Tag: production

  • Global Bulletin: WarnerMedia restructures EMEA leadership teams

    Global Bulletin: WarnerMedia restructures EMEA leadership teams

    MUMBAI: New WarnerMedia France and Benelux, Germany-Austria-Switzerland country manager Iris Knobloch has restructured her leadership teams across EMEA.

    Olivier Snanoudj, Eric Broet, Caroline Lang, Guillaume Coffin and Gregory Schuber will resume leadership positions for France and Benelux, with Willi Geike, Steffen Schier, Peter Schauerte, Sylvia Rothblum, Matthias Heinze and Tim van Dyk assuming leadership responsibilities for GAS.

    Snanoudj and Schier will overlook theatrical distribution for the France and Benelux and GAS markets, respectively, while Lang will head TV distribution for France and French-speaking territories with Rothblum seeing the same responsibilities for GAS and Israel.

    Home entertainment and consumer products in each region will consolidate under one leadership, handled by Broet along with the support of Yves Elalouf and Jérôme Ollagnier. Schauerte will oversee home entertainment and consumer products for GAS, supported by Veronika Tiedemann and Stefan Hausberg.

    Schuber and van Dyk will look after the marketing teams in the two territories including publicity, franchise management and data. Geike, who last worked on the position of country manager, will now head the company’s local theatrical production for GAS. Broet will supervise local theatrical production for France and Benelux.

    Meanwhile, Warner Bros TV Production UK Group company Twenty Twenty has appointed James O’Reilly as its new creative director. He will report to managing director Leanne Klein and work out of the company’s newly established Bristol offices which will serve as the company’s headquarters starting in 2021.

    O’Reilly will be responsible for overseeing the creation and production of new original content for the company’s slate, and to manage the company’s existing catalogue of ongoing series. He joins the company after more than a decade at Blast! Films, serving as creative director for the last four years.

  • High-end TV production spend in the UK hits £2.6bn in 2019

    High-end TV production spend in the UK hits £2.6bn in 2019

    MUMBAI: 2019 has seen a significant boost in high-end television productions made in the UK. The UK ‘high end’ TV 2014-2019 report by analyst Ben Keen states that investment in UK shows using the high-end TV tax credit has doubled since 2014. Spend per hour is up: Average spend/hour has risen by 60 per cent since average budget allotted to shows has nearly doubled – partly due to average number of hours per show increasing substantially.

    There has beena 56 per cent increase in HETV productions commissioned solely by streamers in 2019. Number of shows with third party involvement, or co-commissions, has nearly doubled, up 17 per cent. In fact,third parties now contribute more to thefunding of Public Service Broadcaster (PSB) dramas than PSBsthemselves. The trend shows no sign of slowing.
    Owing to this spike in collaboration between traditional broadcasters and SVoDs, investment in UK TV dramas has more than doubled since 2014, hitting a record high of £2.6 billion (US$3.5 billion)in 2019, up 31 per cent from 2018 and over 3X the 2014 total.

    Sole commissions have also increased across the sector, with PSBs, pay-TV operators and SVoD streamers all increasing activity. The BBC alone commissioned 26 HETV shows.

    Number of shows per year is up 25 per cent since 2014, and total number of HETV productions rose 19 per cent to 142last year. Hours made per year increased 59 per cent since 2014.

    The report states that co-commissioning is more important for drama HETV productions than any single broadcaster or streaming platform. Amazon, AMC, Netflix, PBS, HBO & Hulu have been the most important partners for PSB productions; 28 different partners since 2014. 

    Streamers like Amazon, Netflix & Hulu have become increasingly important partners for PSB drama productions. Netflix participation in PSB co-commissioning peaked in 2017, but active in 2019 with four in year-to-date. 


     
    The report further highlights that third parties – like global streamers have become increasingly important to funding of PSB dramas via co-commissioning. A record £664million was invested in making original PSB drama last year, but 56 per cent was contributed by third parties – like global streamers. As a result, original drama hours on PSB channels have stabilised since HETV tax break was introduced in 2014.

    The average spend per hour for all HETV productions has increased, jumping almost 60 per cent to £4.1m last year. However, total number of screen hours of HETV productions fell to 643 – fewer than in 2016.
    On the other hand, with their production budgets boosted by higher third-party spending, PSBs themselves actually reduced their direct spend per hour by £45,000, while increasing the hours of drama they were able to air compared with 2018.
     

