ITV

Category: Movies

  • “We are looking at a 50 per cent growth in the TV software sales front” : Ajay Gupta – E-City Entertainment business head (films)

    “We are looking at a 50 per cent growth in the TV software sales front” : Ajay Gupta – E-City Entertainment business head (films)

    The chain of Fun Republics across the country are the more obvious face of this Essel Group subsidiary. E-City Entertainment, however, is much more than that.

    Apart from the Family Entertainment Centre (FEC) chain, E-City is also emerging as an outsourcing hub for international broadcasters and production houses. It markets and exports television software and films. E-City has positioned itself as a one-stop-shop for all network television channels and distributors in various countries.

    Indiantelevision.com’s Ashwin Pinto caught up with E-City Entertainment business head (films) Ajay Gupta for a lowdown on how the company is faring.

    How did E-City fare in 2003?
    The multiplex business grew. We opened in Andheri (Mumbai) in August and in Chandigarh in November. Apart from that, we are in the area of television syndication. It is a new market that has not been tapped. It will grow with the world opening up to Indian cinema and television.

    How fruitful was Mip TV for E-City?
    We met a lot of potential buyers. Countries that we are focusing on are China, Taiwan, Japan, Hong Kong and Macau. We have had very good inquiries for our documentary series from television channels.

    “China is more interested in acquiring the home video rights for Indian films. In Thailand we have been able to sell the costume programmes”
    The Fun Republic multiplex at Andheri, Mumbai

    Which markets are growing for Indian television content?
    The growth lies in the non traditional markets. The traditional markets, be it the US or UK, are saturated. South America is another country that we would be looking at.

    If their telly novellas can do very well, then there is no reason why our telly novellas which are very similar, cannot be successful there.

    Could you dwell on the content requirements of different international television markets vis-?-vis Indian content?
    We are at a nascent stage where we are ourselves trying to find our bearings as to what works where. In international markets, terrestrial TV is separate from pay channels and home video rights.

    China is more interested in acquiring home video rights for Indian films. In Thailand, we have been able to sell the costume programmes. These sell more towards South East Asia because to some extent the cultures are similar. In other countries though, it is not easy to sell telly novellas because our shows are very long.

    People do not look for 150-250 episodes. They are looking for a far more brisk product. The distribution scenario has also changed. There was a time when Russia used to buy a lot of our films. Then when they broke up into CIS, things changed. Fact finding on our part as to what kind of content works is still going on.

    Could you talk about how E-City is going about consolidating its content library?
    E-City is basically focussing on the Zee Library, which itself has a large enough library with lots of potential. Apart from that, if we do get inquiries for other genres, we do look around and do it on a case-to-case basis. We touch base with a Balaji or a UTV depending on the genre.

    As far as Fun Republic is concerned, how many FECs are running and how many do you plan to set up in the future?
    We have three multiplexes running. Ahmedabad has six screens while Mumbai and Chandigarh have four screens each. In the offing is Bangalore, to be followed by Hyderabad and three sites in Delhi and Lucknow. At the end of 2005, we should have over 50 screens all over the country.

    The cost of setting up an FEC differs from place to place on account of the land, the quality of materials used and the labour. That is why Mumbai is more expensive.

    Have any targets been set in terms of revenue for the year?
    We always set budgetary targets which we hope to achieve. For multiplexes, a lot depends on the kind of content that comes in. 2004 looks more promising than 2003. If the content goes well we can expect an increase of over 10 per cent.

    On the television sales front, we are looking at a 50 per cent growth. The more we network at events like Mip TV, the more we will be able to stay in people’s minds. Requirements keep changing. We are in the process of defining our niche market. However, I would not like to divulge the names of my buyers.

    Are there any factors that are hampering the growth of multiplexes in the country?
    I don’t think so. The only thing is that it will take time to grow. What is happening is that a lot of players are jumping into the same city without assessing as to whether the city can take so many of them. For instance, when Maharashtra announced its policy on the issue, there were 250 applications. Not even 50 will see the light of day.

    The thing was that real estate people who are not familiar with the cinema business put in a lot of applications. Later, they realised that they would need an operator. They can make the cinema halls, but who will run it for them?

    Are you thinking in terms of setting up FECs in other countries like China and Pakistan?
    Not at this stage. We are not thinking about that. Firstly a lot will depend on the bilateral treaties that the countries have. Today that is amiss.

    Could you talk about the role that digital cinema will play in the future of Indian films?
    Digital cinema is a thing of the present and the future. With the exhorbitant costs of prints, you cannot have a mushroom release where you can cover a lot of stations in your territory. Digital cinema allows for simultaneous coverage. It will help curb piracy and the returns will be much faster.

    Could you talk about how the concept of the FEC has redefined entertainment in a metro like Mumbai?
    Earlier when you had standalone cinema halls, you just saw the movie and you were out. Today with the hectic pace of life you want to go to a place where more than just a film is offered to you. It saves on travel time if you can get three things at one place instead of going to three different places.

    Therefore we offer game parlours, food courts, retailing activity. We also have a speciality restaurant in Chandigarh. All this makes for a wholesome family outing.
     

    “On the television sales front we are looking at a 50 per cent growth“

    How many retailers does Fun Republic have?
    We have around 10-12 retailers like McDonalds, Levi’s in each centre. However, there are no all-India tie ups. The companies vary from city to city.

    Could you talk about the different services that Fun Republic has added to retain consumers?
    Competition is healthy. When there is competition and everybody is offering the same content, the key in doing well is in how you are able to differentiate yourself. If I have more facilities and services like car parking, I will be able to beat my rival in retaining a customer.

    Secondly, from the time you visit the box office till the time you leave the multiplex, the service has to be very high. It may be the concessions offered during intervals, how the usher makes you sit inside or how clean your toilets are. The ambience is also crucial because that is how you build loyalty. The total experience is what counts.

    Going to a multiplex is not just about watching a movie. Our other services like food parlours complement each other. I would also like to reiterate the fact that car parking is important. If that is not present you are throwing your customer out. In Andheri, we have space for 500 cars which nobody else has. In fact, there are instances all over the country where shopping malls with the best of brands have not been able to attract customers as they are situated on busy roads without adequate parking.

    “The moment you can control Amitabh

    Bachchan with your remote, the

    charisma of movie-watching is gone!“

    Today with the plethora of television channels, the Indian consumer needs a reason to come out. Do you do a lot of marketing and promotional activities?
    We do activities like cinema premieres or having special shows for children. We also have movie based activities like a contest. We have a fully dedicated marketing team which looks after these activities on a day to day basis. We get media coverage regularly.

    I would like to know your views on convergence.
    Well, movie-going has picked up over the past two, three years. The fact is that, the moment you can control Amitabh Bachchan with your remote, the charisma of movie-watching is gone! You may have a home theatre but it cannot give you the same uninterrupted pleasure that you get on the big 50 feet screen.

    When convergence comes in, you will be able to see movie clips on your mobile. Will that satisfy you? Most people would rather see the big picture.

    Do you see the Imax format being used for Indian films in the near future?
    Imax Films cannot run for too long. Most films are 45 minutes. It tends to be a strain on the eyes if it runs into three hours like our films do. There are also no Imax screens. You can cut Sholay into an hour and a half but where will you show it in Imax? Only in Mumbai and Hyderabad.

    Internationally, where you have 250 Imax screens, it made sense to convert Matrix Reloaded and Matrix Revolutions into that format. People cannot keep seeing the same documentary again and again.

    Have you tied up with hotel chains and tour operators to promote Fun Republic to the domestic and international tourists?
    We do a lot of online activity. At our website, tickets can be booked. There are some cities where it makes sense to tie up with hotels like The Taj. In Mumbai it doesn’t make sense as it is in town. Also I would rather look at the three star hotels to create aawreness about my product than a deluxe hotel.

    The three star clients will come out to see a Hindi movie. Executives in five star hotels do not have the time usually to spend a few hours outside.

  • Financing for Hindi films : Shifting industry dynamics

    The sourcing for film financing for Hindi films is now seeing itself in a new avatar with a number of Hindi films being financed by organized sources (comprising APO funds, institutional / bank loans, private equity / venture capital from institutions & private sources directly or through investment vehicles & companies). The percentage increase from 2002 to 2003 has been a whopping 200 per cent.

    A ballpark figure of Rs 1,761 million spread over 33 film projects is said to have been invested in the film financing sector in 2003 as compared to Rs 556 million spread over 11 films projects in 2002 and Rs 430 million in 2001. This increase in film financing from organized sources has been led by Media & Entertainment (M&E) companies that have raised funds through IPOs over the last few years and new entrants comprising of high net worth individuals (HNI) & companies, who were traditionally not engaged in the M&E business. This has resulted in the players reducing their funding from traditional unorganized sector debt financiers by a subsequent amount

    This represents the first definitive (and meaningful due to number & quantum of films involved) shift in the growth of organized film financing for the Hindi film industry, a trend which is likely to sustain & grow over the coming years.

    The past five years witnessed several Indian companies engage in diverse business segments across the Media & Entertainment (M&E) space have raised money through initial public offerings (IPOs) and private equity placements over the past five years. The first company to tap public money through an IPO was the C&S TV broadcaster, Zee Telefilms Limited, in 1992-93. The big push in fund raising came in 1999 as investor appetite for M&E companies increased due to global recognition in the potential of M&E companies.

    Business Segment

    Name of Companies

    TV Broadcasting & Software Production

    Zee Telefilms, ETC Networks, SONY Entertainment Television, TV Today, NDTV, Balaji Telefilms, Bag Films, Creative Eye, Cinevistaas, Padmalaya Telefilms, Sri Adhikari Brothers Network, TV 18, Miditech, UTV, Nimbus Communications

    Film Production, Distribution & Exhibition

    Adlabs Films, PVR, Mukta Arts, Shringar Films, Pritish Nandy Communications, Galaxy Entertainment, Kaleidoscope Entertainment

    Music Content & Distribution

    Tips Industries, Saregama

    Print Media

    Mid-Day Multimedia, Hindustan Times

    Radio Broadcasting

    Entertainment Network of India

    Animation

    Crest Communications, DQ Entertainment

    In addition to foreign direct investment (Star TV, SONY, Discovery Communications, Time Warner, etc;) & foreign portfolio investors (who have picked up stakes in some of the above mentioned companies through IPOs and / or secondary market), several international venture capital & private equity investors have also bought into the Indian M&E companies. Some of such global financial investors include GW Capital, ICICI Ventures (indirect route), Warburg Pincus, CDP Capital, The Chaterjee Group and Transatlantic Ventures. 

