ITV

Category: Film Production

  • YAAP onboards new clients, and continues aggressive recruitment amidst the pandemic

    YAAP onboards new clients, and continues aggressive recruitment amidst the pandemic

    MUMBAI: With its vision ‘Built For Now’, YAAP, a new-age specialized content design, discovery & distribution company, has won over 20 new businesses and four awards in the last few months. The clients onboarded are largely from BFSI, travel & tourism, government and gaming sectors covering names such as NPCI, Mobile Premier League, NITI Aayog, Meghalaya Tourism and Dubai Fitness Challenge. YAAP will be responsible for the content strategy & development, influencer marketing, media buying and social media of these new mandates.

    Owing to the unpredictable market situation where industries are collapsing and employees are in continued distress due to pay cuts, YAAP continues to celebrate its employees’ efforts with no pay cuts and no layoffs. Moreover, appraisals have been conducted.

    A company that is ambitious towards servicing its clients to the best, has opened 12 new positions across sales, creative, servicing and strategy. YAAP is looking for people who are striving towards a collective goal no matter the odds.

    It is said that every new phase often comes with hurdles. With this, YAAP would like to announce that Irfan Khan has moved on from the company. He was a partner at YAAP where he was responsible for the influencer marketing vertical, new business development and overall operations of the company. Manan Kapur, partner at YAAP will be taking on the influencer marketing business.  

    Sharing his views on the company's novel moves, YAAP partner Irfan Khan Partner said, "In my time at YAAP, we achieved the growth trajectory few companies have, especially in the content and influencer marketing space. We successfully led some of the biggest content-led activations across India and the Middle East. It's always bittersweet to leave a place enjoyed and helped nurture, but today we have a solid foundation that has been set. I'm positive the team will take it to greater heights in the near future.”

    YAAP partner Manan Kapur said, “The past year has seen a drastic shift in the status quo, and YAAP was no exception. This change meant we had to be more agile and adapt to the new normal while keeping our team, our clients & our partners as our primary priority. And now, as 2020 comes to a close, we have an ever-expanding team, we’ve forged many new relationships and we’re entering the new year stronger than ever, because of our unfaltering passion and our unwavering vision. I look forward to adding influencer marketing to my responsibilities and build on the strong foundation set by Irfan.”

  • UK producers bid to extend Covid2019 insurance scheme

    UK producers bid to extend Covid2019 insurance scheme

    MUMBAI: UK producers are in discussions with the government to extend the landmark £500 million ($664.6 million) Covid2019 insurance scheme for film & TV production.

    Media reports said that producers have sought permission to extend the deadline for the Film and TV Production Restart Scheme to June 2021. If approved, it will ensure coverage for the spring production rush when filmmakers take advantage of longer daylight hours. UK producers’ body Pact is currently gathering information to support the extension, which will be presented to the country’s department for digital, culture, media & sport (DCMS), the government body in charge.

    When the proposal was first announced, the deadline was originally 31 December and has since been extended to 28 February. The extension is intended to “help even more productions access the scheme, reflecting ongoing uncertainty and the continued inability of productions to secure private insurance for coronavirus-related risks,” said a statement from the DCMS at the time.

    Under the scheme, productions can receive compensation for future coronavirus-related losses including filming delays from illness among cast and crew. There is a total cap on insurance claims per production of £5 million ($6.65 million), and production houses need to pay an “appropriate excess” when seeking to claim under the scheme, as well as an “appropriate fee” when joining the scheme. Productions also need to purchase other, more standard insurance to cover non-Covid2019 risks to ensure their production is adequately insured.

    Insurance claims are expected to significantly reduce as the Covid2019 vaccine, which began rolling out across the country last week, expands and reaches maximum people.

  • IFTPC reelects Sajid Nadiadwala as president for 2020-21

    IFTPC reelects Sajid Nadiadwala as president for 2020-21

    MUMBAI: Indian Film & TV Producers Council (IFTPC) today held its twenty-ninth AGM and re-elected  Sajid Nadiadwala as president for the year 2020 2021. Nitin Vaidya is the new incumbent. 