  • LiveU & Grass Valley to offer cloud solutions for remote live productions

    LiveU & Grass Valley to offer cloud solutions for remote live productions

    NEW DELHI: LiveU and Grass Valley have joined forces to offer a pre-integrated cloud-based solution for remote live productions, enabling customers to simplify their processes and automate live and non-live news and sports productions in an efficient, agile and customisable workflow.

    LiveU’s co-founder and COO Avi Cohen, said, “With the ongoing shift to cloud production, we are committed to helping our customers maximise these new efficiencies, delivering our live video solutions as-a-service with pre-integrated workflows. Our collaboration with Grass Valley offers customers a highly efficient, flexible and scalable set of tools for going live from the field, providing greater flexibility to adapt to the needs of each and every story, giving a richer viewing experience. Remote live production can be orchestrated from anywhere via LiveU’s and Grass Valley’s integrated cloud environments, or using a hybrid model of choice, integrating high-quality live video feeds with smart automated production capabilities.”

    The collaboration facilitates live production, and news and asset management, in specific ways, helping to simplify the processes and speed up live broadcasts with compelling content. High-quality live feeds can be sent from any of LiveU’s field units for remote switching and live production using LiveU’s cloud solution with Grass Valley’s GV AMPP (Agile Media Processing Platform), the first cloud-based SaaS platform for broadcast to fully leverage the power of elastic compute. Built for the cloud from the start, GV AMPP is specifically designed to overcome broadcasters’ long-time reliance on costly and inflexible hardware-based media systems and provides a modular approach to everyday media workflows.

    In addition, live feeds from LiveU units can be integrated into the GV STRATUS news and asset management tool to streamline the remote news gathering and production workflow. Utilising LiveU’s live video metadata to automate the process and provide metadata enriched assets within GV STRATUS, users can quickly search, browse, edit and publish content – live or file – using a range of smart search criteria and via the smart rules’ engine.

    Grass Valley CEO and president Tim Shoulders said, “As our customers strive to deliver the captivating content and high production values that consumers demand, the GVTA gives them access to trusted solutions that are tested and configured to ensure interoperability with Grass Valley’s solutions – one of the major hurdles our customers face when deploying multi-vendor systems.”

  • Banijay retains Anne Van Sprang as HR lead

    Banijay retains Anne Van Sprang as HR lead

    MUMBAI: Banijay has confirmed that Anne Van Sprang will continue to lead its HR department as chief human resources officer. Based in Paris, she is the group’s global strategic departmental head, consulting on the company’s worldwide structure, operations and employee relations.

    Championing best practice, Van Sprang joined Banijay from Kering Group, where for two years, she was at the forefront of devising and implementing the business’ HR strategy, as well as overseeing the HR function for the technology and digital division across its 13-territory footprint. Prior to this, she was human resources director at Canal +, providing full HR support to the technical and IT division thus contributing to the digital transformation of the group. She has also held roles at TDF Group and Carrefour.

    A leading HR partner, Van Sprang has spearheaded Banijay’s integration with Endemol Shine Group, supporting chief executive officer, Marco Bassetti, and the global leadership team, in building a footprint comprising the world’s best creative entrepreneurs. Overseeing the department’s worldwide operations, she continues to collaborate with the footprint’s HR partners to combine teams and systems, and drive a joined-up, inclusive and responsible approach. 

    Marco Bassetti said, “Shortly after Anne joined us, we embarked on our acquisition of Endemol, and from the start, she has been a key player in the process. Guiding us on the integration and driving the successful merge of these two businesses, she has been an invaluable partner and voice in our biggest move yet. With her help, we are proud to be building one of the world’s most significant and innovative creative engines.”

    Anne Van Sprang said, “Talent has and will always be key to Banijay. Our creative community is at the heart of all we do and since the recent acquisition, we can categorically say we have 22 territories brimming with the most inspired minds in the business. And, with a great global HR team by my side, I am confident we can continue to attract, develop and retain the best talent in the content industry while driving new employee initiatives and best practice across our far-reaching operations.”

    Van Sprang reports to CEO Marco Bassetti in her new role.

  • Panorama Studios hires Rajat Goswami to lead new stream films & acquisitions

    Panorama Studios hires Rajat Goswami to lead new stream films & acquisitions

    MUMBAI: Panorama Studios has appointed Rajat Goswami as head of new stream films & acquisitions. Goswami is a renowned name in the film festival circuit and has worked in tandem with numerous reputed production houses.

