Arthur A. Wilson: a visual journey with 'Garudan'

Arthur A. Wilson, a seasoned campaigner as a Director of Photography (DOP) for more than three decades, is a film institute graduate renowned for his inventive approach to cinematography. His recent work on the blockbuster Tamil film ‚Garudan‘ has been highly praised by critics. Here, Wilson shares his visual journey in crafting the film’s stunning imagery.

Arthur Wilson begins his preparation by diving into the world of paintings. „Studying colours, textures, light, and forms in paintings helps me understand how to create the visual mood of a film“. For Wilson, it’s not just about the artist’s output but their mindset that ignites his creativity. Music, too, plays a crucial role in his preparation. „It helps me connect emotionally with the visual elements I plan to create“.

To craft the visual look of a film, Wilson first immerses himself in the script. „Reading the script thoroughly helps me understand its narrative and emotional arcs,“ he says. With an extensive collection of paintings as references, Wilson imagines the desired mood for each scene. „I assess whether these references suit the script and work to maintain a consistent visual flow throughout the film“.

For ‚Garudan‘, Wilson made a deliberate choice to use only two focal length lenses: a 25mm and a 35mm. „This decision was about maintaining a consistent visual style that complements the narrative’s intensity and emotional depth“. Remarkably, the 25mm lens was used for over 90 percent of the film, while the 35mm lens was reserved for B camera setups.

Wilson’s approach to composition is meticulous. „I use the golden rule to create visually compelling and harmonious frames“. By placing characters and key elements at the intersection points of the spiral, Wilson achieves balanced compositions. „To ensure precision, I use a transparent golden rule of thirds plastic paper on the monitor“.

When it comes to equipment, Wilson chose the Sony Venice 2 camera paired with Cooke Panchro/i FF lenses. „These lenses mimic film stock characteristics and provide a vintage look with sharp images“, emphasizing his commitment to achieving a specific visual aesthetic. Shooting with COOKE Panchro I FF lenses offered him the flexibility to shoot under a diverse narrative visual scheme while also achieving a unified look.

The film’s climax is marked by a distinctive reddish-orange background. „I chose this colour scheme to symbolize the intense and chaotic nature of the story’s conclusion,“ Wilson says. By using a single colour scheme, he heightened the emotional impact and created a memorable visual experience.

Wilson’s approach to action sequences is all about realism and engagement. „I focused on creating long intricately choreographed stunt sequences“. Working closely with the stunt team, Wilson ensured that every movement was meticulously planned and executed.

„Maintaining consistency with the golden spiral composition and choreographing long stunt sequences were some of the challenges I faced,“ Wilson admits. However, with attention to detail, patience, and a dedicated crew, he overcame these obstacles. „It was all about creating a visually cohesive and engaging film”.

Wilson’s simplistic visual approach in „Garudan“ was a deliberate choice. „I wanted to avoid complicating the viewer’s experience,“ he says. By having a clear pre-visualization of the entire film, Wilson’s approach paid off, earning overwhelmingly positive responses from both critics and audiences.