    Nadiadwala addressed IFTPC team for restarting the shooting by engaging the government in continuous dialogue. He also praised the media and entertainment industry for generously helping cine workers and labourers. The new president complimented the IFTPC Team for working relentlessly in providing monetary aid and supplying food items to the industry workers. Nadiawala appreciated the effort for standing as a united body in times of difficulty to help the industry.  He mourned the sad demise of many industry stalwarts such as Rishi Kapoor, Irfan Khan and P.Balsubramanium.

    IFTPC chairman TV wing JD Majethia in his address complimented the Maharashtra government for acting fast to restart the industry. He congratulated TV Producers for conducting the shoots very smoothly without any major mishaps. Majethia also mentioned the first-ever death Insurance of Rs 25 lakh provided to the workers had raised their confidence to attend their duties. He also said that when pessimism prevailed in the industry it was IFTPC that was confident and worked relentlessly to restart the industry.

    Bollywood producer Ramesh Taurani, David Dhavan, indiantelevision.com group founder CEO & editor in chief Anil Wanwari, producer Rajan Shahi, Lalit Sharma, Bobby Arora, Sandeep Jain and Goldie Behl also attended the Indian Film & TV Producers meeting among others.

  • Film & TV shoots resume around the globe under Covid2019 protocols

    Film & TV shoots resume around the globe under Covid2019 protocols

    MUMBAI: The Covid2019 pandemic has had a substantial impact on the film and television industry, shutting down or delaying production of movies and programmes in many countries, with consequent negative ripples on revenues (through rights and advertising sales) and employment. But now, as countries across the globe gradually lift restrictions, filmmakers are heaving a sigh of relief.

    Let’s take a look at how film and TV production is faring in key markets as the media and entertainment industry slowly comes back to life.

    New York

    New York City, one of the most densely populated states in the US, was one of the epicentres of the Covid2019 outbreak. As shoots restarted, New York state has implemented various regulations to ensure film and television productions could be conducted safely.

    In October, the state introduced a three-tier rating system under which locations based on the infection rates are assigned red, orange or yellow colours. With red notifying the highest rates and yellow being the lowest, different restrictions are placed on the production set based on what colour area the studio is located in.

    Although filming has resumed, increased costs of sanitisation during the pandemic have led to small projects making up a large portion of ongoing productions. Bigger projects like Amazon Prime’s The Marvelous Mrs. Maisel are in pre-production stage until the beginning of 2021.

    Producers in New York can still benefit from a tax credit program to incentivise the creation of shows in the state. The program gives eligible production companies credit for 25 per cent of production costs. An additional 10 per cent credit is available in certain counties.

    But Gotham soundstages such as Silvercup and Kaufman Astoria are reporting more bookings. And New York City is seeing such series as Blue Bloods, and new series The Equalizer, NBC’s Manifest and New Amsterdam, Showtime’s City on a Hill, and Starz’s Power Book II: Ghost back in the shooting process.

    California

    In March, all approved projects under the California film and TV tax credit program requested force majeure, meaning that their status for receiving tax credits won’t be affected. Ten, including TV series The Orville, Animal Kingdom and Good Girls. The films include King Richard and Macbeth, have resumed production since June. But projects that had been disrupted by the pandemic are still working on stricter timelines.

    Greece

    Although there was a sudden surge in the number of Covid2019 cases in Greece, which pushed it towards a second lockdown on 7 November, production has continued since early summer, with the government putting out safety protocols to ensure cameras continue to roll on despite the pandemic.

    Woody Harrelson-starring Triangle of Sadness, directed by Oscar-nominee and Palme d’Or winner Ruben Östlund, wrapped its shoot on 13 November. The Lost Daughter, written and directed by Maggie Gyllenhaal and starring Olivia Colman and Dakota Johnson, wrapped just days earlier. It is an adaptation of the Elena Ferrante novel.

    The film commission and the ministry of culture have worked together to introduce strict guidelines for all film and TV shoots, while the Greek government this summer raised the cash rebate from 35 per cent to 40 per cent. A new 30 per cent tax relief for incoming film and TV productions has also been finalised, it can be used in combination with the rebate.