    Under Rajat's leadership and the guidance of Panorama Studios Distribution managing partner Murlidhar Chhatwani, the banner will continue to back content-driven cinema and bolster independent cinema and aspiring filmmakers.

    Panorama Studios producer and director Abhishek Pathak said, “Panorama Studios has always upheld the supremacy of talent and content and so we're happy to welcome Rajat Goswami to our cinema abode. He has tremendous experience in the representing and handling of independent films and I'm positive that we can harness it so as to offer the audience exciting options for entertainment.”

    Panorama Studios Distribution managing partner Murlidhar Chhatwani added, "The undeterred consumption of content over digital platforms goes to show that even a crisis cannot diminish the need for entertainment. I am sure that Rajat's arrival into the production house at such a juncture will mark a fruitful new phase of endeavours and expansion."

    Goswami said he has received a warm welcome at Panorama and is excited to work with one of the foremost production banners in the country.

  • Takis Candilis returns to Banijay as senior adviser

    Takis Candilis returns to Banijay as senior adviser

    MUMBAI: Banijay has welcomed former head of scripted Takis Candilis back to the business as it looks to expand its investment in the genre. Candilis has returned in the capacity of senior advisor and will drive up co-production and new IP opportunities across southern Europe.

    In recent months, Banijay, which operates 120 production entities across 22 territories, has upped its operations and talent in the scripted space. 

    During his previous stint at Banijay, Candilis was charged with expanding international activity in scripted programming. He left the global producer-distributor in 2018 to take on the role of deputy managing director of broadcast and programming at France Télévisions. There, he spent two years supervising programming and editorial strategy for the group’s national channels.

    Banijay CEO Marco Bassetti said: “While unscripted continues to be at the core of Banijay, we have undoubtedly amplified our scripted efforts through the latest acquisition. Teaming our increased ambition in the drama space with the ample opportunity in the market, we are sure, with Takis, we can further grow our international pipeline and strategically drive up southern European owned-IP for our catalogue.”

    Takis Candilis added: “What a difference two years makes… Banijay was always an inspiring, ambitious and ultimately creative business but over the past few months it has rapidly expanded and become a leading player in the scripted space. It’s a great time to be returning as the group continues to innovate and I look forward to working with the team to identify original premium IP projects and collaboration opportunities across southern Europe.”

    Having started his career as an independent producer, the entrepreneur has also held leadership roles at TF1, Lagardère Entertainment, Tara Productions and Caméras Continentales. As senior advisor, Candilis will partner closely with CEO, Marco Bassetti, and the group’s core leadership team.

  • OTT platforms gear up to resume production

    OTT platforms gear up to resume production

    KOLKATA: The Covid2019 crisis struck India in March and the entertainment industry came to a standstill. While TV production resumed in July, shooting for film and original content remained on pause for a lot longer. The industry, which lost six months of valuable production time, is slowly limping back to sets and studios.

    More people may have switched to over-the-top (OTT) platforms during the pandemic, but on the flip side, it has inflated the audience’s appetite for content. These streaming services have maintained a steady click of new releases so far but the constrain of shooting large scale projects is a major concern.

    Experts predicted that the pandemic would affect the pipeline of long-format premium originals till the first half of FY22. Although most major players have resumed filming, no one is certain how soon full-fledged production will be back on track.

    Netflix co-CEO and chief content officer Ted Sarandos said during the recent ET Global Business Summit Unwired 3.0 that getting back to production safely tops the organisation’s list of priorities. This, however, has been particularly challenging in India, he said.

    Read more news on OTT

    Not surprising, considering the country is leading the highest number of daily positive cases; this problem is further compounded by the strict rules and guidelines imposed by the Maharashtra government on film production. But Netflix fans, fear not; more than ten Netflix India productions are scheduled to start in November.

    Desi OTTs 

    The homegrown players are also stepping up their efforts to keep the content flow alive. MX Player already has one show on the floor and will be pushing a few more projects into production by end of October, chief content officer Gautam Talwar said.

    “Given the pandemic, audiences are spending more time online and OTT platforms including ours have seen a sharp increase in engagement, emerging as the preferred choice for content consumption. To cater to this rising demand, we’ve launched over 27 shows from March until now. We still have a couple of shows in the pipeline that we have shot which are currently in post-production; you should see those releasing over the next quarter,” Talwar added.

