THREE DAYS, THREE FILMS, ONE UNFORGETTABLE SHOOT: INSIDE RUBECON’S AMBITIOUS TIMES OF INDIA CAMPAIGN

Rubecon set out with Bharadwaj Sundar to create three films for a Times of India campaign, facing language barriers, unpredictable weather, and tight timelines. With Premam’s DOP Anend C Chandran, beloved actor Jayasankar Karimuttam, and cross-border collaboration, the challenging shoot transformed into an unforgettable creative triumph.

When Rubecon set out to create, with Bharadwaj Sundar, not one but three films for a campaign with The Times of India, the brief felt like a cinematic indulgence. Internally, the team joked it was a “Kanna Moonu Laddu Thinna Aasaiya” moment — the thrill of being handed three sweet opportunities at once and wondering if it was too good to be true.

The scale of the ambition was clear from the outset. Three films. Three days. A unified campaign voice. And the added pressure of delivering work that would stand tall under the formidable banner of one of the country’s most influential newspapers. For Rubecon, it was both a creative leap and a logistical gamble.

Two of the three films shared a powerful connective tissue—the visual sensibility of cinematographer Anend C Chandran, best known for shaping the visual grammar of the Malayalam blockbuster Premam. His ability to capture nostalgia, warmth and youthful energy had made that film a cultural phenomenon. For this campaign, his lens brought texture and emotional depth, ensuring that even a brand narrative retained cinematic richness.

But the third film offered something even more special. Alongside Chandran’s visual craft, it featured a face that Malayali audiences instantly recognise and adore—the college peon character from Premam, played by Jayasankar Karimuttam. The character, etched into pop culture memory with humour and heart, carried an emotional shorthand that no script alone could replicate. His presence injected authenticity and a sense of continuity, bridging film nostalgia with brand storytelling.

For the director, however, this project marked a different kind of first. It was the first time helming an advertisement in another language. On paper, it was for a neighbouring state—close enough geographically to feel familiar. In practice, the differences were layered and constant. From cultural nuances and dialogue rhythms to on-set etiquette and production workflows, the “nitty-gritty” demanded attention.

It was in these moments that collaboration proved invaluable. Vinod—affectionately referred to as “chetta” on set—became the quiet force holding things together. Born on the Tamil Nadu–Kerala border in Palakkad, he embodied the bridge the project needed. He navigated dialect subtleties, clarified cultural references and helped smooth communication between teams. Whether it was adjusting phrasing in dialogue or interpreting tonal shifts, he stepped in at every crucial juncture.

The plan seemed straightforward enough at the outset: three days, three films. The schedule was tight but achievable. Every shot had been mapped, every scene timed to the minute. But as any filmmaker knows, the most meticulously planned shoots can be undone by forces beyond control.

The weather had other ideas.

Dark clouds loomed early, and what began as a mild inconvenience turned into a looming threat. Rain disrupted lighting setups, muddied locations and forced constant recalibration. There were moments when the team genuinely wondered if they would manage to complete even a single film, let alone three.

Production crews scrambled to protect equipment. Umbrellas became as vital as cameras. Assistants shielded lenses, actors huddled between takes, and conversations were punctuated by anxious glances at the sky. Time slipped through fingers with every unscheduled downpour.

Yet it was in these strained circumstances that camaraderie deepened. The phrase “umbrellas and goodfellas” became something of a mantra—a shorthand for the spirit that carried the shoot forward. Crew members improvised, shifting setups indoors when possible, reordering scenes, and squeezing in takes during fleeting dry spells. What could have devolved into frustration instead turned into a collective rally.

The presence of seasoned professionals like Anend C Chandran helped steady nerves. His experience with dynamic, real-world locations—honed on films like Premam—meant he could adapt quickly. Lighting adjustments were recalculated in minutes. Angles were reimagined to work with available light. Rather than fighting the weather entirely, some moments embraced it, turning overcast skies into atmospheric backdrops.

Meanwhile, Jayasankar Karimuttam’s effortless charm kept morale high. His familiarity with campus settings—even fictional ones—lent the shoot a sense of playfulness. Between takes, he joked with crew members, easing tension. When cameras rolled, he slipped seamlessly into character, delivering performances that felt both spontaneous and deeply rooted in lived experience.

For the director, the multilingual challenge added another layer of complexity. Directing across languages requires more than translation; it demands cultural empathy. Every inflection matters. Every pause carries a different weight. With Vinod’s guidance and a supportive cast and crew, the learning curve became part of the creative journey rather than an obstacle.

By the end of the third day, exhaustion mingled with disbelief. Against the odds—and the weather—all three films were in the can. What began as an ambitious, slightly intimidating brief had transformed into a testament to teamwork.

The campaign for The Times of India ultimately became more than a professional milestone. It was a reminder that filmmaking, at its heart, is collaborative resilience. It thrives on shared laughter in the rain, on translators who become cultural navigators, on cinematographers who can turn grey skies golden, and on actors whose familiar faces carry stories beyond the frame.

Rubecon may have started with a “three laddus” wish, but what they walked away with was something richer—three films forged in challenge, strengthened by cross-border collaboration, and bound together by an unforgettable shoot that proved that even storm clouds can frame a silver lining.