<span class=normal> If you notice the camera is always breathing in the film <br><br><p class=clear>&nbsp;</p>To convey the kind of imagery and the edginess that we were looking for in Shor In The City, DK and I made a short film sometime back with Tushar Kanti Ray, the same DOP for the film. If you notice the camera is always breathing in the film. It is almost as if certain energy is associated with the camera. We shot the short film mainly to sync the elements with each other and with everybody already involved in the film. We decided that this is the kind of film we are going to shoot. <br><br><br><p class=clear>&nbsp;</p> We have a lot of ideas pumping in with what we already have <br><br><p class=clear>&nbsp;</p>As a director, the screen play is our biggest homework; a lot of thought is put into the screenplay, we would have gone over it ten times so everything is pretty much decided in the screenplay phase. The three of us Tusshar, DK and I would discuss these scenes before hand for the next day to shoot, if any last minute improvisations occur then it is incorporated into the screenplay and script. We have a lot of ideas pumping in with what we already have, by the time we are on set every aspect of the scene and shot is pretty much decided in the night before or early morning. <br><br><br><p class=clear>&nbsp;</p> The only predicament I faced was the realistic part of the film <br><br><p class=clear>&nbsp;</p>We had only a certain number of dates allocated for Sendhil side of the shoot, it was more planned and executed so there wasnt much of a problem. The only predicament I faced was the realistic part of the film, with harassing cops, gathering crowds that would not let you shoot. The shoot was in the middle of a Chembur street where there are a thousand people blocking the roads and we are still trying to strive for the real shot, those were the biggest challenges while making the film. </span>