    While the TV Software and Music Software & Distribution attracted majority of external funding till 2001, the Filmed Entertainment space (comprising Film Production, Distribution & Exhibition) and niche TV channels (News & Current Affairs) are the current favorites of investors due to favorable industry dynamics & potential growth opportunities.

    The film financing market in India comprises producers (proprietorships, partnerships, private limited & public limited companies), private financiers (traditional financiers & new players) and banks & financial institutions. Indian films can theoretically raise production financing from multiple sources as tabulated below. However, funding from most of these sources is not forthcoming presently due to reasons mentioned alongside.

    Mode of Funding

    Remarks

    Private Financiers

    Most frequently used funding source.? Interest rates differ for different borrowers. By and large, interest rates have become competitive with a macro level fall in interest rates.

    Promoter?s Equity

    The second most popular source of funding.

    Larger Producers (in lieu of distribution rights & profit sharing)

    Not too popular as all big producers do not have excess capital. Most of them shy away from this type of funding (equity investment for third party film projects) and concentrate on their own projects.

    Institutional Debt

    Most of the producers who can get sanctions do not need institutional debt funding while producers who need funding can not get sanctions due to conservative sanctioning approach (more so due to prudent credit policies) followed by lenders in order to protect themselves against distribution & completion risks.

    Distribution Financing

    Is available presently (in limited quantum) only for big banner films with reputed producers, directors and star cast.

    IPO

    Hangover of poor returns earned by investors from prior IPOs. Difficult but possible for business with diversified operations.

    Venture Capital / Private Equity (Company level)

    Not forthcoming for plain vanilla film production companies due to concerns of transparency & higher risks. Low institutional activity due to lack of good, diversified investment opportunities.

    Venture Capital / Private Equity (Project & Slate Specific)

    Mitigates most of the critical risks associated with company level funding. Funding from corporates & individuals is growing rapidly through plain vanilla financing and / or co- productions.

    The inferences that can be drawn is as follows:

    Number of films financed from organized sources increased from 4 in 2001, to 11 in 2002 to 33 in 2003 representing an approximate increase of 200% year on year for the last three years.

    • Total funding for films from organized sources have also increased from approximately Rs 430 mn in 2001 to Rs 575 mn in 2002 to Rs 1760 mn in 2003 representing an increase of more than 200% in 2003 over the last year.
    • It will be appropriate to infer that ongoing growth in multiplexes especially in metro towns and larger cities is promoting production of niche films (which, in turn are being financed by private investors), which till about 2-3 years back were unviable due to non-availability of exhibitor screens for showcasing to the target viewer segment.

     Concluding Remarks / Emerging Trends 

    ?  Private investment from non-institutional sources will continue to grow in 2004 & beyond. Initially, such investments will come from high net worth individuals or through companies promoted by them in the capacity of venture capitalist for producing films with metro-centric multiplex themes or globally aligned subjects. As & when the distribution sector becomes more organized, flow of capital will also begin from institutional sources for taking equity stakes in film projects. This may take some time as the distribution / exhibitor segments of the film value chain will become more organized & transparent over time.

    ?  Anything leading to higher revenue generation for films will act as catalyst for attracting private sector investment in the film financing business. Presently, Hindi films generate less than 5% revenue from home video business as compared to 35-40% for US films. Similarly, overseas revenues constitute less than 15% for majority of Hindi films as compared to approximately 25% for US films. Domestic theatrical revenue constitutes almost 50% of a typical Hindi film as compared to around 20-25% for a typical Hollywood film. Therefore, suitable measures which lead to increase in revenue from Home Video segment (lead will have to be taken by reduction of piracy), overseas market (newer revenue areas in the theatrical, Pay TV & home video segment) and domestic theatrical circuit (higher revenue generation can be brought out by growth of digital distribution & exhibition in smaller towns) will induce increased investment queries from private investors for funding films through the equity route and increase comfort of debt investors. Similarly, onset of the PPV market with the advent of DTH broadcasting in India could contribute significantly (revenues could increase by as much as 10%) to the revenue generating potential of Hindi films.????????

    ? Going forward, it is expected that equity investment in film projects will be more forthcoming from high net worth private investors and debt financing will be led by private sector unorganized financiers, IDBI and banking institutions. Gradually, institutional venture capitalists & private equity investors will also come forth to take equity stakes in film projects. But they may do so through special purpose investment vehicles (funds) structured suitably to fund films through debt and / or equity.?????

    ?  The industry may also witness emergence of newer financing structures & options, which will provide completion financing & P&A (Prints & Advertising) financing for films. These type of financing options are likely to emerge in structures, which will be associated with a strong film distributor to ensure optimal recoupment? of funds in the LIFO (Last In First Out) format. Similarly, some of the enterprising investors and companies are also likely to start providing development funding to filmmakers especially for projects (both live action & animation projects) aimed at global audiences.????

    ? Whenever (if at all) tax incentives are provided to investors investing in filmed entertainment space (basically content production on the lines of incentives available in Australia, UK, Luxembourg, Netherlands, France, Ireland, etc;), it will lead to a surge in private sector investments in the film production business, both from institutions as well as individuals.

    ?Newer players entering into the film financing business may also start lending like private financiers in addition to taking equity stakes in specific projects.

    ?There will be sustained growth in co-production activity within the domestic film industry (for risk sharing & optimal utilization of specific resources) as well as between Indian & overseas producers (for making films with an Indian link into the project or for benefiting from lower cost of production in India).???

    ?Companies engaged in other M&E business segments like Broadcasting, Print Media, TV Content Production, Film Distributors & Exhibitors will diversify into film production business with different objectives. While Broadcasters & Film Distributors / Exhibitors will aim to generate supply for their respective networks, TV Software producers will aim to provide growth to their existing businesses.

    ?Some players especially in the print media space will be interested in this space as a plain vanilla diversification exercise and such a move may be charted through an entry via film financing route rather than hands on production route, which will be taken by TV software producers.
     
    • Please note this report cannot be published or reworked without the written consent of Rabo India Finance
    • The author is Rabo India Finance corporate and investment banking head – Media & Entertainment. He can be contacted at sunir@hotmail.com.
  • Sony, Balaji’s cold launch on a cold night – ‘Kkoi Dil Mein Hai’

    Sony, Balaji’s cold launch on a cold night – ‘Kkoi Dil Mein Hai’

    On 27 September showmanship scaled amazing heights when film-maker Vashu Bhagnani released the music of his last venture Out Of Control (Ritesh Deshmukh, Hrishita Bhatt, Brande Roderick) in an aircraft, en route to Delhi.The producer hired an entire aircraft of Air Sahara to launch the music of the film mid-air. From the boarding cards to the head rests in the aircraft – everything had the logo of the film embossed. Besides, cloth banners of the film were put up at the entrance of the domestic airport (Santacruz in Mumbai).

    Then, came producer Manmohan Shetty with his new film‘s launch, Waqt- A Race Against Time on 24 November, at Mumbai‘s Juhu Beach! Starring Amitabh Bachchan, Akshay Kumar, Priyanka Chopra, Paresh Rawal and Rajpal Yadav, the film is being produced by Blockbuster Movie Entertainers and presented by Manmohan Shetty, Kishore Lulla and Sunil Lulla.

    If the film industry can get innovative, why should the television industry lag behind? So thought Ekta Kapoor and Sony Entertainment Television. On 21 December, Balaji

    Telefilms‘ new serial Kkoi Dil Mein Hai was launched amidst ‘promised‘ fanfare at a surprising venue- Mikanos, a happening discotheque in Mumbai.

    The evening was flagged off by a few games which the DJ played with the youngsters around. After a while, a huge cake was cut – it was Karishma Tanna‘s birthday (Psst… thought of asking her which one, but let it pass!). After a few snacks and drinks, we were served the screening of the first episode.

    Every 10 minutes, the DJ (not that we can recall his name!!) gave us a break and asked questions on the serial. ‘Watch it with attention, you dare not drown yourself with more pegs‘ – was the message. Anyways…
    Mikanos DJ with Poorva Gokhle at the Kkoi Dil Mein Hai party

    Every 10 minutes, the DJ (not that we can recall his name!!) gave us a break and asked questions on the serial. ‘Watch it with attention, you dare not drown yourself with more pegs‘ – was the message. Anyways…

    We cannot go by the guys and gals who were asked ‘Kaisa Lag Raha Hai?‘ by the DJ. They ‘had to‘ gush, we believe. So we kept our ears open. The hushed whispers behind our backs revealed that the serial had been accepted, but people found it a bit too similar to Saaya and Jassi. Saaya; because this too has two friends as different as chalk and cheese and Jassi; because the episode starkly preached that beauty lies within, simplicity is the essence of life, blah, blah, blah…

    The cr?me de la cr?me of the Balaji camp were conspicuous by their absence. So the party was sans Ekta Kapoor, Jeetendra, Shobha Kapoor and Nim Sood. Neither did any of the leading cast of Ekta‘s other serials grace the occasion, though earlier we had been told that they would.

    We saw only Karishma Tanna (in a tight black top and the same black skirt which she wore throughout the inaugural episode!) who made a hurried exit as soon as the screening was over.

    She said she wanted to celebrate her birthday in ‘Bombay Blues‘.
    SET India executive VP Sunil Lulla, actors Poorva Gokhle & Karishma Tanna at Mikanos

    Also present at the party were Poorva Gokhle (in a white top with a pink tight pant), glamorous Ashlesha Sawant (Kahiin To Hoga and ex-Kyunki Saas Bhi Bahu Thi) looking like a million dollars, model-turned-actress Suchitra Pillai (wonder what was she doing there? Her film coffers are not full. Is she going to lean on television? Are we going to see her in the serial as fashionable Karishma Tanna‘s friend, just like we saw Mandira Bedi adding glamour in Jassi Jaissi Koi Nahin for a while?), Aditya Dongra (Addi of Kyun Hota Hai Pyarrr) and Sandeep B (who plays the guy sandwiched between the two friends in this show).

