GULLY BOY// 3

The success and final outcome of this project required a lot of guidance and assistance
from many people and we are extremely privileged to have got this all along the
completion of our project

We respect and thank Prof. DHIMANT PANCHAL and Prof. RAJAN IYER, for providing us an
opportunity to do the project work and giving us all support and guidance. We heartily thank our faculty project mentor
Asst. Prof. SANDEEP ANJARA for his guidance and suggestions during the project.

We owe our deepest gratitude to our project mentor DHARA JAIN, who took keen
interest in both the work and how we developed through the process. She guided and encouraged us on every step of the
project and made sure we felt motivated and kept pushing ourselves for the better.
We would also like to thank project’s production designer SUZZANE CAPLAN MERWANJI for timely feedbacks and priceless
inputs through the process. We couldn’t have finished this project without the support and guidance from
SHAIRA LAURA KAPOOR, JYOTI TULSYAN, BINDIYA CHHABARIA, SHEKHAR MORE and ROSHAN VICHARE.

We would also like to thank EXCEL ENTERTAINMENT PVT. LTD. and TIGER BABY productions
for welcoming us and giving us this opportunity to work on this project.

We are fortunate enough to get constant encouragement and support from

PARIDHI JAIN, ABHISHEK POOGALIA, RITIMA ROY BURMAN and GAUTAMI KHATAVKAR.
They acted as our backbones in the entire process.
Also we would like to extend our sincere esteems to our family and friends
who stood by and motivated us to extreme limits to achieve more.

THANK YOU
It wouldn’t have been
possible without you all.

ACKNOWLEDGMENT
GULLY BOY// 6
ABOUT COMPANY 08 OUTDOOR 103

TEAMS 11 RESEDENTIAL 125

BRIEF 17 OTHER SETS 155

MOOD BOARD 20 TREATMENTS 159

CHARACTERS 22 EXPERIENCES 161

EXPERIENTIAL 29 FIRST LOOK 163

COMMERCIAL/ INSTITUTIONAL 69 BEHIND THE SCENES 166

CONTENT
GULLY BOY// 7
 Having started out modestly sixteen years ago, today
Excel is considered iconic in changing the sensibilities of
Indian viewers. Excel has been pushing the boundaries of
reel entertainment ever since it’s first release in 2001,‘Dil
Chahta Hai’, which even till today is considered a cult
classic. Excel has produced films as diverse as ‘Lakshya’, a
coming age film set against the 1999 Kargil war, ‘Don’an
edge of the seat thriller, and ‘Honeymoon Travels Pvt.
Ltd.’a light hearted comedy.

Apart from working with the biggest names of the Indian

Film industry, they have chosen to further increase the
dynamism of their movies by collaborating with the best in
the international field of film making. From cinematogra-
phers to top of the line-celebrated technicians, Excel uses
their enterprising nature to provide global levels of cinema
for the Indian viewers. Always looking towards the future,
Excel Entertainment is determined to achieve their goals
of placing India on the global map of international cine-
ma by showcasing their award winning movies to a world-
wide audience.

VISION
Excel is determined to achieve their goals of placing
India on the global map of International cinema by
FOUNDERS : RITESH SIDHWANI & FARHAN AKHTAR showcasing their award winning
FOUNDED IN 1999 movies to a worldwide audience,

ABOUT COMPANY
GULLY BOY// 8
 Born in Mumbai on 14th October 1972, Zoya Akhtar hails
from one of the most talented film families in the country.
After completing a diploma in filmmaking from NYU, she
assisted directors like Mira Nair, Tony Gerber, and Dev
Benegal, before turning Writer-Director in her own right.

She has directed movies like the critically acclaimed Luck

By Chance (2009), Zindagi Na Milegi Dobara (2011) and
Sheila Ki Jawani as part of Bombay Talkies (2013). She has
co-written Talaash (2012) alongside Reema Kagti. Her sig-
nature style brings together creativity, sensitivity and indi-
viduality to create a one-of-a-kind cinematic experience
which resonates with all ages.

She then went on to direct Dil Dhadakne Do (2015), a film

based on a dysfunctional Punjabi family.

After Dil Dhadakne Do, Zoya Akhtar’s next

directorial venture is Gully Boy.

FOUNDER : ZOYA AKHTAR

ABOUT COMAPANY
GULLY BOY// 9
 This film had very elaborate teams.
They all had their internal teams to make work smooth and accurate.
All the teams work together and inform everything to each other in order to main-
tain the synergy of the film. Everyone needs to share what they are doing so that
everything is prepared and nothing hinders the shoot.
All the teams individually can’t achieve anything. There needs to be help
and support from all the teams.

