Cinematographer Jagadish Cheekati Interview About Arjun Chakravarthy: I Received Four International Awards

Cinematographer Jagadish Cheekati has been winning accolades for his outstanding work on Arjun Chakravarthy, a sports drama that has been hailed as a visual spectacle. His craft has not only impressed audiences but has also earned him multiple Best Cinematographer awards at international film festivals. As the film continues to make waves, Jagadish opens up about his journey, challenges, and the magic behind the camera.

Your background is rooted in fine arts and photography. How did cinema happen to you?

I studied at JNTU Fine Arts College, where I won several awards in photography. I’ve always been passionate about drawing and photography, which led me to pursue a master’s degree in photography. Later, I worked with Doordarshan and also won awards in still photography. Over the years, I’ve handled more than 100 short films, documentaries, commercials, and other projects. My first feature opportunity came with Jatha Kalise, followed by projects like Nayaki and RGV Productions’ Bhairava Geetha.

Was your family supportive of your decision to enter films?

Absolutely. My father, who works in the Irrigation Department, has always been my biggest supporter. He encouraged me to follow my passion wholeheartedly. In fact, when I quit my government job at Doordarshan to pursue films, my family stood firmly behind me.

Tell us about your experience working on Arjun Chakravarthy.

Indian technicians are world-class, and Arjun Chakravarthy proves that. We wanted the film to look and feel authentic, so we shot it entirely in natural light. Every department—sound, cinematography, art—was aligned with the director’s vision. When the team works in sync and the production backs that vision, the results can be extraordinary.

Did you ever face creative differences with directors?

A Director of Photography is like a director in their own space. It’s crucial to connect with the director’s vision. I usually don’t face creative conflicts, but once, I had to step away from a project because our visions didn’t align.

What were the biggest challenges during the shoot?

Shooting in Kashmir was both challenging and rewarding. We went expecting snowfall, but it wasn’t snowing when we arrived. After waiting, temperatures eventually dropped to –8°C, and we captured visuals more breathtaking than we had imagined. Shooting in such extreme conditions was tough.

The climax was particularly tricky. We had planned to film 800 players using a time-slice device, but since it wasn’t available, we froze all the players in place to achieve the shot. It turned out to be one of the most remarkable sequences in the film.

How was your collaboration with director Vikrant Rudra?

After seeing my work in Bhairava Geetha, Vikrant Rudra approached me for Arjun Chakravarthy. He is a brilliant storyteller who doesn’t compromise on quality. Together, we experimented with three different cameras and both anamorphic and spherical lenses to create distinct visual textures. Every detail—from costumes to art direction—was carefully planned to match his world-class vision.

The film has already earned you four international awards. How does it feel?

It’s a huge honor. I received Best Cinematographer awards at the Kollywood International Film Festival India, Kervayan International Film Festival, MOKO International Film Festival, and The Buddha International Film Festival for my work on Arjun Chakravarthy.

What was it like working with Vijay Ramaraju and the cast?

Vijay Ramaraju’s dedication is inspiring. He underwent a complete physical transformation and even trained in kabaddi for the role. Despite extreme conditions, he gave his best. We experimented with his character extensively, and he delivered every time. Sija Rose expressed volumes through her eyes, and Dayanand garu gave a powerhouse performance.

Producers often make or break a film. How was your experience with Srini Gubbala?

Srini Gubbala, an NRI producer, was deeply committed to this project. He gave us years to finish the film and supported us through financial hurdles. His only condition was not to waste money but to give our best. That freedom and trust meant a lot.

What kind of response have you received from the industry?

Many industry colleagues called to congratulate me after watching the film. At times, it feels surreal—like, “Did we really create this?” One of our key goals was to make the camera feel like part of the kabaddi match, immersing viewers into the action. The story resonates with everyone and carries a strong motivational message, which I believe is the film’s biggest strength.