Retro choreographer Sheriff: My life experiences extend beyond dance, can inform diverse stories
Choreographer Sheriff has been receiving unanimous praise for the 15-minute-long, one-shot wonder 'Kanima' from the Suriya-starrer Retro, directed by Karthik Subbaraj. This ambitious scene seamlessly blends song and dance and a pivotal altercation—all shot in a continuous take. In an exclusive conversation with CE, Sheriff discusses the intricacies of crafting this challenging sequence, the profound connection between music and dance choreography, his favourite ‘Kanima’ rendition, dealing with actors of different skill levels, and more.
The ‘Kanima’ song sequence is well appreciated for its one-shot approach. You have been in the industry for a long time. How challenging and unique was it for you?
The core concept for the ‘Kanima’ song came from Karthik Subbaraj's script. His vision was to depict Paari's (Suriya) life transformation within a single, continuous timeline. The real challenge was not just in following Paari's actions but in seamlessly integrating the emotions and experiences of the other characters involved in this pivotal moment. Our primary focus was to ensure that everyone's emotional arc resonated with Paari's changing life.
It was not solely about the artists' movements; the camera operator, steadicam operator, and gimbal operator all had to be perfectly synchronised within this fluid timeline. Unlike conventional shooting where a slight misstep might necessitate a retake, here, a single deviation could ruin the entire shot. Capturing the exact moment, even with subtle movements, presented a significant hurdle.
How did you rehearse this song with the actors?
We dedicated two days in the studio specifically for this song. My initial focus was on choreographing with the dancers, incorporating the planned camera movements right from the start. The dance choreography itself was finalised two days prior. This was essential because the sequence was quite lengthy and demanded a high degree of synchronisation with the music. Unlike scenes with background scoring where minor timing discrepancies can be managed, here, the beats had to align precisely. Following the studio rehearsals, the day before the shoot, I visited the actual location, a marriage hall, and filmed the dancers with my iPhone. I then shared these visuals with Karthik Subbaraj, who approved the choreography. Finally, we integrated the various scenes, including the fight sequences, and made minor adjustments to the dancers' positioning to ensure a smooth flow.
Did you take any inspiration for the unique choreography for the song? For example, how actors move in Bhansali's films—it has that elegance to it…
Sanjay Leela Bhansali is an excellent choreographer with a strong traditional foundation and a keen understanding of camera angles and framing. We always follow his films. However, for the ‘Kanima’ sequence, our primary focus was on capturing the essence of a 90s retro vibe. Our main consideration was simplicity, given that Suriya sir had to maintain the same energy for a continuous 15-minute take.
The background elements and the overall movement were designed to support this extended shot. Our intention was not to create something overly elaborate or technically flashy. Ultimately, we wanted to achieve genuine emotional connection with the audience, and we adapted our approach accordingly.
There was no inspiration for it at all?
I had previously choreographed a four-and-a-half-minute single-shot dance sequence for Sasikumar in director Raju Murugan's film My Lord. That experience provided some initial practice, so when Karthik suggested a single shot for ‘Kanima’, I felt a sense of familiarity.
Do you follow trends in your work?
Before, I used to. Initially, every artist in the media wants to showcase their talent through contemporary techniques and trends. However, ultimately, the audience's acceptance is what truly matters. A trend that is not embraced by the audience in its time might not hold significance even if it is appreciated in retrospect. Therefore, my primary focus when telling a story or conveying an emotion is to find a fresh and clear way of presenting it.
But how do you generally view trends? Sometimes, a random song, a portion of a song, or a scene becomes trendy. For instance, that ‘Karinkaliyalle’ scene from Aavesham…
I often tell my colleagues to move beyond simply choreographing steps for songs and instead understand the underlying frequency and emotional layers within the music. Thus, we can tap into the subconscious emotional response of the audience. This is why remixes of old songs often become popular; they evoke a past connection through familiar frequencies.
So while a seemingly random song with simple movements might become trendy, it is usually rooted in a deeper, often subconscious, connection with the sound and its associated emotions. It is not arbitrary; there is an attempt to place the song within a relatable context, even if it does not always land as intended.
Many choreographers eventually get into direction or other aspects of filmmaking. Is that something you ever considered?
I have definitely thought about it. For the past 15 years, I have been writing stories. However, I have not felt completely ready with any of the stories to pursue direction. I believe I need the confidence of knowing that the story is strong enough to invest in fully.
Can we expect a dance-based film from you?
While I have not specifically considered a dance-related film as my directorial debut, I do have numerous stories in mind. I would not want to be categorised as someone who can only create dance-centric narratives. My life experiences extend beyond dance, and I believe they can inform diverse stories. If I were to direct a dance film, it would need to offer a fresh perspective, moving beyond conventional narratives like a single person winning a competition.
You collaborate with actors having different skill levels. How do you deal with the challenges of working with, say, a big star? Maybe they might take feedback differently...
Ultimately, I believe actors are driven by the music. My role is that of an intermediary, guiding them on how to move in response to it. The music is already within them. My initial approach is to help them connect with the rhythm. Once they feel the rhythm, they naturally align with my direction. It is a process of creating a comfortable and collaborative environment. I am not imposing my thoughts but rather interpreting the music and suggesting movements that complement it.
How do you know an improvisation from an actor is working? Does it come from your experience?
Sometimes, the performance needs to cater directly to the audience's expectations. Other times, the artist must stay true to their character even when dancing and express it authentically to the audience. So, we need to provide space for their interpretation. We collaborate closely, and through this process, we can gauge whether the artist is performing comfortably or straining to execute a movement. Effortless and comfortable movement always translates well.
When you work with somebody who is incredibly talented, such as Prabhu Deva, do you just keep your inputs minimal? How do you collaborate with such artists?
It is not about minimising input but rather ensuring that the suggestions enhance the music and do not detract from it. Even the most complex steps need to align with the underlying tempo and feel of the song. The music has its inherent quality, and the body's movement needs to resonate with it. While creative interpretations are always welcome, they must ultimately align with the music. I see music as the central bridge between the dancer and the audience. Regardless of the dancer's skill level, the music is the common ground that guides their expression.
It is interesting you make that connection between music and dance. Is it something you observed at a young age?
From my earliest memories, I have always wanted to become a dancer. Music has always been a trigger for movement. When I consciously decided to pursue dance and choreography as a career, my guiding principle was to choose something that would hold my interest for a lifetime. Dance and choreography fulfill that completely. I find immense joy and constant challenges in this field each day. For me, it is not primarily about cinema or financial gain; it is about the inherent happiness and the ongoing stimulation it provides.
You must have seen many ‘Kanima’ renditions on social media. Which one made you the happiest?
A particularly special moment occurred when I watched the film with my family. There was a little girl in the front row who had been restless throughout the movie. But when the song started, she stood up in the aisle and began dancing. It was instinctive and filled me with such joy. It made all the hard work behind the song incredibly worthwhile.