Dasarathi Shivendra, the Director of Photography (DOP), has reached new heights of success with his remarkable cinematography in recent blockbuster films such as Mangalavaaram, Naa Saami Ranga, and HanuMan. Renowned for his exceptional talent behind the camera, Dasarathi Shivendra has earned widespread acclaim, establishing himself as one of the foremost cinematographers in the industry.
With a wealth of experience in his repertoire, his keen eye for visuals and unmatched expertise have made him a highly sought-after collaborator among filmmakers in the Telugu film fraternity. As he continues to revel in the accolades garnered by his recent projects, Dasarathi Shivendra's contributions to the world of cinema stand as a testament to his commitment to excellence, continuously raising the bar with each new endeavor.
Mangalavaaram has garnered immense success in theaters. What was the response, and what were the challenges?
The response to Mangalavaaram has been overwhelmingly positive. Within the first week of its release, I received an influx of over 200 calls expressing appreciation for the film. Crafting certain sequences, particularly those involving intricate transitions and meticulous attention to detail, presented significant challenges. For instance, achieving the transition shot from a butterfly to a house required meticulous planning and execution, often necessitating hours of meticulous preparation. However, the collaborative efforts of the team, coupled with Ajay Bhupathi's visionary direction, culminated in a successful outcome.
How is the feedback after HanuMan?
HanuMan has been exceptionally well-received, garnering widespread acclaim and admiration. The enduring positive feedback continues to resonate, underscoring the film's impact and resonance with audiences nationwide. Collaborating with director Prashanth on this project was a fulfilling experience, and witnessing the film's universal appeal has been immensely gratifying.
For a film with extensive VFX shots, did you encounter any challenges?
Navigating the complexities of integrating VFX seamlessly into the film's visual narrative posed certain challenges. However, thorough pre-production planning and collaborative brainstorming sessions facilitated a smooth execution. Director Prashanth's openness to creative exploration and meticulous attention to detail enabled us to overcome any hurdles effectively. Together, we meticulously strategized each shot, ensuring alignment with the film's unique vision and thematic essence.
How has life changed professionally after Hanuman?
Professionally, HanuMan has opened new avenues and opportunities, with offers pouring in from various quarters. While there are promising projects on the horizon, I remain grounded and focused on delivering quality work that resonates with audiences.
When did you start your career as a Cinematographer?
I embarked on my journey as a cinematographer nearly 15 years ago. My initial foray into the industry began with the film Mantra, featuring the talented Charmmee Kaur. Subsequently, I had the privilege of working on various projects such as Solo, Jayeebhava, Pilla Nuvvu Leni Jeevitham, Siddu From Srikakulam, Kalki, and several others. Working on these content-driven films allowed me the opportunity to collaborate with esteemed directors, which has been a rewarding experience. However, I believe there is still a long path ahead to traverse in my career.
Can you provide insight into your current project with Maheshwara Reddy under Ganga Entertainments?
My current project with Ganga Entertainments promises to be another compelling narrative, exploring themes rooted in spirituality. Led by the talented Ashwin, known for his role in "Raju Gari Gadhi," the film delves into the essence of Sivathathvam. Collaborating with Maheshwara Reddy has been a rewarding experience, as he strives to deliver yet another impactful cinematic venture. With Arbaz Khan returning to Telugu cinema, the project holds immense promise, and I am committed to delivering top-notch cinematography to complement its captivating storyline.
