ITV

Category: Production House

  • Tips Industries mulling demerger of film division

    Tips Industries mulling demerger of film division

    NEW DELHI: The board of directors of Tips Industries has in-principal agreed to consider the demerger of the film division of the company into a separate entity.

    A demerger committee formed by the board will appoint the valuer, merchant banker for fairness opinion and other intermediaries for this purpose. The board on receipt of the valuation report will study, discuss and initiate the next steps.

    Following this announcement, the Kumar Taurani-led company’s stocks declined 1.2 per cent on the NSE.

    Over the years, Tips’ film division has churned out many popular Bollywood flicks like all three instalments of the Race franchise, Coolie No.1 , Entertainment, Ambarasiya, and Kunwara, to name a few.

    Tips Industries is extremely popular for its large library of music and has a strong forte in music promotion. It recently inked a global deal with Facebook, under which the social media giant has licensed its music for videos and other social experiences across Facebook and Instagram. With the move, Facebook and Instagram users will be able to add Tips' music catalogue to their posts and stories.

  • Covid effect: Warner Bros, Disney, Universal TV postpone LA-based shows

    Covid effect: Warner Bros, Disney, Universal TV postpone LA-based shows

    MUMBAI: Close to two dozen southern California-based television shows have been put on extended hiatus as Covid2019 infection rates continue to rise in Los Angeles county.

    Warner Bros TV has confirmed that series productions such as comedies Mom, B Positive, CBS’ Bob Hearts Abishola, and dramas Shameless (Showtime) and You on Netflix will not resume shooting next week as scheduled. The studio aims to return the week of 11 January but will evaluate as conditions get better.

    On a similar note, Universal TV has pressed pause on six comedies — NBC’s Mr. Mayor, Kenan, Good Girls and Brooklyn Nine-Nine, HBO Max’s Hacks, and Netflix’s Never Have I Ever. Universal is also eyeing a 11 January return date for most of its originals.

    Both Walt Disney-owned 20th Television and ABC Signature have extended production hiatuses on 16 shows: 911, Lone Star, American Crime Story: Impeachment, American Horror Story, American Housewife, Big Shot, Black-ish, Grey’s Anatomy, Last Man Standing, among several others. Reports stated that none of the Disney shows are expected to return to production floor before 18 January.

    Sony Pictures Television has also deferred The Goldbergs and Atypical; both of the shows were slated to resume production next week.

    The moves follow the decision Tuesday by CBS Television Studio to extend the holiday production hiatus after Los Angeles county suggested that shooting in the area be suspended amid a surge in Covid2019 cases.

    “Although music, TV and film productions are allowed to operate, we ask you to strongly consider pausing work for a few weeks during this catastrophic surge in Covid2019 cases,” public health department representatives wrote in a 24 December email, according to FilmLA. “Identify and delay higher risk activities, and focus on lower-risk work for now, if at all possible.”

    According to the reports, Los Angeles county on Wednesday hit a single-day high with 262 Covid2019-related deaths.

  • Entertainment production to stay on hiatus until mid-January: SAG-AFTRA

    Entertainment production to stay on hiatus until mid-January: SAG-AFTRA

    MUMBAI: SAG-AFTRA leaders have informed their members that most entertainment production houses will remain on hiatus through at least the middle of January. The details come a day after the Los Angeles County Department of Public Health requested the film and TV industry to consider pausing production for a few weeks during the ongoing surge in new Covid2019 cases throughout the county.

    SAG-AFTRA president Gabrielle Carteris and national executive director David White said, “We are closely monitoring the recent surge in Covid2019 infections along with the reported lack of intensive care unit beds throughout the state of California and particularly in Los Angeles County. This is deeply concerning to us all and we have taken immediate action to connect with our epidemiologists and public health experts regarding the surge in cities across the nation.”

    Production of films and TV shows will stay on hiatus until the second or third week of January if not later. This means that the number of its member performers working on sets right now will be reduced. They stressed adherence to safety protocols to ensure appropriate precautions for the holiday hiatus period, including additional time for testing prior to the resumption of production.

