I started acting in the third grade when my father enrolled me in theatre to overcome my shyness. I enjoyed being at Lokadharmi, founded by Chandradasan sir. Apart from acting, they taught me Kathakali and Kalaripayattu. It became my favourite place after school, and helped me grow culturally. I travelled across Kerala to perform in festivals. Even though they were children’s plays, themes like war were explored. My character-formation began there.

I also performed at the National School of Drama. I was interested in clay modelling, painting, colours and design. In Class 7, I acted in a short film by Jude Anthany Joseph. It was based on Mamookka’s childhood. He later took me for an audition for Thattathin Marayathu. That was my first real exposure to cinema, although it did not work out. My first proper film was School Bus, which made me decide to become an actor.

I always wanted to study visual communication. From Class 12, I acted in short films directed by friends, often playing the lead and expressing my emotions through those roles. I also started designing posters on my phone and laptop, as I wanted to see my face on them. I would take photos wearing wigs or beards and announce: ‘First look tomorrow’.

That curiosity pushed me to learn graphic design. I enjoyed figuring out how to present myself as an actor through visuals. I believed studying viscom could lead to filmmaking, and also something stable like advertising. I went to Chennai to study, but it did not work out.

I returned, joined BCom without interest, but stayed connected to theatre by directing a street play with classmates. We won second prize, and that made me realise I could create and collaborate. During lockdown, I watched films all day and wanted to talk about them using graphics.

So I started Aesthetic Kunjumma, posting reviews, my thoughts on cinema and vintage-inspired visuals. People responded well, and like-minded artists from different cities joined. Our first film project came through Veyil, thanks to Shane (Nigam) chettan. That is how we entered film designing.

Of course, but I enjoy that. With every new project, you realise that audiences want fresh ideas. That pushes us to learn more, both about our craft and what is happening in the market. It’s healthy pressure.

At the end of the day, it is the director’s film. He decides the visuals, tone and language. Even when he approaches a music director, he already has references and a clear idea. The same applies to branding. We may not fully understand what the film truly needs, but we do offer our inputs. Some directors, however, give us complete freedom.

The key is to adapt without stress or ego. For Bramayugam, we were asked to keep the visuals striking since it was entirely black-and-white. We conceptualised his [director Rahul Sadasivan] vision, added our ideas, and he chose what fit. It is a collaborative process.

First of all, it depends on when we receive the work. It is different when we are involved from the beginning of the shoot compared with starting work when the film is complete and we have stills to work with.

For Dies Irae, we were involved from the very start. We had the script, and, as a team, we created a mood board. The mood board sets the visual tone of the film, including fonts, colour palette, photographic references and sketches. We then take it to the director, director of photography and art director, who add their inputs.

Of late, we have started doing light tests and test shots. I model for these before the actual actors arrive. If it looks right and gets approved, we move to post-production work. Sometimes it takes days, sometimes longer.

Yes, we completed it in a day. We conceptualised the design and delivered it the very next day. The team needed it urgently. They had tried a few versions earlier but weren’t satisfied, so they approached us.

No, I would not say Aesthetic Kunjamma revived it. However, I do see a rise in interest. Audiences now pay close attention to posters, and filmmakers recognise their branding value. Viewers decode posters, compare styles, and appreciate the craft. It is part of a larger shift.

Earlier, people commented only on the story. Now they talk about grading, colouring and design…. After the pandemic, audiences have seen extraordinary work, and they value genuine art. Handcrafted work stays with them, like the hand-stitched title for Madhuram. The real change came from the audience. We are grateful to be part of it.

No, the fear around AI is misplaced… it is just a helpful tool. It can speed things up, but it cannot feel or interpret. Give 10 stories to AI, you get similar visuals. Give the same story to 10 directors, you get as many unique films. People connect with that human touch.

After School Bus, I continued acting in short films, sent them to directors and did a few ads, including one for the Express. It had just one dialogue, and the boy who had the line struggled. I was reacting in the background. The director noticed, asked me to try, and after I delivered the line, he said, “Okay, pack up.” That’s how I finally got a dialogue!

