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| Madras Plus
: Aug - 09 - 2003 |
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"
I think good art direction is when the audience does not pay
any attention to the art, because the setting looks so real
that it goes unnoticed." |
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To Sabu, the three essential C's in art direction are,
" CREATIVITY, COMMONSENSE AND CRISIS MANAGEMENT"
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News Today : July - 11 - 2002 : "
For this art director sky is the limit" |
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| "Satisfaction should not come at any
state to a true professional" - SABU |
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| "If I'm born again, I would wish
to be an Art Director " - SABU |
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Signs - Feb - 18 - 1996
: " All Set to Go"
- "The man behind the scenes" - Sabu Cyril, talented
ast Director |
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The Hindu : According
to Sabu now when he see any space, all he can think
of is, how best can he convert it. |
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| "Busy as can be !" : Screen : March
- 02 - 2001 |
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He seems poised to go
places and take art directioon to unforseen heights - "SCREEN" |
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| The Times of India Dt: Oct 26, 1996 |
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The stage Per se, has
been designed keeping Karnataka's history in mind, particularly
its cultural diversity. Hampi, the 14-century capital of the
Vijayanagara empire will form the basic backdrop to the set.
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| South SCREEN April 5th
1996 |
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The Priyadarshan-Sabu
team has been working in tandem for the past 7 years.
Kaala Pani, Priyan's mega venture, also has art direction
by Sabu. Sabu says. "When Priyan asked
me to do the art direction for this period film, I was
a bit hesitant initially because whenever we deal with
a period film, we have to get all the facts and details
right. One mistake on our part can cause a lot
of furore. So, I did a lot of research before
getting down to doing the actual spadework. As
is our normal working pattern, I sketched a few pictures
of the sets we had to put up, and showed it to Priyan
who asked for certain modifications. Executing
the idea took me and my men seven long months.
The real challenge before us was that we had to make
the sets look authentic. For a storm sequence
in the film. we raised the ground level of the studio
by five feet. filled it with water. brought in the ship
and let in gushing wind. The scene has been shot
so brilliantly that anybody who sees it for the first
time would feel that it has been shot on actual location.
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| We have done our
part of the job, and now, it is for the audience to
acknowledge our hard work. Kaala Pani is a brilliant
film in all respects, and it will go down in history
as the best film made by a regional director."
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| MISS WORLD 1996 November 22nd
1996 |
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| When Priyadharsan's creativity
and Sabu Cyril's ingenuity will have to stand up to international
standards, with the eyes of the world focusing India for
a 24 hours |
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Hampi, the capital
of the erstwhile Vijayanagara empire, will constitute
the backdrop fo the stage, and it will be supported
by two secondary stages, remiscent of the Vijayanagara
ruins. Sabu Cyril, that creative genius, who had earlier
taken care of sets of many great films, including Kalapani,
has let out the project, taking meticulous care about
every minute.
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| Indian Express Dt Feb 18, 1996.
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Of course, its
not as simple as he makes it out to be.For what Sabu
does in his films is to transport fantasy into the realms
of reality. Take, for instance, the dehusking
machine he created for Thenmavin Kombathu. “There
is no machine like that anywhere in the world that converts
paddy into rice,” he says. Or that house that stands
on three legs. Or more importantly the fictitious village
which is the setting for the film. It’s a melting
pot of cultures. |
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And there is Advaidam
(Malayalam, 1992).Here Cyril recreated the Chottanikara
Bhagavathi temple : “it turned out to be so natural
that people thought we had shot in the temple
precincts!”The same observation has been made of
the dhobi-ghat scene in the 1993 film Gardish.
“That was a very Indian, but very stylized film.
You won’t find any references from the creative
black book in this one” says Cyril. |
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And there was
Girish Karnad’s Cheluvi (Hindi, 1992) where
a girl becomes a tree and the tree turns back into a
girl. |
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Yet what stands
out of Cyril’s films are the fantastic things
he has created-the (manually) animated bun that vied
for honour with Mohanlal in Uncle Bun (Malayalam, 1992),
the robot dog in the T.V serial, En Iniya Iyandira (Tamil),
the shark at Amaram (Malayalam, 1990), the special effects
in Iyer The Great (Malayalam, 1989), and
his work in the delightful film Jagadeka Veerudu Atiloka
Sundari (Telgu,1992 and remade in hindi as Aadmi aur
apsara).But this is not suprising, considering
that what this student of art (from the Government of
Arts and Crafts College, Madras), with a love for Physics
and Chemistry since his childhood, enjoys most is sci-fiction.
And that’s just what he “desperately wants
to do”,now that he has finished with Kalapani.
But he understands that there is a fine line that divides
job satisfaction from popular. “One does not always
lead to another,” he points out |
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| The Hindu Dt: Nov 28th, 1997
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For his art director
Sabu Cyril and costume designer Sarika Kamal Hassan,
the task is arudous to say the least. "It is tough
work for them. My work is yet to begin. Now we are trying
to set up a studio and trying to get some Australian
connections for other technical details". |
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