GULLY BOY// 10
1. DIRECTION 10. LIGHTS
2. 2nd UNIT DIRECTION TEAM 11. GRIPS
3. PRODUCTION 12. SPECIAL EQUIPMENT
4. LOCATIONS 13. SOUND
5. COSTUME 14. ART
6. MAKE UP AND HAIR 15. VFX
7. DIALOGUE SUPERVISION 16. DIT
8. SPOT TEAM 17.ACCOUNTS
9. CAMERA

TEAMS
GULLY BOY// 11
 PRODUCTION DESIGNER - SUZZANE CAPLAN MERWANJI
ASST. PRODUCTION DESIGNER - BINDIYA CHHABARIA

CONSTRUCTION FORWARD DRESSING/PROPS

ART DIRECTOR - SHEKHAR MORE SET DECORATOR - DHARA JAIN
ASST. ART DIRECTOR - ROSHAN VICHARE SET DRESSERS - JYOTI TULSYAN and
ARCHITECT - SWAPNIL KUBAL SHAIRA LAURA KAPOOR
JUNIOR ARCHITECT - KRITI VERMA GRAPHIC DESIGNER - RHEA D’SOUZA
ASST. SET DRESSER - PARIDHI JAIN
Every set required some or the other chang- ART ASSISTANT - ABHISHEK POOGALIA
es to be made, so the construction team ART INTERNS - AKSHITAA RAJ
stepped in to perform them.
GAUTAMI KHATAVKAR
In this film, there is a major set that was con-
structed from scratch on a barren land. Thus RITIMA ROY BURMAN
their involvement in the film has been intensive.
The forward dressing team is responsible for any and all
props and dressing of the
ON SET location or actors. They need to prepare for the next
ART DIRECTOR - ARVIND KUMAR location and keep it ready for the next shoot.
ASST. ART DIRECTOR - RHEA SHETTY

This team’s work is to be on set while the

shoot is going on. They have to keep
looking at frames of teh shots and make
changes as when required in the sets
and dressing.

ART TEAM
GULLY BOY// 12
GULLY BOY// 13
 The film works on two levels - CREATIVE AND EXECUTION.
Luckily for us, we could be a part of both. Our major involve-
ment was in execution as creatives for the sets were already in
place.

We were required to understand the script well, then impart

the character and then step out for referencing or sourcing to
obtain whatever the set required.

We were also part of the set dressings. All the props when
bought or rented needed to be placed on sets and rest of the
dressing was supposed to happen accordingly.

The team we worked under was the FORWARD DRESSING TEAM.

We were required to dress
location and then head for the other one wile the shoot hap-
pened on the previous one.
We stayed on the shoots as well (sometimes!) to help around
with art changes that happened during the process.

And then also stay on for the wrap of the location, which
means to send in all the rented stuff and mark and pack the
bought to respective godowns of excel.

Our creative intervention was mostly very

spontaneous. While dressing or sourcing we could be innova-
tive enough to do justice to the
character and space.

GULLY BOY// 15
 Before we could get the essence of the office and it’s culture; we caught this.
From the very first day, we were enforced with the idea of GREEN IS THE NEW BLUE.

Well, the entire movie touches the low notes of emotions,

and BLUE being a BRIGHT colour and too CATCHY, was ignored at all levels. Blue was
specifically banned but we avoided all the other brights as well.

INGRAINED YET?

FIRST PICK
GULLY BOY// 16
 WE WERE GREETED WITH THIS

To give us an idea of what will be our work and how will we proceed; on the very first day we were given the script of
the film to read thoroughly. We were expected to understand the mood of the film and characters well.

There are about 60+ set up locations in this film and all have a very different feeling to it.

The script gave in a very clear pathway of the vision of the film by using the character memos and
expectations off the art team sheets.

BRIEF
GULLY BOY// 17
BASED ON A TRUE STORY (WELL, ALMOST)
The film is based on the Indian rappers who started from Dharavi slums

The story is based on DIVINE and NAEZY. They are currently India’s hottest growing rap artists.
They function as GULLY GANG; and are famous by that stage name. They started off with the song
“MERI GULLY MAIN” which they recorded in their slum streets on a phone and put it up on YouTube.
A music company saw it going viral and shot and re-recorded it. And since then, They have done
numerous albums, film songs and advertisement music and there is no stopping for them.

Everyday is a challenge for people staying in these slums. They are unable to fulfill their ROTI, KAPDA and MAKAAN needs. In
such places the residents can only think of living by the necessities.

But there are a few, who decide to break free and dare to dream big. The story is about one such young artist MURAD
(played by RANVEER SINGH) who writes really well, but never shows it to other people; not even to his love interest SAFEENA
(played by ALIA BHATT).
During the college phase of his life, he meets people who have the ability to turn their words into performances. He meets
SHER (played by SIDDHANTH CHATURVEDI), Gemma(played by MICHAELA TALWAR) and SKYE (played by KALKI KOECHLIN)
and gets the confidence and encouragement to become something more than a regular Dharavi boy.

