Twenty seven years ago, when ace director Priyadarashan asked him to
pose for a group photo, Sabu Cyril was reluctant. He had come to the location of Kilukkam at Ootty to help Mohanlal try the special costumes he made for Uncle Bun. Priyadarsan was so impressed by Sabu’s work that he congratulated him and asked to pose for a photo with the team.
Irony that the man who wouldn’t even pose for a photograph is today in the limelight for his excellent work in the magnum opus Baahubali.
“I had no idea about art direction when director Bharathan asked me to take up the task in Amaram. I was there to deliver the shark I made for the film. I told him I was ignorant. I was never an associate to anyone. But, Bharathan told me that since I could make that shark with perfection, I could do almost anything,” says Sabu, the production designer.
First step
His first tryst with films came when he was introduced to director Bhadran by a friend. “There was a scene in Iyer the Great where a train gets derailed. When Bhadran discussed this with my friend Ashok, he introduced me as I used to make miniatures.
But then, I was busy with ad films and was least interested in films. However, on the sets of Amaram, which made me an art director, I realised I could gauge what the scene demands. Then came Uncle Bun which presented Mohanlal in a huge size. Mohanlal needed some special costumes for it and the industry accepted my contributions,” he recalls.
Bonding with Priyadarshan
The bonhomie with Priyadarshan which began with the congratulatory note made them a team in various languages. “See me as a friend, he told me. We will work together till you meet a better director or I meet a better art director. This association which began from Muskurahat, the Hindi remake of Kilukkam, continued for 71 films. I know what Priyan wants from a single call,” he said.
The set of the temple he made for
Adwaitham was received with awe when many mistook it for a real temple. The first two National Awards came for Thenmavin Kombath and Kalapani, both directed by Priyadarshan.
Though Mollywood is rich in talents, Sabu feels it is their attitude that keeps Malayalees away from glory. “Whatever we do, we keep it low profile.
It is just ‘good’ or ‘ok’ to us. However, Bollywood expresses it loudly. For example, director Shekhar Kapoor came to the sets of Kabhi Na Kabhi. I could not believe it when Priyan told me about how he values my work and expressed his admiration,” he said.
Period films are a challenge
According to him, it is all about making us believe. “Anything out of place will spoil the scene. In fact, it is easy to make fantasies as it is all in the imagination. However, period films are different. I found Hey Ram very challenging as it is set in a recent time. It had to be convincing on screen as many who witnessed that era were still alive whereas in Robo (Enthiran) you can make anything as it is fiction,” he says.
According to him, the production designer has a say in every aspect of the film, except the emotional reactions of the actors. “I made the sketch for the sandals used by the characters in Baahubali. Though it is a part of the costumes, a production designer can suggest what suits in totality,” he said.
However, he is a bit reluctant to wield the megaphone though there were some plans earlier. “It is true that I wanted to make Ananthabhadram. Then, I dropped the move. I am very busy as a production designer and I didn’t want more responsibility,” he adds.
What about an international project? “There were some offers from Hollywood films made in India. But I was not interested. I want to be a big fish in a small pond,” he chuckles.So, will he return to Malayalam, his home turf? “Should I?” he retorted. “There are many talents here and I am getting many offers. Invite me to Mollywood only if no one else can do it,” he stated.