Y. Sunita Chowdhary
Trailer cutting was a part of editing years ago but with the production of hundreds of films and editors having no time, pressure of publicity in social media has paved way for a separate department. Those who have learnt editing have the option of being trailer cutters, it indeed has become an independent craft. Talented and fast rising Vijay Vardhan Kavuri though born in Hyderabad, was briefly raised in Chennai after which relocated to Hyderabad. His father Shankar was a still photographer in Chennai for around thirty years and when ever Shankar would go to the theatres and editing rooms, Vijay would watch the manual processing of film negative and serial editing. “Because I was wasting time playing cricket in Chennai, my father moved me to Hyderabad. My father felt photography would be tough for me, so I began printing, developing black and white photos and I was advised to learn editing as it is done comfortably in AC room. I stayed with my uncle who was also a photographer working with Krishna Vamsi. I worked as an apprentice at editor Shankar, Marthand Venkatesh and Nagireddy’s projects,” he says looking back at his early days.
Editing is a rhythmic process and it is an individual’s perspective and an immersive experience. You can cut a scene (story telling) in three types and each one does it their own way. A person can narrate a story to you and visually it would be running on your mind. Automatically it will be edited. It is vice versa when the opposite person narrates and eventually how you edit on the video is different. Editing is not about cutting out redundant stuff or lengthy scenes, it is highlighting an emotion and importance of a particular scene that helps connect to the audience. So what is trailer cutting, do editors and directors interfere with your work? “While filming, the scenes will be shot in many angles. To elevate the hero and build it up, we should imagine a right music pattern and cut the trailer. There are many options now since it is now digital. This trend began in 2000, before that not all films had trailers. Editors would cut the trailers but not anymore. Junaid would do linear editing once upon a time but with the advent of Avid, trailer cutting has become a separate craft. Cinema editing is different from trailer editing. There is story telling, screenplay involved here too. The director or editor acknowledge our work, they know we are young and we come with fresh ideas so they don’t interfere.”
A trailer pushes you to watch film and when you finally do, you sometimes realise that what you saw in the trailer is what is only there in the film. There isn’t any extension of a scene. People go to the theatres after seeing the promos so the onus is on the trailer cutting person to show it interestingly. Vijay shares how he highlights some scenes and uses some. “We don’t tell the story in the teaser, it is revealed in the trailer. Teaser is about the characterisation, nature of a film, screenplay or genre. A trailer cutting job is a like a mini cinema editing. I have cut around 200 films so far and enjoy doing trailers more than editing. I don’t listen to narration as it hampers my creativity. I see the film and cut the trailer, it is a stressful job. A few of my trailers are from Manam, Majili, Satamanam Bhavati, Kesava, Arundathi, Magadheera are my trailers. For certain films, we take around 25 days and it is important I need to be comfortable with those involved. There will be heated arguments with directors and not all take suggestions sportively. Though they trust us in trailer cuts, editing is a different ball game.” 
Trailers aid in getting business deals closed early to a large extent. Certain times teaser isn’t good, people wait for the trailer to release to make sure they are buying a good film. Despite umpteen interviews in the media, it is trailers that help producer sell the film. Sometimes Vijay cuts trailers even before watching the entire film, when director says it can be done within a particular footage. That is when they are approaching the release and there isn’t much time. Finally do producers or directors ask if their films work since I have watched it, I am honest and polite. Some take our comments seriously and do necessary corrections as a stitch in time saves nine but some some don’t listen to our remarks. They love their film. I have been appreciated for Samanthakamanai, Bhale manchi roju and Majili.”
