Banglan, the production designer, has mastered the art of making the past feel palpable. Hailing from Kerala, he catapulted into the limelight with Kammara Sambhavam (2018), a genre-bending historical film, for which he clinched the National Award for Best Production Design, becoming the youngest to earn the accolade.
The seeds of his creativity were planted early—thanks to a love for drawing—and were later nurtured by films like The Lord of the Rings, Wong Kar-wai’s films, and production designer Dante Ferretti’s lavish collaborations with Martin Scorsese. His inspirations pushed him to create worlds that don’t just look good but transform scripts into worlds rich in authentic detail.
Currently, he is neck-deep in crafting Rishab Shetty’s Kantara: A Legend Chapter 1, a project that is going to keep him busy for another year. Despite his packed schedule in Karnataka, Banglan paused to chat with us about building the world of Lucky Baskhar, his creative processes, future projects, and more.
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In the context of Indian cinema, the terms art director and production designer are often used interchangeably. Could you clarify the difference between these two designations?
A production designer defines a film’s visual aesthetic, overseeing elements like sets, costumes, props, locations, and VFX while managing budgets and collaborating with key departments. Their role spans pre-production to post-production, often involving tasks like finalising VFX.
For example, while working on Kantara: Chapter 1, I was also coordinating with the VFX team and cinematographer of Lucky Baskhar to ensure seamless integration across all elements. An art director focuses on executing the production designer’s vision during the shoot, handling set construction and decoration, with their involvement typically ending once the filming concludes.
Could you walk us through the process of creating the sets for 'Lucky Baskhar'?
Although we made Lucky Baskhar over the course of seven schedules spanning eight months, the sets for Baskhar’s home, the street, and the bank were constructed in just 15 days. We divided the work between two separate spaces in an aluminium factory in Hyderabad. To meet the tight timeline, we formed two parallel teams and sourced props from various states. This level of time constraint was something I had never experienced before on such a scale.
Speaking about attention to detail, the interior of Baskhar’s house evolved over time, reflecting his increasing wealth...
Yes, as Baskhar’s financial situation improved in the film, we made subtle changes to the house’s interior. Early on, the house was furnished modestly, but as his earnings grew, we introduced more expensive items. For example, we added a new television and upgraded the furniture, alongside more refined decorative pieces.
What sources of inspiration do you draw from while creating a period setting for a film?
More than referencing period films, one of my key sources of inspiration comes from paintings. While the final output may not directly mirror the structures in these paintings, the essence and mood of the artwork often inform the textures, colours, and overall visual language I incorporate into set design. Also, I turn to details in books, whether they describe specific objects, materials, or the general atmosphere of a particular era, which will also guide the design process.
How do you communicate your ideas with the people who come under your production design department?
The process begins with drawings, which becomes the foundation. Now, we also incorporate AI, especially by experimenting with lighting to improve the overall look. Once the director and I are aligned on a concept or visual direction, I proceed to create the look using a software called Lumion. This includes adding lighting and staging elements. If the storyboard is already completed, we animate the entire storyboard within the software, collaborating closely with the cinematographer. Pre-visualisation ensures clarity before we begin shooting.
Among the various projects you’ve been involved with, are there any that stand out as particularly special to you?
Philips and the Monkey Pen (2013) is a film that is particularly close to my heart. Despite the constraints, we were able to make this small film look as rich as possible while maintaining its charm. Similarly, Kurup stands out for its attention to detail we were able to pull off.
What projects do you have lined up next, aside from Kantara: Chapter 1?
In Telugu, I have Rainbow, which stars Rashmika Mandanna. In Tamil, I’m involved in Maareesan, featuring Fahadh Faasil and Vadivelu. In Malayalam, I have Kaaliyan, Vilayath Buddha, and Srinath Rajendran’s next film, titled Blue.