    “To ensure the utmost safety, we are in close contact with our sister unions and guilds, the industry, our expert epidemiologists, industrial sanitation specialists, public health officials, member leaders and staff. We remain focused on ensuring the safest possible work environment and protocols for SAG-AFTRA members,” Carteris and White stated.

    They added that SAG-AFTRA will continue to monitor the situation and its impact on production and employment in all contract areas, and take appropriate measures as needed to ensure the continued safety of members and others.

    In the meantime, studios have been urged to remain vigilant and adhere to the safety principles to protect themselves, their families, communities and colleagues.

  • Balaji Telefilms to acquire Ding Infinity

    Balaji Telefilms to acquire Ding Infinity

    MUMBAI: Balalji Telefilms is all set to take over content studio Ding Infinity. Over the weekend, the company informed the Bombay stock exchange of its intentions. Ding is a production house promoted by long time Balali Telelfilms creative professional Tanveer Bookwala, who was once CCO at Balaji Motion Pictures.

    The Ekta Kapoor spearheaded firm will be picking up a minimum of 55 per cent equity in Ding, which was promoted in November 2020, at a price less than Rs 5 crore. The deal is planned to be a cash for shares deal, with Balaji acquiring a controlling majority stake.

    The purpose of the acquisition:   to produce 100 per cent premium original cut through the clutter content. Ding was set up by Tanveer to produce premium shows and films at competitive budgets giving directors and creators a free hand to produce a variety of genres keeping its founder’s vision for the company in mind.

    The twitterverse was buzzing when Ekta Kapoor announced she would reveal all very soon, posing with Tanveer for a selfie. Twitterati presumed the duo was getting married; when it actually related to her  acquiring Tanveer’s firm.

    Said Kapoor: “Tanveer is a true storyteller at heart and has for a decade worked tirelessly and passionately at Balaji Telefilms for multiple projects to deliver for his audiences.”

    Said Tanveer: Balaji Telefilms and Ekta’s faith in my abilities, allows me the opportunity to enable my creativity backed with logistical and strategic support.”

  • BBC Studios looks to partner with local platforms to bolster India presence

    BBC Studios looks to partner with local platforms to bolster India presence

    MUMBAI: India has become a fiercely contested territory for major streaming players as they look to drive sub-growth outside the maturing North American and western European markets.  

    BBC Studios, from the stable of the British public service broadcaster, recently unveiled a new content catalogue deal with new kid on the OTT block, Lionsgate Play. Under the agreement, five of BBC Studios' scripted dramas have been selected for the streaming service, with the shows subtitled into multiple regional Indian languages. The new deal, while bolstering the premium Lionsgate Play content portfolio, is tweaked to suit the tastes of the vastly diverse Indian audiences.

    BBC Studios South Asia distribution VP Stanley Fernandes revealed that the partnership with Lionsgate Play was nurtured when the pandemic was at its peak.

    “This augurs well for the state of the OTT industry. It’s good to see that there is demand and a growing audience for quality English-language entertainment. BBC Studios as a brand attracts its own set of audiences and we are happy to see that our programmes will now settle into Lionsgate Play amongst a rostrum of popular US shows,” said Fernandes.

    At the heart of good content is storytelling, for which the BBC is well-known. The series covered under the deal are an eclectic mix of contemporary genres, including Brexit: The Uncivil War, starring Benedict Cumberbatch, which dives into the activities and strategies behind the 2016 "Vote Leave" campaign in the U.K. Also included is the eight-episode series Class, set in the universe of Doctor Who; Les Misérables, starring Dominic West and Oscar winner Olivia Colman; Pure, about a 24-year-old woman coping with obsessive-compulsive disorder; and the epic period drama SS-GB, which tells an alternative history set in 1941, where the Germans have won the Battle of Britain.

