would have achieved nothing and were thoughts of a man who was in a mad rush! Temper has always been an area I’ve fallen short off.
Alas, we had to change the sequence!
It was decided that Sanjay Narvekar would simply begin following Bharat Jadhav as he exited the chawl and then meet him at Worli Sea Face!- a location at which we were going to shoot at some later date! It was there that the remaining scene would happen.
I have always believed that film shoots are all about crisis management...this was yet another instance of it.
We reached the terrace at 4:15…the sunset was going to be at 6:00. We had an hour and forty five minutes to complete a very important sequence of the film. However while we were shooting downstairs some equipment had already been shifted on the terrace.
Now, BDD chawl used to be a prison for freedom fighters during the British rule and as such the chawls are all match box structures stretched out in long rows, all of the same height and run into numbers as high as hundred and above! As we reached the terrace there were people on every single terrace…waving hands and calling names!
We began to shoot, the light was dipping fast, finally there was one shot left and the sun had packed up for the day. A decision had to be made- Do we shoot this shot somewhere else? Do we shoot it now despite the fading light? Do we change the shot?
Uttung said, “Let’s take the shot.” No retakes were possible. It had to be one go.
The camera was rolled and we canned it. The shot was Okayed and is the same one that’s used in the film…it did not look as bad as it seemed then. Risk taking is film making…at many levels.
The night had begun and we had yet to knock off an ambitious shot wherein the camera- planted on a 35 feet arm of a crane- started from a group of boys playing carom on the ground floor and went right to the first floor window of Bharat Jadhav’s room where we see him reading a book.
Fortunately by then people had lost interest in the shoot. The crowds had thinned out. We could film peacefully…as we neared pack up, Uttung asked me to run through our work list to see if we had left out anything…we had not.
At the end of Day 3 we had finished off one location and 15% of the film…our next stop was Goregaon west…it was going to be Nandkumar Deshmukh’s (Sanjay Narvekar) home and at pack up time, this home was being painted for the shoot the next morning!!
We hoped to be pleasantly surprised by our art department the next morning…
Considering the sunlight available and the time we would need to can the scene we had to be up there by 3.00 p.m.
At 3.30 p.m., we were still down on the road where we were to complete a sequence wherein Sanjay Narvekar comes with a car and then follows Bharat Jadhav to a point near the chawl and they have some interaction before both of them together drive away.
The crowd was unmanageable…Uttung was screaming his orders for no one could hear anything in the noise the crowd was making. The cops did little to help. I was running in every possible direction to push people out of the shooting area. I was getting very angry and was showing it too.
I believed very genuinely that no one at that point understood the importance of crowd control. I was being nasty to the production team and wanted to physically push each one of them for their lack luster manner…but that would have achieved nothing and were thoughts of a man who was in a mad rush! Temper has always been an area I’ve fallen short off.
Alas, we had to change the sequence!
It was decided that Sanjay Narvekar would simply begin following Bharat Jadhav as he exited the chawl and then meet him at Worli Sea Face!- a location at which we were going to shoot at some later date! It was there that the remaining scene would happen.
I have always believed that film shoots are all about crisis management...this was yet another instance of it.
We reached the terrace at 4:15…the sunset was going to be at 6:00. We had an hour and forty five minutes to complete a very important sequence of the film. However while we were shooting downstairs some equipment had already been shifted on the terrace.
Now, BDD chawl used to be a prison for freedom fighters during the British rule and as such the chawls are all match box structures stretched out in long rows, all of the same height and run into numbers as high as hundred and above! As we reached the terrace there were people on every single terrace…waving hands and calling names!
We began to shoot, the light was dipping fast, finally there was one shot left and the sun had packed up for the day. A decision had to be made- Do we shoot this shot somewhere else? Do we shoot it now despite the fading light? Do we change the shot?
Uttung said, “Let’s take the shot.” No retakes were possible. It had to be one go.
The camera was rolled and we canned it. The shot was Okayed and is the same one that’s used in the film…it did not look as bad as it seemed then. Risk taking is film making…at many levels.
The night had begun and we had yet to knock off an ambitious shot wherein the camera- planted on a 35 feet arm of a crane- started from a group of boys playing carom on the ground floor and went right to the first floor window of Bharat Jadhav’s room where we see him reading a book.
Fortunately by then people had lost interest in the shoot. The crowds had thinned out. We could film peacefully…as we neared pack up, Uttung asked me to run through our work list to see if we had left out anything…we had not.
At the end of Day 3 we had finished off one location and 15% of the film…our next stop was Goregaon west…it was going to be Nandkumar Deshmukh’s (Sanjay Narvekar) home and at pack up time, this home was being painted for the shoot the next morning!!
We hoped to be pleasantly surprised by our art department the next morning…
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