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Tag: production

  • “The goal is to create a $100 million IP company”: GoQuest’s Vivek Lath

    “The goal is to create a $100 million IP company”: GoQuest’s Vivek Lath

    Goquest Media is an independent distributor of global entertainment content offering a broad portfolio of international television series, scripted formats, factual content and films. Supplementing its portfolio of Indian content with key acquisitions from Europe, GoQuest Media is looking to serve the scripted needs of buyers across the globe.

    The Indian OTT space is booming, with platforms clamouring to raise the bar in local scripted content. According to GoQuest Media, this new age of premium Indian drama is creating a wealth of opportunities. In the long run the company is looking at becoming a global content agency. The firm’s primary vision is to promote India on a global stage and also expand their footprint in the global market. The company recently landed the distribution rights to two original series from OTT platform MX Player, Ek Thi Begum (The Mafia Queen) and Queen.

    In a special interaction with indiantelevision.com GoQuest founder and MD Vivek Lath spoke at length about Indian and international content market, his plan going forward and much more.

    How huge is the Indian market for GoQuest in terms of storytelling and content?

    Indian market is a pretty big market for GoQuest overall. We have been in touch with all the local OTT platforms for selling content which is dubbed in Hindi or in local languages. Most of the content that we are talking about comes from outside India. There is a large amount of transaction that has been going around remake rights or adaptation rights of international shows and films into India. Indian market is growing every year and slowly as more consumers demand more content, there will also be more demand for ready content coming outside India which would be plugged into the system here.

    So, GoQuest is looking at building a major distribution/production company out of India. What's your vision.

    The vision is to ultimately build up a very strong content monetisation company across various platforms and mediums. We are currently sitting between production, consumer facing platforms. Our services are essentially limited to the montisation part. Right now, we want to vertically move towards the production side of the business. In the coming two to three  years we will also enter the consumer side of the business and become a consumer entertainment brand. The goal is to create a 100 million-dollar IP company out of India, which is not only producing content but a holding company of very large and good IPs. The vision is creating a gamut of entertainment services including production, consumer driven business and distribution. We are also planning to create financial products around entertainment. The focus is to become an end to end entertainment media conglomerate.

    GoQuest has appointed people overseas and it is trying to become India’s global agency. Can you elaborate more on this.

    We will continue to hire people outside India. Most of the people that we are hiring overseas are from the business development and partnership side. Paula, who is a Keshet alum, is based in Tel Aviv and manages businesses in Europe and US. Harshad,who is in Vietnam manages South East Asia and East Asia. From a sales reach point of view, it is important for us to put these offices in place, if we have to expand our business. GoQuest will continue to hire leaders in those regions. We have also onboarded consultants who help us with partnerships and outreach. All in all a mix of full time and part time employees. We have a team of 5 outside India and 48 within India

    Are you looking at becoming a specialist in this field?

    We are specialists in this field. We are the only company out of India, which does the kind of licensing business . GoQuest doesn’t have a direct competition in India as of now. We will continue to build in this niche, that is where we stand out. We are picking up more and more fiction stories from across the world. Our immediate goal is to build a strong fiction distribution pipeline . Pushing India to the global stage is something we are keen on. One of our goals is to push Indian content, especially the one made for the OTT players on par with the other global content that is there in the market

    How are you planning to utilise Queen and Ek Thi Begum considering Queen has recently come on Zee as well.

    Well our arrangement with MX Player is largely for distributing the show internationally. We don’t hold the rights for India. But internationally we do, and we have already started many conversations there. OTT players with in India are already licensing shows to each other and to tv broadcast. Our battleground will be to mount the shows outside India

    What is the cost of licensing?

    We act as pure play service providers distributing content in the international market. As far as Licensing is concerned, the spectrum goes anywhere between $500 per episode in a small market to $5000 in a large market. There is no fixed benchmark, it completely depends on the market and different territories. It also depends upon the quality and story of the show.

    Do you also have TV distribution rights for Queen? Also, OTT contents are now going to TV. Do you think it is viable?

    We have all the distribution rights for Queen on both OTT and TV, for the international market. According to me OTT content going to TV is a viable position. At the end it is all about who is the audience what is the audience overlap between TV and OTT. I think it is good for different companies, mediums and platforms to share the cost of content in a way. Because production costs are shooting up and to make sense of the economics of each content that is being produced, I think it is a good way of monetising it.

