Recreating a world

Although the term ‘set’ conjures up the image of a large,colourful,makeshift and imaginary world,it isn’t always the case. Even though Wasiq Khan has created fantastical sets for Ram-Leela,for Gangs of Wasseypur he had to opt for a more realistic space. The nature and scale are decided by the story and sometimes,also by the filmmakers’ style. For instance,Rajnish Hedao,who has worked with Rajkumar Hirani on 3 Idiots and now PK,says that the director likes his world simple and minimal whereas Sanjay Leela Bhansali (Hedao was the production designer on Guzaarish) likes his stories told in a fantastical manner. So while the production designer may define the spaces the characters inhabit,it will be in keeping with the director’s vision.

Research plays an important role in creating these worlds. For example,Omung Kumar,production designer on Black and Saawariya,had to study the sport of boxing as well as life in Manipur for Mary Kom,which he is also directing. “We can’t shoot in a real stadium every time. Thankfully,boxing is an indoors sport and so fights can be recreated on a set,”

he says.

In a production designer’s job,challenges of budget and time are constant as are other infrastructural issues. Outdoor scenes for Delhi Belly had to be shot in the Capital but filming the interiors there as well,would have put a strain on the film’s budget. So,Tere decided to create a three-story set in Mumbai to act as the building where three friends rented an apartment. “The interiors had to match the exterior,which was shot in Delhi. But more importantly,we had to build concrete ceilings in order to film the scene where the floor of their apartment caves in,” recounts the production designer.

Finding himself in a similar situation while shooting for Agent Vinod,Hedao created a “Russian pub” for the song Rasputin. Short on time,he built the basic structure and stuck sheets of flex printed on the interiors to make it look like a Russian pub. The cinematographer took care of the rest,shooting in a manner so that the objects appeared three-dimensional.

While these tricks are necessary evils,it’s the detailing in the spaces they create which drives production designers. “If a Fevicol Se set appears like a set,it’s fine,because everyone,including the audience,is aware that it’s an item song. But if people can tell that we created a set for Delhi Belly or my next,Happy New Year,it means I haven’t done my job well. A mobile charger plugged in by the bedside,an old bedsheet spread out,chipped mugs — these are the kind of things we use to make spaces feel lived in,aspects that don’t get noticed by the viewers. The idea is to make the audience feel involved in the space and story,” says Teres.

Hedao,however,believes that this visual layering is important. Films such as 3 Idiots have repeat value. “The audience may not have noticed in the first viewing that the water tank where the boys in the film met often,had formulae written on it. But discovering such small things subsequently is what makes the film exciting upon each viewing.”

dipti.nagpaul@expressindia.com