During the process, to keep his family and society happy, he tries out jobs. He even joins a corporate firm. He partly helped in
his fathers job as well. But everything that he did, led him to his desire-to speak his heart out through music. Every passing day,
he became more sure about this and went ahead to participate in rap battles and rap face offs. He is names GULLY BOY on
stage. Every one loves how he uses music and raps to highlight the day to day issues. Growing through all this, he eventually
emerges a victor from all this.

BRIEF/STORY
GULLY BOY// 18
GULLY BOY// 19
 Dharavi Slum Loading Bay
Safeena House Sewing Class
Ateeq House Editing Suite
Garage Police Station
Mosque Ateeq House
Don’s House Train Yard
Hospital Train Station
Defunct Mill Barriers

MOOD BOARD
GULLY BOY// 20
 SKYE HOUSE
GEMMA HOUSE
COLLEGE
CONCERT
MATAHARI CLUB
UNDER FLYOVERS
HIP HOP CLUBS

MOOD BOARD
GULLY BOY// 21
 MURAD is a protagonist in the film, He plays the part of Divine and Naezy.
He is shown as a young Muslim boy from Dharavi slums. He is a passionate person and loves his
mother a lot.
Considering the factors around him, he was given everything cheap but beautiful.
The hero props given to him spoke out of the need and necessities; for instance, the box where
he kept his cigarettes was a spectacle case.
Everything around him spoke out “JUGAAD”.

RANVEER SINGH

SAFEENA is shown as a MBBS student. She is feminine and yet rugged in her attitude. She
comes from a Islamic background as well. She is madly in love with Murad and wouldn’t
take getting defeated by any other girl. She gets into fights to achieve what she needs. Her
father is a doctor and thus they are doing well for themselves. So, the look and feel around
her was more vintage yet up-class.

ALIA BHATT

CHARACTERS
GULLY BOY// 22
SIDDHANTH VIJAY
CHATURVEDI VERMA

SHER is a man of MOEEN is Murad’s

substance in the childhood friend.
film. He is a rap He owns a
artist and helps garage and
Murad become deals in drugs.
one.

VIJAY KALKI
MAURYA KOECHLIN

ATEEQ is Murad’s SKYE is a

mama. He is foreigner. She has
senior manager come to India to
at a corporate shoot a music vid-
office. He is a eo and she finds
strong believer that in MURAD.
and follower of
Islam

CHARACTERS
GULLY BOY// 23
 SRISHTI MICHAELA
SHRIVASTAV TALWAR

ALBINA is GEMMA is Sher’s

Safeena’s class- friend. She sup-
mate. And also ports Murad to
Murad delivers become a rapper
‘Dabba’at her and names him
house. She falls in GULLY BOY
love with Murad.

MURAD’S MOTHER MURAD’S FATHER SAFEENA’S MOTHER SAFEENA’S FATHER

AMRUTA SUBHASH VIJAY RAAJ SHEEBA CHADDHA IKHLAQUE KHAN

CHARACTERS
GULLY BOY// 24
Before the film start rollling, all the actors are supposed to go through
look tests, where the costumes, make up and hair are decided. All the
actors try out different styles and one is decided.
ART TEAM NEEDS TO BE PRESENT IN ORDER TO DECIDE ON THE HERO
PROPS TO BE GIVEN TO THE ACTORS.

LOOK TEST
GULLY BOY// 25
 The entire film had various types of sets. Throughout the process, we worked on different money scales for the sets.
They could majorly be divided into POOR DWELLINGS and UPPER CLASS.
In this document, we have further divided them into

EXPERIENTIAL SPACES
OUTDOOR SPACES
COMMERCIAL/INSTITUTIONS SPACES
INTERIOR SPACES

GULLY BOY// 26
EXPERIENTIAL COMMERCIAL OUTDOOR INTERIOR

GULLY BOY// 27
EXPERIENTIAL
SPACES
SETS

DHARAVI
MOEEN’S GARAGE
RUN DOWN OFFICE
CONCERT
COLLEGE

GULLY BOY// 29
DHARAVI SLUM
SCENE : Murad’s house, Song sequence, Marriage sequence
and death sequences
LOCATION: Annanagar playground, Dharavi

EXPERIENTIAL
GULLY BOY// 31
 Dharavi slum set was our biggest set constructed.
It was predominantly constructed inside Dharavi. It
was a parking lot which we turned into out slum set.

WHY CONSTRUCT?
> To allow movement space to camera.
> To make the houses in the exact position where the emotion can be elevated.
> We could not displace the people out of their homes for so long, as the shoot went on for 20 days.

SITE

EXPERIENTIAL
GULLY BOY// 32
PLAN

SLUM : SITE PLAN

Total Area : 22,314 sq ft
Set Const. : 20,194 sq ft
Built up Ar : 11,163 sq ft
Site Dimensions: 142’ x
126’ (approx)
Area under Production
10,262 sq ft.