    The music was good, but hardly anybody took to the dance floor to shake a leg.

    The mercury had dipped when we drove back home, nearing midnight. The ‘thanda‘ attendance had compounded the chill.

  • “Being on Star, Sony and Zee gave me an unbelievable high”

    “Being on Star, Sony and Zee gave me an unbelievable high”

    Having made quite a few appearances on television, she is now getting noticed and getting her dues. Shy and reticent, this psychology graduate from Mumbai's Mithibai College has won the hearts of everyone who is glued to the television at prime time. Alongside, she has also had her tryst with Bollywood!

    An aspiring model, she has tried her hand at ads, modelling and now is a known face on the small screen. Tina Parakh who has come as a whiff of fresh air in Balaji Telefilms' rejuvenated Kahaani Ghar Ghar Kii (KGGK) as 'Shruti' has won many a hearts. After acting in serials like Dollar Bahu, Astitva, Kehta Hai Dil, Khichdi, Mansha and Kahaani Terri Merri this petite actress is open to anything that comes her way from serials to films. Fabulous looks and straightforward answers, she seems a perfect blend of beauty and honesty.

    Excerpts from an interview with indiantelevision.com's Vickey Lalwani:
     

    How did television happen?
    By accident (laughs). After my college was over, I wanted to get into Public Relations (PR). But, I had some friends who had were into modelling. I used to go with them for auditions and it started rubbing on me. I was very impressed by the way models/actors say their lines and start screaming or laughing in front of so many people, without batting an eyelid or raising sweat.
     

    And you went in for your first audition?
    You guessed it right. Actually during one of my visits with my friends at an audition, I started giggling at someone who was auditioning. The person in charge asked me if I wanted to try my hand at acting. I did not.

    Later, they called me. I went, but still did not give the audition. You can say I developed cold feet. After coming home, I decided that it was high time I opened up. And I told my dad that I wanted to get my portfolio done! (smiles).
     
    "I left 'Mansha' because it was difficult for me to handle two dailies at a time"
     

    So did your parents encourage you?
    A few teething problems, but I convinced my dad and got my portfolio done. 15 days later, I got my first ad – 'Shapers'. 10 days thereafter, I got to do a music video (Collosus). A few days later, I was offered a serial titled Hip Hip Hurray- Part 2. And since then there has been no looking back.

    Thereafter, I did Dollar Bahu, Astitva, Kehta Hai Dil and Khichdi. Ekta saw me in Khichdi and Kehta Hai Dil, and called me for Kahaani Terri Merri (KTM) but unfortunately the serial didn't do well. Later, she called me for Kahaani Ghar Ghar Kii. Lately, I did Mansha too.
     

    But now you are no more seen in Mansha?
    I left Mansha. My contract was for 64 episodes. Mansha has now tuned into a daily. Originally, it was not. So it was difficult for me to handle two dailies at a time.
     

    Have you had any formal training in acting?
    No. My audition, portfolio, first ad, music video, serials – all happened so quickly and one after the other that it didn't leave me with any time for acting classes.
     

    Why did KTM flop so badly? Were you disappointed that it was taken off abruptly?
    Of course I was disappointed. But I wouldn't be the right person to comment on why it didn't do well or why it was taken off air. Anyways, people are quite liking its re-runs nowadays. Tastes change with time, I guess.
     
    "Most of the characters on television are not realistic but make-believe"
     

    You consider KGGK as your biggest break?
    I started getting noticed from the days I played Mellisa in Khichdi and Tara in KTM. But yes, this being a bigger serial because of its high viewership and my role is central as I play Om and Parvati's daughter, KGGK can be termed as my biggest break.
     

    Do you think that KGGK needed to jump 18-years ahead?
    Definitely. People may have been watching it because it had become a habit. But how long could that have bound the audience? New characters and tracks were needed. People were tired and a certain amount of freshness was lacking.

    Generation X in the serial gives ample scope to satisfy those requirements. Earlier the viewers mostly comprised mothers, fathers and grandparents. But with this 18 year leap and the fresh plot even the youngsters have started watching it.
     

    Do you identify with your character Shruti in the serial?
    Frankly, most of the characters on television are not realistic but make-believe. But I am lucky to have got a role which is not unreal. Almost all youngsters would identify with my role- getting misled by friends, lying a bit to their parents, etc.

    Because of this, I am very close to my character. Among the Generation X, I play the character which is closest to life. This is a fact. I am 24 but haven't forgotten the days when I wanted to go to a discotheque and my mom used to hit the roof. Even when I was allowed and if I smelt of smoke and alcohol when I returned, I used to be given a piece of her mind. I never smoked or drank, but you know how claustrophobic the environment is at discotheques. You may not indulge in cigarettes and alcohol, but you invariably smell of these things when you come back home.
     

    Does your equation with your mum and dad in your teenage days contribute in the emanation of the portrayal?
    I haven't forgotten that I was allowed to go only four times in a month and had to return before midnight. I haven't forgotten those days of peer pressure, lies… when I had assumed that my mom could never become my friend.

    I used to get blank and crank calls and my mom didn't believe that I didn't know who was calling me. I have a huge generation gap with my parents; my elder brother is 14 years elder to me! All those memories come rolling back when I see my role so close to my real life, or say, any teenager's real life. So, it helps a lot. I have had no problem in getting into the skin of the character in any scene, till now at least.
     

    Is it intimidating to work with experienced actors like Dipak Qazir, Kiran Karmarkar and Sakshi Tanwar?
    Not at all. On the contrary, each one of them guides the younger lot and makes us very comfortable. More importantly, their talent rubs on us. I automatically get the right expression if the seniors are in the same frame.

    I might err once in a while. For instance, remember that police station scene where I have been arrested and my father too lands up there, looking for my mom? After that scene came on air, I got 'n' number of calls and messages that I'd given the perfect expression of being very scared while looking at my father. Guess how it came about? All credit goes to Kiran Karmarkar. He gave me such a look that I literally became a petrified chicken!
     

    How is it working with Sakshi Tanwar as most of your scenes are with her? How do you address her?
    Initially, I hadn't opened up much with her. It was just a 'Hi' or maybe just a smile. Let's face it. The seniors have been on this serial for three long years. How can you expect them to open up immediately to a youngster in a short period of time? But lately, the ice is breaking. I have always addressed her as Sakshi. There is no 'ji' added. She is not old.
     
    There is some 'rona-dhona' in your character. How often do you use glycerin?
    Not always. Glycerin is used when I am either tired or in a hurry. Otherwise, crying is no big deal. This is also because I am close to the character. Therefore, the plot and the scenes are real to me.
     
    "I automatically get the right expression if the seniors are in the same frame"
     

    Some youngsters believe that directors should enact the scene while explaining…
    (interrupts). I disagree. It is enough for the director to explain your character and the situation. If you are tuned in, there is no reason why he should enact.
     

    Many youngsters find it difficult to memorise the lines given to them…
    (interrupts) I don't. And I don't believe in turning the lines and saying it in my own way always. There are several occasions where one has to say exactly what has been written on the sheet given to you, else the scene would be diluted.
     
    How does the Shruti character in KGGK shape up from here?
    She gets into big problems but learns from her mistakes. But if you are asking me about the length of my role, it would depend upon the public response.
     

    Does Ekta Kapoor give an encouraging phone-call or SMS, at times?
    Often. She keeps in touch saying things like, 'You are doing a great job, Keep it up'. There is a huge myth about how Ekta Kapoor is, which even I had once upon a time. But let me tell you, she is easily accessible. I can SMS or call her anytime I feel that I am not able to understand or do a particular shot.
     

    You are also doing Khichdi, and you were doing Mansha until recently, how did you shuttle between the three serials? Wasn't it tough?
    I was on Star, Sony and Zee. That feeling gave me an unbelievable high. So I never lost the spark to get up from my bed and be as fresh as a daisy every day.
     

    Are you looking at television as a full-time career?
    Hmmm… I am one who lives life by the day. Whatever work comes my way, I will put my best foot forward.
     

    Do you see yourself doing movies?
    Yes. I want to do meaningful films like Daman, Astitva and Chandni Bar. I don't want to dance around trees. In fact, I am doing a film (untitled as yet) directed by Sanjay Upadhyay (who directed serials like Saaya, Aatish, Tum Pukar Lo and Hum Pardesi Ho Gaye). The film also has Sayaji Shinde and Sachin Khedekar. It's an encounter cop thriller. I play the female lead.
  • “I won’t wear undersized outfits and do sexy scenes. I am looking at meaningful cinema”

    “I won’t wear undersized outfits and do sexy scenes. I am looking at meaningful cinema”

    If you think you have seen Sai Deodhar aka Monika – the young, charming and intelligent pilot from Saara Akaash – before, you are not too far off mark. The offspring of cinematographer Debu Deodhar and director Shrabani Deodhar, this Taurean has virtually grown up in the film industry and has been facing the camera since she was three. Acting has been an aspiration ever since. But, whether TV or films, only meaningful roles please! Sai doesn't want to associate with skimpy outfits and sexy scenes. She tells Vickey Lalwani why:

     

    Was yours a planned foray into television acting?
    Yes. My mother Shrabani Deodhar is a successful director in Marathi cinema with films like Sarkar Nama – which won the Filmfare, Screen and State awards – to her credit. Currently, she is directing Raveena Tandon's home-production Pehchan. From childhood, I regularly visited the sets with my father Debu Deodhar.

    I have grown up in a filmi environment. So naturally, I felt the urge to act. In fact, I have done a few TV serials in my childhood – Kachchi Dhoop, when I was barely three years old, Mrignaynee and even films like – Prahaar, Chudiyan, Daayra and my mother's first Marathi film. Then came Shanti, which incidentally was my last appearance before I settled for a break.
     

    Break?
    Yeah. Padhai kaun karega? It was time to appear for my Standard X exams. So I shifted my focus to academics.
     

    But you never put your acting dream on the backburner?
    Why should I? But let me correct you, I never just dreamt of becoming an actress. It was an aspiration,that I meant to pursue diligently and relentlessly. That's just what I started doing soon after my tenth exams.

