Dhimant Vyas Talks About Creating Stop-Motion Title Sequence For 'Sitaare Zameen Par' & More
A story that captures hearts and tugs emotions, Aamir Khan’s latest sports comedy-drama Sitaare Zameen Par, co-starring Genelia Deshmukh lighted up cinemas across India with its June 20 release. The story follows the journey of a basketball coach sentenced to community service, training neurodivergent adults after a DUI.
Veteran artist and animator, Dhimant Vyas from Mumbai also contributed to the film's success with his signature handcrafted stop-motion title sequence.
Excerpts from the interview:
Your recent collaboration brought you working with Aamir Khan for Sitaare Zameen Par. How does it feel working with him again?
It’s always a pleasure working with Aamir. Once again, clay animation was used in a Bollywood film, and I feel fortunate to have had the opportunity to animate the title sequence for Taare Zameen Par, and now Sitaare Zameen Par as well. A big thank you to Aamir and director R.S. Prasanna. I truly enjoyed creating it!
This wasn't your first project with him...
This is my third project with Aamir. The first was a caricature of the Lagaan team for the limited edition collectible DVD box. The second was the animated title sequence for Taare Zameen Par.
And now, once again, I’ve had the honour of contributing to Sitaare Zameen Par. I hope to collaborate on many more projects in the future.
How was it working with Aamir?
Working with Aamir is always a great experience. He is a creative genius—clear in his vision, yet he gives complete freedom to explore ideas. This time, it was also wonderful working with director Prasanna, who is a warm and collaborative person. I have deep respect for both Aamir and Prasanna.
Can you share details about the project?
The project involved the creation of the title animation sequence. The timeline was quite tight, but I managed to complete it ahead of schedule. I had to animate the titles in three primary languages: Hindi, Telugu, and Tamil, with Urdu and English also incorporated into the final sequence.
How did it all fall in place?
After watching the film’s first cut, we had several discussions about the direction of the title animation. I presented a few storyboard ideas, and we decided to follow the same technique used in Taare Zameen Par—stop motion animation (clay animation). This technique connects deeply with the film and complements its narrative, which is in many ways an extension of TZP, but with a more powerful theme.
We were a small team—my wife Hina Vyas and daughter Kavya Vyas created all the clay models, while I handled the animation. I always receive incredible support from them in every project I undertake.
Stop motion is a globally loved animation technique. It involves creating miniature characters and models with internal armatures to control their movement. We animate them frame by frame, capturing each shot. When played in sequence, it brings the characters to life. It beautifully blends creativity and technology. It requires strong animation skills, sharp observation, and precise timing. As they say, animation begins where live-action ends—there are no limits to imagination; anything can be brought to life on screen.
Given the tight deadline, were there any challenges you faced during the creation of the title sequence?
The title animation took nearly a month to shoot across the three languages. Although its duration is shorter than that of Taare Zameen Par, this project was even more demanding. One of the most complex sequences involved morphing a basketball net into about 70–80 different elements that transformed into DNA strands, chromosomes, and finally, the film’s title. Capturing just one frame sometimes took over an hour and a half!
Despite the challenges, seeing the final result is deeply rewarding. I believe it will be a magical experience for the audience. The film’s story is powerful, and Aamir’s performance is—as always—exceptional. The film blends fun, emotion, and a meaningful message beautifully. I truly feel proud to be part of this project.
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