Following the premier of an exhibit of her photos from Slumdog Millionaire at Santa Monica College this spring, Affinity had the opportunity to catch up with Mohan to find out how she became a photographer and what it was like to be part of such an incredible film.
What was your upbringing like?
I grew up in Bombay (now called Mumbai), India, the youngest of three girls. My father was a Commander (pilot) and Operations Manager with Air India after being in the Air Force for many years, and my mother had her hands full making sure everyone was on track (we called her “Headquarters”). I think we had a fairly normal upbringing. As kids, it was all school, homework, and play. TV hadn't entered our lives just yet. We lived in a beautiful apartment building with a great garden that was about two minutes from the beach, so we invented our own games. Most of the children from the building also had parents who worked for Air India, so it was like one big family. My father made sure we were exposed to travel from a young age, so we always went somewhere during time off from school. I was lucky and blessed.
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| | Images courtesy of Ishika Mohan
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| | Ishika Mohan
Santa Monica College
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What were you like as a young person?
I believe I was a good child. In all honesty, that’s what I was told. I enjoyed being the youngest. I was given a fair share of attention, and I had two older sisters to look up to. I felt very strongly about animals and sports, and was a bit shy, but I had a good group of friends. I was and still am extremely passionate about tennis and football. I would play tennis and I secretly I imagined I would play at Wimbledon one day, but I tore a ligament and that was it. I was so passionate about tennis that I spent 11 days at Wimbledon once watching some of my favorite players. That was a stunning experience.
How was education regarded in your family as you were growing up?
Education was extremely important. My two older sisters did very well in school and were very focused. I grew up with teachers who would acknowledge me as "Anjini and Trisha's younger sister" but that never bothered me. My parents, especially my Mum, would do whatever it took to teach us, guide us. Of course a degree was a must, so I graduated from college with a BA in economics. That wasn't out of choice; it was just one of the least boring subjects that I was allowed to take. I knew I did not want to go on and get an MBA. That’s when I began walking dogs professionally. I did it for about 6 months. I walked four dogs a day and got paid for it! I loved it. I think at the time my father was a bit confused…
How did you end up attending Santa Monica College?
While I was happy working as a dog walker in Bombay, one of my sisters got married and moved to Los Angeles. As a distraction from the sudden upheaval of leaving the country were she was born and raised, and because she loved learning, she took classes at Santa Monica College. She thought it would be good for me to come and explore, so I did. I looked through the catalog, selected subjects that I was interested in or curious about, and became a student again. I studied marine biology, guitar, export management, and photography. I began the semester not knowing what to expect but I was just immediately taken by my photography classes.
What were some of your favorite classes and professors?
Photography became my favorite class. It was the first time in my life that I found something that pushed the boundaries of what I was used to, that I really enjoyed doing. I looked forward to the classes and the faculty was just fabulous. I was introduced to Mr. Jones in my first class. I had Bruce (Blue) Fier for Photo 2. They were so different. Jones had the sarcasm and wit that I had never experienced before and he made teaching and learning so much fun. Bruce (Blue) Fier taught us what every photographer values: black and white processing and printing. This is where we learned to develop and print our own images. The next semester I had Ford Lowcock, who taught us all about using the 4x5 view camera, lighting, a meter, etc. Again, Ford made learning fun, he would joke around with the class and make it light, but honest critiques were given. I loved the process. I looked forward to class. I had finally found something that I could take with me, that I could be with, that I could share.
What are some of your favorite things to photograph?
Landscapes, graphic shapes, shadows, people, working stills on a film set, sunrise...
When do you feel most creative?
Early mornings—there is something beautiful about being up early in the morning…there's something wonderful about the air, the sounds, the birds, the wind... Also when I'm not told what to do, when I'm left alone and nobody's looking over my shoulder.
Was Slumdog Millionaire the first movie you photographed?
Slumdog Millionaire was my fifth feature film since 2001.
How did you become associated with the film?
An old friend from Los Angeles, Tabrez, got in touch with me via e-mail asking if I was still doing stills for films, and I said yes. He then said he was handling the production for this Danny Boyle film and wondered if I would be interested in meeting Danny to talk about it. I nearly laughed it off, and I asked him if he meant the "real" Danny Boyle. I then met Danny and Christian (Colson, the film’s producer) the next day in Bombay. They went through a slideshow of my photos while we spoke about working on a film set, the kind of work I liked, and the kind of work Danny liked. Danny then gave me a script to read. We had another meeting where I showed him more of my work and we discussed the script. Danny said he was happy with what he saw and as far as he was concerned, he didn't want to meet any other photographers. Then it was up to the producers. I was ridiculously excited and happy. I didn't care if I got the project or not, I was just happy with what Danny had said. The call came next day and I was on board.
What was it like to be behind the scenes on a film set?
I love being on a film set. I haven't a clue why, but there's something about the energy, the process, the moments that make it special for me. It's about catching a moment, an expression, and an action. It's the best! It's a strange process. It takes months, or even years to make a film, and yet it takes only two hours for an audience to either accept it or rip it apart. The images I capture and create are a first look at the film.
Tell us about working with Danny Boyle. Did he "direct" you or give you creative freedom?
Danny's first words to me on set were, "Welcome Ishika, glad to have you on board. Grab what you can." I couldn't have asked for anything better. I was on my own. Complete freedom. It was really like he said, “grab what you can” because there was no real time to be lost. I would shoot during an actual take, because the energy between actors is so right then, but only if I could pull it off without distracting the actors. Watching Danny work and get what he wanted from the cast and crew was a treat.