    Fernandes is confident that the line-up will attract, engage and be appreciated by the discerning Indian viewer on Lionsgate Play. Said he: “We cater to a global audience and our aim is to bring world-class entertainment, with British sensibilities, to audiences locally. Thus far we have been successful with our content partnerships, branded blocks, and with our own branded channels which are appealing to Indian audiences. Our content is particularly viewed and enjoyed by audiences who invest time and money into their interest in content. This is a segment of the audience that Lionsgate is reaching out to, and we are confident that our content profile proposition will make for a successful partnership.”

    Asked how he plans to distribute the content, he quipped that it’s not about mass appeal, rather it’s about targeted appeal. “It is a partnership – it’s a two-way process. As owners of our intellectual property, we know our content best and our partners understand their audiences. Finding that right mix of shows to not only attract audiences but sustain them is what makes a deal successful.”

    Fernandes pointed out that BBC Studios’ content spans the bandwidth of, without being limited to, drama, comedy, natural history, science, children, lifestyle, documentaries, among others. This range of genres assists the content studio in supporting its partners to curate the right mix of shows that will garner audiences to their platforms by meeting targeted viewing requirements.

    “In India, for now, our business plans are to align with local platforms and it’s in these platforms that we see our best partnerships. Having said that, this is an ever-evolving space and we are always on the lookout for opportunities to increase our brand outreach and audience share,” he explained.

    But is the studio planning to target other Asian countries like Bangladesh, which is another big market in terms of content consumption? Fernandes shared that the aim is to reach out to as many audiences as it can, across platforms and territories. He further revealed that local partnerships in other South Asian markets are in sight.

    “However, currently there is so much to focus on in India; our key business agenda is to grow existing partnerships and create new relationships across both linear and digital services with India as our priority market. Having said that, most of our licensing deals with key partners extend to territories within South Asia, covering territories such as Bangladesh, reaching out to our audiences within these bases,” he detailed.

    BBC Studios is vaunted for its premium shows; it has a huge content library and due to the pandemic, there has been a surge in content consumption. Thus, investing in the streaming platforms is an obvious step, reasoned Fernandes. He pointed to BBC iPlayer in the UK, launched in 2007, and which can be accessed by all license fee payers in the UK. Subscribers of BBC Channels in Singapore and Malaysia have been given access to BBC Player. More recently, it launched BritBox in the US and Canada, followed by Australia in the last couple of months. BritBox is its JV partnership with ITV, bringing the best of British content to one dedicated service. 

    Additionally, BBC Studios all is set to launch a new, ad-free subscription streaming channel, BBC Select, in early 2021 on Amazon Prime video channels and the Apple TV app. BBC Select will offer a rich range of programs from the UK covering three main topics – culture, politics, and ideas. 

    Apart from Lionsgate Play, the studio is in talks with content players in both the digital as well as the linear space with new and innovative deals and business models. These deals are under contractual discussions and will be unveiled when formalised. For now, Fernandes mentioned the studio’s content is well received across both of its operated channels –CBeebies, which provides fun learning through play for pre-school kids, and on its JV partnership channel Sony BBC Earth, showcasing the best of factual entertainment. BBC Studios’ content is also seen across various digital platforms such as Netflix, Amazon, Discovery Plus, Disney+HotStar, Hungama, Tata Sky, Voot, and Voot Kids.

    Shedding light on licensing and merchandising, Fernandes highlighted that content sales over the years have changed from pure fixed-fee license deals. Audiences know and understand content and brands, a key factor for BBC Studios’ businesses. For him, it’s all about adding value. In India, BBC brands and branded content are important to its audiences. The studio’s branded blocks such as BBC First on Zee Café, the cult following for shows such as Top Gear on Discovery Plus, Doctor Who on Amazon Prime Video attract core fan audiences. BBC Studio will also adapt BAFTA-nominated series One of Us in Telugu for Disney+ Hotstar.

    He concluded, “Branded partnerships have been key in shaping our businesses, bringing our audiences closer to the best of world-class, bold, British entertainment in India.”