    Any new Indian content in the pipeline that you are planning to acquire?

    We are in advance conversation with almost all the OTT producers in India at this point for the intellectual properties they own. We are making sure that whatever show we handpick is of extremely good quality rather than taking it as a commodity approach and cross-selling product at super cheap price.

    In the current situation, where production is on hold, what is your strategy going forward?

    With production on hold, it hasn’t changed much for us. Of course, we need more and more content to drive our business. However, it’s just been three months now, there is enough content for us to sell even if the production is on hold. If the hold continues for a longer period, then it will be challenging to get new products. But our challenges will be minuscule as compared to the challenges faced by the overall industry. I am not worried as such as far as our business is concerned.

    Are you looking at content that can be remade in India?

    Absolutely, in fact we are putting together packages for about four different shows for which have acquired remake rights for India. We have put the right people behind them to i.e. writers, showrunners anddirectors and then go out to pitch the script to OTT platforms. Some of the shows we have are being commissioned by the networks in France, US and in Europe. All the shows that we have, are tried and tested so there is very limited risk about the story line. I believe there is a lot of scope of remaking content in India.

    How has the pandemic impacted your business?

    We all forced ourselves to efficiently work from home. A lot of our interactions are documented for better clarity. Use of collaborative tools to make sure things don’t go out of hand. The business momentum was significantly big at the start of this year, and that momentum has been slowed down for us now. But I believe things won’t be that bad for us going forward. Because content companies are now springing back up, consumer spending is slowly increasing. Yes, we have been affected but it is not going to be long term as far as the pandemic is concerned.

    Apart from Indian content, will you be bringing more international content in India.

    Indian content that we are distributing is for outside India. But we are bringing a lot of international content in India. We are looking at our Ruby Ring, which has done really well all across the world. We are approaching all the leading OTT players now to buy the rights. We are also looking at making that show for regular GEC broadcast. There are a lot of international shows that we are bringing in India, details will be out soon.

  • Hindi GECs get back in business

    Hindi GECs get back in business

    MUMBAI: Ground zero of the entertainment industry, Mumbai, has been on standstill for over three months. Finally, the wheels have begun moving as production across film, TV and OTT have resumed. GECs, which had resorted to showing re-runs and movies during the lockdown, have begun reshooting their shows.

    &TV's Ek Mahanayak Dr BR Ambedkar and Santoshi Maa Sunaye Vrat Kathayein have also resumed shooting. Zee TV shows Kundali Bhagya and Kumkum Bhagya have restarted shoot with a limited crew. Star Plus popular daily soaps Ye Rishta Kya Kehlata Hai, Kasauti Zindagii Ki, Yeh Rishte Hai Pyaar Ke and Ye Hai Chahatein have resumed shooting.

    Enterr10 Television Network’s Dangal TV has resumed shooting for Pyar Ki Luka Chuppi and Devi Adi Parashakti. The shooting is taking place at Naigaon and Umbergaon.

    Enterr10 Television Network head of marketing Arpit Machhar says, “While we are very excited about resuming shoots and enthusiasm levels are very high, we all have a responsible role to play. Safety and well being of all present on sets is extremely important. We are constantly communicating with our on-set production teams and have briefed and advised them on introducing additional necessary measures that might be required in addition to following the guidelines that have already been laid down. Our production teams are well equipped and will ensure that while the shoot has resumed, all guidelines and rules will be adhered to.”

    Dangal TV gained significant viewers and today, it is one of the most popular Hindi GECs. It emerged as the undisputed leader in the rural Hindi speaking market (HSM), while maintaining a decent hold in urban areas as well.

    Colors also started TV shoots for its show Shakti-Astitva Ke Ehsaas Ki, Choti Sarrdaarni and Barrister Babu in Palghar and Thane. Its tentpole show Khatron Ke Khiladi 10 also returns on the channel. New episodes have started airing from 27 June. KKK10 airs on Colors at 9 pm every Saturday and Sunday.  It aired the last episode on 29 March 2020, a few days after the nationwide lockdown was imposed.

