Shivangi Singh grew up watching Bollywood films. For her, films were purely a medium of mass entertainment, not of any critical thought. But at a film festival in Delhi, she came across world cinema, and a whole new world opened before her.
“The year was 2007. I was pursuing my Bachelor’s in Fine Art from Jamia Millia Islamia University. At the film festival, I watched films by world-renowned directors, Abbas Kiarostami, Robert Wiene, David O Selznick, James Cameron, Yasujiro Ozu and Michael Powell. I was awestruck by the design of films like Ben-Hur, Gone With The Wind and Titanic. Even Indian films like Devdas and Jodha Akbar left a deep impact,” she says.
Singh then enrolled for a short film workshop and began to research the history of avant garde and cinema with a specific focus on art and design, only to realise that good production design in a film can hugely influence its narrative.
And Singh found what she wanted to do in life.
She got her first break as a storyboard artist for Margarita with a Straw (2014). And thereafter her trajectory only saw an upward trend. Her notable works include Bajrangi Bhaijaan, Children of War, The Speech (shortlisted at Palm Springs International Film Festival 2020), and the American reality show, Making the Cut.
Singh recently wrapped up work as a set designer for Secret Life of Pets facade at Universal Studios theme park in Hollywood.
Recipient of the Production Design Fellow Award from Hollywood Art Department Union, Art Directors Guild of America, she owes her success to her mother who “taught me to never ever give up or stop chasing my dreams, irrespective of the circumstances’.
How did you bag Margarita with a Straw?
I read about the movie being one of the winners at Sundance Screenwriting Lab for its amazing screenplay. The film was already in the preproduction phase then.
I had no film connections so I took the help of social media to reach out to the writer and director of the film, Shonali Bose, and asked her if there was any way I could be a part of it.
To my surprise, she replied, asking me to meet her a month later when she would be in Delhi.
Then her associate called and asked if I could do storyboards for them (as I had a fine arts background) and I said yes. Collaborating with Shonali and cinematographer Anne Misawa was a huge learning experience.
What are you currently busy with?
I am working on a feature film for Dharma Productions, Jug Jugg Jeeyo. Talks are also on for some web series.
How was it working with Karan Johar?
I have been working with him for the past one year and never felt like an outsider. In fact, I don’t get this concept of an outsider as everyone, at some point, was an outsider in this industry. People hire you because of your work and what you can bring to the table.
There is no other studio in India that takes care of its crew as Dharma does.
Throughout last year, we got tested once every week and all Covid-19 protocols were followed. When Varun (Dhawan) and Neetu (Kapoor) ma’am tested positive, we were immediately quarantined. Those who tested negative were flown back to Mumbai.
How has been your journey so far?
Tough, but exciting. What I love about my job is the collaborative process. Using everyone’s specific strengths, we build something greater than the sum of its parts.
A finished film has a piece of each of us in it.
A lot of hard work goes into a film. But every time you walk on to a set, you are transported to a new environment. This renews my faith in ‘movie magic’! There is never a dull moment here.
You lived in Delhi for over a decade. How was your experience?
I moved to Delhi from Lucknow for higher studies after my intermediate. Delhi was a great training ground, be it in art, design, theatre or cinema. There was so much happening around in the city, especially on the arts front that I hardly stayed home.
I wanted to grab every opportunity to learn - watching plays at Mandi House, attending art exhibitions to catching film festivals at India Habitat Centre or India International Centre. I still visit the city often (my sister lives here), and every time I get