    I acted in Sai Paranjpe's Marathi play starring Vikram Gokhale. That was a great learning experience after which I formally got trained in acting from Kishore Namit Kapoor classes, and also learnt kathak and jazz. May I add that my earlier stint helped me loosen up before the camera.
     
    "I have grown up in a filmi environment. So naturally, I felt the urge to act"
     

    Were these classes and the childhood experience enough?
    (Laughs) I can slip into the skin of the character easily, because I relate to the character. Monika is a very real person who has her fair share of strengths and flaws.

    The best part of the character is that I play a girl who has her own views and identity. This is true for all girls today, including myself. Besides, I am completely a director's actress. Often, I ask the director to explain the graph of my character.
     

    Scripts are written one day before, lines are written one hour before. Does a director know what turn the story is going to take next week?
    By graph of my character, I don't mean where my role is heading. I simply mean the pitch with which I emanate. Often, actors either underplay or go over the top.
     

    How did 'Saara Akaash' happen?
    I got a call from Miditech (the production house) asking me whether I was interested in acting. They had gotten hold of a few of my pictures, I don't know from where. I loved the role and grabbed the offer.
     

    But the serial did not start off on schedule?
    For a very long time. In fact, nearly one-and-half years. But I did not lose patience. I had a gut feeling that those were teething problems, which would settle down. So I rejected few other offers that came along. This role was meatier and hence a better platform to flag off my journey (pauses).
     

    Go on…
    I particularly enjoyed the flying scenes. Though the scenes are all courtesy animation in post-production, we all did a lot of homework in inculcating the body language of pilots. We have interacted with real pilots to imbibe their style and mannerisms. Besides, some pilots actually made us understand the various technical aspects of flying so that we don't look awkward getting in and out of the plane so often.
     
    "Movies have eaten into our ratings. Nowadays, good films are being aired on TV. No serial wins against a movie in terms of viewership"
     

    It must have been quite an experience to interact with pilots?
    Absolutely. During our learning and rehearsals, we entered the restricted area, where even the close family members of pilots are prohibited. Mind you, nobody is allowed on the tarmac. Thanks to producer Nikhil Alva, who knew the Air Force authorities and thus obtained the permission.
     
    Do you remember your screen test?
    Certainly. They gave me a few lines to recite. Believe it or not,
    I completely improvised on what was given to me and said it in my style. And they liked it! Guess they equated it to the confidence that was so very essential to the tomboyish character of Monika.
     

    The show also underwent a lot of changes in the script, didn't it?
    Right. Earlier, the focus was more on air force. Now it is more about human emotions against the backdrop of the air force. What to do? People want to see relationship-oriented shows. That's what sells (shrugs her shoulders).
     

    But did you approve of the fact that the original concept underwent a dramatic transformation?
    Does it make any sense for producers, directors, actors and so many other professionals to sweat day and night to make something that the audience does not want to watch?
     
    Did you reshoot some stuff?
    We did, but without diluting the essence.
     

    So what is the viewer left with? Everything is the same, isn't it?
    Now you are complaining that all serials are same. Yes, television has become monotonous. But please do not blame the producers and directors for this. Television means big business and it is difficult to experiment with. Jassi Jaissi Koi Nahin maybe a beginning. It will be interesting to watch how it goes from here.
     

    Frankly speaking, 'Saara Akaash' has not been able to maintain the high viewership it enjoyed in its very first episode.
    I agree that the ratings have fluctuated. I personally feel that the movies have eaten a lot into our ratings. Nowadays, many new and good films are being aired on TV. No serial can fight and win against a movie in terms of viewership.

    Ironically, these movies do not necessarily affect the post-10 pm serials. The people watch the first hour of every new movie, which coincides with the hour of Saara Akaash telecast. Since only a few movies are good, these people then return to serials.
     
    "Monika (of Saara Akaash) is a real person who has her fair share of strengths and flaws. This is true for all girls today, including myself"

    Sai did a lot of homework to learn the body language of pilots for 'Saara Akaash'
     
    You love Shakti Anand in the serial, but he concentrates only on Sonal Sehgal. Do you identify with such a situation in real life?
    (Laughs) Not so long ago, I completed my BA. Presently I am doing my MA by correspondence. So I am still a student and in touch with lots of youngsters attending college. These things are quite common in these times in every college.
     

    Is there a planned end to 'Saara Akaash'?
    It's an ongoing thing.
     

    You have worked in films as well as serials, though films happened at a very young age? Still, could we know from you if you felt any difference between the two mediums?
    Of course (with a lot of emphasis), I have felt the difference. Sometimes, youngsters and even kids are sharper and more observant than adults. See, errors on television are not detrimental to the fortunes of a serial.

    Say, if a director took a long shot instead of a close one and realised his mistake even after the whole episode had been shot, yet he can recover in the next episode because similar backdrops and scenes often happen on small screen. Besides, the film can be reused. In films, the director has no chance to rectify his mistakes. This is because of three reasons – budget constraints, stars are too busy to give common dates and the film cannot be reused.
     

    You look pretty fit to become a heroine. Is that going to happen soon?
    I hope so (laughs). Pray for me. But I am clear that I will not wear undersized outfits and do sexy scenes. I wouldn't like to be associated with such cinema. I am looking at meaningful cinema to come my way. There are different kinds of actresses in the film industry and there is work for every category.
     

    Your next TV serial?
    Could be Basu Chatterjee's Film Farm, where I'll be playing the lead.

  • Behold the’Jassi’ revolution!

    Jassi Jaissi Koi Nahin! The title of Sony‘s life-saver has proved to be profitably prophetic. Jassi has done the seemingly impossible. It has weaned audiences away from the saas-bahu formula of couched entertainment, at least temporarily, to actually consider the opposite option: what if the protagonist didn‘t look like she had been dunked into gallons of warpaint? What if she‘s actually just the opposite of a glossy gharwali? What if she‘s a plain working woman?

    Great premise, brilliantly handled by Tony and Deeya Singh whose deft vision bequeathed our home-viewing medium with at least two previous pathbreaking serials (Banegi Apni Baat and Just Mohabbat).

    Jassi dares to walk the tightrope. While remaining steadfast in its traditional values (check out the sarcastic dressing-down from her doting grandma and parents that Jassi got when she headed home hiccuping after a night at the disco) it also succeeds in touching on taboo topics such as homosexuality.

    The dress designer Maddy, played with flamboyant fluency by Rajesh Khera, is the first fully-formed gay character in an Indian soap. Some years ago on Zee‘s Tanaav Aly Khan had attempted to play a sexually conflicted character writhing uneasily in the closet. That soap never got a long rope.

     

    So powerful is Jassi‘s impact that other soaps have begun to adopt some of its ‘plain Jane‘ methods of seduction. Last week on Star‘s Kyun Hota Hai Pyarr I was shocked to see a bespectacled whining and fussing avatar of Jassi, who loses the chance to woo a man by trying too hard to please him. “Can‘t you just be yourself?” the exasperated man walked away? The sobbing Ms Rejected (who jumped up and down on the bed with grief like an out-control sprinter) is then madeover by her friends and taken to a discotheque to confront love in a glossy new packaging.

    Isn‘t that disturbingly similar to some of the happenings in Jassi Jaissi Koi Nahin? Shouldn‘t the channels stop crossing wires?

     

    ****


    Multiple Marriages.This week Sony‘s Kya Haadsa Kya Haqeeqat featured Jassi‘s Mallika , Rakshanda Khan (who‘s a far better actress than some of the middling movie players) as a spirit who takes possession of another woman‘s husband.

    “You can have him in the day. He‘s all mine in the night,” meowed the seductive spook, and then proceeded to have… er, spirited sex (in a manner of speaking) with the other woman‘s husband.

    Don‘t be alarmed. Multiple marriages have become an integral part of primetime entertainment. Kusum on Sony‘s Kkusum has recently gone through her third marriage. On Star‘s Kasautii Zindagii Kay Anurag has just had his third marriage with the girl who all along pretended to be interested in him to save his earlier marriage. So much for acts of betrayal.

    There was a touching moment of marital majesty last week when we saw scenes of Anurag‘s marriage vows being juxtaposed with his ex-wife Prerna‘s angrily taking off all her jewellery. Such moments tend to get eclipsed by the chaotic cosmos that the soaps build within the joint family setup.

    ****

    Copyright Violations.What I really like about Kasautii is its use of re-recorded versions of evergreen film songs like Hum bewafaa… (from Shalimar) and Ajeeb dastaan… (from Dil Apna Aur Preet Parayi).

    The popularity of these songs has actually been renewed through the soap. On the flip side, most practitioners of the soap trade don‘t seem to know a thing about copright laws! was shocked recently to hear Lata Mangeshkar‘s Saanware (composed by R D Burman for film Baseraa) being used almost as a wall-to-wall carpet in the soundtrack of Zee‘s Kabhi Kabhie.

    ****

    On the rebound. By the way, Kabhi Kabhie – the story about a woman “wedded” to Lord Krishna – has been done in a garish pseudo-mythological tone. The Nightingale‘s voice undoubtedly adds poised dimension to Jhulka‘s coy performance.

    As for Jhulka, the poor soul needs television more than television needs her. Having played a belligerent Nana Patekar‘s wife recently in the film Aanch, soaps seem to beckon her with both arms.

    Another talented large-screen fade-queen whose career has been transposed to television is Anooradha Patel who suddenly surfaced on Jassi as a fashion consultant.

    Subhash Ghai‘s failed discovery Apoorva Agnihotri too has suddenly discovered portable stardom on television as Jassi‘s beloved ‘Armaan Sir‘.

    ****

    Damp Squib. I wish we could look positively at Shekhar Suman‘s re-invention on television. Regrettably, the ‘rebirth‘ of his popular Movers & Shakers on Sab TV as Carry On Shekhar (don‘t miss the sly allusion to the raunchy British ‘Carry On?‘ series of films) is a bit of a damp squib.

    Because of the host‘s abrasive manner, celebrity-guests (Adi Godrej appeared on the show with one of his locks which he said he wanted to put on his host‘s mouth) are staying away. Last week, Suman‘s celebrity-guest was MTV veejay Sophia whose job on her parent channel is to interview celebrities (The most recent being Arjun Rampal who was asked, “Are you a Mama‘s or a Papa‘s boy?”) Oh boy!