    ALTBalaji has also resumed filming some of its shows with minimum staff and in restricted places with appropriate permissions. ALTBalaji CEO and Balaji Telefilms group COO Nachiket Pantvaidya assured that they are diligently following all the requisite standard operating procedures.

    “We recently launched ten episodes of Bebaakee on ALTBalaji. Shooting is ongoing for the show and we will release more episodes soon. October onwards, audience will see a host of shows, including Mumbhai, Bicchoo Ka Khel, Dark 7 White, LSD, Who’s Your Daddy Season 2, Kahin to Milega to name a few,” Pantvaidya stated.

    Amid regional players, Bengali OTT Hoichoi started production back in August since West Bengal initiated Unlock prior to most other states. Hoichoi co-founder Vishnu Mohta revealed that the platform has already completed shooting for seven projects. Two of the post-pandemic shows are already streaming on Hoichoi while others will be gradually made available to users.

    Despite production challenges, hope remains

    Even as India’s Covid2019 tally is flirting with the 70 lakh-mark, stakeholders in every segment of the industry remain hopeful while adjusting to the new normal. Hoichoi’s Mohta said they are trying to restrict the shoots as much as possible to indoor locations, and make sure to sanitize the entire set very carefully before starting work. Despite all the constraints, things are looking up; it has become easier to get schedules and dates of famous actors and directors, he divulged.

    ALTBalaji’s Pantvaidya admitted that since production has to abide by a number of precautionary measures, the work is going slower than before. Nevertheless, with shooting gradually resuming, he is optimistic that viewers will have a handful of shows to look forward to in the coming months. 

    A leading producer who wished to remain unnamed commented that safety measures and longer timelines are stretching already-limited production budgets.

    Pantvaidya expressed the view that shooting at a full-fledged scale is still going to take some time due to the current situation. He said that the platform’s focus is making sure everything works out smoothly, with the safety of cast and crew being top priority. 

    “We’ve all started by putting our best foot forward – keeping in mind precautionary measures and complying with social distancing norms etc. To my mind, full-fledged production as of right now looks like it will only start by January 2021, when multiple shows can be put on the floor, hopefully without too much worry,” MX Player’s Talwar said.

  • Pradeep Dwivedi gives further insights into Eros-STX flagoff

    Pradeep Dwivedi gives further insights into Eros-STX flagoff

    The pragmatic and cheerful boss of Eros International’s (Eros STX Global corporation) Indian operation had come on board at a very crucial time. Within a few months after his joining in January 2020, the big merger of Eros International and US-based STX Entertainment was announced. While a corporate merger comes with its own challenges, the SARS COV2 induced crisis has just multiplied it. Despite the obstacles, the efforts are underway for smooth integration. Eros International Media Ltd India CEO Pradeep Dwivedi gleams with the hope of making an Indian studio that will be recognised globally.

    Other than typical profit and loss benefits, Dwivedi believes the merged entity should be able to build the first compelling Indian studio that will capture worldwide attention both in terms of theatrical and streaming business. Starting 23 September Eros International will be known by its new corporate name Eros STX Global Corporation. The brand is launching a new website along with it. Against this backdrop, the media veteran spoke elaborately on the ongoing integration efforts, possible outcomes of the merger, digital business during a virtual fireside chat with Indiantelevision.com founder, CEO and editor-in-chief Anil Wanvari.

    Edited excerpts follow:

    Read more news on Eros International

    Have the companies started working together?

    We are working very closely ever since we started the merger. There is a segmented approach to our business. We have streaming, theatrical, cable and satellite distribution business. We are trying to harmonise these areas to figure out a significant cost synergy to ensure that the combined entity is operating far more efficiently than the two companies were working individually. The logical assumption would be that many companies go for massive headcount reduction. However, the beauty of our merger is that we have very lean and organized teams on both sides. The combined company is of little over 500 people which is not a big number. Moreover, the kind of market focus and talents Eros has is very distinct from the ones that STX brings to the table. The companies are complementing each other. We are working very closely and integration efforts are going on.

    You said you are streamlining your businesses. How are you finding synergies in distribution and syndication in the Chinese market?