The set took about 50

days for construction.
It had 6 lanes.
There was a central
part, which was called
the “SQUARE” where a
song’s major part was
shot. And one lane
which was Murad’s
lane.
Both these places were
specifically and mainly
dressed.

GULLY BOY// 33
 THE PLAN WAS THEN
TRANSFORMED INTO A
PAPER MODEL AND WAS
USED AS A MINIATURE FOR
THE ENTIRE SITE.

GULLY BOY// 34
During the construction, all the houses were made from plywood as they we just wanted to show their
facades and that they existed in the slum.

The interiors were made with plywood, then covered and stretched with Jute fabrics/Mus-
lin fabric. Post that they were painted and aged as needed.

There were metal corrugated sheets put on certain houses, to highlight the poverty. Various sizes of win-
dows and doors were cut out from the structures to ensure levels.

GULLY BOY// 35
Details like
LADDERS,
PATRA WALL,
TILES,
GRILLS,
DOOR HEIGHTS,
VARIATIONS IN PAINTS,
CEILING TYPES
LIGHTS
METER BOXES were created and added

These details set each house apart from each

other. They provided the
individuality to each house and developed a
varied visual language.

GULLY BOY// 36
MAKING

GULLY BOY// 37
 There were many vantage shots
taken in. Some for the slum itself and
some for the others.

As there are a lot scenes shot here,

the roofs needed to look exactly like
the others in the surroundings.
The Patra sheets picked up were
shiny new, they were aged to look
old.

SPRAY PAINTING,
DUSTING and
DRESSING
WAS USED TO MAKE IT LOOK OLD.

This is the process as to

how it evolved to be like
the surroundings.

GULLY BOY// 38
 The priority in dressing
was the exterior, so
that we understand
if anything was sup-
posed to be added in
terms of construction.

DRUMS

Some of the water drums

were new and some
were exchanged with
the slum drums. But all
needed to look slightly
worn out yet be clean
enough to look like drink-
ing water drums. Varia-
tion was needed, thus
experimenting with
materials was done.

GULLY BOY// 39
 DRESSING

GULLY BOY// 40
There is one particular shot with a PUBLIC TOIlET in place.
The toilet was built inside the slum set as we needed to have
the environment speak out itself.
It one of the realization shots for MURAD.

GULLY BOY// 41
 There was a lane made of just various of shops. We had worked on RAASHAN SHOP, TIN SCRAP, GLASS SHOP,
CAFE/BUN MASKA HOTEL, VEGETABLE VENDOR, POULTERY SHOP,
JEWELLERY SHOP, TAILOR SHOP, RADDI VENDOR, TEA STALL, CEMENT SHOP, AND BARBERS.

All the passing shots which were supposed to happen in the actual dharavi were shot here in terms of streets.

GULLY BOY// 42
GULLY BOY// 43
MOEEN’S GARAGE
SCENE : Police raid at the garage
LOCATION: Dharavi

MOEEN AND MURAD TALK ABOUT SAFEENA.

IN A LATER SCENE, THE POLICE COMES TO THE GARAGE AND
RAIDS IT TO FIND WEED.

EXPERIENTIAL
GULLY BOY// 45
 This location was an empty workshop in one
of the gullys of dharavi. There was a lot to do
here from construction to detailed dressing

SITE

There were a lot of blues in the

exterior gully, which had to be
covered in different ways. Painting,
covering or aging.
GARAGE
EXTERIOR

GARAGE
INTERIORS

GULLY BOY// 46
We rented all the props from an existing garage itself. It was
easy because the people from the garage came and they
set it up like they would set up their own garage.

GULLY BOY// 47
 Being a garage and with the dull colors and specific lights, it
gave a feeling that something illegal is going on here.

GULLY BOY// 48
For weed sorting scene, Fake weed was made
And tried to pack in various ways. After many trials
one type of packet was made in quantity.
Because it’s an illegal business, we wanted the kids
to use some easily available material to sort the
weed or to pack.

PROPS FOR
SORTING

GULLY BOY// 49
RUN DOWN OFFICE
SCENE : Police raid at the garage
LOCATION: Golden tabaco, Vile parle

MURAD WALKS IN FOR A RAP BATTLE. HE IS INITIALLY HES-

TANT AND OFFERS HIS WRITE UP TO SHER FOR PERFORMING,
BUT INSTEAD PERFORMS HIMSELF.

EXPERIENTIAL
GULLY BOY// 51
 This location was already a run down mill. So we didnt have to work on
the look of the walls, doors or windows. And as this was the last set of the
SITE schedule we could ruin the furniture that we had used previously.

PLAN

GULLY BOY// 52
As we had to show an old abandoned office, we constructed partitions and cabinets.
and broke all the doors and glasses. The mood of the space had to be grey.

GULLY BOY// 53
CONCERT
LOCATION: Richardson And Chrudas, Mulund

MURAD PERFORMS HIS OPENING FOR KENDRIK LAMAR AS A WIN

TO THE THE RAP COMPETITION HE PARTICIPATES IN.

