In an Exclusive interaction with DNA, art director Rupin Suchak spoke at length about designing Alia Bhatt's home banner Eternal Sunshine office.
Alia Bhatt's production house Eternal Sunshine Productions is finally set up and the office of the same is below her residence. Art director Rupin Suchak designed the office, and the actor made sure to get involved in every aspect of the process. Now Alia has officially announced her production company along with her first project Darlings.
She shared the logo of her home banner and wrote, "And I am so happy to announce... PRODUCTION!!! Eternal Sunshine Productions. Let us tell you tales. Happy tales. Warm and fuzzy tales. Real tales. Timeless tales. @eternalsunshineproduction."
Earlier in a statement, Rupin had said, "We added a lot of Turkish colour palettes to space which had a muted neutral base. Floor pillows, leather pouffes, and comfortable chairs add to the cosy atmospheres of boho interiors. This office space in a way was a great opportunity for her to express her love of art and design."
Now, in an exclusive interaction with DNA, Rupin Suchak spoke at length about designing Alia Bhatt's office, his decade-long journey in the movies, mentor Sabu Cyril. Suchak is also the one who was the art director of Sanjay Leela Bhansali's Inshallah which has been put on the backburner now. He shared about the ambitious projects too.
Excerpts from the interview below along with photos of Alia Bhatt's office. Read on...
1. What was the brief given to you by Alia Bhatt while setting up her office?
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Alia has a sophisticated taste and just like her art I was quite surprised by the clarity she had in putting down her requirements. The quirky yet classy intersection of design elements was th way to go. Right from the beginning, she wanted to keep the space that she could come back to, it's a space that is right below her residence so a feeling that connects two spaces had to be a common factor. Having seen and achieved so much at such young age her exposure to styles and designs is much hence she wanted a very sublime and classic look to the entire space with subtle hints of her magic that film industry creates.
2. Did she have some specific requirements?
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Well, it more like she specifically didn't want to fall out of with space so, more like, not requiring a certain style or in other words anything jarring. She didn't wish anything that she would easily get bored of.
3. How long did it take for you to make the final design?
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Designing spaces is a process. It took around five days for us to bounce back with the Basic design but due to Alia's shoot schedules, we would wait a bit longer to discuss or reach out to her on the sets to discuss the design process. There was a stepwise improvisation of designs and over four months we lined up everything and went on to finish the entire execution in about six months.
4. You have worked in the biggest of films with the leading filmmakers, how would you describe your whole journey?
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Well, I have been fortunate and thank everyone to be associated with every project I have been involved with till date. The past decade seems like a lot of learning, fun and overall extremely satisfying and joyful. Life has taken a complete turn. Things have been overwhelming at times, given the turnaround and demands of this magical stream, but as long as I enjoyed doing what I did, life has been beautiful. Each step has been a learning and it continues. Each day I look forward to creating something I have never dared to. Each day has been a dare. Creating dreams has become a passion and the addiction just intensifies with the versatility that Art has in this field.
5. How did you get your first break in the film industry?
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My first break was with directors Raj & DK, I was still an associate to my mentor Sabu Cyril. I remember shooting a commercial for Shaadi.com independently with the director duo. It was a quick project and exactly how TVCs are. Our sensibilities instantly connected and they offered me their ongoing project then, Go Goa Gone. It was almost complete but some interesting sections were still left to shoot in India. Right after that, they offered me their next project Happy Ending that was produced by Illuminati Films. These were some baby steps that marked an epoch in my career.
6. You have worked with Sabu Cyril, who is the leading art director in the country. How was your learning experience?
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It's because of that man that I have been able to reach where I am, to this day. He has been a mentor and teacher. He has had many many assistants like me but with the intensity that he imparts his, almost, 35 years of experience, one would be less fortunate to not grasp it and use it to their advantage. My journey was like an earthen pot on a wheel. From mere clay to the well-crafted product, is what one turns out on the other side of being with him for the term. He has taught us to jump into the biggest of challenges human mind can think of creating. He is a master of all trades and jack of all.
7. You were even a part of Sanjay Leela Bhansali's 'Inshallah'. Could you share about the whole set up that was planned?
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We always say, Sanjay Leela Bhansali sir presents his craft better than anyone else in this country. Inshallah' was one such project. Each detail was well planned with hours of working each day sitting next to the legend. The set up surely was a Magnum Opus, something that would have given this industry a breath of fresh air. But, as we say, God has a plan for all. I consider myself extremely fortunate to have collaborated with the genius and that work still holds the best of my craft.
8. What do you have to say for upcoming art directors and who plans to foray into this artistic world?
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These are difficult times, technology is upgrading the working of our day to day craft. One has to constantly be connected to the explorations happening around the world and work at the same level. It's very important to develop one's style and yet be prepared to face any form of challenge. Overall, I feel it's about time everyone starts to enjoy what they do, results shall show.
