Posted on November 28, 2018
“The hardest sound @shankarshanmugh asked me to create in #2point0 was that of a sparrow dying. We know how humans die, but not birds.”
“In Endhiran, we were scared to alter Rajini sir’s voice”
My interview with sound wizard @resulp on @fcompanionsouth
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Baradwaj Rangan 
MANK
November 28, 2018
Oh so you do interview sound designers 😀
Resul is a genius and very articulate speaker. It’s great to see the lengths to which he goes to explain the complicated technical stuff. He single handedly made the role of a sound designers familiar to the audience. Above all he is a great human being, who does his bit for the society
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Ravi K
November 29, 2018
Fantastic interview! Loved hearing about his approach to sound design in “2.0,” and his thoughts about sound design and the closing thoughts about Hollywood encroachment into India. Hopefully “2.0” will be showing at a Dolby Atmos theater in my city.
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therag
November 29, 2018
About that Hollywood rant in the end, I thought there were only a few such breakouts (maybe 1 or 2 a year if you are lucky?). Most Hollywood films don’t do even 50 Crores business let alone 220 Crores. In China, despite the strict yearly caps, it is routine for Hollywood films to open there to 100mil+ and do 300mil business regularly. Their film industry is not remotely as strong or fleshed out as ours (maybe because of govt. censorship). What more, China funds a lot of Hollywood films. India OTOH has been fairly resilient to Hollywood invasion. India is definitely just another market for Hollywood whereas China is a major market, sometimes even the primary market (Warcraft movie).
India’s problem is not Hollywood’s cultural invasion but the existing Star system. A Rajni or Akshay Kumar should not be necessary for a film like 2.0 to be made. Even then, they probably take home 100+ crores of the purported 500 crore budget of the film. This wouldn’t happen in Hollywood because the suits that run the studios would never allow it. Aamir Khan walked away with most of the profits from Dangal, probably the reason that Disney shut shop in India. They couldn’t fathom paying all that money to a star for growing a paunch.
But 2.0 is a welcome change for the industry (IF it is at least a decent film, otherwise it will be a major setback). Real progress would be when a filmmaker can make a CGI heavy film without major stars and make bank.
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Siva
November 29, 2018
😀 😀 😀 😀 –> This was me grinning through the 33:27 minutes of the video 🙂
An interview with a Sound Designer, for more than 30 minutes? You have officially made my day, BR! 😀 #AwesomeSauce!
Where we are so, so unfortunate though, is that a Sound Designer has the zeal in content and honest film making — one which most of our filmmakers and actors (most of whom literally drive said filmmakers only to spread their self promoting agenda) are absolutely oblivious to.
My biggest takeaways were two of the most essential aspects of film making that Mr.Pookutty speaks about.
1) Live Sound — (18:46 to 20:15 of the video)
” You treat your actors as mimers? Your treat your audience as fools? ”
2) Honest Content — (29:50 to 33:27 of the video)
What he elaborates here is what makes him come across as a genuine lover of cinema who wants the rest of the world to respect Indian cinema. As someone who wants Indian cinema to not be overwhelmed by cinema from rest of the world. As someone who not only wants Indian cinema to sustain, but compete with the best of the bests. Take this for example: he wants 2.0 to succeed — not because Shankar and his team have worked their asses off for more than 3 years on this one project, not because Resul himself has spent 2 full years in making sure his director’s vision of the 4th dimension/layer of film-sound comes to fruition, and not even because he wants his producers to profit from the venture. But because he sees this movie’s potential success as a pivotal point, that opens up Indian cinema to the rest of the world — on a whole new level, even more than what Baahubali was able to achieve. And because he knows this movie’s success would allure more and more Indian studios to want to spend as much, or even more than what Lyca has invested on this one. There’s a catch though — and he’s more than aware of it. That only worthy content can draw sustained, heavy investment in the long run. And that it could not be the other way around. And that it will never be. And that it will not happen unless our filmmakers change their vision. And that the world will keep changing and moving forward — whether or not you want to be part of it.
P.S:
BR …. I am expecting your “2.0 Movie Review” ONLY after you watch the movie in Sathyam Main Screen or G.K.Cinemas (Porur) — the only two screens in the city that have so far come aboard with the #SRL4D sound system. Or at the least an update in the comments section here, after watching it again(!?) in one of the said screens 😀
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Kay
November 29, 2018
Fantastic interview. He really made it very simple to understand.
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Rad Mahalikudi
November 29, 2018
BR, Like Raghuvaran in Mudhalvan, “That was a good interview”!!
Hugely impressed by Resul’s passion. You giving him the time to explain the 4DSRL and he passionately going through the details and work that has gone in for a year, impressive. Sound of bird death, sculpture in time, don’t treat audience as fools, caution to practitioners towards the end, didn’t notice the time at all. Thanks.
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zapbrox
December 1, 2018
“Sculpting in Time” mentioned by Resul is also the name of the book by Russian filmmaker Andrey Tarkovsky. If Resul has read that book, hope he shares with directors he works with in India and introduces them to the work of this master filmmaker who showed how to create poetry with images using the language of cinema.
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Anu Warrier
December 3, 2018
Just watched the interview and what came through was Resul Pookutty’s passion for cinema. (What distracted me was that Film Companion placard/note card? you were holding, BR. 🙂 )
I do wish you could have ‘shown’ the sound to illustrate what he was talking about. (I realise you couldn’t because the interview was done before the release, but still…)
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