    A source from Viacom18 told indiantelevision.com that though it aired some episodes in the first few days of the lockdown, upon realising that there is no fixed date when normalcy will return, the makers decided to halt the show. As all the episodes are pre-shot, the makers didn’t want it to get consumed before the last episode is ready. The final few episodes are likely to be shot by the end of July.

    KKK season 10 features contestants namely Karan Patel, Karishma Tanna, Shivin Narang, Dharmesh Yelande, Tejaswi Prakash, Adaa Khan, Balraj Syal while contestants who are evicted from the show are Amruta Khanvilkar, RJ Malishka and Rani Chatterjee.

    The channel announced the airing of new episodes with a video of contestant Dharmesh Yelande on social media.

    Last week Sony Pictures Network India (SPN) issued an official statement saying that the network has obtained all required government permissions to resume production.

    It read, “The network is working closely with its production partners to ensure shoots resume in a controlled environment with strict compliance to all necessary government rules, regulations and safety protocols. At SPN, health, hygiene and sanitisation are taken very seriously, and the network is doing all that it can to ensure the safety of its cast, crew and production partners. Other than cast and crew members, visitors will not be allowed on the sets.”  

    The network also informed that effective from July 2020 to December 2020, full payments of the cast and crew will be released within a 30-day time frame, unlike the usual 90-day period. The channel will also bear 100 per cent of the Covid2019 insurance cost for its cast and crew. It has also asked the producers working with Sony TV to strictly adhere to all government guidelines. 

    Barrister Bahu producer Shashi Mittal told news agency PTI, “All this is new to all of us. It is the new normal, but it is not normal. It was essential to make it a habit, so we trained our crew members for ten days before shooting began. There is a small team, so there is warmth. We will become more comfortable slowly. This is a difficult time, and everyone is being cautious.”

  • TV producers back on sets with safety protocols

    TV producers back on sets with safety protocols

    MUMBAI: After a long hiatus of three months following the nationwide lockdown, the entertainment industry is finally back on track. After resolving the outstanding issues IFTPC (Indian Film and Television Producers Council), FWICE (Federation of Western India Cine Employees) and CINTAA (Cine and TV Artistes’ Association) have agreed to work in unison.

    Among television shows, Colors’ Shakti-Astitva Ke Ehsaas Ki, Choti Sarrdaarni, Barrister Babu and Dangal TV’s Pyar Ki Luka Chuppi have already begun shoots.

    Hats Off Productions founder and Indian Film & Television Producers’ Council (IFTPC) chairman TV wing JD Majethia is ecstatic to start work. In a special interaction with indiantelevision.com Majethia said that it was a long-fought battle that has been won. He played an active role in bringing together television producers, broadcasters and trade associations to resume shooting.

    “It was a long chase because seeking government permission, coordinating with broadcasters and other trade unions was very challenging. Finally, we have come to common terms,” he says.

    He mentions that IFTPC has agreed to provide two sets of insurance coverage i.e., death cover of Rs 25 lakh due to Covid2019 and also hospitalisation cover of Rs 2 lakh uniformly across all hierarchy of the cast and crew. After a detailed discussion with broadcasters a decision was taken to reduce the period of credit for cast and crew from existing 90 days to 30 days for at least the first three months.

    Majethia has resumed the shooting of his show Bhakarwadi in Mira Road almost after 100 days. As per the government directives Majethia had called only 40 people on the set including original cast of Bhojani, Akshay Kelkar, Akshita Mudgal, Paresh Ganatra and few technicians. However, the strength of 100 crew members has now been reduced to 40.  

    As a safety measure, separate lockers have been installed at the entrance. Before the cast and crew members enter the set, they have to remove their footwear and wear the pair of slippers provided by the production house. Majethia has a unique solution to maintain social distancing, he has provided umbrellas that everybody walks around with in the premise. He highlights that there is a designated marked position for everyone, and the actors and crew members will have to sit only in the allocated areas. There is a nurse available on the set who checks everyone’s temperature before letting them in. It is mandatory for actors to wear masks and gloves when not filming a scene. But other crew members have to sport them all day long.

    He explains, “Earlier, people would share gutkha, other nicotine products and smoke on sets. We have introduced a concept called share a sanitiser. Now, exchange of any nicotine products or chewing gum is strictly banned; they are only allowed to share sanitisers. At lunch, the unit was served packed food thus avoiding crowding.”