    Italy

    Italy, initially hit hardest by the deadly pandemic, is responding to the second wave well with film and TV production churning out relatively more content with adherence to safety protocols and government incentives.

    Culture minister Dario Franceschini has allotted a good sum of money to support production, upping resources to fund the Italian tax rebate from €400 million ($474 million) to $652 million for 2021; while raising the incentive’s cap from 30 per cent to 40 per cent of a local production’s budget (for international productions, Italy’s cash-back rebate remains capped at 30 per cent, which is still attractive). The tax rebate provided by the government is Italy’s main tool which has helped it to combat the rise in economic costs.

    Meanwhile, Paramount’s Mission: Impossible 7 shot in Italy for several weeks in October and November.

    South Africa

    After partially lifting travel restrictions in early October, South Africa is now fully open for business, with international film and TV productions resuming in time for the southern hemisphere. As the country went into semi-lockdown, shooting kicked off on the sets of Nudes, and Wild Bunch TV’s first Italian production.

    The new guidelines allow entry for all foreign travellers who are tested Covid2019 negative within 72 hours of departure. Domestic production was given the green light as early as May, allowing the industry to prepare necessary health and safety measures for international shoots to return.

    Moonlighting restarted production in early October and is currently in pre-production on an international TV series that will begin shooting early next year.

    Recently, South Africa has emerged into one of the world’s leading hubs for international film and television shoots, with the help of financial incentives, skilled English-speaking crews and a spectacular range of locations. Foreign productions can claim a 25 per cent cash rebate on all qualifying local spend, while the rebate for South African co-productions starts at 35 per cent. For productions that meet the requirements for the emerging Black filmmakers incentive, the rebate rises to 50 per cent.

    Recent projects that have started in the country include Good Omens, Bloodshot starring Vin Diesel, and Sony’s fantasy action film Monster Hunter.

  • GoQuest Media to distribute Ukrainian dramas

    GoQuest Media to distribute Ukrainian dramas

    MUMBAI: US-based network provider Olympusat has acquired exclusive TV and digital rights for Latin America, Puerto Rico, the US and Canada for three Ukrainian romance dramas produced by Media Group Ukraine, following a deal with global distributor GoQuest Media.

    The deal sees Eclipse (8 x 45-minutes), Secrets (95 x 45-minutes) and Rainflower (8 x 45-minutes) all picked up by the US company.

    Produced by Tri-ya-da production (Ukraine), Secrets explores hidden family secrets that tests the love and strength of Katya and Mykola, who have known and loved each other since childhood.

    Eclipse, meanwhile, follows Sergie’s one-sided love as it turns to obsession when he meets his childhood crush, Svetlana, after 20 years. The series is directed by Anton Azarov and produced by Irina Zarya.

    Rainflower is an adaptation of the Korean drama Tree of Heaven. Produced by Mamas Film Production (Ukraine) it is a coming-of-age adolescent tale of two stepsiblings, Nina and Andrey, who fall deeply and passionately in love with each other.

    GoQuest Media Europe and North America head Paula McHarg said, “These compelling Ukrainian romance dramas explore themes of love, romance, and optimism — underscored by tragic components — which makes them out of the ordinary and inspiring. We are thrilled to conclude our first package deal with Olympusat and bring these diverse stories to brand new audiences.”

    “Our mission in creating Olympusat TV platforms has always been to deliver the best of the best in entertainment content, and we are excited to add these three series, featuring dramatic characters that are proven winners and that audiences will love,” added Olympusat content acquisitions & strategy VP John Baghdassarian.

  • Filmlance acquires TV rights to Karin Smirnoff’s Jana Kippo trilogy

    Filmlance acquires TV rights to Karin Smirnoff’s Jana Kippo trilogy

    MUMBAI: Banijay has announced that scripted label Filmlance will adapt for television the critically-acclaimed Jana Kippo trilogy, penned by Swedish author Karin Smirnoff.

    The series of best-selling novels is set to be developed into a new Swedish drama with international potential.