    Is she someone whom we‘d be interested in as a celebrity? Let‘s face it: the only celeb talkshow that‘s worth watching is Rendezvous With Simi Garewal. Last week a re-run of a post-Kaho Na? Pyar Hai episode featuring Hrithik Roshan with his parents seemed far fresher than some of fresh talkshows where the guests look like they could do with some serious stardom before holding forth.

    ****

     

    Outstanding. Excellent change of mood from social relevance (sexual harassment at a work place) to thriller (flirtatious boss put in his place by harassed woman and her spunky mother-in-law) made this week‘s episodes of Sahara‘s Kagaar an exercise in weighty infotainment.
    If only more serials would follow their own hearts rather than run after the elusive TRPs, thereby over-stuffing the plots with violent incidents.

    ****

    Immortal ? There‘s no dearth of acting talent on the soaps. Achint Kaur who plays the vicious home-wrecker Geeta on Kyunki Saas Bhi Kabhi Bahu Thi was admirably well-timed in her emotional responses on Thursday. She had to interact politely with her co-star and also express her silent exasperation about a missing envelope which could‘ve damned Tulsi.

    “This Tulsi seems to have been born with immortality,” the vamp hissed.

    Yes, Tulsi will remain as long as the god of all small-screen smile on her.

    ****

    Tailpiece: Will the news channels please cease to pass of filmy hearsay as “news”? Star News last week told us that Meghna Gulzar has signed Preity Zinta, and that Vashu Bhagnani is doing another film with American actress Brande Roderick (pronounced “Rodericks” by every newscaster).
    Both false.

  • “Being seen around too much as a child artiste could go against my aspirations to become a heroine”

    “Being seen around too much as a child artiste could go against my aspirations to become a heroine”

    Not so long ago, Miss Rolling Eyes Annu of Des Mein Niklla Hoga Chand, Sweta Keswani had told me, "Hansika Motwani literally lights up Des Mein… She will go places." Boy, this 10-year old really does! Sometimes seasoned artistes too fail to give the correct expression in a scene, but Hansika has not erred in the same frame!

    Hansika's histrionic abilities have been justified in just a span of two years. She has managed to make audiences sit up and take notice of her talent. An integral part of Des Mein Niklla Hoga Chand and Shakalaka Boom Boom, of late Hansika has signed some new and exciting serials and films as well.

    On her anvil is Mehul Kumar's Jaago, wherein she plays a 10-year old girl who is raped in a local train in Mumbai. Jaago is based on a real life incident that happened last year. Plus, she has signed the Amitabh-Dharmendra starrer Hum Kaun Hai and Dheeraj Kumar's Abra Ka Dabra.

    Everything was going rosy for this kid, until a minor hiccup recently when she ceased to be a part of Balaji's Kyunki Saas Bhi Kabhi Bahu Thi.

    Dressed in casual frock, Hansika, accompanied by her mother, spoke to indiantelevision.com's Vickey Lalwani about why she is no more in the Kyunki… family, and lots more.
    Excerpts of the conversation:
     

    What happened in Kyunki Saas Bhi Kabhi Bahu Thi? Yesterday, we saw that someone else has stepped into your shoes.
    Yes, someone has. I opted out myself. One, I didn't have much footage in the serial. Two, even if I had one scene during the day, I had to wait for endless hours.

    Recently, I have signed big films like Hum Kaun Hai, Abra Ka Dabra and Jaago. I have plum roles in these projects and cannot afford to imagine that big stars will be available as per my availability. Also, I am doing Aruna Irani's serial Tum Bin (Zee) and Zameen Se Aasman Tak (Sahara). To add to it all, my role in Shakalaka Boom Boom has been revised. So from now on I occupy center stage in the serial.
     

    But why should you wait for endless hours? Does the same happen in Des Mein Niklla Hoga Chand?
    That's what I am saying. How can I cool my heels for no rhyme or reason? The same does not happen in Des Mein Niklla Hoga Chand. In Des Mein…, the co-operation amongst the artistes is higher relatively.
     

    Does this imply that you wouldn't do a Balaji tele-serial again?
    Certainly not. I would love to do a Balaji serial again. But the role should be meaty enough. Then, the question of waiting a long time for my scene to be shot would not happen.
     
    Are kids on television given a raw deal? I mean, is their availability taken into consideration or are they forced to comply with the dates of bigger stars?
    During early days, these things do happen; kids are given a raw deal at places. But nowadays, my mother is adamant and vociferous that I am not made to run from here to there, at any date and any time.
     

    Rewind. How did your journey in television and films start?
    I am here, thanks to Juhi Chawla and my mom. They started it all. She is a skin specialist. Juhi Chawla was one of her clients. About two years ago, Juhi told my mom that she saw some acting spark in me which should not be ignored. That time, she was doing a Jignesh Shetty's film titled Yahoo directed by Sanjay Chhel, opposite Govinda. There was a vacancy for a kid's role; it required the kid to sing as many as three songs. With mom's permission, I went ahead to do it. Unfortunately, the film got stuck and has still not released.
     

    So didn't the wheels clog?
    Fortunately not. Thanks again to Juhi, I went on to do a commercial – Hyundai Santro. Shah Rukh Khan was doing it and the ad required a kid. Juhi and Shah Rukh are good friends. People noticed me in the Santro ad. Soon, I was signed for Rakesh Roshan's Koi Mil Gaya.

    Within a short period of time, I started getting TV serials- Des Mein Niklla Hoga Chand, Kyunki Saas Bhi Kabhi Thi and Shakalaka Boom Boom. Recently, I did the film Hawa, but unfortunately it flopped. In a few days from now, you will see me in more films. The wheels are going at break-neck speed. Recently, I have been lots of ads- Ujala, Samsung Microwave, Onida AC, Bournvita… I love doing ads.
     

    Did your dad have any objection to you joining the glamour world?
    No. He is quite cool about it. He has cautioned me not to do anything wrong and he knows that I will never betray his trust. Besides, he knows mummy is with me.
     
     

    Did you enjoy Koi Mil Gaya the most as there were many other kids around you?
    (Smiles) Nothing like that. I have enjoyed working with big stars too. By nature, I am a very friendly girl who can sit between a group of elders and yet feel at home. But yes, being with many kids most of the time in Koi Mil Gaya was a slightly different feeling. Above all, it was a great learning experience to work with Hrithik Roshan. He was always there to give me suggestions and alternatives. There were scenes where I could have said a particular thing in two or three ways. I used to ponder a while. He used to decide in a flash what would suit the best. The results are there for all to see. Koi Mil Gaya is a big hit.
     

    How do you adjust between school and shoots?
    I normally shoot after 2 pm only. My school gets over by 1 pm. My mom and I request the producers to keep my scenes after 2 pm. We reserve the Saturdays and Sundays for commercials. Most of the the time, they oblige us. At times when the morning shoot is unavoidable or the shot has to be taken on an out-station location, I bunk school for that period of time.
     

    If you bunk, how do you catch up with studies?
    I have a tutor coming to me on the sets. In between shots, he teaches me. Touch wood, I am a good student. I get about 93 per cent marks.
     

    "Even if I had one scene in Kyunki Saas Bhi Kabhie Bahu Thi during the day, I had to wait for endless hours"
     

    How did you adjust your studies when you went to Canada for about two months for Koi Mil Gaya?
    Such a long absence has happened just once so far. A great many thanks to my principal Ms Vandana Lulla. I was given special permission to give my examination at a later date. Question papers were kept aside for me.
     

    What difference have you felt while facing the TV lights and the film lights?
    Nothing except the sight that the cameras being used and the co-stars around me are different in both mediums. I have not felt any difference in the quantity and quality of output that I am required to give.
     

    How do you manage the difficult scenes?
    Till now, no scene has proved difficult for me. I have never fallen flat, not even stumbled. Maybe I am a born actress. I have a knack of picking up the nuances of the characters. The rest follows naturally.
     

    "My mother is adamant and vociferous that I am not made to run from here to there at any date and time during shoots"
     
    The general assumption about child artistes is that their parents enact the scene and the children just copy them. How do you manage?
    It's a myth. Today's kids are far smarter than those of yesteryears. Besides, it's not too difficult to act. I guess that I enjoy acting so much that everything happens quite smoothly for me.
     
    "Once I get into seven standard, I will stop working at least till my ten standard board exams are over"
     

    Don't you get tired with such a hectic life at such a small age?
    No. There is a lot of time between the shots I utilise to catch up on sleep. My mom is generally around, so she takes lots of care in ensuring that I am not subjected to any difficulty.
     

    What happens to your mother's practice if she is generally around?
    As I told you, I rarely shoot in the mornings. So Mummy does her practice in the morning. For evenings, she has appointed another doctor who can manage the clinic if and when she is accompanying me to the shoots. As and when I am not shooting in the evenings, Mummy is in her clinic. She is very particular about her work.
     

    What is the reaction of your classmates towards you? Have they changed after seeing you so much in television and films?
    Not at all. On the contrary, I have more boys and girls coming to me and wanting to be my friend. I guess it depends on the person. If the person has not changed, the people around him generally don't. I am treated like any other normal child- by my classmates and teachers as well. Thank God for that. Besides, today, those days are over when people used to go crazy or start feeling jealous and term him as snobbish if he was someone from television and films. Today, being in this line, is like being in just any other line.
     

    Any bad experiences? Say, you were not paid for your work?
    Not yet. Anyway, my entire money is getting deposited and collected in a trust in my name. When I attain 18 years of age, it would be passed on to me.
     
    What else?
    Once I get into seven standard, I will stop working at least till my ten standard board exams are over.
     

    What!
    Yeah. I want to concentrate on academics for the next four years. Besides, being seen around too much as a child artiste could go against my aspirations to become a heroine. I don't want to be over-exposed. I will retain my own personality and not imitate anybody, but yes, I want to become as famous as Aishwarya Rai!
  • Cinema shapes up while TV gapes and blinks – Indiantelevision.com’s Special Report

    Cinema shapes up while TV gapes and blinks – Indiantelevision.com’s Special Report

    A silent revolution is taking place in the world of cinema while the television industry has tied itself up in knots over conditional access system (CAS).When the constituents of the TV industry – broadcasters, cable operators and multi system operators – finally “wake up”, the consumer could well be spending a larger share of his “money for jam” in outdoor outings to entertainment complexes, multiplexes and even upgraded versions of theatres. After all, in this “Attention Economy” (a phrase coined by media personality Amit Khanna) you can either be “quick or be dead”.