EXPERIENTIAL
GULLY BOY// 55
 SITE
This location was also a run down industry.
It had a raw look and big space which
wwe could use for the concert.

PLAN

scale: 1 sq= 5ft X 5ft 29/11/2017

GULLY BOY// 56
DIGITAL MODEL

For the stage backdrop, the whole

front facade of Murad’s lane from
dharavi was replicated. It was
all in white and 3D mapping was
projected on it.

GULLY BOY// 57
COLLEGE FEST
LOCATION: Kelkar college, Mulund

SAFEENA’S COLLEGE HAS A FEST GOING ON, SHER PERFORMS

AND MURAD REALISES HIS PATHWAY IN LIFE AND DECIDES TO
PURSUE IT.

EXPERIENTIAL
GULLY BOY// 59
GULLY BOY// 60
GULLY BOY// 61
 SITE

This was a science and arts college. it had a big ground

in the middle and also a stage. keeping that as our basic
layout, we had placed stalls, installations and some graphics
around.

PLAN
INSTALLATION

STALL STALL

SIGN

PAVEMENT

BUILDING WALL
STAGE
GROUND

PAVEMENT
INSTALLATION

SIGN

STALL STALL
ST
AR
EC
AS
E

GULLY BOY// 62
STAGE

GULLY BOY// 63
 INSTALLATIONS

GULLY BOY// 64
INSTALLATIONS

GULLY BOY// 65
 STALLS

GULLY BOY// 66
STALLS

GULLY BOY// 67
COMMERCIAL/
INSTITUTIONAL
SPACES SETS

KINGSCIRCLE
ATEEQ OFFICE
AUDITION VENUE
SEWING CLASS
POLICE STATION
EDITING SUITE
HOTEL LOBBY

GULLY BOY// 69
KINGSCIRCLE CAFE
SCENE : Action sequence between Safeena and Skye.
LOCATION: Koolar Cafe (Matunga)
Casual cafe bar

Skye is a main character possessing love interest with

Murad for a brief moment. And post that Murad lies to
Safeena about it. Safeena gets angry and crashes a beer
bottle on Skye’s head.

COMMERCIAL
GULLY BOY// 71
The location is an existing Irani cafe and the
mood of the scene was also of that. Hence the
setup needed to cover all the existing branding
and make room for the camera movement.

SITE

PLAN

PLAN

As Murad had met new people in his

life and was moving forward, the cafe
set up was modernized and the bar
was put in place.

GULLY BOY// 72
 OUTSIDE STALLS

CAFE
INTERIORS

The outer facade was covered with fake walls, in order to cover
the existing walls and to add new graphics for the scene.

GULLY BOY// 73
 In terms of re branding, the entire line up and the props were done. Intensive
graphics were done. new merchandise was printed. Various menu cards and
wall prints were taken. The beauty of the location was the AUTHENTICITY

GULLY BOY// 74
GULLY BOY// 75
 AqIk AwiPs

ATEEQ OFFICE
SCENE : Murad’s life as a trainee in the office.
LOCATION: Sarvodaya Hospital (Ghatkopar)

ATEEQ WAS MURAD’S MAMA(MATERNAL UNCLE)

IN LIEU OF EARNING, MURAD JOINS HIS UNCLE’S OFFICE.
WITH THE EVENTS IN THIS SCENE, HE REALISES IT’S NOT FOR HIM.

COMMERCIAL
GULLY BOY// 77
 SITE
The set up had many layers to it. We dressed up the HOSPITAL floor as
LLOYD AC OFFICE. So for that we made a cabin for the senior manager
(Ateeq), workshop and a meeting room.
The location chosen had metro in the background to show a moving but
monotonous life.

PLAN

GULLY BOY// 78
 MAIN RECEPTION &
OFFICE MEETING ROOM

For the main office, cubicals were constructed and dressing was done
keeping in my mind how individualistically a person will keep his/her
desk.
The company’s name was EVERCOOL ENTERPRISES. T he branding was
used in various places and formats. While dressing, it was made sure
that the brand spoke out well y et subtly through letter heads, enve-
lopes, visiting cards, cheque books etc.

GULLY BOY// 79
 AwifSn vyNXU

AUDITION VENUE
SCENE : Montages of Sher and Murad at the audition venue.
LOCATION: NFDC Bandra (ground floor)
Art centre/ Art gallery as audition venue for India’s biggest rapstar

MURAD AND SHER GO FOR A COMPETITION. WHICH EVER WILL WIN

THIS, GETS AN OPPORTUNITY TO OPEN FOR KENDRIK LAMAR.
EVERYONE IS ON THEIR ACE GAME. AND MURAD WINS THIS.

COMMERCIAL
GULLY BOY// 81
GROUND FLOOR - REGISTRATION AREA
MURAD enters. Feels a little weird in work
clothes. SITE

PLAN

GULLY BOY// 82
REGISTRATION
GRAPHICS
PANELS

GULLY BOY// 83
 GROUND FLOOR - ENTRY/CAFE
MURAD & SHER eat & check out the semi finalists on the net.