  • Reliance Big Synergy’s Rajiv Bakshi awarded ‘CEO Of The Year’ by World Brand Congress

    Reliance Big Synergy’s Rajiv Bakshi awarded ‘CEO Of The Year’ by World Brand Congress

    MUMBAI: Reliance Entertainment’s Reliance Big Synergy CEO Rajiv Bakshi has been conferred the ‘CEO Of the Year’ 2020 award by the jury of World Brand Congress, World Marketing Congress and CMO Global.

    The award was given in recognition of Bakshi’s differentiated strategy to establish Reliance Big Synergy as a leading content development and production powerhouse in India. As the CEO of Reliance Big Synergy, he leads a team of creative visionaries committed to create high-impact web series, direct to OTT movies, TV fiction and unscripted/factual content across OTT and broadcast platforms in Hindi and regional languages.

    The jury included, IIM Ahmedabad ex. dean Prof Indira Parikh, Onward Technologies chairman & Nasscom founding member Dr Harish Mehta, Edvance Schools executive chairman and The Economic Times former CEO Dr Arun Arora, and World CSR Day founder Dr R L Bhatia.

    Reliance Entertainment group CEO Shibasish Sarkar said, “Rajiv, time and again, has proved himself to be a brilliant leader. His knowledge, wisdom and vision have been the driving forces behind his exemplary career. It’s a proud moment for all of us at Reliance Entertainment.”

    “I am grateful to my team, our esteemed partners, talent and crew and the viewers of our shows who have contributed to this recognition. I humbly accept this honour on behalf of my entire team. I am passionate about transformative disruptions that change consumer and societal behaviours and create long-term competitive advantage. This award is a vindication of the success of our business and content strategy to cater to the rapid transformation and diversity of the Indian media sector,” said Bakshi.

     An alumnus of Harvard Business School, Bakshi has 20 years of multi-functional experience of working with global and Indian consumer product and services companies. He has a deep understanding of broadcast media, OTT streaming platforms, smartphones, consumer durables and electronics industries.

    Earlier in his career, Bakshi turned around Discovery Networks’ India and South Asia business as the head of products and marketing, and is credited for building its 11-channel portfolio, as well as ten year leadership of Discovery Channel; pioneering lifestyle category with TLC; launching kids' business – Discovery Kids and introducing HD experience to viewers in India.

    Prior to Reliance Entertainment, Bakshi was the CMO of a homegrown Indian disruptor in smartphones and consumer durables where he envisioned the brand transformation and go-to-market strategy across product verticals – mobile phones, LED TV’s, ACs, washing machines and accessories.

  • Guest column: Pause, Reset, Play – The M&E sector’s mantra during pandemic

    Guest column: Pause, Reset, Play – The M&E sector’s mantra during pandemic

    MUMBAI: This Covid2019 pandemic has forever transformed the way content is consumed across the world. With people confined at home and all outdoor public entertainment shut, and with easy access to 24×7 TV and high-speed internet, viewers consumed content across screens like never before. This paradigm shift prompted the M&E industry to pause, re-assess strategies and finally, scramble back on its feet with a refreshed plan of attack.

    Like most of our contemporaries, we, at Endemol Shine India, were taken by complete surprise when India went into its first lockdown in March. Some of our ongoing shows had to be halted mid-way. Instead of throwing our hands up in despair, we utilised the forced break to go back to the drawing board to reset and put in place extremely detailed blueprints, SOPs and protocols, ready to be deployed for all production units when the lockdown opened.

    When Unlock 1.0 was announced, we were well prepared to hit the ground running. We immediately deployed our well-laid plans, and over the next couple of weeks, started productions across the country. A lot of precious prep-time was saved through meticulous pre-planning that was done between our operating teams and medical experts over numerous Zoom calls.

    Over the next couple of months, we successfully launched three Bigg Boss productions – in Telugu, Tamil and Hindi – all being some of the most complex on-ground productions in India that involve complex workflows and employ significant manpower throughout the day and night, across multiple months. It’s no less than war, but each day brings new learnings, and we are constantly on high vigil – the slightest error can be irreversibly catastrophic.

