Dipika Kalra is not a newbie to the trade although her big break in feature films came relatively recently
Despite procuring a degree in editing, I struggled to find work in the industry. Back in college, I had done a lot of projects as an editor but it was very different when I came to Mumbai. Besides, working on a feature film is a different ball game altogether than working on short films and documentaries. Luckily, I found a job and started assisting editor Shan Mohammed. After which, I branched out as an individual and started working as a freelancer.
My first project as an independent editor was Udaan. But my diploma film at FTII, When This Man Dies, traveled to a lot of festivals. This along with my other film, Finish Line, won National awards.
Graduating from FTII was a turning point because the course opened up a new creative side to me. In terms of projects, it would have to be Udaan which gave me recognition.
A Subtle Craft
The less people talk about our work, the better it is. I say this because editing should not be noticed. The minute it is noticed, it means there’s a problem with the story, which is why people are noticing the editing. Editing that is not noticed is a job well done.
Life after Udaan
I was not exactly flooded with offers but some of those were very interesting and there were others I couldn’t take up.
In Sync with directors
A film is a director’s baby. So as an editor, I have to understand his vision. We have to work with a mutual understanding. Suggestions are always welcome. Even if one person has a doubt, this means that 50,000 other people could also have the same doubt. So we must nip it in the bud.
Technology keeps evolving but editing is much more than the use of technology. Creativity and aesthetics are paramount. That’s why one doesn’t talk about the technical aspect when we talk about editing.
I am working on Lootera with Vikramaditya Motwane.