Both of Ashutosh Rokade’s parents are artists. He grew up in Pune, India, in a household where drawing was not a hobby but a language. He spent his childhood sketching, watching how rooms were arranged, trying to recreate what he saw. He did not yet know the words “production design” or “themed entertainment.” He just knew he wanted to make things.
Architecture came first. Five years at B.K.P.S. College of Architecture gave him structure, drafting skills, a way of thinking about how people move through physical space. Internships followed — with Nitin Desai, one of Indian cinema’s legendary production designers, and later with production designer Poorva Pandit. He worked as an assistant art director on the Bollywood feature Gumraah and Marathi films Panchak and Manache Shlok.
But somewhere along the way, buildings stopped being enough. “I found myself increasingly interested in how space could evoke emotion, tell a story, and create a visual impact,” Rokade says. The realization brought him to the Savannah College of Art and Design in 2022, where he enrolled in the master’s program in production design.
The move meant leaving behind everything: family, friends, professional contacts, a language he could think in without effort. His family was supportive. The uncertainty was real. “There was a mix of excitement and uncertainty,” he says quietly. “Looking back, it was one of the most defining decisions I have made.”
At SCAD, he worked like someone trying to outrun a clock. In one year, he played a key role in the production design of twelve student film projects — short films, fashion films, commercials, and a documentary. He landed a spot on Todd Haynes’ May December as an art intern, spending weeks inside a major Hollywood production’s art department during pre-production and shooting. “Being in a new country and entering a competitive industry, I felt the need to push myself and make the most of every opportunity,” he says.
During his time at SCAD, Rokade worked on Carved in Stone, an LED Volume production where he served as a Co-Art Director and Concept Artist. The project went on to win Best Pilot at the Hollywood Series Awards, a Web Series Award at the Synergy Film Festival, and received a nomination for Best Production Design at LAWEBFEST.
Then the ground shifted under him. Rokade graduated in May 2023, right into a Hollywood paralyzed by the writers’ strike. As an international graduate student who needed employment to maintain his visa status, waiting was not an option. He began networking aggressively, attending industry conventions and sharing his portfolio with anyone who would look at it.
Themed entertainment was not his original plan. But it turned out to be the right one. Basemint Creative, a firm specializing in experiential design for major theme parks, brought him on as a contractor. He threw himself into the work. “I approached it with complete focus and commitment,” he recalls. The team noticed. A full-time offer followed.
By January 2025, Rokade had been promoted to Production Designer II, leading concept development and show set design for attractions at major theme parks across the United States.
When asked about the difference between working in India and working in the U.S., Rokade is diplomatic but candid. American productions tend toward structured pipelines with clearly defined roles. Indian productions often rely on improvisation and resourcefulness. “Working in both environments has been valuable because it gives you adaptability,” he says.
What would he tell a young architect in India who dreams of a similar path?
He takes a moment. “It is not an easy path, and it is rarely linear. But if you stay consistent and remain committed to improving your craft, opportunities will begin to open up. The most important thing is to stay focused on the work.”
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