    Despite inevitable financial setbacks due to a few show cancellations and postponements, we have been able to deliver to our customers what Endemol Shine India has always stood for — top-drawer high quality content. The biggest lesson learnt from this crisis is to always stay prepared for the next one. A great Plan A is now hygiene; the ability to pre-emptively keep Plan B ready is now the true differentiator.

    The other side of the coin

    While the lockdown period stalled productions and original content on TV went off air, repeats of successful older shows saw substantial viewership.

    Ramayan returned to the small screen after 25 years, making DD the #1 channel in the country. Our very own Bigg Boss reruns contributed significant GRPs to our broadcaster partners. With original content back from July and with Bigg Boss and IPL driving viewership in Hindi and regional markets, broadcasters are also looking at a healthy turnaround in the advertising market. With the Covid numbers across India seeming in control and experts staying cautiously optimistic, the M&E industry is slowly but surely raising its head once again.

    These steady progressions have not only fuelled optimism but also investments into the sector. As global brands like Apple, HBO and NBC as well as a few of our domestic giants wait in the wings to test the waters, the timing couldn’t be better for content creators and producers.

    To make the best use of new and emerging opportunities in the post Covid era, it is imperative for organisations to reflect on long-term strategies, consolidate the green shoots and double-down on operating plans for 2021 and beyond. At Endemol Shine India, over the last couple of years, we have been actively pursuing a two-pronged strategy – preserve and grow our non-scripted portfolio, with newer formats and newer platforms; and significantly scale up our scripted portfolio.

    We believe that upstream participation in Intellectual Property (IP) creation is critical and have been investing a lot in creative development – through book rights, original stories, and talent tie-ups. While we are the producer of choice for non-scripted shows, our next frontier is to become the producer of choice in the scripted space. We have set ourselves an ambitious target of delivering 50 per cent of our business from scripted productions over the next three years. As the industry is pivoting around content across devices and as consumption habits change, we realise that we too need to adapt and diversify. To deliver our plans, we are organising ourselves around content. To service the platform demand across the variety of shows we produce, we have created dedicated teams of creative, commercial and production personnel across scripted, non-scripted and factual content.

    As we step on to this ambitious journey, we have identified three critical levers in our production playbook:

    1.    Modularity in execution

    Decentralised, empowered teams for each show, to deliver volumes without sacrificing quality. In 2021, quality supply at scale will be the single biggest USP of production houses.

    2.    Customer-centric approach

    Platform is king and feedback deserves utmost respect. As platforms re-orient their business models and discover newer consumption patterns in 2021, a strategic approach will differentiate production houses and decide who gets repeat volume business.

    3.    Eye on ROI

    The gains of diligent book-keeping cannot be under-stated. Also, we have realised that commercial efficiency and creative excellence are not always a zero-sum game. With granular planning, robust scheduling and tight execution, the interests of the platform and the production P&L can be aligned.

    Looking ahead

    In hindsight, the pandemic has been a steep learning experience, and luckily has not been the unmitigable hopeless disaster it threatened to be. On the contrary, it has made us deliberate and question the fundamentals of our operating models and come up with smarter ways of creating content for our diverse customer base.

    The industry as a whole, has become more resilient and adaptive to new realities – of consumption shifts, lower margins and cost efficiencies. The government can support by easing taxation across the value chain and offering meaningful incentives for productions showcasing our beautiful country, a move that can indirectly help spur domestic tourism. After all, an industry that positively engages 750+ million consumers daily for hours at end, can only boost the revival sentiment in the near and long run as we head into an interesting 2021.

    (The author is COO, Endemol Shine India. Indiantelevision.com may not subscribe to his views.)

  • Vice Media’s International VP Dominique Delport resigns

    Vice Media’s International VP Dominique Delport resigns

    MUMBAI: Vice Media’s International vice president and global revenue director Dominique Delport has stepped down from his role after three years.