What were the actors like?
The children were a joy. Ayush, who plays Little Jamal, was like every other little boy—full of energy and naughtiness, but a lovely, endearing boy whose transition onto screen was spectacular. Azharuddin, who played Little Salim, was a rogue and a handful on set, but he had a rawness that was totally perfect for the character. It fit the part fantastically and authentically. Rubina, who played Little Latika, was a sweet, shy girl who would sometimes play with the boys, but did what she needed to. All the children loved Danny—Azharuddin especially. Danny was wonderful with them. It was wonderful to watch him directing the little kids. He'd nearly "be" them.
Tanay, who played Middle Jamal, is a very intelligent actor. He's like a 13-year-old going on 80. He's got these ideas and thoughts that can match up to any older person. Ashutosh, who plays Middle Salim, is a fun loving 15-year-old. He had so much energy and it was his first film! Tanvi, who plays Middle Latika, is a lovely little girl—eager and excited and loving as well. She was mostly with her hand make up and dance outfit, but she fit the part and played it beautifully. Madhur, who played Elder Salim, is a feisty young actor who I thought was fantastic in the film. I loved his portrayal of Salim. Freida, who played Elder Latika, is a girl who got the chance of a lifetime and has now moved on to bigger things.
Dev Patel, who played Elder Jamal, is a young, fun, good natured boy who has been brought up well. He is honest and fun-loving, and gave everything on this film. Being a young boy himself, he couldn't resist moments of absolute loss of seriousness and he had us in splits some days on set. He's a joyful, wonderful clown and we all loved him. He's just the same even when you meet him now.
Were you as captivated by the children as the millions of people who saw the film?
When I saw the film, I fell in love with them all over again. Even when we were in the shooting process, I felt that when watching the film, they would stay with you even at the end of the film. Their honest, raw energy catapulted the film.
Were you surprised by the film's enormous success?
When I signed up for the film, I loved the screenplay. When we completed the film, I loved what we did with it in terms of story telling and visuals. I knew we'd made a special film, I knew it was honest. But I did not know what was in store for it. I don't think any of us anticipated the appreciation and love it received, and the roller coaster ride that came afterwards.
Where were you on Oscar night?
Fox Searchlight Pictures organized an exclusive viewing event and an after party at a fantastic place called One Sunset on Sunset Blvd. I was watching the Academy Awards there along with the parents of the kids. I was lucky to be in the country at that time. Fox had also organized a photo exhibit before the awards, so I was there to be a part of that. That night was fantastic. After Danny, Anthony and the rest of the crew who had been to the ceremony finished with the formalities, they joined us at the party and we were all together for the rest of the night.
How has your work on the film had an impact on your career?
I have been given a lot of appreciation for my work in the film. When I meet someone and they hear of my association, there is an acknowledgement which is very kind. On my career, I'm not sure just yet. There have been other offers, but I'm now waiting to work on my husband’s first feature film. It's long overdue and there's nothing more exciting than being a part of that.
Who are some of your favorite photographers?
When I started photography, I began hearing mostly about Henri Cartier-Bresson, and Robert Capa—the Magnum photographers. I think every photographer gets associated with the Magnum photographers in the beginning. You read about the lot of them, how they found photography, and eventually you find some whose work you relate to, work that captivates you, that keeps you looking for more. There's Sebastian Salgado who is wonderful, and James Natchwey. I think I drew a lot from photojournalists as well. Somewhere the idea of reportage and photojournalism suited the kind of work I liked doing—out on the streets, capturing a moment. I also love Alfred Stieglitz, W. Eugene Smith, Steve McCurry, Raghu Rai, Raghubir Singh, Mary Ellen Mark, Ansel Adams for his landscapes, and of course Anne Leibovitz. There are many others whom I'm sure I'm missing out. George Hurrell. I love his work.
Are you an all-digital photographer or do you still use film?
When I'm working for a film project, I do shoot digital. That’s what the production companies, producers, and directors now prefer. It's easier and more cost effective, but I still miss film—especially black and white. And where I can, if I can convince the client, I still get them to let me shoot black and white film.
What would you be doing if you weren't a photographer?
I'm not sure. I think something with animals because that’s where my heart lies. My husband makes fun of me because if there is a dog crossing the road, I'm nearly stepping on the brakes too, but if it's a human being crossing, I'm like whatever... Yup, I think something with animals. I always wanted to open up a kennel for dogs whose owners were on vacation, or a facility where we could house the many stray dogs in our cities, have them up for adoption. Something for the animals in the zoo that are in pathetic state, the animals suffering from human encroachment...the list is endless.
What advice do you have for aspiring photographers?
I'm still one of them. It's a never-ending process. You eventually get to a place where you think what you’re doing is good, but you need to keep learning still. The best thing is to shoot. Keep shooting. You’ll evolve the more you work and as you get older.
When I look back at some of my earlier work, I'm like "really?!" But that’s the entire process. I think schooling is great, reading is fantastic, assisting helps, but the actual practice of going out and shooting keeps you going. Eventually you’ll gain some confidence in your work, but I still get nervous before every shoot.
In addition to winning the Oscar for Best Picture,
Slumdog Millionaire also won the following awards: Best Director; Music (Song); Music (Score); Film Editing; Sound Mixing; Cinematography; and Writing (Adapted Screenplay). For more complete information about the film, please visit:
www.foxsearchlight.com/slumdogmillionaire.
Special thanks to Bruce Smith at Santa Monica College for facilitating this interview.