    The producer is Anna Wallmark at Filmlance, who was behind the company’s most recent hit Top Dog, together with Teresa Alldén and Olof Spaak.

    The Jana Kippo trilogy has sold more than half a million copies in Sweden and has been translated in multiple European languages, including English.

    The story begins with Jana Kippo returning to her family village of Smalånger, moving into her childhood home to get Bror, her alcoholic twin brother’s life in order. The pair have a common childhood trauma and a death in the village takes a heavy toll. Maria was found dead in a forest glade and no one knows what happened, did she commit suicide or was she murdered? The longer Jana stays in her home village, the more she gets to know about both Maria and herself.

    Filmlance MD Hanne Palmquist said, “Karin Smirnoff is one of the most interesting Swedish authors around and we are incredibly proud to be working on what is sure to be a powerful, world-class television production. This unique story of love, betrayal, revenge and lust contains everything needed to create a gripping, exciting and constantly surprising drama.”

    Karin Smirnoff lives in Piteå, Sweden, and worked as a journalist before buying a wood factory. After a few years, she longed to return to writing and applied to Lund University’s writing school with what would become her debut novel I Went Down to My Brother, which was nominated for the August Prize 2018 for Fiction. The second book was published in the spring of 2019, and the third book in the spring of 2020.

  • Synpronize enters into multiple key African content deals in Ghana, South Africa, and for pan-Africa

    Synpronize enters into multiple key African content deals in Ghana, South Africa, and for pan-Africa

    MUMBAI: Nitin Michael and Hasnaa Descuns, co-founders of Synpronize, a Dubai-based content distribution and production company, announced that multiple program deals were entered into for Africa with eTV, Onua TV, and StarTimes. 

    Drama series Cello was licensed to Onua TV in Ghana. This intriguing tale explores an indecent proposal, following what happens when compelling circumstances prevent a cellist and her pianist husband from starting their life-long dream business project, an unscrupulous businessman steps in with an unscrupulous offer, and the couple find themselves torn between integrity and their desire for money. Cello is originally an Arabic production that aired on MBC which is the Middle East’s leading broadcast network. 

    eTV licensed romantic drama series Piya Naam Ka Diya (aka All for Love) that talks about a simple girl who falls in love with the wrong man without seeing true love that was right in front of her. It takes us on her journey of discovering her feelings, her goals and finding a balance in life.

    A deal was done with major African Pay TV platform, StarTimes for two drama series — Swaragini (aka A Tale of Two Sisters), a tale about the life of two half-sisters bought up witnessing the fierce rivalry of their family, especially their grandparents; and Gathbandhan (aka The Odd Couple) – a gripping story of two opposites: a gangster and a police officer and how their lives intertwine. These programs were originally in Hindi and telecast on one of India’s top-rated TV channels Colors.

    Hasnaa Descuns stated: “ Synpronize is thrilled to have such a great reception for our premium dramas in several African countries with great partners such as eTV, StarTimes, and Onua TV. Synpronize is expanding further into Africa and these partnerships are indicative of the great relationships that help us build our company reach and the high-production and compelling dramas will delight and engage audiences everywhere.

    Media General GH LTD, Ghana programs head Joel Hammond stated: “We are grateful to Nitin and Hasnaa for bringing us Cello for Onua TV. Synpronize is a trusted partner in the region and we look forward to a long and fruitful association. Our audiences are sure to enjoy this superbly produced drama series.”

    eTV content specialist Marli Schulze   added, “We are continuously scouring the globe in search of uplifting stories that will resonate with our discerning viewers. We are excited to test Piya Naam Ka Diya as a fine example of Pakistani-produced content.”

  • SWA announces nominees for best gender sensitive script for SWA Awards 2020

    SWA announces nominees for best gender sensitive script for SWA Awards 2020

    MUMBAI: Screenwriters Association (SWA), the Indian guild of screenwriters and lyricists, announced today the five nominees for the best gender sensitive script category of SWA Awards 2020. The nominees were selected by an eminent jury comprising of screenwriters and filmmakers Apurva Asrani, Ashwiny Iyer Tiwari and Leena Yadav.

