Picture perfect

Q From a BA in Sociology at St Xavierrsquos College to set designing at West is West mdash the sequel of Om Puristarrer East is East yoursquove had quite a journey What attracted you to set design in the first placeA As a child I was surrounded by design My mother is a graphic designer and that exposed me to the aesthetics of design in various formsI watched as she would use colour and form to enhance aspects of the projects she was working on When I went to Rishi Valley a boarding school in Andhra Pradesh it encouraged me to explore my creative potentialA still from Dustland the second thesis film that Aashrita Kamath worked on as a production designerPic courtesy Aashrita KamathI studied fine art and joined a film club while at Rishi Valley where we watched classic movies from all around the world I used the available resources to design the sets for a few plays that were performed at school That process was the start of my interest in designing spaces that helped tell a story For my undergraduate degree I moved to Mumbai to study atSt Xavierrsquos College and for two years I was part of the Fine Arts Exhibition at Malhar Later I worked at a production house that did ad films It was my first job and I learnt a lotA still from DustlandQ How did West is West happenA After I graduated in Sociology I was certain that I didnrsquot want to make a career out of it During my brief work experience at the production house I observed how the art department functioned on the few commercials I was involved in making me gravitate towards production design A friend put me in touch to assist the renowned production designer Aradhana Seth Earth Fire and Don who was just starting work on West is West After a brief prep period in Mumbai the entire production moved to Chandigarh to recreate a Pakistani village Aradhana taught me many of the invaluable skills that I use today such as mdash breaking down a script and the multiple ways in which research can be done or a period film It was my first time on a feature film set and I wonrsquot ever forget that experienceAashrita with director Jacob Andersen and cinematographer Sara Ross Samko on stop motion music video As Long As You Watch My Heart Q Tell us about the Interstate What attracted you towards it and what were the key challengesA Interstate tells the story of Joaquin a 40yearold driving instructor who teaches illegal immigrants to drive taking them to Utah so they can get driverrsquos licenses in a state that doesnrsquot require a Social Security Number The law catches up with him and he faces a dilemma that may haunthim forever The universal message of the film and the deft screenplay was what attracted me to designing itI took up the challenge even though we had very little time before principle photography began Another major challenge was that locations kept falling through at the last minute which needed the art department to constantly improvise and modify to suit the new location Lack of funds and having a skeletal crew also added to the complicationAt the 41st Student Academy Awards LR Franzis Muller editor Aashrita Kamath production designer Camille Stochitch director Brett Myer producer Justin Kane cinematographer Pics courtesyAashrita KamathQ You have also been a property master for Zindagi Na Milegi Dobara and now working on a Ridley Scott production What is the difference in the working styles of Bollywood and HollywoodA The primary difference is the working practices and conventions American Film Institute is extremely strict with how student films should follow the rules of the industry and the film unions in LA Often as student films are also low on budgets stories are changed to accommodate those rules The union is very strict about the way a driving scene in a car is executed Roads need to be blocked off and we need to notify the police and often have one police vehicle in the front of the picture cars and one behind it As Interstate had a lot of driving scenes the director had to rewrite to make it affordable