Bhuvan Gowda: Salaar is five times the scale of KGF

Cinematographer Bhuvan Gowda has dedicated nearly 3.5 years to Prashanth Neel’s upcoming big-ticket release, Salaar. This is his fourth straight film with Prashanth after Ugramm and the KGF films. Incidentally, all these films are painted with tones of black and grey, and from the exponentially growing scale of their collaborations... exhausting too. Reflecting on whether these projects consume a lot of his time, Bhuvan says, “I began shooting for Salaar a year before KGF Chapter 2’s release. Due to the pandemic, the Yash-starrer faced delays, and I had to work on both projects simultaneously. Honestly, spending a lot of time on one project can become monotonous. But the diversity in the sets, the different actors, and the distinct stories kept me motivated.”

Backed by Hombale Films, Salaar is set to hit screens worldwide on December 22, and it was one such December in 2018 that KGF was released and took the world by storm. While there have been many films that followed a similar visual narrative, it is interesting how even Prashanth is not spared of this comparison. His very own Salaar is pitted against his very own KGF, especially with the similar visuals. Welcoming this comparison, Bhuvan, who has worked with Prashanth in all his directorial ventures, says, “I am happy that people are comparing Salaar to my films rather than bringing in others’ work. Salaar- Cease Fire, being a gangster story, demands specific visuals aligning with its genre. As a cinematographer, I have my signature style and that is the reason Prashanth Neel has repeatedly collaborated with me. However, I don’t think judging Salaar solely from trailers and rushes is the right move.”  

Going on to dispell such speculations, atleast on some level, Bhuvan says, “The fire-lit visuals in Salaar, which seemingly resembles KGF, stem from cinematic demands, especially capturing rawness during night shoots. The dominance of dark tones in grey and black was necessary to align lighting and visuals to ensure the film’s core elements—the hero and narrative—take center stage.”

Shutting down rumours about Salaar being shot on the KGF set, Bhuvan asserts, “We’ve constructed another Ramoji Film City  II within the existing Ramoji City. For Salaar, enormous sets created by art director Shivakumar and team span over 100 acres. Additionally, in Dandumailaram, we’ve erected a half-kilometer wall and massive sets covering 100 acres. In my opinion, Salaar’s scale is five times that of KGF. Technically, we’re on a different level. This is one of the largest sets created in Indian films.”

Discussing his favourite tools that he has put to use to create the world of Salaar, Bhuvan mentions using a new Alexa 35, promising exceptional image quality akin to IMAX even on regular screens, which will be a first in Indian cinema. “Salaar predominantly relies on practical sets (95%) with minimal CGI (5%), contributing to its visual grandeur. Salaar will be a cinematographic presentation on original sets,” he says.

There is no doubt that Bhuvan has created a massive name for himself, especially in the way he shoots action sequences. “It’s been exciting and challenging. But even now, I prefer the manual approach for my cinematography and often opt for handheld shots,” shares Bhuvan, who is clear that the right lighting can make any film reach a global audience. “Lighting creates a universally understood visual language that reflects my vision. I maintain a strong hold on lighting to craft a distinct world.”

Salaar marks Prabhas’ return to the action genre after a romantic drama like Radhe Shyam, and the mythological film, Adipurush. Talking about the equation he shared with the actor, Bhuvan shares, “Every actor, including big stars, marveled at the scale and setup, often discussing the unique lighting. Prabhas, in particular, always addressed me as ‘Sir,’ reflecting his humility. He’s enjoyable to work with and is a genuinely good person. I consider myself lucky to collaborate with someone like him.”

Over the past decade, Bhuvan and Prashanth have developed a collaborative relationship that is based on trust, talent, and of course, a superlative vision that has taken Indian cinema to newer heights. Signing off with a note about this treasured journey, Bhuvan says, “Prashanth trusts my abilities. For instance, in Salaar, he’d explain the scenes, and then encourage me to think ten times larger than my previous projects. Our wavelengths matched perfectly.   With just a few words, he’d convey the entire scene, making it easy for me to understand his vision through even the simplest of gestures.”