For the cafe, we had taken direct ref-

PLAN erence from ‘PRITHVI CAFE’. So tables
and seating were specifically chosen.

CAFE

GULLY BOY// 84
FIRST FLOOR - AUDITORIUM
RAP BATTLES

GULLY BOY// 85
 soe<g #lws
SEWING CLASS
SCENE : Fight sequence between SAFEENA and ALBINA
LOCATION: Dharavi (wedding hall)

SAFEENA GETS TO KNOW ABOUT ALBINA FALLING FOR MURAD. SHE

INVADES THE SEWING CLASS OF ALBINA. SHE GOES UPTO HER AND
PUNCHES HER.

COMMERCIAL
GULLY BOY// 87
 As it was an ACTION sequence, big space was chosen to accommo-
date camera movements and tracks. It being an empty space, a lot SITE
of elements were put in to make it look authentic. Details like MANNE-
QUINS, CLOTH LINE, CLOTH ROLLS, ADMIN AREA. etc

PLAN

GULLY BOY// 88
DETAILS

GULLY BOY// 89
 polIs
POLICE STATION
SCENE : SAFEENA is called to the police station
MOEEN is locked up, MURAD visits him.
LOCATION: David Sasoon Jail police station and lock up

AFTER SAFEENA HITS SKYE WITH A BOTTLE, SAFEENA IS TAKEN TO

THE POLICE STATION.
POST MOEEN IS CAUGHT WITH DRUGS, MURAD VISITS HIM.

INSTITUTIONS
GULLY BOY// 91
Location being a jail; the windows and doors already had arches and grill. The
space was bigger than required, thus we created fake walls and made them For the police station, we had called in
look exactly like how they already are on the site. props from more than 15 props shops.
The wrap was on of the most challenging
wraps.

SITE

PLAN

GULLY BOY// 92
DETAILS

GULLY BOY// 93
 Eifit<g }m

EDITING ROOM
SCENE : Sher and Gemma upload Murad’s video. ’
LOCATION: Tagore Building, Dharavi
A house converted into an editing studio.

MURAD RECORDS A SONG IN A MAKESHIFT STUDIO. POST THAT GEMMA AND

SHER EDIT HIS VIDEO AND SONG AND UPLOAD IT ON THE INTERNET; AND
DECIDE HIS STAGE NAME TO BE GULLY BOY.

COMMERCIAL
GULLY BOY// 95
 This was shown as a flat of a local boy in dharavi who uses his video editing skills to earn a little money.
Hence it had to be set up in a way such that it looks like a house also, but an editing room.

SITE

GULLY BOY// 96
The living room was used for the editing
setup, little details were added like
the soundproof panels and other
instruments.

LIVING
ROOM

The kitchen and the bedroom were

only going to be seen from the doors.
BEDROOM Still those two rooms were completely
KITCHEN dressed with details. Also to give a
homely feel.

GULLY BOY// 97
 Hotl lwbI

HOTEL LOBBY
SCENE : Murad drops Mrs. Narain
LOCATION: IndiaBulls Corporate house

THE SHOT IS A REALIZATION SHOT. MURAD SEES HIS REFLECTION IN THE

HOTEL GLASS, AND THINKS IF HE WANTS TO BE THIS PERSON OR BECOME
WHAT HE IS DREAMING OF.

COMMERCIAL
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The location is a corporate house. The set up area is the open atrium of
this office building. We converted this location into a hotel lobby. And
the time chosen is of Christmas, thus the decoration was supposed to be SITE
highlighted.

PLAN

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The tree was made from scratch with metal and grass patches and decoration was
done on the top.
The shot was called the REFLECTION SHOT as the Christmas tree is also shot in it’s reflec-
tion and of course, Murad’s realization is also shot in reflection.

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OUTDOOR
SPACES
SETS

BUS STOP
BARRIER WALL
TRAINYARD
UNDER FLYOVERS
TRAIN STATION

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BUS STOP
SCENE : Murad waiting for a bus with his
step mother
LOCATION: Barister nath marg

OUTDOOR
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 SITE

It was an industrial location.

And there was a bus stop
placed on the footpath
which was shown as a home
for footpath dwellers, cane
weavers.

CANE WORKERS
CANE WORKERS AROUND BUS STOP AROUND

The opposite side of the road

was dressed as well.

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 For the setup, cane items were bought in three
stages- raw material, half made and fully made

CANE
VENDORS

The bust stop was made and placed here. And with coarse soil it was covered
and set up like it was there since ages. Around it, detailed dressing of cane
vendors was done.

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BARRIER WALL
SCENE : Song sequence with Sher, Gemma, Murad and gang
LOCATION : Powai

MURAD COMES BY AT THIS LOCATION AND RECORDS AND VIDEO-GRAPHS HIS

SONG WITH THE HELP OF GEMMA, SHER AND THEIR GANG.

