Team FC
“We did a little bit of coverage between both characters and then as soon as Roy gets up, it’s a 90-second shot that’s held throughout. What happens is he gets up, he goes around the table and we slowly pan around to a two-shot and then we come to Binod’s face."
"Paris, Texas has been one of my favourite films of all time since film school and finding a moment to give an homage to that was really special. It was just a happy accident too in blocking, because in the Taxi Driver poster, there happens to be a black cut out. His (Gupta’s) face kinda fit in perfectly there."
"You’ve seen this office space so many times,, but we’ve never been in the centre of the room. Because of the heightened drama of the scene, we thought to increase the tension a little more, increase the stakes a little more by putting them in the centre. It just shows, I think, a bit of the power dynamic becoming equal and how Binod is not bending down to Roy anymore."
"That whole scene was just so pure in every aspect. We did this one long shot of Raghu, just staying there by the door, smiling. Without that shot, I don’t know how I feel about that scene because there’s something really magical about seeing him from a distance. You see his whole relationship with Jay come to this moment in that scene.”
"Aarti (Bajaj, the editor) and Vikram just magically decided to intersperse the black and white into the scene. Which was never the plan and in the first few cuts, I don’t think it was there. It was a later decision that they made and it was incredible. Because now you have a third layer of meta scene within a scene within a scene. The design and flow of that was really special.”
Thank you for reading!
Director Vikramaditya Motwane’s series on vintage Bollywood has a great cast of characters