From creating edge-of-the-seat moments to bringing stories together in the edit room, editor RC Pranav believes every frame has a purpose. In an exclusive chat with Bollywood Hungama, the editor, whose project Nagabandham released recently, opens up about his unique experience of editing cricket match sequences in 83, how South industry gives more respect to technicians and why it’s necessary for film professionals to keep themselves updated on the latest inventions in filmmaking.
You have been called the “world’s fastest editor” by people from the industry. How do you look at such titles?
That title actually started as a fun thing. When I joined the team and started working on the film, my USP was speed. I learned that from my guru editor Anthony, who was very strict about working quickly. He would give me four to five hours of footage and ask me to create a three or four-minute sequence within an hour. That training helped me develop the ability to quickly understand rushes and identify what works. The reason I work fast is not just about speed. If a shooting schedule is completed, I try to finish the edit within two or three days, including effects and music. This gives me more time with the director to sit, discuss, and improve the film. If everything is left until the end, release pressure can come in, and the director may not get enough time to shape the final edit. So I prefer finishing early.
While working on Nagabandham, I completed the trailer in a day, the teaser in a day, and songs within five or six hours. That is when my director and producer started jokingly calling me the “world’s fastest editor.”
You were also the associate editor on the critically acclaimed film 83. How was your experience editing cricket match sequences?
It was a great experience because the pre-production was done extremely well. They had a complete book prepared for the cricket matches. Every match had a lookbook and a storyboard book. They shot the cricket matches with around eight to nine cameras, covering different angles, but everything was already planned. The book mentioned who was going to bowl the first over, who was batting, and what kind of drama was happening in the match.
For 83, we had footage of the entire match, reactions from the stadium, reactions from people across India watching the match, and even people listening to it on the radio. All of those emotions had to come together. During tense moments, we had to use reactions properly, whether it was from Indian cricketers, West Indian players, or the audience. Creating that emotion and tension was the main challenge. It was a great process because the entire team was amazing, and since everything was already planned and documented, it helped us a lot during editing. It was a lot of pressure, but it was also a great experience.
You have experience of working in projects from both Bollywood and the South film industry. Do you notice any differences in the working style or creative process?
I feel the South industry gives more creative freedom and there is more respect towards technicians. That is something I feel is sometimes missing in Bollywood. But Bollywood projects are also bigger in terms of scale, budgets, actors, and production value. If you compare a small Bollywood project with a small South project, the Bollywood project is usually bigger in terms of money and scale. Apart from that, I personally enjoy working more in the South because of the creative freedom and the respect. That is the main reason. However, I am open to working in Bollywood as well. Things are slowly changing, and if there is a good director with a really good subject and script, I would definitely love to work there too.
How challenging is it for editors to keep adapting to rapidly changing technology in filmmaking?
You have to update yourself. There is no other option. More than challenging, it is necessary. Every editor and technician has to keep learning with every new generation because otherwise, you will lose your place. There are so many talented people out there who are learning new software and technologies. They will always have an advantage if you don’t keep improving yourself. I feel every editor should regularly update themselves with new technology. Even I am currently learning AI. I have used AI references in my films as well. While editing, I use AI and give references like, “I want a shot like this” or “I want something like this.”
Could you tell us about your upcoming projects or the kind of work you are looking forward to?
Currently, I have another release coming up on August 7 called Photographer, a Tamil forest survival thriller. Apart from that, I am still looking for more work. I am listening to scripts and looking for good opportunities. For me, the budget does not matter. Whether it is a big film or a small film, that is not important. What matters is a good team, passionate people, and a director who genuinely wants to make a good film.
I am also very passionate about my work. Once I take up a project, it becomes like my baby. I become emotionally connected to it. So, I am just waiting for a good script and a good director. For me, any work is work, and I am always ready to be a part of something exciting.
More Pages: 83 Box Office Collection , 83 Movie Review
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