EDITOR LEO JOHN PAUL INTERVIEW

In 2006, I completed my Masters in Visual Communication and was looking for an opportunity with Anthony sir. I had worked on lot of short films, documentaries and music videos. I had interest in many film-making aspects but editing gave me the most satisfaction. All the aspects and dimensions of filmmaking are covered in editing and a lot of thought is involved. We can choreograph even acting through editing and hence I narrowed down to editing.

I happened to approach Gautham sir after graduation and got an opportunity to work on spot editing for Vaaranam Aayiram. I got acquainted with Anthony sir and he took me on after being impressed with my work. I worked on the full film and also on Chennaiyil Oru Mazhaikaalam, which is still on hold.

Kadhal 2 Kalyanam was my debut project. My friend and mentor Milind Rau was the director and I had known him since a long time. He called me to work in his direction department but I was interested in working on the editing. He placed confidence in me and gave me the chance, in 2007. We are still hopeful of the release. I believe it’s my best work till date. I had full liberty in that project and it had such a big, celebrated technical crew. I am not sure if I would get such a good offer again. I waited for long after K2K.

Then Attakathi happened and released in 2012. Director Ranjith was impressed with my work and took me onboard. The entire team was new and we all believed that Attakathi’s story had a life and that it will work. Ranjith managed such a new team beautifully and pulled off the challenge. It is a project which is very close to my heart. As a team, all of us worked on the marketing aspects such as the posters and promos. Studio Green acquired the project and all of us got a big break. My travel with C.V.Kumar began then and has continued till date. He has strong belief in my capabilities and I have had many healthy discussions with him. He also provides me my space and freedom to work.

Soodhu Kavvum involved a lot of research and extensive, multilayered work. It is very close to my heart. There was a certain rhythm in my edit and it was in sync with the sound design and the BGM. This really aided the screenplay’s pace.

Nalan is a very well-planned director. He planned his shots and scenes with an eye on the edits. It was very challenging for me and I explored a lot in his movie, I am actually his fan. Nalan thinks from the common man’s perspective even though his ideas are new and path breaking.  

Pizza got me a very good name for the gripping story telling. We focused a lot on the story telling and the recognition was great.

Idharkuthane Aasaipattai Balakumara was also challenging as it involved a lot of characters and had multiple stories and perspectives.

CV Kumar is a good reader and he chooses only strong content. There will be something new in his films. He also feels that people should relate to the film and understand the concept easily. Lots of discussions are involved and he also monitors edits continuously.

CV Kumar puts a lot of thought into deciding his technical teams. He gives space to each of the technicians, to utilize their work better. He has introduced a lot of new technicians. I have been his first priority when it comes to editors and I have worked in all his productions till date. We have a good relationship and there is a certain comfort zone.

He strongly believes in team work and is one among the very few Indian producers who gives a lot of importance to quality control.

There are many examples. Aaranya Kaandam, Aaytha Ezhuthu, Kaakha Kaakha, Kushi, Vettaiyadu Vilaiyadu, Engeyum Eppodhum, Eeram

After watching Kaakha Kaakha, I decided to join Anthony sir. It was new, and even the jump cuts were in line with the story and narration. Vettaiyadu Vilaiyadu was stylish and perfectly presented.

Eeram had a simple concept but it was gripping. Editing and photography blended really well in the movie.