We caught up with the brilliant and insightful Apoorva Choudhary a few weeks ago and have shared our conversation below.

Apoorva, thanks for joining us, excited to have you contributing your stories and insights. We’d love to hear about a time you helped a customer really get an amazing result through their work with you.

My journey into the world of filmmaking began with a deep passion for storytelling and visual expression, nurtured from my early years growing up in an academically inclined family. While everyone around me pursued medicine, I found my inspiration in classic films that I watched with my parents every Saturday. This tradition planted the seed of my love for cinema and drove me to follow a different path—one that merged creativity with precision.

After earning my bachelor’s degree from Delhi University, I pursued my master’s in Cultural, Media, and Governance from Jamia Millia Islamia, Delhi, followed by an MFA in Filmmaking from the prestigious New York Film Academy in Los Angeles. These academic achievements laid the groundwork for my professional career, which began with work on student films at NYFA and UCLA.

Over the last five-plus years, I’ve had the opportunity to work on 17 films in various capacities, primarily focusing on set dressing, set decoration, and production design. My experiences have allowed me to collaborate with renowned brands like Sephora and Tony Pizza, as well as high-end production houses like The Cinema Junkies, Un Collective, and Wrightway Enterprises.

In addition to my work in film, I’ve also contributed to documentary projects such as Rooh on Netflix, and Abhasay and Lasaya, further expanding my skill set. Working with top-tier directors like Alam Sidiqqui, Yvonne Winfrey, and Anu Malhotra has sharpened my ability to adapt to different styles and demands.

My story is one of persistence, hard work, and a deep love for the craft. From set designing to managing production logistics, I take pride in the details, always striving to contribute meaningfully to each project I’m a part of.

Apoorva, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

For those who may not yet be familiar with my work, let me introduce myself: I’m Apoorva Choudhary, a production designer deeply passionate about crafting immersive and visually captivating environments for film. My journey into the world of film design began from an early love for storytelling, nurtured by a family tradition of watching classic films. Growing up in an academically oriented family where everyone pursued careers in medicine, my decision to follow a creative path was both a departure from the norm and a realization of my true calling.

After completing my bachelor’s degree at Delhi University, I pursued a master’s in Cultural, Media, and Governance from Jamia Millia Islamia in Delhi. This academic background provided me with a strong foundation in media studies and cultural analysis, which greatly informed my approach to film design. To further develop my craft, I earned an MFA in Filmmaking from the New York Film Academy in Los Angeles, where I had the opportunity to work on a diverse array of student films at NYFA and UCLA.

My career as a production designer has been marked by a dedication to creating sets that not only serve the narrative but also enhance it. I have collaborated with various production houses, including The Cinema Junkies, Un Collective, and Wrightway Enterprises, where I’ve worked on a range of projects from independent films to high-profile advertisements. My role involves designing sets that align with the director’s vision while paying meticulous attention to details like props, color schemes, and spatial dynamics.

What sets me apart in the field of production design is my ability to merge artistic creativity with practical execution. I take pride in my hands-on approach, ensuring that every set I design is not only visually striking but also functional and conducive to the storytelling process. My experience spans over 17 films, where I’ve been responsible for everything from set decoration to prop procurement. Notable projects include working on the Netflix documentary Rooh, where I served as an Assistant Director and production designer, and collaborating on Abhasay and Lasaya, a tribal wisdom series that required a deep understanding of cultural contexts.

One of my most proud achievements is my ability to adapt my design approach to fit diverse genres and styles. Whether it’s creating a period piece with intricate historical details or a contemporary setting with modern aesthetics, I strive to ensure that every project reflects a unique visual identity that enhances the story being told. My work on the film White Vinigga, where I collaborated with Yvonne Winfrey, stands out as a testament to my versatility and commitment to excellence.

For potential clients, followers, and fans, I want to convey that my work is characterized by a deep passion for design and a dedication to bringing creative visions to life. I believe that effective production design is about more than just aesthetics; it’s about creating environments that resonate with audiences and contribute meaningfully to the narrative. My goal is to continue pushing the boundaries of design, embracing new challenges, and delivering exceptional results that elevate every project I am a part of.

Can you share a story from your journey that illustrates your resilience?

One story that illustrates my resilience in the film industry took place during my work on the documentary Rooh, which was streaming on Netflix. I was serving as an Assistant Director and production designer, and the project had a demanding schedule, limited resources, and high expectations. The storyline required intricate sets to reflect the film’s spiritual and emotional themes, yet our budget constraints made it nearly impossible to procure all the necessary elements.

Rather than let these challenges set us back, I took it as an opportunity to innovate. I began sourcing props and materials from thrift stores, flea markets, and even borrowed items from local vendors. My approach to sustainable set design involved repurposing old materials and finding creative ways to transform everyday objects into cinematic elements that fit the story. For example, we needed a visually compelling altar for a pivotal scene, but buying one was out of the question. I ended up building it myself from scratch using materials I found, and it turned out to be one of the most talked-about set pieces in the film.

In addition to the budgetary limitations, we also faced tight deadlines, which meant long days on set and constant adjustments to the design based on evolving production needs. However, I remained focused, working through the pressure by staying organized and prioritizing tasks.

That experience taught me the importance of adaptability and resourcefulness in this industry. It wasn’t just about overcoming obstacles but embracing them as opportunities to grow creatively. In the end, Rooh received acclaim not just for its narrative but for the immersive environments we created on a shoestring budget, which became one of the most rewarding aspects of my journey.

Any resources you can share with us that might be helpful to other creatives?

Absolutely! Looking back on my creative journey, there are several resources I wish I had known about earlier, especially during the early stages of my career in production design.

One key resource I wish I had tapped into sooner is online communities and forums dedicated to set design and film production, like Art Departmental and The Production Designers Collective. These platforms offer a wealth of information, from tutorials and advice to job postings and networking opportunities with professionals in the field. Early in my career, I spent a lot of time figuring things out on my own, but being part of these communities would have provided valuable insights and support from experienced designers.

Another resource I wish I had known about is local film commission offices. They often provide assistance with permits, location scouting, and can even connect you with local vendors or resources that may offer discounts to filmmakers. Understanding the advantages of collaborating with local commissions earlier could have saved me time and resources during some of my projects.

Lastly, I underestimated the power of software like SketchUp and AutoCAD in my early years. These tools are essential for creating detailed set designs and visualizing space, but I only became proficient in them later in my career. Mastering them earlier would have streamlined many of my design processes and helped me communicate ideas more effectively with directors and producers.

Learning about these resources earlier would have undoubtedly made my journey smoother, but they’ve since become invaluable tools in my work as a production designer.

Contact Info:

• Website: https://apoorvadotchoudhar.wixsite.com/website-1
• Instagram: https://www.instagram.com/llappyll/
• Linkedin: https://www.linkedin.com/in/apoorva-choudhary-a068bb9a/

Image Credits

@shotbypranavmehta