I went on to play small roles in Madhuram, Pookkaalam and Anweshippin Kandethum. My connection with Pookkaalam started years ago, when its director, Ganesh (Raj) ettan, visited our drama class as a guest. I was in Class 6 or 7.

After his session, I ran behind him and told him I loved acting. He asked me to mail him. I jotted his email id on my palm, and did not wash it all day. Years later, cinematographer Anend ettan suggested my name to him. I auditioned, and that is how Pookkaalam finally happened.

I think it is mainly because, for the first time, I am receiving live feedback and appreciation. I used to do yoga in school and even went to a national championship, so I had a name there, but it was appreciated only by a niche audience. Theatre was different. Even when I was given minor roles, people watched, appreciated and congratulated me. My first role was as a rat in The Pied Piper of Hamelin. I had to run around the stage and say, ‘Shall we just go ahead and eat him, then?’

I practised different versions many times, and when I performed, the audience started cheering. I felt a real high, and thought, ‘So this is how it feels.’ Years later, I realised the applause was actually for the next dialogue, but the excitement stayed. That was the moment I felt the kick. Even if my childhood moment was a lie, it still shaped me (laughs).

Oh yes! I don’t think there’s a need to be afraid. Fearing embarrassment is not going to get you anywhere, right?

I have known Rahul ettan since Bhoothakaalam. We often discussed design and ideas. Once, I asked if there was any character for me, and he said there were only two characters and one house. I said okay. In his next film, he said there were only three characters and one house, it was black and white, and the roles were age-specific. By the third time, he said there was only one house and one character, and we just laughed. I always trusted his vision. He is a brilliant filmmaker, and I love how he uses actors. I wanted to be part of at least one scene in his films, though I had stopped expecting it. While working on Padakkalam, I made him watch my performance. Until then, he had only seen a short film of mine. He told me, ‘You know how to act’. But that was it. Later, when the Dies Irae project began, he said he had written a character with me in mind. I never imagined he would consider me.

He asked me to read the script and pick a character, and I was drawn to Kiran immediately. He said, ‘I wrote this for you, this is you’ — though the character was the opposite of who I am actually. I remembered a real incident from Class 10 and adapted that into a scene with his permission. I also discussed the character with writer Gopan Chidambaram, who shared references and real-life experiences. On set, I stayed quiet, rehearsed, even practised holding a cigarette convincingly. I tried to keep it natural.

I watched the full film in one complete flow only in the theatre. When I dubbed for the film, I felt it was good. I used to have many doubts while shooting. I kept asking Rahul ettan if scenes needed improvement, because I wasn’t completely satisfied. He would simply say that they were fine.

I was curious to see how people would react to it. In the theatre, there was a sudden dip in the mood. My father was sitting next to me. He already knew what the scene was like. But when it happened on screen, he held my leg. That’s when I thought, ‘Yes, it worked.’

From what I understood after reading the script, the ghost may have had an unresolved issue with my character, beyond just the moment where I badmouthed my sister character in that particular scene. I also felt that the ghost wanted to scare and unsettle Pranav [Mohanlal] chettan’s character by pushing me down.

I don’t think so… Rahul ettan has not mentioned anything like that. He is preparing for a new film.

The first thing I was asked to do was to read the story. After reading it, I suggested using oil painting on canvas. It felt right for the film’s tonality, mood and lore. We had never tried oil painting before. It is a complex medium, usually handled by experts. Even a small piece can take months. We wondered how to adapt it for a commercial film, but the director and producer encouraged us to experiment. The initial concept was a round, well-like form holding all the characters, almost like the entire script living within it. We made a rough version and showed it to Rahul ettan. Artist Jojo sketched it.