    As Hollywood‘s star director of Indian origin Manoj Night Shyamalan would say, “The signs are all pretty visible” (or should we say ominous). After a dismal 2002, the first six months of the current year 2003 have seen films belonging to different genres making hay at the box office – Tips‘ Ishq Vishq (teen romance); Pooja Bhatt‘s Jism (a sensuous Bipasha Basu was a perfect foil to the brilliant debut making John Abraham); Suneel Darshan‘s Andaz (how the heck did this one become a hit?); Ram Gopal Varma‘s Bhoot (spine chilling multistarrer with Ram Gopal Varma‘s magic touch); and UTV-Dreamz Unlimited‘s Chalte Chalte (Shah Rukh Khan brand of “I love you I love you not” saga).

    Film distribution and marketing consultant Shonjoy Bhattacharjii had predicted that the film industry would get its act together right at the beginning of this year.

    Compare this with the television business: no new hits in the first half of the year; shows such as Karishma – The Miracles of Destiny that could possibly have changed viewing habits are stuck in legal limbo (allegedly sabotaged by “outside forces”); others such as Kuch Diil Se haven‘t been properly promoted; Kyunki…and Kahaani were thrown off their pedestals before Kyunki .. managed to reinstate itself in the first week of July; others such as Balaji‘s Kahaani Terri Merri were aborted midway because they bombed at the ‘home box office‘.

    Literally, a lot has happened in the film distribution sector since December 2002 – just about the time when the Cable Television Networks (Amendment) Bill was passed in the upper house of the Indian Parliament. In fact, CNBC‘s “The Entertainment Industry: Taking The Big Leap” brainstorming session held on 19 December 2002 in Mumbai, resulted in a lot of soul-searching amongst film industry experts and heated debates involving the reasons for 2002 being billed as the year of ‘no-show‘ business.

    The film fraternity has taken up the cudgels whereas the television industry constituents have passed their time either in pro or anti-CAS lobbying and little else. The cinema industry started the process of cleaning up its act and while the film industry has declared its intentions of “lighting up numerous screens”, the television industry is talking of “blackouts”.

    On the day (11 July) when Mumbai based cable operators threatened to conduct blackouts if the monthly FTA (Free to Air) bouquet charges were not raised to Rs 150, the Subhash Ghai promoted Mukta Arts entered into a joint venture with the Manmohan Shetty promoted Adlabs to form a new company called Mukta Adlabs Digital Exhibition that would seek to upgrade 400 “B” class theatres across India within the next year. Similar efforts will be definitely made by groups such as the Subhash Chandra owned Essel group (including ventures such as Fun Republic), INOX, Shringar Films amongst others. There are media reports that a whopping Rs 20 billion will be invested in 78 multiplexes around the country.

    Reliance Entertainment chairman Amit Khanna calculates that 11,000 odd theatres in India with an average seating capacity of 700 seats indicated a total of 35 million viewing audiences per day and a revenue of Rs 46 billion.

    Film distribution and marketing consultant Shonjoy Bhattacharjii says: “The greatest change and opportunity in the Indian market is the vast improvement in the exhibition sector. The market share of cinema as a medium has shot up due to improved infrastructure in the existing theatres and advent of multiplexes. This trend is more prominent in the big cities at present but will eventually filter down to the ‘B‘ and ‘C‘ markets. And then the revenues will improve by leaps and bounds.”

    WPP Media owned BroadMind national director Suku Murti has already given a warning about the declining share of traditional media: “Many clients and brand custodians are asking traditional media teams to evaluate non-traditional media streams or new economy media. Recent times have witnessed the emergence of new ways to connect to the consumer – be it through films, or music, or sports, or syndication rights, or promotions, or interaction. the mass media component of the ad pie could be 50 per cent or less in the next three to five years.”

    Amit Khanna states that the growth rate of the film industry compares favourably with that of the IT sector- it has been around 11 percent year-on-year. But what about the TV industry?

    TV industry growth would be under pressure due to CAS rollout over the next few years:
    In 2001, the entertainment industry in India was estimated to be around Rs 128 billion ($2.5 billion – a FICCI-Arthur Andersen estimate). In terms of total revenues in 2001, the size was around Rs 94 billion of which TV broadcasting accounted for Rs 36 billion. The film industry was adversely affected in 2002 and recorded a loss of Rs 3 billion on gross revenues of Rs 39 billion.

    The size of the TV pie has grown albeit marginally in 2002-3 despite the fact that in 2002, the entertainment industry was growing at a rate ahead of the GDP. In fact, the entertainment sector is one of the few industries which continued to do well even in a recession economy.

    During the CNBC seminar, KPMG‘s entertainment business head and executive director Rajesh Jain revealed that the television pie constituted 62 per cent – whereas films were 34 per cent of the entire chunk in 2002.

    But Ficci estimates are favourable:
    A Ficci Frames 2003 report states that with total revenues of Rs 111 billion, television now accounts for over 60 per cent of the entertainment industry‘s revenues. The sector is expected to continue its rapid growth at a CAGR of 21 percent and achieve an annual revenue of Rs 292 billion by 2007.

    However, despite the Ficci Frames estimates, the major constituents haven‘t considered the ground realities. Media Reach Research vice president Kapil Anand warns of the disintegration of the cable distribution business in the B,C class markets: “Larger Indian broadcasters are not bothered about this. There is a different cable TV mechanism that exists in peri urban areas that are on the outskirts of towns and cities. Most of the cable TV control rooms that had mushroomed in these areas in the early 1990s when channels were FTA have died a natural death as channels turned pay. At present, the control rooms in the towns or cities cater to anything between 25-45 villages on the outskirts.”

    It is critical that the television fraternity will have to set aside their individual differences and work unitedly for the betterment of the industry in order to attain the above mentioned growth projections. Observers say that the individual prices of pay channels are on the higher side because the broadcasters aren‘t quite sure of their reach in the smaller towns and rural areas.

    Film industry poised to touch Rs 93 billion by 2007:
    A Ficci report during its annual media summit Frames 2003 mentions that the film industry is expected to grow at approximately 19 per cent annually to reach Rs 93 billion by 2007.

    Going forward, exhibition is likely to move away from traditional stand alone, poorly maintained theatres to high quality multi-screen theatres concentrating on offering an enhanced cinema viewing experience, thus providing a competitive edge over other formats and increasing footfalls in theatres. Consumers‘ willingness to pay more for such an experience further helps in increasing revenues.

    The government has come forward with various tax rebates to provide incentives for growth but with as many as 200 multiplex screens planned in the near future, a short term over capacity is expected that might lead to consolidation.

    In addition to this, film industry observers say that there are other factors:
    State government sops: Certain states have been encouraging the exhibition sector to adopt the latest technology by giving holiday taxes and other subsidies to promote cinema and its economy. A good example is UP, which has more than a 1,000 theatres. The state has given a 100 per cent tax exemption to multiplexes and 50 per cent for updating the old theatres. The same response of updating their cinema halls has also been shown by Bengal, which has 700 theatres in the state.

    Enhanced marketing efforts: The fact remains that the Indian cinema industry has always marketed its products much better than the television industry. The film industry has realised the need for specialised marketing outfits and consultants. Producer-directors such as Ram Gopal Varma, Yash Chopra and Subhash Ghai are amongst the savvier lot. The multimedia spin that these film makers give their film during the pre-release stage has definitely helped films get a great initials.

    Companies such as mobile2win, hungama.com, contests2win.com and ENIL‘s indiatimes.com have cashed on the film mania to a greater extent and do lesser TV-related promos. Even lesser known English films manage better tie- ups. “Paramount‘s movie releases will now be pre-promoted using the wireless medium as a vehicle. We have already started this mode of marketing with Paramount‘s new film How To Lose a Guy In 10 Days,” Mobile2Win vice president (sales and marketing) Rajeev Hiranandani was quoted as saying in media reports.

    “SMS contests are interactive and instant and many people who generally do not participate in contests get hooked on to this medium. We have tied up with Mobile2Win for conducting wireless promotions,” Paramount Films of India marketing manager Jacinto Fernandes was quoted as saying in media reports.

    The distribution and exhibition scene will spearhead growth even as several ‘distributors‘ have started ‘producing‘ films:
    Real Image Media Technologies director Senthil Kumar, who recently launched Qube Cinema High Definition Digital Cinema Player, says: “A cinema outing has become a social outing and experience. In the US, prints are still in vogue as the distribution chain has a capability to put out up to 4000 prints; 3000 of these prints eventually make their way to other countries in the world. In India, we cannot have worldwide releases for every film as we don‘t have a huge export market. In Europe, there is a similar situation as what prevails in India and they are looking at other options.”

    Senthil also says that the availability of sophisticated equipment at cost effective rates will also stimulate growth: “The Indian market is very unique and vernacular language plays an important role here. I feel that we have lost of opportunities as good vernacular language films haven‘t been shown to discerning audiences or even metro audiences due to lack of simple technological advancements such as multilingual sub-titling. With concepts such as Qube cinema systems, these issues will be sorted out.”

    Senthil would know his facts because the company has revolutionised the industry by introducing the generic concepts of digital cinema sound and non-linear editing in India.

    Qube Cinema, Real Image‘s High Definition Digital Cinema Player is a uniquely powerful and flexible system for digital cinema designed and manufactured in India to achieve a very attractive price point of just Rs 500,000. The projector models and lenses used would vary based on the theatre and screen sizes.

    B and C class towns‘ theatre owners will earn returns on investments. New machines such as Qube Cinema also has subtitling facilities in multiple languages and can create new markets. It can also deliver digital advertising. There could be ads (condoms or aphrodisiacs) that are shown during the night shows.

