The Karnataka Chalanachitra Academy new Chairperson Smt Thara Anuradha Venu is making lovely progress in conducting the ‘Belli Hejje’. Thara knows how to handle the things because she is very cordial with all.

On Saturday evening at the ‘Belli Hejje’ except that she asked a difficult question to Sundaranath Suvarana the cynosure of the evening everything was in perfect order. Senior colleague BN Subramanya at the chat with the ace cameraman after the documentary clips shown on Sundarnath Suvarana was memorable.

We bring you the highlights of the ‘Talk Show’ – Belli Hejje with Sundarnath Suvarana:

 

·         Cute little children brought Sundarnath Suvarana to the dais.

·         It was the body language of the people I observed first and it fascinated me. Leaving the school I used to look at processing of film.

·         When I was four years I was curious to know about this photography.

·         It was ‘Live in Bangalore’ in which Dr Bharathi Vishnuvardhana acted I saw the shooting. I was sixth standard. I was showing lot of interest in the camera that was operated after giving key.

·         I left school but not reading book. School Bitru Pustaka Yake Bidbeku was my thought in the beginning days. After sixth standard I ran away telling my other to Bangalore to earn.

·         It was Ramachandran who said I would give so much money when I was in Kundapura.

·         In Bangalore India Café was my place of living. I used to get up at 4 am do the bath as ladies used to come to catch water in vessels. One set of cloth was in Sangam dry cleaner.

·         Through Ananth Patwar I got in to still photography and developed contact with the press.

·         I made debut for ‘Kalyani’ as fourth assistant. Worked for last scene of Sakshatkara, climax of Nyayave Devaru and I took Constable Kasthuri of Master Hirannaiah that was stopped after 40 percent of shoot.

·         Kashinath film ‘Aparoopadha Athithigalu’ was my first release.

·         From Kalyani till Mahanadhi Suvarana is cameraman of 150 films.

·         From my experience I say all the persons connected to a film should think about the cinema till it is made. Complete discussion only will help in good cinema. It is not easy task to prepare on the spot.

·         From the first earning of my film I bought the ‘Meter’ essential for a cameraman. From ‘Kan Alathe’ I used to work.

·         Among all directors K Raghavendra Rao fascinated me very much. On the floor he used to study my situation and give instructions for ‘Sri Manjunatha’ at Ramoji Rao film city.

·         Among the cameraman I salute always VK Murthy, Madhusoodhan, DV Rajaram etc.

·         Today technology is making us very lazy.

·         Negative is the best Digital is still not perfect. For using less negative there is a camera.

·         For Art cinema sensitivity required is more. For commercial cinema we can run around and shoot.

·         There are some directors who cry behind the camera, there are some directors who come like dying face because that day they had to shoot a death scene.

·         For camera very friendly is female. For heroes we can shoot only eyes and other movements.

·         For girls even a Bindhi is stunning property for camera.

·         I like Soundaraya the best heroine for camera. Adiyindha Mudhivaregu she was beautiful.

·         I stopped at direction. It is after I lost hopes on Krishnegowdana Aane. Somebody brought wrong message to legendary writer Thejaswi. He asked me not to direct. I kept quiet.

·         Santrupthi – For Jebu there is no but for job there is Santrupthi I want more tasks.

·         Press photography, wild photography, cricket photography and next difficult comes cinema photography.

·         For the camera assistants I am only person who calls as ‘Focus Puller’ – the right term indeed.

·         Learning in institute is very important. Taking training and then doing cinematography is also equally important.

·         For all kinds of dance classical dance is base. Like that for cinematography Still photography is base.