OUTDOOR
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 REF
KEY

The rap which was shot here, was about the

barriers in life. so, this location was chosen to
show the difference between two lifestyles.

SITE

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 A plain ground was dressed such as,
one or two homeless families are staying
there. A temporary barrier wall was built.

SPACE TRANSFORMATION

DETAILS

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TRAIN YARD
SCENE :
1. Murad hangs out with his friends and safeena.
2. Murad practices his rap.
LOCATION:Wadi Bunder Trainyard

OUTDOOR
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This was an empty train platform, Where
Murad and his friends usually come and
hang out. This is their comfort place.

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This platform was shown and dressed as a refugee camp for
around 10 homeless families.
The metal cage beds were specially made for this.

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UNDER FLYOVER
SCENE : Murad, Skye and her friends paint the walls in mumbai
LOCATION:JJ College Flyover

OUTDOOR
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 This location was near a big college and
a very nice area around. We showed
people living under the bridge here. It
portrayed the difference between what
we show outside and what is actually
going on inside.

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 DETAILS

“R0TI”
“KAPDA”
Murad, Skye and friends spray paint on the posters on the wall

“MAKKAN”
These posters say what all are supposed to be the
important things in life.
But actually, everybody has forgotten that some
people haven’t even gotten the basic necessities,
“ROTI KAPDA MAKAN”

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TRAIN STATION
SCENE : Safeena is waiting for the train with her mother
LOCATION: Goregaon train station

OUTDOOR
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This is an empty platform at the goregaon Station.
Where,Very few trains come. We set it up just like
any other platforms. It had to look real and exactly
like the references.

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SNACKS SHOP BOOK SHOP P.C.O. SHOP

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RESEDENTIAL
SPACES
SETS

MURAD HOUSE
GEMMA HOUSE
DON HOUSE
SAFEENA HOUSE
MURAD’S NEW HOUSE
ATEEQ HOUSE

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MURAD’S HOUSE
LOCATION: Anna Nagar, Dharavi

Various scenes happen including where his mother

cooks the dabbas, marriage sequence, his realization
moments and his private loft moments.

RESEDENTIAL
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 Murad’s house was a part of the dharavi
set. It was the biggest of the 45 houses
which were built. It was built in two floors.

ground floor:
1.Living room (which is a bedroom for
grandmother and murad’s brother.).
1st Floor: 2. Master bedroom (for father and mother)
Loft (Murad’s bedroom) 3. A tiny kitchen and a bathing area.

PLAN

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This was the only house, which was mostly built INITIAL STAGE
with brick walls. Because, It had to take the
weight of many people. And it had to be a fully
functional house.

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There are some scenes in the movie, which include
cooking and food. so, the Kitchen was made
completely funtional.
All the utensils were properly cleaned, All the jars
were filled with ration, Even the closed cabinets
were dressed.

KITCHEN

DETAILS

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 MURAD’S LOFT

It was shown that the loft of the house is

converted into a room. so everything was
makeshift, A crate was used as a side
table, furniture was used as steps to the
roof, a shoe rack was used as a wall shelf.

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GEMMA’S HOUSE
LOCATION: Bandra

SKYE, MURAD, GEMMA AND SHER SIT AND CHAT, SIT AROUND TALK
AND RECORD A SMALL VIDEO OF SHER AND MURAD RAPPING

RESEDENTIAL
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PLAN Being a fashion design-
er and a hep personali-
ty, the house needed to
be full of colours in sync
with the colour pallette
of teh film, yet stand
out.

A lot of fabric was used

SITE
to show the softness
and the rebel-ness of
the character.

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Various parts of the house were used in shoots, thus needed
to dress the entire house. All the areas focused on different
colour schemes

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DON’S HOUSE
LOCATION: Dharavi

MURAD VISITS THE DON OF THE AREA TO GIVE HIM SOME MONEY.

RESEDENTIAL
GULLY BOY// 137
 SITE

D2 D3
ROOM HT: 9'

D4

glass shelved niche

(with lights)
39"X54"X28"(D)

w1
30"X35"(H)
TV. NICHE

D1 SCALE: 1 SQ=1 FT.x 1Ft.

D5 DON'S HOUSE

PLAN

The house was supposed to rich but tacky. He has

young kids yet owned a small gang, thus the
dressing had to be very ironical.

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To support the character, an exact
to reference sofa was selected which
was specifically fabricated for teh don.
the don is south indian, thus needed to
have those subtle touches of southern
taste.

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SAFEENA’S HOUSE
LOCATION: Edward cinema

VARIOUS SCENES HAPPEN. SALMAN COMES TO SEEK SAFEENA’S HAND

IN THE MARRIAGE, MURAD COMES OVER FROM THE BATHROOM

RESEDENTIAL
GULLY BOY// 141
 PLAN
SITE

Architecture of the location was exactly like what we

wanted, thus we didný construct anything in here.