    A Deadline report stated that Delport has not left the company completely and will continue to advise Vice part-time through his newly launched consultancy firm Arduina Partners. Apart from Vice, Arduina handles four other clients. Delport also supports three start-ups, including artificial intelligence and intellectual property.

    Delport joined Vice in May 2018 after working for 17 years with entertainment group Vivendi and advertising firm Havas. In his role, he has helped oversee Vice’s global footprint, including its London-based production unit, Vice Studios, which is headed by former Refinery29 executive Kate Ward.

    In addition to resigning from his position, Delport is no longer the director of Pulse Films, which made the Sky / AMC drama Gangs of London and Netflix’s The Disappearance of Madeleine McCann. He has also quit as director of the Vice Edition Worldwide agency.

    “I’ve had a fantastic run at Vice for almost three years and it’s a bittersweet feeling to leave such a talented team, but I will remain a shareholder and business partner. 2021 will be a year of consolidation in Europe and globally for the media / entertainment and advertising industries. And I want to participate fully in this accelerated post-Covid2019 digitisation,” Deadline quoted Delport as saying.

  • Namak Issk Ka looks into the societal gaze at female performers: Gul Khan

    Namak Issk Ka looks into the societal gaze at female performers: Gul Khan

    MUMBAI: Can a nachaniya (dancing girl) not be accepted as a dulhaniya (bride) or bahu? Colors’ latest romantic drama, Namak Issk Ka, questions this very outlook. Set in the heartland of Bihar, Namak Issk Ka is the story of Chamcham, who is looked down upon for her profession, but in a twist of fate is married off into a reputable family in Mumbai. But as she tries to fend off prejudice, she sets out on a journey to find her footing in the new family and, eventually, love. Produced by Four Lions Film founder and producer Gul Khan and co-produced by Sunny Side Up Films’ Dipti Kalwani, the show started airing 7 December onwards.

    Both Khan and Kalwani clarified that the serial is not inspired by any particular person, but is based on the life of dancers that populate that belt, and how these performers are a part of every celebration in the family.

    Everybody appreciates these dancers and their performances, but still people look down upon them. It’s not about the male mindset, but the societal gaze in general. While the entire family will be a part of the function with the dancer, somehow, they will consider her beneath themselves. This is what the makers have tried to bring out through the show.

     

     

    Kalwani went on to elaborate that while a love story is at the core of Namak Issk Ka, the show is a romantic thriller with multiple interesting genres running in parallel, including a murder mystery and family drama. “With Namak Issk Ka, we have made a fast-moving, plot-driven potboiler of a show which is not just relegated to romance, and where every character has a very interesting backstory,” she said.

    It was last year when Khan and Kalwani decided to do Namak Issk Ka. But then the pandemic and the subsequent lockdown happened, delaying the show. However, it also gave them a chance to iron out the details, and once the lockdown was lifted, they began shooting.

    Due to Covid2019, the makers could not risk traveling to Bihar hence recreated the entire set in the backdrop of Maharashtra and outskirts of Mumbai. Khan mentioned, “We are very skilled at recreating the places that we feature. We shot in Wai, in and around Maharashtra. We tried to match the landscapes and terrains with those of Bihar. We also had people from Bihar help some of our actors with the language, dialogue and diction training.” She said they have ensured that viewers get the authentic experience of the place in the way she has shot the show.

    Still, filming during the age of Coronavirus has been no easy task, shared Kalwani.
    Additional challenges notwithstanding, the makers of the show have strictly adhered to all the safety protocols and are fumigating and sanitising the set regularly. They have conducted regular and compulsory medical checks for cast and crew members. They have, in fact, reduced the size of cast and crew present on the set.

    The show also marks Khan’s first production venture with Colors. “We were trying to work with Colors for a very long time. After conceptualising the story, we pitched it to Colors and the team really liked it. From then on, we have gone ahead all guns blazing! So far, my experience has been amazing while working with Manisha Sharma and the entire team. We are happy to be associated with a channel that has always presented unique and entertaining concepts, and look forward to a great partnership,” she further added.

