This Grip Works
ANDPERSAND MAGAZINE, SEPTEMBER 2007
In an industry almost polluted by big stars and bigger egos, there are those who work constantly, consistently, behind the scenes to produce perfect frames. Sanjay Sami is one of them. Having worked on films ranging from Dil Chahta Hai and Don, to Being Cyrus, The Namesake, and even Hollywood fare such as The Darjeeling Limited, this man is the industry’s key Key Grip.
What exactly is the job of a Key Grip?
A Key Grip is the head of the Grip Department on a film set. The Grip’s responsibility can be broken up into two parts. One part is lighting. It involves working with the lighting department on the non-electric lighting. The larger part of a Grip’s job involves all form of camera support and movement. This involves simple dolly moves, complicated free-wheeling choreographed ‘dance floor’ moves, setting up and operating camera cranes, rigging cameras onto cars, helicopters, planes, motorbikes etc. In short, it is the nuts and bolts of making an idea into a shot.
How long have you been working in the Indian film industry? And how did you get into this line?
For about 16 years now. I happened to be working on the set of a British commercial early in my career and watched the Grips working. That motivated me to pursue it as a full time career.
Why did you think of starting your exclusive Grips company, The Grip Works?
India had (and has) a very different way of handling the Grip department, and that’s not the way I work. You had stuntmen handling most of the camera rigging, a separate crew for cranes, for dollies… The grips were never involved in the shot breakdowns, or the ideation process. The idea behind starting The Grip Works was to offer film makers top-of-the-line equipment with matched expertise. It was not created to be a ‘rental house’ in the traditional sense. It is meant to be a place you come to for complete Grip solutions. You show us the script and tell us how you want to interpret it, and we will help you achieve it in the Grip department. Making movies is a huge effort. It is above all else, a team effort. Movies do not get made by one person. It is the coming together of several departments, with several people in each of them. When people come to The Grip Works they know that the Grip department is in good hands.
Has the company managed to get Key Grips better work and more respect in the industry?
Well to begin with, the concept of a Key Grip did not really exist. Like any title it is subject to misuse and misunderstanding. There are a lot of guys out there who are just about learning the basics of being a dolly grip who also call themselves Key Grips. The few genuine Key Grips who are around earn respect themselves on the basis of the good work they do.
Do you charge more for your services than regular grips might?
While it may seem that we are more expensive on the face of it, in reality that isn’t so. It is always cheaper to get professionals who know their job and the needs of the film. You also need a smaller crew to work within the system that we use. Apart from the obvious quality difference, there are economies involved in time saved and the number of people you have to cart around wherever you go.
How large is your team?
My permanent Grip team consists of eight people. With this team we can service two movies at the same time.
Can directors demand a certain Grip, or do you assign the person?
Directors and cinematographers form a close working relationship with their Key Grip. They always have the choice to request the Key Grip.
Which projects do you personally choose to undertake? Do you work more on international films, and let your team work on Indian ones?
Not at all, I love working on Indian films. When I did the movie Don, my teams were doing an Italian film called Lezioni di Volo and a German film called Eight Miles High. I choose my projects based on two things – the job should be interesting, and the people I work with should be nice. People forget that a movie takes between three and six months (sometimes longer) to make. It is a big chunk out of your life, working long hours very close to people you don’t know that well. If in that period you get to work with nice people doing interesting things it makes life very pleasant. You do not however get a choice all the time!
What are the kind of risks do Key Grips take?
No more than a camera operator. There are inherent risks involved in the film making process. A good Key Grip assesses and eliminates risk to the best of his ability. Actually I think actors take more risks than Key Grips do.
Is it a dangerous job in general? Have you ever lost a crew member, or been injured due to your work?
I have never lost a crew member. But you do get injured, as you would in any job of such a physical nature.
Are directors a hard bunch to deal with? Any particularly funny stories about directors / actors you can remember?
Most creative people are at least slightly eccentric. They are not hard to deal with at all (for the most part). There are many hilarious stories, but I never talk about what happens on set when I’m off set. It’s a good way to ensure you get hired again!
