Production designer Rupin Suchak, known for films like “Go Goa Gone” and “Dhurandhar,” reveals how designing Alia Bhatt’s home transformed his career, opening doors to interior design. He reflects on the contrasting demands of film sets versus homes, emphasizing that his core goal — creating emotionally memorable spaces — remains unchanged across mediums.
Rupin Suchak is an accomplished production designer known for his work on films such as ‘Go Goa Gone’ (2013), ‘Happy Ending’ (2014), ‘Dear Zindagi’ (2016), ‘Pad Man’ (2018), and ‘Khel Khel Mein’ (2024). He also lent his expertise as an additional production designer on the widely-acclaimed ‘Dhurandhar’ (2025) and ‘Dhurandhar The Revenge’ (2025). Alongside his film work, Rupin has established himself as a skilled interior designer too.
Rupin Suchak on Alia Bhatt’s role in his career shift
In a conversation with Mumbai Mirror, he opened up about how Alia Bhatt played a key role in steering him toward interior design, which eventually became a significant part of his work. Rupin Suchak shared, “After nearly five years in production design, the turning point came unexpectedly when I was commissioned to design the office of filmmakers (R) Balki and Gauri Shinde. What started as a single project altered the direction of my career. During the project, Alia Bhatt visited the office and responded strongly to the design. Not long afterwards, she entrusted me with designing her home. That project opened an entirely new chapter. One commission led to another and before long interior design had become a major part of my practice”.
Rupin Suchak on the difference between film sets and homes
In the same conversation, Rupin acknowledged that creating spaces for films is a completely different challenge compared to designing someone’s actual home. He noted, “I often joke that I have spent most of my career building worlds that people either inhabit for years or encounter for two seconds on screen. Ironically, the biggest challenge in moving from film sets to homes was not creativity but patience. Film production runs on relentless deadlines. Interiors demand long conversations, planning, collaboration and attention to how people actually live.”He concluded, saying, “Whether I am working on a film, a commercial or a residence, the objective remains remarkably similar. I want people to feel something. The medium changes. The story changes. But my desire to create memorable worlds does not.”