    Mumbai based distributor Manmohan Shetty‘s company Adlabs has got a great reponse for its projector system that costs around Rs 750,000. Shetty is on a deal making spree and has recently negotiated deals with shopping malls (Runwal group‘s R Mall, Shringar-Ajmer‘s City Mall in Mumbai) as well as with existing theatre owners (the historical Metro theatre in south Mumbai is rumoured to have been brought at an estimated cost of around Rs 100 million).

    Meanwhile, Shetty is also producing seven films under the banner of Entertainment One which he describes “as a division of Adlabs”. How many MSOs in the television business have ventured into producing quality content?

    “Sooner or later, film distributors will buy equipment and lease it out to theatre owners in smaller towns. Those who distribute around 100 prints and release 15-20 films can save money on them and recover their investments in two years flat. In the near future, I see distributors and exhibitors buying equipment and leasing it out to the theatre owners in B and C class towns. Many of these theatre owners in B and C class towns are finding it difficult to survive or make a profit,” says Senthil Kumar of Real Image Media Technologies.

    A strong willed effort to curb losses due to piracy:
    The film industry has proactively appointed investigating agencies and sought the help of enforcement authorities to curb piracy. The digitalisation of the chain will further simplify matters.

    Real Image Media‘s Senthil Kumar says: “Digital Rights Management and security features make futuristic concepts such as Qube Cinema systems a very secure platform for movie screening. The system only allows authorised players to decode content and it allows start date, end date and number of plays to be controlled and monitored. This means that the theatre owner cannot show any film more than a specified number of shows.”

    “Also, the data from the central server can keep tabs – or should we say invisible eyes – on the theatre owners‘ activities. For instance, the Qube system watermarks the content to indicate player serial numbers and play dates and time so even the source of a pirated copy made using a camcorder in the theatre can be uniquely identified. The Real Image system offers options to enable accurate reporting and daily As-Runs logs sent to the central server will bring unauthorised shows to an end,” Senthil says.

    There are some media companies that have latched on to the changing tide. Media companies such as Zee Telefilms, UTV and Nimbus Communications have stepped up activities to increase exposure to feature film production, distribution and exhibition. These companies are no longer merely dependent on revenues from the television business but are staggering their risks.

    Film distribution and marketing consultant Shonjoy Bhattacharjii says: “Some broadcasters contribute nearly 20-30 per cent of the production costs by buying the rights of the films. Some broadcasters have also ventured into various aspects of the film chain – similar to models of companies such Time Warner.”

     
    Cinema
    TV
    Hits in 2003
    Jism, Bhoot, Andaz, Chalte Chalte,
    None
    Distribution
    Consolidation
    Fragmentation
    Distributors moving into content and producers getting into distribution
    Examples such as Shringar, Sunil Darshan, Subhash Ghai
    No MSOs into developing quality content; but broadcasters getting into distribution indirectly
    Technological advancements
    Adlabs projector, Qube Cinema
    The disaster of CAS

    The message is very clear – when you can‘t beat them join them! It is time that the various constituents of the television industry latch on to the ground realities and move accordingly.

    As research specialist Prashant Sanwal says: “Globally, it is an accepted norm that television is always strong in those areas where the film industry is strong. Consider a place like California where both cinema and television are strong as against South America where cinema is weak and therefore there is dearth of original TV programming.” Going by this logic, if the film industry distribution improves the situation, the allied television industry in those regions should also benefit. Amen!

  • “Popular TV stars get trapped in the image of the role which make them household names”

    “Popular TV stars get trapped in the image of the role which make them household names”

    It is almost a decade since Divya Dutta started her tryst with Bollywood and the television. industry. Her performance in the recently released feature film Praan Jaye Par Shaan Na Jaye is being talked about in hushed tones by the masses. Although critics have blasted the movie and the bevy of big gun actresses, all of them have referred to Dutta's "exploited maid-servant" – and the "love scene" in the film.

    Acclaim is not something new for Dutta! Dutta has won critical acclaim for her performances – Smita Patil and the Nargees Dutt Awards for the best actress for her role in the movie Shaheed-e-Mohabbat released in 1999. She was also declared winner of the Stardust talent hunt from among 30,000 candidates. She also won the best actress and best dancer award at the Punjab Youth Festival – 1993.

    As far as television is concerned, Dutta has done what she claims were highly popular shows – Superhit Muqabla, Rajesh Khanna's debut serial Ittefaq, Sansar, Kadam – and she is currently hosting Deepti Bhatnagar's Musafir Hoon Yaaron on Star Plus.

    Dutta spoke to indiantelevision.com's Ashwin Kotian about her flirtations with various media – TV, films, music videos – Excerpts :

     

    Tell us how television has helped you in gaining mileage? What are the pitfalls?
    I have been doing both television as well as cinema. Television is the best way of getting exposure and gaining popularity among the mass audiences. An actor or actress needs just one serial to get noticed and become popular. Several Bollywood film producers watch TV serials and remember the actors while finalising their casts. This is my personal experience as I have bagged several film offers this way.

    The problem starts after that the hysteria over that particular show is over. For instance, Navneet Nishan became so popular with the serial Tara that she didn't know what to do next. Popular TV stars get trapped in the roles which make them household names. There are others who waited for that "right next one" which never came their way!

    There are others who have been so overexposed with TV that they could never break out of the stranglehold of the image they had created for themselves. The key is to strike the right balance.
     

    Which are the serials you enjoyed working in? Was your work noticed?
    I started off with Doordarshan as and anchor and my work was appreciated. I bagged Superhit Muqabla. Later on, when Rajesh Khanna made his TV debut with Ittefaq, I was approached for a role in the serial. This was followed by Sansar on Zee Television.

    But the most memorable serial I acted in was Kadam on Sahara TV. Kadam was a delight because it helped me realize my true potential as an actress. The different stories enabled me to play different characters – each of them was different from the rest. I played a social worker, a sex worker, a Gujarati woman and many others. It was a learning experience and a challenge as well. Kadam was also aired on Fridays with a repeat on Sundays. In fact, noted film director David Dhavan used to watch Kadam and remembered me while finalizing the cast for his film.

    After Shaheed-e-Mohabbat became a hit, many vernacular channels started pursuing me with offers. I turned them down. I eventually considered doing a big budget serial on Rathikant Basu's Tara channel.
     
    "There are some who accept daily soaps knowing fully well that they might to sacrifice their social and personal life to a great extent"
     

    How has the TV scene changed since the time you started work?
    Now, there are several producers – some of them new to the medium – who are all coming up with interesting concepts. The number of serials have increased and so have the budgets for the same. But, I cannot say the same about the quality of content although production values are good. I also see a lot of experimentation with different themes.

    Established stars are getting better remuneration than what we used to be paid earlier. There are some who accept daily soaps knowing fully well that they might have to sacrifice their social and personal life to a great extent. But, the nasha (high) of instant fame and fortune keeps them going.

    I would say that those who are willing to discipline themselves will become successful. They can also extend the success to other media after piggy-backing on the TV success.
     

    Are you keeping away from the medium of television and concentrating more on films?
    I have no qualms about working in television and am balancing my films offers with TV serials, music videos and ad commercials. I have received several offers to work in dailies but haven't accepted them. It would be taxing to work 20 days a month. However, I am not saying no to offers – but I am being very selective.

    Also, I am also not into the saas bahu kind of roles. It is a different thing altogether that Indian women love these serials. In a way, watching these women all decked up and dressed to the hilt is an enjoyable experience. I, too, have had my share of watching such serials. But, I don't want to act in them!

    I must admit that I am open to the offers but am waiting for the right one which would be something offbeat.
     

    Why did you choose Musafir Hoon Yaaron?
    It was a very different kind of an offer – something which hadn't done. Also, the number of Indians – even those in the middle class – travelling abroad has been increasing steadily.

    Dipti Bhatnagar's Musafir Hoon Yaaron has given me a lot of satisfaction. I have to shoot for 10 days a month and still manage to get a lot of time to do other things. My decision to accept the offer was an impromptu decision. I liked the producer's approach and the crisp way of presentation. I have to be very spontaneous even though the writer gives me the material. There is a relaxed atmosphere on the sets and I feel as if I were really on vacation.

    I have noticed that people associate me with the show. At airports, people stop and speak to me about the show. I have already been to Burma, Europe and New Zealand.
     
    "The mother had left India and gone abroad to stay with her daughter. But the poor lady missed the popular Indian serials shown on TV back home"
     

    Tell us about some incident which occurred during the shooting of the serial Musafir Hoon..?
    I remember this incident when I went abroad for the shooting of Musafir Hoon Yaaron and met this friend who has settled abroad. As soon as I entered her house, her mother started questioning me about Indian TV serials.

    The mother had left India and gone abroad to stay with her daughter. But the poor lady missed the popular Indian serials shown on TV back home. Instead of questioning me about common friends and relatives, she wanted me to narrate the latest happenings on the small screen. This just goes on to prove how much television affects our lives.
     

    You did Zee's telefilm (screened on the last Saturday of each month) earlier this year. It was an interesting concept but hasn't got the success which one thought it would. What is your take?
    Kambhaqt Ishq on Zee TV was a bold attempt – kudos to Zee and the producers. It was a two and a half hour story shot like a film. I know Tony and Deeya Singh well and have enjoyed working with them. When they approached me and narrated the story, I wanted to be part of the same.

    The character I played had various dimensions – almost like a psycho. In fact, the storyline was similar to movies such as Ajnabee and Jism – a scheming person who is willing to go to any extent to acquire wealth.

    The entire crew was so charged up that we shot 20 days at a stretch. Also, I had to develop this "sexy siren" kind of a look – in sync with the character I portrayed. The producer had hired a fashion designer who was a specialist. It wasn't really any kind of obscene exposure but handled in a very subtle and sophisticated way.

    Later on, some friends told me that I had set the small screen on fire.
     
    "The scene depicts something which definitely must be happening somewhere, someplace in some part of the country where women are illtreated. There is no nudity or titillation but it looks authentic"
     

    You have developed this reputation of setting screens on fire. Tell us about your role in Pran Jaaye ….?
    I am playing one of the several strong female characters in the women-oriented film. I was reluctant to do the scene initially; however, when director Mahesh Manjrekar narrated the scene and its importance, I felt that I could do justice to it.

