HIMANSHU GURU, OP
Editing plays a vital role in film craft, by expertly weaving together scenes to tell a coherent and absorbing audiovisual story. Yet, the audience usually remembers only the actors and rarely knows the creators of the memorable scenes in the film. To know more about the different facets of present day film editing, Sunday POST met Rajesh Dash, who, after a stint in the Hindi film industry, has carved a niche for himself as a top ranking film editor in the Oriya film industry. Excerpts from an interview with the talented youngster:
How did you enter the entertainment world?
In my college days, in Kakatpur, I used to take female roles in plays. Back then, girls used to shy away from taking part in dramas. Besides, I was thin and fair and, hence, was the best fit for the lead female role. That was the beginning. I played female characters in more than ten plays there.
Tell us about your early days as an editing professional.
During my diploma course in the Film and TV Institute of Orissa (FTIO), I edited more than a thousand albums. After I completed the course, I worked as an assistant in the TV serial ‘Tulasi.’ Later, I worked for a short while at the Bhawanipatna Doordarshan Kendra. But soon I realized that my goals were different, they lay somewhere else. So, I moved to Mumbai, the hub of Indian cinema. Fortunately, there I met filmmaker Ghanteswar Guru, who arranged a meeting with Hemal Kothari, a leading film editor in the Hindi film industry, and I got a chance to assist him in the Satish Kaushik directed movie ‘Tere Sang.’ Later, I worked in a number of Hindi films and TV commercials. I regard Guru as my godfather. After a few years, I got an offer to independently edit an Oriya film and thus I started my second innings.
What is the difference between working as an editor in the Bollywood and in the Oriya film industry?
Not much, except timing. In the Oriya film industry, you get almost no time to edit. Every project is completed in a hurry. Hence, you cannot go for experiments on the editing table to create something really good.
What are the latest editing tools you have mastered? Is there any new editing tool that has not been used in Oriya films?
I know all the latest editing software, including Avid, FCP, and Premiere. The same tools are used in both industries. Editing is purely a creative job and there is no difference between Bollywood and Ollywood (Oriya film industry) in terms of techniques.
Are you a member of any editing organisation?
I am a registered member of the American Cinema Editors (ACE).
‘Bahubali’ is a great creation from the point of view of film editing and mixing. How were the breathtaking scenes in this film created?
That is VFX which is completely different from editing. It’s post-edit stuff. ‘Bahubali’ mostly banked on computer graphics and visual effects, while the editing procedures were the same as in any other film. The only difference is that you do not see the background on the editing table and only witness a green screen.
How far does the talent of actors and editing technology contribute to the final output of a film?
At the location, we shoot randomly and later correct and arrange the raw reels properly on the editing table. So basically it is a fault correction procedure. As for actors, you can manipulate or enhance their performance to some extent in editing. But you can’t make them good actors. A good actor can use his aptitude to enhance the film since the audience connects to the character which he or she plays in the film.
You have edited films, TV commercials, jingles and a variety of other works. What is your favourite genre and why?
I love comedy because it gives relief from stress.
What qualities must a person have to become a good editor?
An open mind, knowledge about various emotions besides a lot of patience— these are the basic requirements to succeed as an editor.
Is an editing career commercially rewarding?
Currently, there is a lot of scope in every aspect of the audiovisual medium. It is rewarding as well. Of course, you earn much better in Bollywood than in Ollywood, since the Hindi film industry is a big market. In Orissa, remuneration is less. However, one can easily live a good life here as well.
In close-up
Born to Sailabala and Rabindra Dash of Kakatpur in Puri district, Rajesh Dash passed HSC from Nayahat High School and later completed the +2 course from Nayahat Mahavidyalaya. He graduated in Arts from Niali College and then studied for a Diploma in Film & Video Editing from the Biju Pattnaik Film and TV Institute of Orissa (FTIO) in the session 2002-2005.Thirty six year old Rajesh is married to Swati Sucharita Mishra, and they have a son named Shriyansh.
Filmography of Rajesh:
As an independent editor in Oriya films:
Mun Kana Ete Kharap (2010)
Chandini I Miss U(2011)
Superstar(2012)
Khas Tumari Pain(2013)
Sapanara Naika (2013)
2014 Fear of the Year(2014)
Asilu Jebe Tu Jibuni Pheri
Oolala Oolala
Love U Hamesha
Pilata Bigidigala
Raghupati Raghav Rajaram
Bhala Pae Tate 100 Ru 100
Tu Je Sei
Chup Chup Chori Chori
Premare Premare
Premara Nisha Niara Niara
Godfather
Meemansa
Bye Bye Dubai
Tor Dine Ku Mor Dine
Dil Deewana Heigala
Katha Deli Matha Chhuin
Abhaya
Kabula Barabula
As an associate editor in Bollywood:
Speed(2007)
Dhan Dhana Dhan Goal (2007)
Love Story 2050(2008)
Ugly Aur Pagli (2008)
Harry Puttar (2008)
Karzzz (2008)
Meerabai Not out(2008)
Dil Kabaddi (2008)
Tere Sang(2009)
Chintuji (2009)
Coffee Shop(Ready for release)
Carry on Pandu (Ready for release)
Acid Factory(2009)
Guzzarish (2010)
Tanu Weds Manu(2011)
As an independent editor in Hindi films:
All the songs of films Do Not Disturb, Paying Guest and Kal Kisne Dekha (directed by David Dhawan, Subhash Ghai and Vivek Sharma, respectively).
Promos of three Hindi movies –Love Story 2050, Click, and Hissss.
Promos of two Hindi art movies – The Great Indian Butterfly and Pankh.
Promo of one Bengali film, No Problem.
Promos of Mahabharat to be telecast on Star Plus.
Making of two Hindi movies Phoonk and Khalbali.
Promotional song of IPL Hyderabad.
