'My efforts on Saawariya have paid off'
The hullabaloo around Sanjay Leela Bhansali's magnum opus Saawariya is building up by the day. Monty Sharma's music is already scorching charts while newbies -- Ranbir Kapoor and Sonam Kapoor have become the subject of all coffee table conversations.
The plush, enthralling visuals bear the discernible Sanjay Leela Bhansali stamp. Saawariya retains his trademark extravagance and grandiose and the captivating promos say it all.Those who have worked with Bhansali swear by his penchant for perfection and his doggedness of getting to the nitty-gritty's. Meet once such man responsible for the very opulent, larger than life look in the film -- art director of the film Omung Kumar Bhandula.
"Saawariya allows you to live your fantasy. The night life, smoke, lightning, the floors, walls, the boat, lotuses, peacocks, diyas, snow, bulbs and all the glitterati. Everything about Saawariya is exceptionally magnificent," says Omung.
"And we have been extra meticulous about painting. Saawariya is a dream world that doesn't exist but if it existed, everyone would have loved to be a part of it. The ambiance is almost like Venice and Moulin Rouge," gushes Omung adding, "The basic briefing given to me was that we needed a mystical town that no one has seen before. So we created a town that encapsulated India. Every frame has been shot within India. There are nine massive sets in the film. Every set had to out do the previous one and had to be a bigger masterstroke. I was required to outperform at every stage."
The advertising professional who kick-started his career with Hindustan Thompson Associates as a creative director has also hosted the once popular game show Anchor Ek Minute.
"Once I quit HTA, I started designing sets. My wife and I started Opus Planet Construction Entertainment (now Blue Lotus Productions), we designed for serials, game shows and it gradually led to films," says Omung who has films like Na Tum Jaano Na Hum, Jhankaar Beats, Ishq Vishq, Shabd, Pyar Ke Side Effects etc to his credit
But he affirms that Sanjay Leela Bhansali's Black was the defining moment in his life.
Though Sanjay was wary about having him on board, once he saw his designs he was convinced. "Everyone used to associate us with colorful, vibrant sets. But with Black, I got to explore my serious side. Sanjay was skeptical since it was such a huge project but eventually he took us on. I have worked with his sister Bela so she introduced me to Sanjay," reveals Omung who is presently designing for Subhash Ghai's Yuvraj, Harry Baweja's Love Story 2050, Sony's Viruddh and reality shows -- Voice of India, Comedy Circus and Nach Baliye.He fondly reminisces his Black experience and his tuning with the very reclusive-n-secretive Sanjay Leela Bhansali. "Black was difficult and challenging. It was quite a departure from Sanjay's other films. So we did a lot of research because he is a man who loves detailing and getting to the core of the matter. But his sensibilities gelled with my craziness. That's why we bonded because we both believe in everything larger than life."
And how did he meet Bhansali's ever burgeoning expectations?
"I don't think he is all that demanding because our wavelengths matched. We don't think small at all. Not being gaudy and garish and yet stylish is our forte. He is surely a taskmaster but because he's fastidious you want to please him even more. He gives you complete freedom to experiment. If I got stuck midway or if he didn't like something we'd get more innovative. But when he saw the last three sets his hands started itching because he thought they were so perfect that there was no scope for any changes," Omung cannot stop grinning.
"He would give his creative inputs and tips but I don't perceive it as interference.
We both live in a different make believe world where we make the impossible happen. I cannot settle for anything less than perfection. I cannot settle for mediocrity," he emphasises his point.
The 40-year-old rules out any traces of astrology or numerology behind the unusual spelling of his name. "I have always spelt my name as Omung because I felt Umang sounded incorrect. People know me as O.K."
Bhandula is well aware of his forte and prides himself on the same. "Sketching comes naturally to me. Its hands on for me. Other art directors delegate designing to people. But I do it all by myself."
Omung is visibly content with his work in Saawariya. "I have worked for almost two years on Saawariya and my efforts have paid off. It was immensely fulfilling.
Iskay baad kaam nahi karunga toh chalega," he says in a lighter vein adding, "I remember it was pouring heavily and we needed snow for a sequence because the salt that we had somehow turned yellow. So we went all out and managed with white rangoli at 4 in the morning."
Just before he signs off he opens up a wee bit about the bridge that he feels is significant to the plot.
"The beauty of the whole film centers around the bridge. It's made of iron beams and involved lot of cement work because there was water running through so it had to be sturdy. It is embellished with real stones."
Anupamaa
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