    The scene depicts something which definitely must be happening somewhere, someplace in some part of the country where women are illtreated. There is no nudity or titillation, yet it looks authentic. I am happy that film critics have taken note of the scene as it really stands out.
     

    You will be seen in one more film with TV celebrity stars Aman Verma (Khulja Sim Sim) and Amitabh Bachchan (Kaun Banega Crorepati) which is being produced by Ravi Chopra of BR TV – a lot of TV connections. What are the other film assignments you have on hand?
    I shall also be playing Amitabh Bachchan's daughter-in-law in Ravi Chopra's Baagbaan. The role has its shades of grey and I am excited about it since most of my scenes are with Big B.

    I am also doing a comedy called Dubai Returned with Aditya Bhattacharya (Raakh fame). I have some cross-over English films – Indian Talkies and Birth of Death. In Indian Talkies, I play a pretentious foreign-returned girl.

    My most prestigious assignment will be Shyam Benegal's biographical film on Netaji Subhash Chandra Bose starring Sachin Khedekar. I am playing Netaji's 17-year-old niece, Ela Bose.

    I am portraying the role of an air force officer's wife in Agnipankh – a film about air force pilots, directed by Sunil Puri. There is also Dil Ke Peeche Peeche and Devi- The Bride in Red with Milind Gunaji.

    Then there is an offbeat Shobha Yatra, based on a talked-about play. It's about a group of actors who play historical characters.
     
    " I enjoy watching television and love the SABe TV serials – Office Office and Yes Boss. I feel that Office Office is an intelligently and well made serial"
     

    Do you get time to watch television despite the hectic schedules?
    I enjoy watching television and love the SABe TV serials – Office Office and Yes Boss. I feel that Office Office is an intelligently and well made serial. I also watch the Balaji serials and love Kittie Party and Lipstick.

    I enjoy doing music videos as I am a music buff.
     

    Tell us about the offscreen Divya Dutta?
    I am typical Libran – very indecisive. I need a lot of reassurance and am peace loving. I hate to cause any harm to people. I am ambitious but not necessarily a go-getter.

    I love to workout and exercise regularly. As far as food is concerned, I have this desi approach. I prefer ghar ka khana – especially my mom's hand made food.
  • “Ruby Bhatia showed more skin during the Champions Trophy than I did in the World Cup” – Mahindra Bedi

    “Ruby Bhatia showed more skin during the Champions Trophy than I did in the World Cup” – Mahindra Bedi

    Mandira Bedi had the long Shanti, the evergreen Dilwale Dulhaniya Le Jayenge and the never ending Kyunki Saas Bhi Kabhi Bahu Thi to her noteworthy credit, but she was not a satisfied lady.

    She wanted to do something big and be talked about. The Max cricket offer to compere the World Cup 2003 landed into her lap, and she grabbed it with both hands. Today, she is the talk of the town! Naturally she is smiling from ear to ear. Shows, functions, interviews, film-offers… she is jet-setting all over the place. A classic case of 'she came, she saw, she conquered…'

    Mandira has been shooting for Kyunki… till 8.30 pm when Vickey Lalwani called her for an appointment, but she agreed to see him rightaway. "No problem. I am always a bundle of energy. Come along to my new home in Bandra,," she says. Excerpts from a freewheeling conversation with the Extraa Innings hottie.

     

    Retrace. How did 'Extraa Innings' happen?
    I have always been a cricket buff. I had flown down to Sri Lanka to watch some cricket. I know quite a few people in Sri Lanka. All my shows have done exceedingly well there. The people from Sony saw me there. When I told them that I had come to watch cricket, they were surprised that love for the game had brought a woman from India all the way to Sri Lanka. They put me at the back of their mind from that time, I guess.

    A few days later, I was at a press conference at the Sony office for the Papa Ban Gaye Hero show. Someone from Max asked me to come over into their section. I was asked 30 questions on cricket. I answered 23 correctly. Some days later, I was auditioned once again. A month later, I was on. I badly wanted this project.
     

    If I am not mistaken, you showed your cards to a tarot card reader?
    Yes, I had my cards read by the tarot card reader Maa Prem Ritambhara. I am a very superstitious person. But Maa is an accurate predictor. We asked her many times about the India-Australia final, but everytime she predicted an Australia victory. Maa predicted that this World Cup compering would be a big breakthrough for me. And she was proved right in the first six or seven days of the tournament!

    Everybody was talking about me more than the game! Before the Cup, I was a known face on the road but not to this extent. Today, almost every Tom, Dick and Harry stop in their tracks when they see me. The tournament has opened a lot of new doors for me. Film offers are coming in heaps.
     

    Was it easy? Or hectic?
    Easy? Are you kidding? When I signed on, I had a totally different picture of what it would be like. I figured I'd do my bit in the studio, then head back to the hotel, go back to the studio again for a bit. It was nothing like that. I had to be up at 5.00 am and be ready for the car which would come to fetch me at 6.45 am.

    From 7 am to 7.30 am every day, the director would brief us. Then from 8 am to 10 am, we were on without a break. After 10 am, we used to have a heavy breakfast. Thereafter, we had to remain in the studio almost throughout the day. It could rain any moment, a wicket could fall anytime, we had to be ready. Hectic alright, but the entire stint was a learning curve for me. This one has broadened my horizon, changed my outlook towards life, and brought a new dimension in my body language.
     
    "Maa Prem Ritambhara predicted that this World Cup compering would be a big breakthrough for me. And she was proved right in the first six or seven days of the tournament!"
     

    What made you click?
    You tell me! I really don't know. All I can say is that the Max trick to rope in more women to see the tournament worked. The objective of putting me right in front of, or between, those men was just that. And look at the extent to which the ruse clicked. A recent survey has revealed that 46 per cent of the viewers were females.
     

    Picture courtesy The Tribune
    		"The Max trick to rope in more women to see the tournament worked. The objective of putting me right in front of, or between, those men was just that"
     

    Didn't your costumes play a big role?
    Oh God! I don't know why so much is still being spoken about my costumes. If you notice, I wore a saree in all the India matches. Coming to the other fixtures, I just wore what I wear in my day-to-day life. What you saw on television is the usual stuff I wear even otherwise. It was not imposed on me by Max, nor I had deliberately worn it to attract attention.

    Today, virtually every educated and modern girl dresses up smartly. Most importantly, no attire worn by me was brazen. There are so many females in our film and telly world who wear stuff which send shock waves of higher intensity. Ruby Bhatia who compered the Champions Trophy in Colombo showed more skin than I did in the World Cup. Why single me out?
     
    Which commentator's company did you enjoy the most?
    Tony Greig. He was knowledgable as well as humorous. Cricket is sport as well as entertainment. The idea of Max, therefore, was to keep it light.
     

    Did you enjoy the SMS messages on you?
    Surely not. When I saw the first one, I was terribly upset. But then I realised that I had come into limelight. This was the time to be positive, not negative. So dismissing them, I moved on. They are circulating even now. Just the other day, a friend sent me one such.
     

    Have you signed a Tamil film?
    Thank god that you asked me this question. I have not signed Parthipan's film Lingam. I wish that the sections of media who have reported this had checked with me.

    After the competition was over, I came back to India. Parthipan sent me an air-ticket for Chennai where I was supposed to meet him. I had no qualms about exploring on what I was being offered. I have no inhibitions on working down South. Forget the song-n-dance in those films which have to be introduced for commercial purposes, but don't forget that those guys make the most sensitive and meaningful cinema. It's much more real than the cinema here in Mumbai. The directors down south dwelve deeper into the human psyche.

    However, Parthipan's offer did not excite me at all. The role had hardly any substance; it was not having to move down South with bag-n-baggage. He was supposed to play the lead opposite two heroines and he wanted me as one of those. He even said that he would like to click some pictures of mine to judge the look I would portray. But I politely turned down the offer.

    Within no time, it was splashed left, right and centre that I was doing Lingam. I rang up to ask him and he clarified that he had told a section of the press that he was considering me for one of the female leads. Apparently, some other section of the press must have distorted the original version to create sensationilism. Even Maddy ( R.Madhavan) sent me a message asking whether I was doing Lingam.

    Frankly, I haven't signed any film as yet. I am contemplating certain offers which look meaty. But I am not in a hurry.
     

    Will you leave television if films envelop you?
    Never. Television has given me whatever I have right now. All those actors who leave television and take to Bollywood at the first opportunity are committing a big mistake. Unlike films, there is consistency in television.
     
    "Most importantly, no attire worn by me was brazen. There are so many females in our film and even telly world who wear stuff which send shock waves of higher intensity"

    Mandira with Shekhar Suman in a television serial
     

    There were rumours about Yuvraj Singh and you…
    (interrupts) The garbage in this country is increasing. The press is always on the lookout for a male and female talking to each other. The moment they spot it, the next day it's a page three item. I am not denying that Yuvraj is a friend. I have known hm for a couple of years now. In fact, we are buddies and he even shares his secrets with me. Can't a man and woman be just friends? Give me a break!
     

    What is this controversy about the Sikh community being upset with you because of your dogs?
    Bombay Times came down to ask me questions. They wanted to know what my dogs were called. For fun, I told them that one was 'Ruger Bedi' named after me and the other one was 'Buster Kaushal' (named after my husband Raj Kaushal). Actually, their names are just Ruger and Buster.

    Someone from Delhi in the Gurdwara community picked it up and wanted to sue me for naming my dog as Bedi. Our Guru Nanakji was the first Bedi. Anyway, now the controversy is thankfully over. I have rendered an apology in the papers. I am a very proud Bedi Sikh. I haven't changed my surname after marriage. If I call my dogs as 'Bedi' and 'Kaushal', I call them out of affection; they are like family.
     

    How does it feel to be back in 'Kyunki…'?
    It's a very cohesive unit. That is the key to this programme's popularity. The new track of Mihir-Tulsi-Mandira is very exciting. People are curious to know what will happen next. Will Tulsi forgive Mihir for that one-night stand with Mandira? Will Mihir accommodate Mandira in his life? Will the obsessive Mandira let go of Mihir?

    God forbid, but what would you do if something happened to you in real life, like it has happened to Tulsi in 'Kyunki…'?
    I cannot answer this question unless and until something like this really happens. Pray that it never does.