    Nominees for Best Gender Sensitive Script are:

    1.  Saagar Gupta and Sridhar Rangayan for Evening Shadows

    2.  QasimKhallow for Gone Kesh

    3.  Ivan Ayr and Kislay for Soni

    4. Faizal Akhtar, Sameer Siddiqi and ShrabaniDeodhar for TheSholay Girl

    5. FarukKabir, Kushan Mustafa and Siddharth Mishra for 377 Ab Normal

    SWA general secretary Sunil Salgia said, “Stories have played an important role in building society, in bringing change in its thinking.  Stories told with visuals have lasting impact. We, the screenwriters, can shape the popular discourse for better or worse. The best gender sensitive script award is SWA’s way of encouraging writers to tell insightful stories that nudge the world towards becoming a little more sensitive, a little more inclusive, and a lot more beautiful.”

    The five nominees were selected from 167 Hindi language feature films released in 2019 that were submitted to the awards committee. A pre-jury assessed all entries and shortlisted nine films. The final jury then evaluated these films and selected five nominees that challenge social and cultural stereotypes by exploring the identities of and relationships between men, women and other gender identities. The final winner will be announced in an online awards ceremony on 27 September 2020.

    SWA Best Gender Sensitive Script Award screenwriter and spokesperson Ketki Pandit said, “The Best Gender Sensitive Script Award is for the writer who does not shy away from telling stories that are truly ‘hatke’ from the mush of same old clichés. Diving deep, who unveils layer after layer of complex characters, until all notions of ‘us and them’ vanish; and we see, beyond the gender binaries, the spectacular drama of human vulnerability.”

    SWA is holding the first ever SWA Awards on the occasion of its diamond jubilee year in 2020. Since they are judged by knowledgeable screenwriters and lyricists, these awards promise to become the most coveted validation for writers in India, much like the awards of other prestigious international writers’ guilds and literary organisations.

    The nominees spoke to SWA, reacting to the announcement:

    Saagar Gupta: Thank you SWA for nominating our film Evening Shadows under this category. We are truly humbled to be nominated from the list of 167 films. Winning the award will surely be a boost, but our work being acknowledged by such a prestigious body of writers is itself a great honour and a matter of pride for us, as for the writers and creators of Evening Shadows.

    Sridhar Rangayan: The very fact that SWA recognises the need for instituting a category like Best Gender Sensitive Script to give leverage to marginalised stories about women and LGBTQ characters within the mainstream space means a lot to us writers and filmmakers working on these themes. And the fact that our film Evening Shadows made the cut is a huge honour. We hope to keep the rainbow flag flying high!

    Qasim Khallow: Many congratulations to SWA for their first ever awards and thank you for nominating Gone Kesh. It’s a great honour for me to be nominated as I have always looked up to SWA. This SWA Awards will motivate budding writers and also give recognition to already existing writers. I am so glad and happy that finally we have an award show especially dedicated to writers.

    Ivan Ayr: I am very grateful to SWA and the awards committee for this nomination. There's no greater honour than to be recognised by your peers and contemporaries, so this is very special.

    Kislay: I initially joined SWA thinking that it is only an association. Later when I received regular updates about its activities, I realised it does much more. It’s an honour to be chosen by your esteemed fellow writers as one of the contenders for the SWA Awards. In academics, the uniqueness and inventiveness of academic work is recognised in its peer reviews. SWA Awards is equivalent to that for me in films.

    Faizal Akhtar:Shukriya SWA for nominating me for The Sholay Girl, a movie so dear to my heart. Especially because it is a biopic of a completely unknown woman. Doing contemporary research is kind of difficult. But the team pulled it off. So it feels ebullient to be nominated by SWA, by your own people. This award is important for the appreciation of the art and craft of a medium that is called the ‘writer's medium’. SWA nominating me feels like being nominated by the Academy for Oscars, and because it is an award by SWA, I know this will be a true lens for writers to judge their work.