    We have been working more on the distribution of Bollywood movies to the Chinese market, STX has been leveraging financing, ideas to create content out of China. I know the tension against China is extremely high currently. There are nationalistic sentiments on accounts of border disputes. In the US, there are nationalistic sentiments around trade disputes. My sense is both are genuinely well-placed concerns. But I think the human spirit will overcome some of these geopolitical issues and we will find a way forward to recommence the business.

    Watch more fireside chats with industry veterans

    How the merger is changing your thought process overall?

    The idea is really that when you combine both there’s a global play that is coming out. The kind of storylines that are emerging and amalgamating across the world can be universally played out. With the rise of OTT, the audience has also become global in a way. Indians are very happily following Turkish, Korean, and Mexican content. In terms of technology, we are making sure the audience who does not understand Hindi slate is able to get subtitles, language conversion which is where our partnership with Microsoft Azure comes into play. We are investing in AI technologies to be able to create consumer access at the most basic level.

    We have 125 million dollars of capital commitment as part of equity capitalization. We are also very choosy about what kind of money we are taking in. As our CEO often says it is not about money, it is about the quality of the money.

    Recently you had to face impairment charges which have led to a negative sentiment overall. Your share price is also going down…

    The movie production side is a long lead side. You invest in talents, directors, stories, and stars. If everything is well, you will have a movie production after nine months. You also have scenarios where producers and directors have gone to such a state that content is not coming out even after three years. Obviously, you have made those advances, there is no way you can monetise half of the content. If you get delayed in content coming out, you take impairment but that does not mean you have taken a cash loss on that. At some point of time, when the content gets produced, when you get the movie out, you can drive back the money as well. The reason for the impairment was taken not due to any losses.

    Over the last year or so, we were very unfairly targeted by short-sellers. They don’t pick a large share but target short-mid cap companies. India does not have this problem as much as the US has. They will also typically target a foreign private issuer because promoters are not based in the US but only listed there for market access. When you start hammering them with all kinds of innuendo, stockholders get distressed and they would possibly try to sell or exit the stock to recover the money they have invested in. Hence, the short sellers would be able to buy it out cheap and would be able to recover huge amounts of money on that. While it is not illegal, it is an orchestrated strategy in the marketplace. We have taken the bulls by the horn. We have filed litigations against all of these short sellers.  Hearings are going on in multiple courts. I can’t share more as it is subjudice now. But I can say, we have been proven right on every single front. When they have challenged our finances, operations, we have been proven correct. Governance is the cornerstone of what we do.

    Read more coverage on Pradeep Dwivedi

    How has the work progressed in the last six months?

    The pandemic has allowed us to do two things very distinctively. Firstly, the mundane stuff including IT system, mail system, technology, digital assets management, reporting standards, IFRS versus US GAAP, all of those are being addressed.  At the content level, where productions have been stopped, there are two subsets of works that are happening. One is of course post-production. The other interesting part is the whole creative part of the work. Just cut to six months before the pandemic did not start. There was a mad rush to put out content. This bit of a pause has given time to writers to think through innovative content. Some of the ideas we are getting now are very interesting, the kind of stories are very compelling. My sense is that once we are moving out of the pandemic, you will see some amazing stories coming out.

    Have your shoots started?

    Our shootings have started but in a very small way. I won’t say it is full-fledged. There are two projects on the floor, and both are outdoors. We are not doing anything in Bombay right now. There is work happening in Himachal, Uttaranchal, and north Karnataka.

    You were supposed to launch Eros Now Prime in June. Have you changed the plan?

    It is still in work for launch. We have readiness because we took Comcast NBC content and there will be content from STX library also. It will have British, American, and southeast Asian content. Eros Now Prime is essentially a premium English service at phase I. There will be some old popular TV shows along with brand new shows. As we move forward, we will put English translation, subtitles.

    You have a fabulous catalogue of music. Has that moved?

    It comes on two levels. One is Eros Music as a label. We are looking at investing more in that label, getting new talents both in film and non-film music. The other is the whole YouTube partnership which is largely to drive the traffic and traction around Eros Now as well. It is a bundled package. We are a strong believer in b2b2c which essentially means we will do partnerships with large players who deal with large consumer ecosystems. We will provide value for them to build stickiness for their own consumption. In return, they will allow us a large consumer base access.

    Where do you see Eros STX in three years?

    As a company, I believe we should be able to build the first compelling Indian studio that has captured worldwide attention both in terms of theatrical outcome and streaming. It's about doing more than business and creating great content & good stories.

