One early morning at 6am in Serbia, Djordje Stojiljkovic, a talented cinematographer and visual effects artist, received a call that would change the course of his career. The call was from director Rajaram, a familiar figure with whom Djordje had previously collaborated on the science fiction film Rani Rani Rani. The conversation led to a bigger opportunity with a production house from Telangana interested in Djordje’s work. The inquiry was made by Priyanka Dutt of Vyjayanthi Films, and it soon materialized into a discussion with director Nag Ashwin. Djordje recollects, “I reached out to Zoran, my gaffer and friend, asking if he wanted to travel with me to India. He thought I was joking. Soon enough, we were on a plane from Belgrade to Hyderabad.”
Kalki 2898 AD, starring Amitabh Bachchan, Prabhas, Deepika Padukone, and Kamal Haasan, became the film that brought Djordje to India. Ahead of the film’s highly anticipated release on June 27, Djordje sheds light on the meticulous process that went into its making in an exclusive email interview with The Hindu.
Growing up in Vlasotince, a small town in the south of Serbia, Djordje was surrounded by video and photo equipment, courtesy of his father who was an Information Technologies teacher and event photographer. Djordje’s nascent interest in cinematography was stoked by working with his father as early as the age of ten, using a VHS camera. The internet became a vital tool for him, as he honed his skills through forums dedicated to photography and cinematography. This virtual community provided critical feedback that was instrumental in his growth.
The filmmaker’s passion was further fueled by nightly movie sessions with his brother and mother. The lack of local resources meant Djordje had to self-learn post-production, including editing and basic VFX. His early projects included creating short amateur films, music videos for local bands, and TV-style documentaries that captured the day-to-day lives of his family. Before attending the prestigious Faculty of Drama Arts in Belgrade, where he chose to pursue cinematography, Djordje had already amassed experience editing videos and creating motion graphics.
One of Djordje’s short films, Anima, featured a dystopian setting and was created amidst the hectic schedules of Kalki. Though it is yet to be released due to Djordje’s focus on supervising the colour grading for Kalki, he is unsure if this or any of his earlier works influenced Nag Ashwin’s decision to approach him.
The pre-production phase of Kalki 2898 AD involved extensive discussions about the film’s diverse world, including its inhabitants, technologies, and cultural nuances. “It was crucial to explore Nagi’s vision collectively to ensure consistency,” Djordje explains.
. Working with miniatures of the large-scale locations helped solve potential problems and plan the lighting effectively. Practical engagements, such as spending days in workshops to understand lighting for the movie vehicles, were integral.
Djordje emphasizes the necessity of collaboration among the director, production designer, costume designer, and the director of photography. He worked closely with production designer Nitin Zihani and costume designer Archana Rao, ensuring the locations and costumes were in harmony with the film’s lighting and visual tone. The music, composed by Santosh Narayanan, also played a vital role in shaping the film’s emotional landscape, often serving as inspiration for the day’s shoot.
Support from producers C. Aswani Dutt, Priyanka Dutt, and Swapna Dutt Chalasani was critical, allowing the team ample time for pre-production. Djordje’s deep dive into Indian mythology, facilitated by crew members, enriched his understanding and portrayal of India’s cultural heritage in the film.
Regarding the unique visual experience of the city of Kasi, Djordje aimed for an authentic portrayal that melded mythology with a believable future. “Kalki 2898 AD marks a significant departure as the first Indian film to explore the future of an Indian city in this manner,” he says.
The filming utilized the IMAX digital camera, Arri Alexa 65, and Arri DNA lenses to capture the project’s expansive scope. This choice allowed for intricate, lifelike images with minimal need for upscaling. The Arri DNA lenses, made from vintage glass, brought a unique texture and character to the imagery, enhancing the cinematic experience with their distinctive swirly bokeh and natural skin tone reproduction. Djordje’s team, including his Digital Imaging Technician, Sai Krishna Koppolu, and focus puller, Hari Krishna, ensured the digital workflow maintained the integrity of the footage.
Considering the diverse screening environments in India, Djordje and his team worked to deliver a consistent audio-visual experience across all theatres, regardless of their projection capabilities. The trailer’s colour palette with deep tones of orange-browns, brown-blacks, and blues was carefully crafted to differentiate the sub-worlds within Kalki 2898 AD and resonate with the film’s narrative.
The physical sets for the film, particularly the city of Kasi, were significantly built up, with approximately 90% of what is seen on screen constructed in reality. VFX extensions completed the sprawling vistas. Djordje fondly recalls the massive scale of the sets when he first arrived, describing it as both exciting and daunting. The combined efforts of practical construction and strategic VFX enhancements brought the streets of Kasi to life, demonstrating the collaborative essence of filmmaking.
