Set designer Rupin Suchak on working on the new SRK movie and the streamlined ways of its director Gauri Shinde.
It WAS on the sets of the recently-released Ki & Ka that production designer Rupin Suchak landed the offer to do the sets for Gauri Shinde’s upcoming movie starring Shah Rukh Khan and Alia Bhatt. His name might not ring a bell, but is the man behind the sets for movies like Happy Ending (2014) and Go Goa Gone (the rave party in the song Slowly slowly). With a team of two managers and four assistant production designers, the 28-year-old who cites production designing as “60 per cent management and 40 per cent creativity,” is currently wrapping up Shinde’s movie, internally called ‘Production Number 51’. Next, he has AR Murugadoss’ bilingual in his kitty, too.
Set for action
It all goes back to that one mail the NIFT (Delhi) graduate sent to Sabu Cyril, the National Award-winning art director, in 2009, requesting a chance to work with him. “After assisting him on movies like Jai Ho, he referred me to R Balki for Ki & Ka as he was busy with Baahubali,” says Suchak. Good for him we say, because Balki’s wife, Shinde, a frequent visitor on the sets, noticed his work and as soon as Ki & Ka reached pre-production, she signed him on. “Gauri ma’am, the DOP Laxman (Utekar) and I sit and brainstorm each and every set,” he says. Speaking about Shinde, he says “She is a new-age director. I’ve have always heard about her organised ways. She is the kind of director who likes to sit with her sets, figure out her treatment and break down of shots in advance.”
The cast and crew recently wrapped up an intense 45-day schedule in Goa, “which has a mixture of location-based outdoor shoots. Currently, we are shooting in Mumbai for 20 days,” says Suchak, who adds the sets are “contemporary”.
All good things take time, so does VFX, says Suchak when we ask him about the quality of special effects in Bollywood. “Mega-budget Eid and Diwali releases are announced, while the shoots are on till June, and sometimes even July! The VFX team struggles with deadlines as they have to paint every frame of every scene, and each second comprises 24 frames,” shares the Mumbai-based designer, who has worked as an assistant director in Ra One, which won the National Award for Best Special Effects.
— Seema Rajpal