  • GuneetMonga , opportunities & innovation with OPPO

    GuneetMonga , opportunities & innovation with OPPO

    MUMBAI: Academy award winner and BAFTA nominee, GuneetMonga needs no introduction. An ace producer, she has been assiociated with films like The Lunchbox, Masaan, Gangs of Wasseypur, What Will People Say and Period. End of Sentence. However, her journey to the top has not been that simple. 

    Western Mumbai’s ever bustling suburb, Versova, is home to several production houses, casting companies, and wannabe stars. At the edge of the sea, the borough  commands high rentals  and harbours even higher hopes for wannabes, perfectly epitomising the Mumbai film industry.
     
    On one side of the main road, the place is crowded with luxury high-rises of  actors and filmmakers and on the opposite side are rows of small cottages, shops, offices, and even gourmet restaurants and cafés. Adjoining the array of small cafés is the barely detectable office of Sikhya Entertainment, the company founded by Guneet Monga and the CEO of which she currently is. .

    At 36, Guneet Monga has emerged as one of India’s most recognised producers, who makes strides by refusing to stick to the conventional Bollywood formula. She is currently post-producing two of her projects SooraraiPottru and Pagglait and is looking forward to make a film set in space by next year. 

    Busy as she is, Monga took time to be part of a promotional and marketing campaign with global smart device brand Oppo with the theme of  #GoBeyondBoundaries around the new phone model Reno4Pro. It showcases her journey of going beyond the boundaries and leveraging technology to create a difference through her movie production business.Oppo used her as their icon because it wants consumers to go beyond their comfort zone to find their true calling and achieve true greatness just like Guneet has done and just like the brand has done with its latest device Reno4Pro. The phone maker hopes that users will find a holistic experience with the Reno4Pro which will also allow them to” sense the infinite” possibilities of expressing themselves.

    Indiantelevision.com’s Shikha Singh got into a tete a tete with Guneet  to understand what's driving her these days and her relationship with Oppo.. Excerpts from the interview: 

    How have you pushed boundaries in your career to achieve what you have today?

    After working for over a decade making movies, what I have realised is that filmmaking is a long-drawn process which might take over a year or two, hence it is very important for me to show up every day, no matter what. The journey of a film from its inception to release is long and full of challenges, so we must make sure that we put our best foot forward.

    Starting early in my life was testing. But, now in hindsight, I feel very fortunate to have started out young, as it has offered different perspectives and shaped me to make balanced business decisions. 

    Having a humble beginning from Delhi, it has only been my passion and perseverance for telling stories that has brought me this far. I have just started out, so any celebration feels premature, I have many dreams yet to fulfil and we have a long way to go from here. I’m excited for the journey!

    I believe success lies outside the comfort zone. It's a sum total of finding opportunities, as small as they may seem, and stringing them together with a larger vision.

    How does the brand Oppo relate to you?

    Oppo, has innovation at its core and has continuously believed in pushing boundaries. I identify with their brand values and have always embodied the same values in my work. With the focus of building a stronger resonance with the consumers Oppo’s latest campaign showcases how the journey to greatness starts by breaking free from the pre-existing notions and stepping out of their comfort zone. Leading the way, Oppo’s #GoBeyondBoundaries campaign further aims to empower and inspire the people of India to push limits and sense the infinite possibilities like India's first Oppo Reno4 Pro. 

    The campaign had a seamless narrative combining the product and the philosophy, which instantly connected with me. The way it celebrates ambition of pushing the boundaries and making a personal connection was very well done. Its message of getting out of your comfort zone and reaching out to people to form a deeper connection is what I would like to tell today’s youth as well — to keep striving and continue to reach out will take you on a road less travelled and help you shape your own unique journey.

    Oppo as a brand has always celebrated innovation and believed in pushing the boundaries. These philosophies are something I deeply apply in my own way of living and working as well. I have strived to break the stereotype in the world of movies, and Oppo is doing the same with their technology. Giving the consumers a world of endless opportunities.

    Sikhya Entertainment has films such as Gangs of Wasseypur, Peddlers, The Lunchbox, Masaan and Zubaan to its credit. What is your next move?

    We have two feature films in post-production stage – Suriya starrer SooraraiPottru and Sanya Malhotra starrer Pagglait. Over the last year, we have expanded across platforms. Apart from features, we have also released podcasts for Audible Suno.  My dream project is to make a film set in space and I aspire to make it next year. This one will be for all the girls who dream!

