Stunt works have been one of the most exciting things in South Indian cinema for the last two decades. Action sequences from around the industry have garnered worldwide attention, and when a film wins the National Award for Best Stunt Choreography, it turns heads. That’s what Anbury’s (Anbu and Knowledge) stunt choreographer paired up with through KGF Chapter 1. Today, they stand out as the busiest action directors in the country. After a long schedule of Ram Charan-Shankar’s RC15, this author had a special interaction with the twins, where they discussed the latest releases on KGF2 and Beast, their journey and work ethic.
KGF Chapter 1 was a project that earned them a lot of love and recognition, but the second part of KGF was far from starting when it happened. When asked about the pressure they faced during the filming of the second part, they told Anbariv, “Beyond the pressure and excitement we had, we took it as a responsibility, we worked so hard all these years and saw the results of everything. Kalashnikov filmed ‘Fight Sequence’ which was both exciting and challenging at the same time.
When making an action-heavy film like KGF2, there is always a certain level of interaction and conceptualization from the director. This is where the action director and the film director need to coordinate, be on the same page and make sure the whole team on the set is in sync. Anbariv sheds light on the process: “We’re not simple stunt masters who go in and execute a five-day action sequence and come out. We’re action directors, so we need to go to the ears of the film and understand. We had detailed discussions and he gave us a bullet point explanation of how the scene should come about, we learned about it, worked on it for 2-3 days and presented it to him only when they accepted and approved the ‘homework’ and said “let’s go shoot.”
Small things may take some time, but creating and implementing large action sequences like the one in KGF Chapter 2 requires a lot of dedicated planning and coordination. Anbariv openly says, “We believe in storyboard work. Prashant has a keen interest in stunt sequences, so we made storyboards for all the action sequences and made sure that each chief technician had a good idea of what was going to be shot.”
However, the car chase sequence of the first half of KGF Chapter 2 was one that required more work than just storyboards. “On top of the visualizations and miniatures, we had to put in a lot of effort. The biggest challenge we faced for that particular hunt was how to do the whole sequence in 90 seconds. We actually shot a live making video. The whole team was amazed and delighted that we were involved in this process, which turned out to be a huge boost, and for us, we worked hard to bring 100 times better output on the big screen, and as you see it today, there was even a unique edit pattern that was decided at the end of the picture. Yeah Al that sounds pretty crap to me, Looks like BT aint for me either.
Nowadays audiences demand novelty in stunt work, for which they are not ready to watch the lifeless action sequences presented in a movie. As a couple, Anbariv understands the emotional component of the movies they work on. Regarding how they fix it, they both say: “It’s important to always read the script or take a full description. It’s important to take the context and get the audience deeper into the action taking place on screen. We always focus on it and make it. Our biggest plus. ”
If the stunts are to be performed in a particular way in the context of the KGF Chapter 2 era, on the other hand, Commander Vijay’s Beast was a highly stylized image that requires an approach similar to that of John Wick / James Bond. “We have both been huge fans of Vijay Sir since childhood. We went to him on the very first day of the shoot and told him that we were his big fans. He looked at us and smiled. We’ve seen him in many different action sequences, so when we got the chance to be a part of his film, Hollywood was at our job. We wanted to add a style like, and we made it very clear that the stunts in the movie should have a unique design, which, from the opening sequence onwards, is all planned in such a way that the audience applauds every ten seconds.
When asked about his efforts to deal with big names like Vijay, Surya and Sivakarthikeyan, Anbariv said, “It’s really easy to deal with big stars. They’ve come a long way with a lot of hard work. We believe in doing something we have never seen before, in terms of action “.