The art of crafting yore
Banglan, the production designer, has mastered the art of making the past feel palpable. Hailing from Malappuram, 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. Whether it is recreating the vintage in Kurup (2021), capturing the nostalgic vibes of Pallotty 90s Kids, or designing the textured world of Lucky Baskhar, Banglan’s meticulous attention to detail breathes life into the yore.
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’s 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 Kundapura, Karnataka, Banglan paused to chat with us about building the world of Lucky Baskhar, his creative processes, future projects, and more.
Excerpts:
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: A Legend 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 while the sets were being built. This level of time constraint was something I had never experienced before on such a scale. Also, my experience working on Kurup proved invaluable.
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.

Lucky Baskhar was also shot in real locations like The Gateway of India...
Shooting at the Gateway of India was undoubtedly a challenging experience. We were granted permission to film only between 6 pm and 6 am, which meant we had to bring in all our materials and props within that restricted time frame. This posed a significant hurdle, especially given the already crowded nature of the area. For instance, the food stall sequence required numerous props, and transporting them while managing the crowd was no small feat. Despite using real locations in the background to capture the essence of Bombay, most of the scenes were shot on sets we created. Even the sequences set in the US were filmed entirely in Hyderabad.
While sourcing props, how do you ensure authenticity, and how important is attention to detail in props and fabrics when working within budget constraints?
For the vehicles in Lucky Baskhar, we began by providing a detailed list of the specific vehicles required. Occasionally, even when people agree to provide vintage cars, they may have modern features that don't suit the period, so we take extra care to confirm authenticity. This attention to detail extends beyond vehicles, ensuring that every element aligns with the film’s period and aesthetic. Even though a film is set in the 1980s or 1990s, we are showing it to an audience in 2024, who are more informed than the previous generations.
How did Venky Atluri and the studio's approach to filmmaking differ from your previous experiences?
Venky Atluri has immense clarity in his script. It allows the director to focus more effectively on the actors' performances. The production house was incredibly supportive and gave us the freedom to bring our ideas to life. Also, I find that Hyderabad, or the Telugu film industry in general, has a particularly warm and welcoming atmosphere, always eager to embrace and support talented technicians, more so than any other film fraternity in India.

What sources of inspiration do you draw from when 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: A Legend 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.
