One morning at 6am in Serbia, Djordje Stojiljkovic received an unexpected call from director Rajaram, with whom he had previously collaborated on the science fiction film, “Rani Rani Rani.” Djordje, a talented cinematographer and visual effects artist based in Belgrade, was informed of an inquiry from a prominent production house in Telangana. “Following that, I spoke with Priyanka Dutt of Vyjayanthi Films and then had a conversation with the director, Nag Ashwin,” Djordje recalls. “I reached out to my gaffer and friend Zoran, asking if he wanted to accompany me to India. He initially thought I was joking. Soon after, we were on a flight from Belgrade to Hyderabad.” The film in question was the ambitious mythology-meets-science-fiction movie “Kalki 2898 AD,” featuring stars like Amitabh Bachchan, Prabhas, Deepika Padukone, and Kamal Haasan.
Ahead of the film’s release on June 27, Djordje sheds light on the intricate process behind its creation. In this email interview with The Hindu, he shares insights into his journey and the making of “Kalki 2898 AD.”
**Early Interest in Cinema:**
Djordje’s passion for cinema began in Vlasotince, a town in southern Serbia. Growing up surrounded by video and photo equipment, thanks to his father who was an Information Technology teacher and an event photographer, Djordje developed an early interest in photography and cinematography. At the tender age of 10, he started working with a VHS camera in the early 2000s, which laid the foundation for his love for visual storytelling.
Watching movies nightly with his mother and brother further fueled his interest. The internet played a crucial role in honing his skills through photography and cinematography forums, where he received critical feedback. He began making short amateur films with school friends and had to learn post-production processes on his own, including editing and basic VFX. His early projects included television-style documentaries capturing his family’s daily life and music videos for local bands, allowing him to connect visual storytelling with audio.
**Career Development:**
Before attending university, Djordje had already edited videos for clients and created motion graphics, animations, and basic VFX work. Although initially considering studying editing, he eventually chose cinematography at the Faculty of Drama Arts in Belgrade, a prestigious institution. “The support of my family was crucial throughout this journey,” he states.
**Joining ‘Kalki 2898 AD’:**
Regarding his involvement in “Kalki 2898 AD,” Djordje jokes that he remains unsure why Nag Ashwin approached him. “Anima,” one of Djordje’s short films with a dystopian setting, was created between Kalki’s schedules and has yet to be released. Despite his modesty, his exceptional work in the industry speaks volumes.
**Pre-Production Process:**
Discussing the pre-production process for “Kalki 2898 AD,” Djordje explains the extensive efforts involved. The team invested significant time discussing the world of Kalki, including its inhabitants, their lifestyle, technology, and cultural elements like music. Although many aspects were pre-envisioned by the director, the team had to unify their visions to ensure everyone was aligned.
Minimizing potential issues, the team worked with miniatures of large-scale locations, crucial for planning lighting setups.
. Djordje also spent considerable time in workshops to understand how to light movie vehicles’ interiors effectively. Collaboration with the production designer, costume designer, and director of photography was essential, with Nitin Zihani responsible for production design and Archana Rao for costume design. They had numerous discussions to align color palettes and ensure a cohesive visual tone for the film.
**Role of Music:**
Music plays a pivotal role in shaping a film’s emotional landscape. Djordje collaborated with Santosh Narayanan, whose work-in-progress scores greatly inspired the team. Djordje emphasizes that film is inherently an audio-visual medium, with music often serving as a primary source of inspiration.
**Producer Support:**
Acknowledging the support of producers C. Aswani Dutt, Priyanka Dutt, and Swapna Dutt Chalasani, Djordje highlights how their backing made extensive pre-production possible.
**Exploring Mythology:**
During the pre-production phase, Djordje delved deep into Indian mythology with the assistance of crew members. Understanding the spiritual significance of these stories and the era was exhilarating, allowing him to appreciate India’s rich cultural heritage. His goal was to authentically portray the mythology while creating a believable version of the future.
**Visual Experience:**
Djordje aimed to present an authentic and ambitious portrayal of the future city of Kasi, given its global significance and cultural diversity. The film marks a significant departure from typical Western-centric science fiction by exploring the future of an Indian city in this manner. Djordje focuses on creating atmospheres and moods that resonate with the narrative, delivering an immersive visual experience.
**Technical Choices:**
The decision to use the IMAX digital camera, Arri Alexa 65, and Arri DNA lenses was driven by the project’s vast scale and vision. The Alexa 65’s 6.5k resolution was essential for capturing lifelike images, suitable for an IMAX release, while the DNA lenses brought unique character and texture to the imagery.
**Challenges of Projection Quality:**
Djordje recognizes the varying quality of projection systems across India. However, he emphasizes that Indian audiences’ passion for cinema ensures that even semi-urban and certain rural areas maintain high standards. The team has been mindful of delivering the best possible audiovisual experience, regardless of the projection system quality.
**Color Palette:**
Working on the color palette for different segments and characters, Djordje delineated sub-worlds within “Kalki 2898 AD,” each deserving distinct visual treatment. The focus was on crafting specific color tones, dynamic ranges, and contrasts for each segment.
**Set and VFX Integration:**
Approximately 90% of Kasi’s depiction in the film comprises physically constructed sets, with the far-background cityscape enhanced by VFX to expand its scope. The collaborative efforts of the team ensured a blend of practical set construction and strategic VFX enhancements, bringing the streets of Kasi and other locations to life.
In conclusion, Djordje Stojiljkovic’s journey from Serbia to India and his work on “Kalki 2898 AD” exemplify the collaborative spirit and technical excellence required to bring such a visionary project to life.