    Do you think it is a great time for independent cinema? Also, what are the challenges for independent content creators.

    I think it is a great time for content creators- independent, mainstream, digital, you name any medium or scale. Audience base has expanded and so has consumer appetite for different content. With OTT and deeper data/internet penetration, viewers are exposed to an array of content. This generates more avenues for content creators. These times are certainly exciting for independent movie makers as their work is travelling faster and farther. 

    Independent content creators mainly faced challenges due to lack of a strong platform to not just present their work but also market it. With OTT players expanding, that has changed a little. However, the new challenge is to sustain the quality of what they are offering. Audiences have more choices than ever and it is important to be able to get them hooked and sustain their attention. There is always something better waiting to attract the viewer and it is just a click away.

    Please Read More: Indian content creators must find out right stories to reach global audiences

    How OTT has opened new avenues for directors, producers or content creators? How has the opportunity increased by the launch of OTT?

    Yes, absolutely. As we now have high speed internet in most parts of the country, we have seen an explosion in creators and viewers. They are already using various platforms like Youtube, Instagram etc. in much higher numbers now. Platforms have grown more than 500 per cent  + in the past couple of years in India. I do feel It will only further scale higher from here. There is also an incredible growth in OTTs and that leads to a direct need for more content. It's definitely an exciting time for content creators.  A number of production houses today are partnering with each other or with OTT platforms to co-create content, jointly gaining from the expertise that each player brings to the table.

    For weeks now, films have been bearing the brunt of cinema complex/hall closures. As the lights are going out on live events, shoots and movie premiers, the only silver lining amidst all this is the rise of the popularity of OTT. The halting of productions may have dried up the content line, but streaming hasn’t stopped via the OTT platforms across the country. At the same time, ad-spends have gone down significantly due to a knock-on effect of the recessionary impact on financial services, e-commerce and automotive industries.

    You have gone to great extent from raising money to crowd-funding and self-financing to bring the right content on TV screens? It is assumed that producers are always rich, but what about creative producers who are working for the right content.

    To me, stories drive those conversations and convictions that lead to innovative ways to generate revenue.  In the process, the idea is to never lose sight of the story we all set out to tell in the first place. To answer your question & given the current scenario, we would see further democratization of this business, which in turn empowers my approach to film making.

    As a producer, I have always followed my gut. Making a film takes a year or two and one has to continue to feel it will stand the test of time and stay relevant when it does release.

    I am grateful that I have been able to build a solid business with making independent films that have travelled globally. We now have a much wider audience base to cater to. I don’t think anyone can ever say what will work or not, it’s always an intuition that you follow and allow it to grow over a period of time.

    Please Read More: Oscar-winning executive producer Guneet Monga joins MUBI India as content advisor

    Please tell us about your upcoming anthology ZindagiInshort?

    Earlier this year we released Zindagi In Short, an anthology of 7 short films, which was a direct-to-OTT release in collaboration with Flipkart Video. The short films are helmed by TahiraKashyapKhurrana, PunarvasuNaik, Vijayeta Kumar, Rakesh Sain, GautamGovind Sharma, SmrutikaPanigrahi and Vinay Chhawal.

    They are one of the first start-up companies in India and incubated many young engineers and business graduates to work in an e-commerce company and with ZindagiinShort, they are helping a young brigade of talented directors to fly in the film industry.I am extremely excited and thrilled that, as producers, Flipkart and I can provide a platform for the aspiring filmmakers. This was a very inspired and charged space where everyone came in and worked. The upcoming Flipkart Original also stars Deepak Dobriyal, SwaroopSampat, Shishir Sharma, Aisha Ahmed, Rima Kallingal, IshaTalwar and Manjot Singh.

    Being India’s first woman to win an academy award, what would be your advice to the youth of India be, so that they can also go beyond boundaries and achieve more in life?

    I’ve always been very ambitious and have used films as a platform for exchange of ideas and encourage free spirit. In the ten years that I have been a producer I have faced plenty of challenges, from not being taken seriously in an industry. I realised my line of work needs a risk-taking nature and I took some bold steps early on. I believe it’s important to chase and follow your dreams and never give up hope and really see through when you believe in. All I’d tell another young woman starting off as producers is to show up every day and keep working. Keep believing.
     

  • 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.