    Sameer Siddqui: An artist can understand and appreciate the work of a fellow artist better. I’m grateful that my humble effort is nominated for the first ever SWA Awards. I’m sure that SWA Awards are going to be the most respected recognition of creative talents. I wish all the success to this great venture of our association.

    ShrabaniDeodhar: I feel very honoured to be nominated for my film The Sholay Girl in the Best Gender Sensitive Script category. This nomination is very special as this is the first year for this category and more so because this award is given by screenwriters to screenwriters. I want to thank SWA and the eminent jury members for encouraging and acknowledging us.

    FarukKabir: I am very happy to learn of the first ever SWA Awards. It’s a welcome step in recognising one of the most important pillars of cinema, the writer. I am delighted and honoured to be nominated by SWA and peers in this very prestigious first for 377 Ab Normal. SWA by far is going to be one of the most revered awards for any content creator and writer to receive.

    Kashan Mustafa: The importance of the film, 377 Ab Normal, overshadows any and all creative achievements that it brings. Written and made with true heart and spirit, this film is a milestone in putting the historic judgement and the people who played the key roles towards achieving it in moving images, thus giving them posterity. FarukKabir and Siddharth Mishra were instrumental in getting this film made. And so was Zee5 without whom this would not exist and would not be viewed by so many across boundaries of nations, ideologies and gender.

    Siddharth Mishra: I'm really very happy and excited as our film, 377 Ab Normal, has been nominated under the Best Gender Sensitive Script category of SWA Awards. It's an important film for these times as though the court has done its job by decriminalising Article 377, the message should reach out to the larger part of the population in a way which is understandable and which can sensitise them. Film, as a medium, becomes a very effective tool in doing this. And we, as a team, tried to convey this message in an empathetic manner through this film.

  • Producers Guild ropes in Nitin Tej Ahuja as CEO

    Producers Guild ropes in Nitin Tej Ahuja as CEO

    MUMBAI: It was during the pandemic that the Producers Guild of India lost its affable and hard-working CEO Kulmeet Makkar who passed away following a heart attack. Now the board of the Guild has found his replacement: Nitin Tej Ahuja. Nitin has had a pretty well-rounded career trajectory and he describes himself as a professional with experience as a film producer/publisher/screenwriter/journalist/music IPR on his LinkedIn profile.

    He started his career at Star India as a publicity executive in January 1996, moved on to writing for TV for a few years, hopped on to royalty organisation PPL as the head of mobile and broadcasting, worked with World Space Radio as general manager –music and artiste relations, became publisher of Box Office India, and then finally turning producer with Moving Pictures bringing out movies such as Saheb Biwi Gangster Returns, Bullet Raja, Revolver Rani, Anaamika (Telugu), Zhapatlela, Sata Lota (Marathi).

    Guild members revealed that the announcement was made this morning to them and they  have welcomed his appointment as the association’s CEO.

    Ahuja confirmed this to indiantelevision.com adding that he is happy about getting on to the guild. “As a long-time observer and admirer of the Guild’s wide-ranging and pathbreaking initiatives in championing the interests of content producers, I am honoured to serve in the continuation of the Guild’s untiring efforts. I look forward to working closely with the PGI President and members as we navigate the challenges brought about by the global pandemic and the vastly different landscape that awaits us in the post-Covid2019 world," he said.

    Producers Guild of India president Siddharth Roy Kapur said, “I have known Nitin for many years as someone with an expansive and in-depth understanding of the media and entertainment industry. He is uniquely equipped with the knowledge, experience and ability to take on the challenges and to build on the opportunities that will be presented by the unprecedented times ahead of us. I am confident that in this role, Nitin will be a huge asset to the PGI and to the industry as we move forward.”

     Siddharth further added, “I also want to take this opportunity to recognize the immense contribution of the late Kulmeet Makkar, in his role as CEO of the Guild for the past decade. His sudden demise left us all in grief, and created a huge void at the PGI. Kulmeet worked long and hard with passion and perseverance to bring the Guild to its present stature, and I have no doubt that Nitin will go on to ably build on this wonderful legacy.  

