Anmol Karnik on Directing Star-Studded Indian Racing Festival Ads

Anmol Karnik is no stranger to filmmaking. With a portfolio of over 600 videos made for organisations like Pidilite, Raymond, Red Bull, Meta, and others, he has now transitioned into ad film production as a partner and panel director at Morfeus Films. In this interview, the director discusses his latest TVC release for the Indian Racing Festival and the unique challenge and thrill of conceptualizing, writing, and directing for three superstars.

Tell us about the conceptualization process. Motor racing championships aren't widely known in India. How did you manage to strike a balance in your approach?

I believe that as a production house, it's always exciting to conceptualize scripts and then bring that vision to life for the client in the final product. Fortunately, we had an exceptional client in Akhil Reddy, who is not only passionate about motor racing but also gave us the freedom and trust to execute his vision. This level of trust and creative freedom allowed us to realize our vision in a way that perfectly aligned with Akhil's expectations.

Having been a Formula 1 fan and growing up watching races, that passion has always stayed with me. I was clear that each film needed to highlight a different aspect of what it takes to be part of a motor racing championship, without emulating Western campaigns. It had to be distinctly Indian, while still being niche and fresh.

Arjun’s film highlights the competition and the fun of going head-to-head with other teams, which is why he’s shown on a call with John Abraham, sharing a light moment. Sourav’s film captures the dedication, focus, and determination required to be a driver. Meanwhile, John’s film emphasizes the immersive experience of racing, representing the passionate fans eagerly waiting to feel the thrill of being part of the Indian Racing Festival.

The challenge was to convey three key points within 50 seconds: first, using their unique personalities to establish Arjun Kapoor, John Abraham, and Sourav Ganguly as co-owners of Speed Demons Delhi, Goa Aces, and Kolkata Royal Tigers, respectively; second, to emphasize that the Indian Racing Festival is a live event by showcasing past races; and third, to vividly capture the thrill and excitement of a motor racing championship in each film.

What was the pre-production process like, and how do you plan ad films with celebrities given their limited availability?

Pre-production is crucial in any film production. To ensure a smooth shoot day and efficient post-production, thorough planning is essential. It all starts with storyboarding and having a clear vision of what needs to be shot and how it needs to be achieved.

I am fortunate to have a solid partner in producer Jugal Sughand, who knows how to orchestrate a large production with finesse. Alongside an amazingly talented crew—including the best production team led by Tridib Sinha, an exceptional production designer, cinematographer, costume stylist, sync sound team, and all the key department heads—each among the top in the industry. Additionally, my team of assistant directors excels at managing time effectively, ensuring that every aspect of the shoot stays on schedule.

Working with celebrities is exhilarating but requires clarity and precision. With stars like John Abraham, Arjun Kapoor, or Sourav Ganguly, you can’t afford to appear uncertain. Everything must be meticulously planned to ensure the shoot day flows seamlessly without any back and forth.

I always say that creativity happens in pre-production; on the shoot day, we execute. Since the client is investing significantly in the ad, we also hold a pre-production meeting where everything is reviewed and discussed with the client well before the shoot day.

Can you describe what a typical shoot day is like on a celebrity ad film set?

Most celebrities allocate 8 hours for a shoot, which includes time for makeup/hair, lunch, and costume changes. Clients generally also expect photoshoots and social media content to be completed within this timeframe. Therefore, every minute counts, and proper planning is crucial.

Fortunately, shooting with celebrities is often a breeze because they know exactly what to do. As a director, I ensure that the environment is fun and pleasant so that every member of the crew performs at their best, guaranteeing that everything runs smoothly and within the allotted time. This can only be achieved when my vision and communication are clear. Typically, if things go awry, it’s due to a lack of communication during pre-production.

What were the differences in shooting with Arjun Kapoor, John Abraham, and Sourav Ganguly?

Arjun Kapoor brings a lot to the table. During pre-production, he usually requests a briefing to ensure the director is well-prepared. However, he’s also very instinctive—when "action" is called, he consistently delivers beyond my expectations. Working with Arjun is a fantastic experience, and I’ve had the privilege of collaborating with him on multiple campaigns.

Sourav Ganguly, although not a professional actor, is remarkably comfortable in front of the camera. He delivers each line with such honesty, which is invaluable in advertising where we aim to sell a product through the celebrity.

John Abraham brings a strong presence to the screen. He is truly a director’s actor, completely trusting the director’s vision. As long as I am clear about what I want, he follows through and adds a lot of his own personality to the film. It was a fabulous experience working with all three of them.

All three ad films have a distinct look and feel. What was the thought process behind the look and feel of each film?

As I mentioned earlier, each film had its own unique voice. For Arjun Kapoor's "Speed Demons Delhi," which focused on competition, I felt that an event setting would be ideal. We primarily used a green screen and VFX to achieve this, as it allowed us to make the event and set look larger-than-life and grand.

For Sourav Ganguly’s “Kolkata Royal Tigers,” I chose a garage set but incorporated a tunnel, where Sourav first walks in with a cricket stadium behind him. At the end, he walks out of the tunnel onto a race track, symbolizing his transition from a lifelong passion for cricket to a newfound excitement for motor racing. My fantastic cinematographer, Uday Mohite, used shafts of light and a vibrant spectrum of colours to keep the garage set dynamic and engaging.

For John Abraham’s “Goa Aces,” I used a film set backdrop, as the story required John to be seen with a Mustang car. The exceptionally talented production designer, Durgaprasad Mahapatra, added a petrol pump to the set, introducing an additional dimension to the scene.

We’ve heard a lot about pre-production and the shoot day. Can you also tell us a bit about the post-production process?

Post-production is where the ad film truly comes together, and I deeply value my post-production team, who work long hours with painstaking attention to detail to bring out the best in each project.

For me, post-production is an exciting phase because it’s where all the elements that were once just ideas, and then captured on camera, finally converge. In post-production, nothing can be hidden; the quality of each department's work, including my own, is fully revealed. I typically collaborate with the exceptional post-production studio, Picture Post, and the sound studio, Bombay Live. Our meticulous post-production supervisor, Dildar Tolan, ensures everything stays on track.

For the Indian Racing Festival campaign, it was crucial to maintain the thrill throughout the edit, music, and sound design, all of which were brilliantly executed by Ashish Sawant, Jolly Jose, and Prathamesh Dudhane, respectively. As a director, my role is to encourage creativity while guiding the overall tone of the project. I believe the ultimate impact lies in how the audience feels when watching the ad film, so I channel my energies into evoking that desired feeling through the various tools available.

Thanks for your time, Anmol. Could you tell us about any other exciting ad films in the pipeline?

At Morfeus Films, we've already shot several ad films that are currently in post-production, with multiple projects in various stages of planning and pre-production. In April this year, we filmed a major campaign set to be released soon. While I can’t reveal the details just yet, I can say it features an A-list celebrity and stunning visual effects created by teams in Toronto and Vancouver. Directing a project of this scale has been a significant endeavour, and I'm eager for the world to see the final result!

Click here to watch Anmol's latest work