In recent history, one can't quite recollect two films simultaneously releasing that have been hyped to such heights. As in Diwali 2000.

Post-Diwali, post-release. The hype has now ebbed.

Out of it has emerged two talents: Binod Pradhan, cinematographer of Mission Kashmir.

And Sharmishta Roy, art director of Mohabbatein.

We decided to give credit where it is due.

And thought, how better to do it than let the two artists speak for themselves?

Binod Pradhan:

Vidhu (Vinod Chopra) is totally involved in every aspect of filmmaking.

Technically sound, he likes to work things out in as detailed a manner as possible.

Over the years, he come to rely a lot on my aesthetic judgement.

You see, Mission Kashmir had to look harsh and sombre one minute and bright and beautiful the next. All of it within the framework of naturalism.

So I used natural lighting as much as possible to enhance the mood of the film. Except in the lori, (lullaby), Soja chanda raja, which is a fantasy in any case.

Then, the upside-down image of young Altaf scouring out Inayat Khan's photograph, for example, is an example of how I used camera movement to heighten the dramatic impact.

A lot of the visual style for a film depends on how you as a cinematographer have evolved. But two factors greatly enhanced my camera work -- the art direction (the sets) and the sound.

A lot of the shooting was done outdoors on location. But an equal part was done indoors in studios. On sets erected by the very talented art director, Nitin Desai. In fact, the background of the outdoors that you see through those windows and doors are all painted. You won't be able to tell whether they are real or painted. He is that good.

I'll give you an example of how sound played an important part. Remember Jackie's introductory shot? Sound added a hell of a lot to it. Now imagine that shot with soft, lilting music instead of the furiously menacing sound that preceded his entry.

A lot of the scripting for Mission Kashmir was done with the location in mind.

I must say that everyone -- the cast and crew -- was punctual. Each and everyone worked with a lot of sense of involvement.

Yes, everyone is talking about Hrithik. I found him an extremely intelligent and hardworking actor. One who constantly surprised me with his performance as I looked through the camera. Talent, good looks, physique -- he has it all.

Mission Kashmir is my best work so far. It would be very surprising if Mission Kashmir flops. I don't want to think about it.

I hope both films (Mission Kashmir, Mohabbatein) do well. I would hate to see such hard work go down the drain. It would just kill you.

But, hard as it might sound, Vinod and I rarely look at the past.

It is always the future.

Even Mission Kashmir is behind us. Now it is "What's next?"

Though I would hate to see Vinod work with someone else. Because he gets the best out of me as a cinematographer.

That is why I haven't missed working on a single film with him since his first Khamosh.

I must tell you that the first time I met him -- at the Film and Television Insititute of India, Pune -- I thought to myself, "Who is this loudmouth?"!

After the Institute, we met in Bombay when I was shooting for a film called Partner. Then, we worked in Jaane Bhi Do Yaaro, where Vinod was helping with the production for director Kundan Shah.

That is when this loudmouth approached me for his next film, Khamosh.

By then, I had found that he was a warm and loveable loud mouth.

No one watching the film can imagine that such a funny film could have been so tiring and serious hard work to make. It was like 90% sweat, 9% sleep and one measly per cent games.

But that one per cent games was worth the 90% sweat.

It was not a big-budget film, and we were constantly pressed for time. We shot for days on end without much sleep.

I remember ordering the lighting crew to shift a light. And before they could even move, I had fallen fast asleep.

I woke up to see the whole crew gathered around me.

And no, Kundan didn't melt and order for pack-up. No time for such luxuries!

We just laughed it off and got right back to work.

The film was lit in high-key.

If I had to shoot it again, I might keep the same high-key approach. But the way I would light the sets and move the camera would differ in terms of my experience. And it certainly would be more expensive.

I am now looking forward to shooting for Sanjay Leela Bhansali's next venture, Devdas. It has very, very, very huge sets.

They are probably the largest, most expensive sets ever built...

Binod Pradhan spoke to Kanchana Suggu

Part II: 'I'd love working with any director who dares me to be different'

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