  • Rapid fire questions with Swastik Productions’ Siddharth Kumar Tewary

    Rapid fire questions with Swastik Productions’ Siddharth Kumar Tewary

    MUMBAI: Story-teller, director and producer Siddharth Kumar Tewary is  now touted as the king of mythology (which he calls 'history') on television with shows like  Mahabharata, Suryaputra Karn, Shani, Mahakali, RadhaKrishn, Chandragupta Maurya and internationally famous Porus. In a virtual fireside chat with Indiantelevision.com founder, CEO and editor in chief Anil Wanvari, Swastik Productions and One Life Studios founder and chief creative officer Siddharth Kumar Tewary revealed his most favourites.

    Know your favourite person behind these successful shows in this tell-all interview.

    Edited excerpts:

    Which is your most favourite show?

    I am a very hard-core fan of Netflix Originals show Breaking Bad. I think the characterisation of Walter White, the way this show has been written is brilliant. They have done very good work from a direction and writing standpoint. So, yes that is my favourite series so far.

    Who is your favourite writer?

    In writing I have a lot of favourites, but I think Rajkumar Hirani is the best writer ever in India and in the Bollywood industry. His work is legendary, the kind of messaging he does through humour is very aspirational. In Bollywood his favourite movie is 3 Idiots and internally it is Brave Hearts which has had a huge impact on me. Apart from this my favourite animated movie is Finding Nemo.

    One thing that a programming head had done which made you upset?

    I think I am on the other side of the table, the person doesn’t have the intention to spoil the work. For instance, someone was making the series and I am a micro manager. I look after every small detailing right from your scripts to dialogue. And I have invested days and months understanding the work and if suddenly someone says you are not understanding the concept this is something that makes me a little upset. Because I have created the show, I have written the character, made 50 episodes and then someone just can’t say I don’t know the character. So, those kinds of things make me emotional. I am very sensitive about the work I do. I get very agitated when somebody pinpoints it. But even I have made lots of mistakes in this journey. I was quite a difficult person to handle as well so it is fine, I understand that their intention is not bad.

    A writer you hate to work with, but you had to work anyway.

    There is nobody I hate to work with and still go ahead and work, this is not possible. I don’t need to be forced to work with anyone because if you are forced to do something the outcome will never be good. I always believe in the creative field if you disconnect with somebody, then you should not work with that person. If you will work with that person the core objective of the work will go for a toss. It will no longer be a product you wished to create. There is nobody right or wrong, we are the biggest subjective field in the world. So, for me if you are not connected, then you are not on the same page.

    Are you a writer, director or a producer. Which is your favourite role?

    The reality is I am a writer, director and a producer. I started with being a producer, I was not a writer in the beginning. When I did Amber Dhara there were writers who were  working with me and creatively driving the show. Over the period of time I worked on myself, I used to write a story and not an episode. I became a writer in a course of time and then started directing. So, it has been an interesting journey for me. However, I am more close to direction and writing, your work is out in front of the people. I look forward to people saying well done to me for my shows, it gives me immense happiness. I have not come here to build a multi-million empire, I have come here to tell stories.

    When are you most inspired?

    I am most inspired when I see legends. I try to understand what goes behind creating these legendary people. So, the journey about what goes into being consistent in their life, and continuously delivering good work inspires me. Even after being in the industry for 50 years Amitabh Bachchan goes to film sets everyday and is still curious to learn. I am a huge fan of Roger Federar. At the age of 38 playing a Wimbledon final is not a joke. It is not like this is something he got lucky with, it requires a huge amount of work. I really admire sports people, they take them to another level. In tennis you retire at thirty two.  I think it takes a lot to retire at the age of thirty. I admire Boris Becker a lot.

    If you could switch professions, what would you become.

    I can only play sports; I only like sports apart from what I do. I would most probably play tennis. Infact, my elder brother Rahul and I are very competitive when it comes to playing tennis.

    What is the best thing that has ever happened to you professionally?

    When I was doing the show Amber Dhara I had no intention of becoming a producer. But the whole 'accidently turning into a production house' has been the best thing that has happened to me.