Based on that, the artwork began to take shape. Even Pranav ettan is shown lying down, as if the whole story is his nightmare. There is a lady figure with a chilanga. To get the details right, we even enacted how a dead body would look after being in water, with swelling in the legs and the chilanga tight around the ankles. Everything from the film, including characters like Madhu (played by Jibin Gopinath) and Elsamma (played by Jaya Kurup), was hidden within the painting. It was later digitally enhanced by my colleague, Sam. Once people watch the film and look at the artwork again, they might truly appreciate the detailing.

It was Rahul ettan’s suggestion. Later, he asked if Lalettan’s profile could also be changed. Other than that, there were no intentions behind it.

Yes. I was involved from the very start. [Cinematographer] Nimish Ravi is one of my mentors, and he had spoken to me a long time ago about the Lokah franchise, and how it would be complex to execute. I got to know the script early, and it naturally evolved. I knew [director] Dominic Arun, too, personally. Working with this team was the same process but a different experience. Nimish is very inspiring and a great visionary. I have learnt a lot from him. I still show him the posters that I make, just to get his opinion.

Oh no. I did ask for a chance in Chapter One, though (laughs). I knew many chapters were coming even then. But yeah — let’s just hope.

We usually do not insert Easter eggs just for the sake of it, because audiences can sense when it feels forced or awkward. In some films, like Lokah, we use them consciously, because it helps build identity. Since Lokah is a franchise with five films, the dagger in the title helps people recognise which part it belongs to. In the next one, Chaathan, we used playing cards…. It is about establishing a visual identity.

However, in films like Dies Irae, Bramayugam or Bhoothakaalam, their natures do not suit such elements. It depends on the film’s needs. Even abroad, many films simply stick to clean, readable fonts and consistent branding. It is not always about showing brilliance in the type, but showing what fits the film best.

Definitely. Every actor has a unique understanding of their character. No matter how much we try, we may not fully grasp their perspective because they discover things while becoming the character. So instead of overplanning, the best approach is to give them space to work their magic. For Bramayugam, I had initially asked Mammookka to be grim and intimidating during the poster shoot, but he added an ominous smile. It was something we had not even thought of. It reminded me how important it was to allow actors to contribute.

Yes, absolutely. For instance, I once told Pranav chettan that it might look better if his veins looked strained, like in the choking scene. He immediately improvised with his own techniques, giving different variations. I was shocked and even worried he might get hurt. His effort and input were incredible. Even as an actor, I felt inspired by him.

The ‘50 crore’ poster shoot also followed a similar approach. We wanted to show Pranav chettan’s character moving through different stages of fear across the Dies Irae posters. The photoshoot actually happened on the very first day, even before the film’s shoot began. We made him go through almost 10 days’ worth of emotional intensity in just a few hours. For this particular poster, we asked him to scream, and he gave it his all. His chest veins even looked as though they might pop. Rahul ettan joked if I was trying to kill him during the shoot. But we wanted that outburst, and he delivered.

I think it mostly happens through people in that circle introducing me. Social media also gives every artist space to showcase work, collaborate, and get noticed. Recommendations from mentors help a lot too. Bramayugam and Lokah gave us visibility. But many only remember ‘Aesthetic’, so I teach them about the Kunjamma part now (laughs).

They expect a more structured format, with pitch decks, dockets and proper presentations. Here, it is more organic, where I can even call the client at midnight with updates. The creative process is essentially the same everywhere, but we adopted a more systematic approach with proper decks and moodboards because it makes things easier and clearer for everyone. It was not scary at first because I knew nothing when we began, so there was no fear. Our first offer was from Dharma Productions, and meeting Karan Johar felt surreal. We first pitched for Gehraiyaan, but it did not work. We learnt, tried again and got it right on the next film. Now we have another Hindi film and are still learning.

We are working on Patriot currently. We are also doing two films in Telugu, one in Hindi, two in Tamil, and there’s Khalifa.

I do wish there was more scope for recognition. I do not know why the category does not exist yet. Maybe it will as the industry evolves. For now, audience appreciation keeps us happy and hopeful.