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 LIVING ROOM

All the furniture was changed from the

existing location. Minimal amount of dress-
ing was done to highlight simple living. With
that said, the Islamic frames were used to
emphasise on the Islamic beliefs

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 SAFEENA’S BED
DETAILS

BEDROOM
There were two sections created in the room. Two moods
were highlighted in the same room.
BROTHER’S BED

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BATHROOM

There is crucial scene being

shot in th ebathroom, thus for
outside the window, this light
installation was made and
put up.

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MURAD’S NEW HOUSE
LOCATION: Bhattwadi, Ghatkopar

MURAD, HI SMOTHER AND SOHAIL SHIFT IN TO A NEW SLUM IN

MUMBAI AFTER HIS FATHER GETS IN A NEW BRIDE.

RESEDENTIAL
GULLY BOY// 147
 SITE

PLAN
This slum set was built at a different location,
specially for top shots. It was a small set of 4 houses
on the ground floor and 4 on the first floor.

GULLY BOY// 148

This house was only one room, with a
tiny kitchen and space for two beds.
Just above Murad’s bed there was
a window with a beautiful view. That There are three scenes for which this house was dressed in three different stages.
was the indication for a fresh start in 1. A house which was closed for several days- All dusty and minimal furniture
his life. 2. They have just moved in- All the furniture in place, clean and less houseware.
3. They are setteled in- There are new utensils, tiffins, and furniture.

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ATEEQ’S HOUSE
LOCATION: Sardar house. Andheri East

DINNER SCENES WITH MURAD AND FAMILY.

SECOND SCENE IS OF ATEEQ CALLING HIM IN TO JOIN HIM IN
HIS OFFICE.

RESEDENTIAL
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This was an existing house. The architecture was
suitable for the mood of the character. But this was SITE
a punjabi house so, the mood of the space was
changed by dressing it differently.

PLAN

LIVING ROOM

LIVING ROOM
GOLD HORSES PANEL

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Some walls and partitions were built. Wallpaper was put on
all the walls. Furniture and curtains were changed. And islam-
ic details were added.

GULLY BOY// 153

OTHER SETS

OTHERS
GULLY BOY// 155
 SHOPPING MALL CLINIC CLUB

LOADING BAY PARKING LOT SOUND STUDIO

GULLY BOY// 156

CONSTRUCTIN SITE HOSPITAL BUS STOP

GULLY BOY// 157

 The final product will always remain raw if the final nail is not
hammered properly.

TREATMENT is the final nail.

Treatment is basically how you handle the last step. What you
add or subtract on the element is the treatment.

Everything on the set was treated someway or the other;

specifically the hero props.

TREATMENT
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AGEING PAINTING PLASTERING
Ageing is the process where elements Painting is done on various elements and All the houses were finished with
are treated to look old. construction parts to treat it to look dif- the plastering process. To make
CHAI PAANI : Boiling water with tea ferent, similar, aged or new. Slight sprays them look old, many layers of
leaves is made and cloth is dipped for or full solid colours can be generated to plaster were used. Tehn further
brown colour. mark on good treatments. painting was to treat it differently
POTASSIUM WATER : Fades the colour. of required.
SNAD PAPER : Sand paper is used to
scrub the elements.
AMBER POWDER : Brown coloured
powder is used in water and cloth is
dipped.

GULLY BOY// 159

 IF IN A FILM, YOU FEEL THERE IS NO SET,
THAT’S WHEN THE DESIGNER HAS MADE BELIEVE.

GULLY BOY// 160

It is very important for a designer to know what will look real and what will not. This film
has taught us that. There was a moment when we asked a slum person to help us, as
they are the best ones to know how they will run that house - and when that reality
touches the art, it become REAL and instantly CONNECTS to the audience.
We always like things that we can relate to, and we don’t relate anything more than
our immediate day to day chores or surroudings.

Set design is a lot about TRUST. We learnt to trust our peer teams and vendors. This
industry works with word of mouth thus it became very important to know what to
speak and on who’s behalf we were speaking. We represented just not us, but the
company and the team. Some vendors and prop boys are working for more than 30
years; INTERACTING with them was our daily task. We became VOCAL of what was
needed off them and yet not forget the stature they come from.

We did a lot of sourcing which meant a lot of TIME MANAGEMENT and travel. We
became COMFORTABLE with the city and started seeing things in accordance to time
and MONEY as a factor.

The experience built out of this something to cherish for. We felt grateful every single
day of the film. We are humbled to have received such a good team.

AND FIRST FILM IS ALWAYS SPECIAL.

EXPERIENCE
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 14TH FEBRUARY’ 2019

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 BEHIND THE SCENES
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Monochrome Picture Credits: Ajith Vjayan Namboothiri

BEHIND THE SCENES

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