    The producers discussed with Colors the language, casting, music and background score, the look of the show along with the level of glamour quotient that they wanted to have in Namak Issk Ka, and the audience it would cater to. The broadcaster and showrunners have been pretty much on the same page on all parameters before it went on the floors, Khan said.

     

     

    Namak Issk Ka stars Shruti Sharma as Chamcham, and famous Bhojpuri actor Aditya Ojha as Yug Pratap Singh. According to Khan, there is a particular requirement for this show. The actors have to connect with the audiences and they have to look like they are from the heartland. While Aditya Ojha and Monalisa are from the Bhojpuri entertainment industry, Shruti Sharma, with her inclination and her talent, fit the bill as Chamcham. While casting for the show, the makers had to look for people who looked like they belonged in this universe.

    The show is aired Monday to Friday at 9 pm, which is a very competitive slot – Sony TV airs Indian Idol, whereas Star Plus telecasts Maharaj Ki Jai Ho. Revealing how the production house is trying to make Namak Issk Ka stand out, Kalwani detailed, “The trick is to make a great show that the audience can relate to and narrate a story that you enjoy telling. In this case, we were very excited about telling the story coming from the Hindi heartland. We wanted to talk about music and dance, the people and their language, their food and everything about them. So, culturally we were very keen to do something from this belt, and we have woven a story around it. The story has its own element of love, hatred, thriller, mystery. There is no such exact formula to success. This is what we wanted to do.”

  • Screenlife partners with Graphic India & Reliance Entertainment

    Screenlife partners with Graphic India & Reliance Entertainment

    MUMBAI: Russian director and producer Timur Bekmambetov, whose creation of the innovative Screenlife format has spawned hit movies such as Profile and Unfriended, is setting his sights on India by striking a partnership with local players Graphic India and Reliance Entertainment.

    Bekmambetov and Graphic India founder Sharad Devarajan will team up to develop a slate of original local-language films leveraging the Screenlife genre in India. The deal will commence with three films from up-and-coming Indian filmmakers, the first of which is aiming to go into production early next year.

    Bekmambetov’s Screenlife format has seen Unfriended gross $65M globally, off a $1M budget, and Searching take more than $75M. In the US, he has a five-picture deal with Universal. He is also looking to shoot the world’s first vertical format blockbuster.

    This year, Bekmambetov has continued to develop and produce throughout the pandemic, with a Screenlife adaptation of Romeo & Juliet, R#J, set to premiere at Sundance, as well as a sequel to Searching. He also founded tech startup Screenlife Ltd, which is partnered with Microsoft and is developing products and services powered by artificial intelligence and neural networks to boost mainstream production of Screenlife content.

    “Screenlife films are universally relatable to people around the world, and audiences intuitively understand this storytelling language, because it’s how we live. I believe our devices can reveal more about a person than they would ever say out loud, because we never lie to our screens,” said Bekmambetov.

    “India is one of the world’s leading fastest-growing entertainment economies. We are delighted to partner with Timur and Sharad to bring Screenlife, a new digital onscreen filmmaking language, to India and provide a new and powerful platform to showcase talent of Indian writers and directors,” said  Reliance Entertainment group CEO Shibasish Sarkar.

    “I have been fortunate to learn so much from Timur over the past few years, and his unbounded creativity and disruptive thinking is an inspiration. At Graphic India, we strive to push the boundaries of storytelling with new genres and experiences, and this wonderful partnership with Reliance Entertainment will give us an amazing opportunity to showcase some of India’s pioneering filmmakers and creators,” added Devarajan.

    Devarajan’s Graphic India is the company behind numerous Indian superhero IPs, spawning film and TV adaptations as well as a series of short motion comics which have been hugely successful on TikTok India. Devarajan is also the creator of Baahubali: The Lost Legends, the long-running original TV animated series which is part of the hugely successful Baahubali franchise.