    As far as travelling is concerned, actors are using their private vehicles to travel and crew who are travelling from far have been asked to stay on the set. Also a separate make-up kit has been allotted to each actor. Sanitation and fumigation are done twice a day.

    Sphere Origins founder Sunjoy Waddhwa has resumed shooting for his show Singhalagna in Kolkata. As per the West Bengal government guidelines, all safety measures and protocols are strictly followed. However, he will start shooting in Mumbai only after September.

    Creative Eye Limited MD Dheeraj Kumar explains that the production house is in the planning mode and shooting will be started in the next ten days. He is currently working on a show for Dangal. Preparations involving sanitisation, other SOP measures gathering technicians has been done.

    Rashmi Sharma Telefilms founder Rashmi Sharma shared a glimpse of the shooting for her show Pyaar Ki Luka Chuppi on Instagram. She was among the first few producers to start shooting in Mumbai. The show is filmed at Naigaon.

    Shashi Sumeet Productions’ shows Barrister Babu and Shubharambh have also started shooting.

  • West Bengal TV successfully resumes shooting with strict compliance norms

    West Bengal TV successfully resumes shooting with strict compliance norms

    MUMBAI: The Bengali TV industry is one of the first to have resumed shooting and successfully started off with compliance protocols. The single most confidence-building step was to make sure that every artist and technicians participating in shoot have been provided with an insurance cover. 

    Despite reeling under the impact of Covid2019, and having witnessed one of the worst cyclones ever, a major part of Tollywood industry returned to the sets on 11 June 2020. The Bengali television industry has been working collaboratively towards the best possible solutions to make the age-old habit of television experience a fantastic one for the audience. The immense love towards the return of their favourite shows reflects the success of the shows in the very first week itself.

    SVF  co-founder and director Mahendra Soni  said, “Initially, we too like everyone, were sceptical on starting the shoot, but I must congratulate everyone and especially leaders at federation,  artist forum and broadcaster for working together and setting detailed guidelines and also assuring everyone that we will stand by everyone affected by the crisis. I think it's a great example on how to fight back in scary times like this by staying together and resuming life in ‘new normal’.”

    The state government announced earlier this month that shoots can be resumed indoors with a maximum of 35 people in TV and film shoots, respectively, following all health and safety protocols. While most of the filmmakers are waiting for further easing of restrictions, the shoots of the popular TV serials resumed from 11 June. From regularising the shoot timings to following sanitation guidelines, the producers and channels have undertaken several safety measures to run the show smoothly. The Federation of Cine Technicians & workers of Eastern India had been very supportive to extend every possible support to run the shoots adhering to safety protocols.

     Actor turned director and writer Parambrata Chatterjee said, “I think it’s been a success, the resumption of the shoot at least so far. I know many had reservations. All of us were apprehensive, to begin with but I think getting back to work was necessary for a lot of people and we realised that. A lot of deliberations were done about SOPs and other verticals. Managing the insurance for artistes and technicians wasn’t an easy task, especially for a so-called regional industry.  Films and web will start soon, fingers crossed. I would like to thank the efforts of everyone, from the administration to the respective guilds and the individual artists and technicians.”

    While it was slow to start with, as everyone was learning to operate in the new normal, artistes and technicians in two weeks have adapted to the new pace of shooting. There are specific timelines within which the shoots are wrapped up each day. Everybody on the set is cognizant of the fact that safety measures need to be followed strictly, social distancing norms are to be maintained and so on. 

    President of Cine Technicians and workers association Swarup Biswas said, “We are living in the ‘new normal’ world now, hence, we have to keep that in mind when we step out for our daily chores. It’s essential for us to ensure the safety of our artistes and technicians on resuming the shoots of TV shows. Thanks to all the producers, channels and partners for their collaborative efforts. With the new insurance scheme in place, we can build on this new normal to deliver the best of content as we always do. It’s my pleasure to reveal that our TV shows are performing well and audiences are appreciating the effort being put behind the making of them. It's been 15 days now that the TV show shoots have been going on successfully through these hard days of Covid2019 pandemic looming fiercely on our society, yet the hard struggle, determination and commitment of all manpower involved in the team-of producers, channels, artists, technicians, and FCTWEI, that we have overcome the hurdles and presented good teamwork in the face of the formidable challenge and presented to the audience some good productions. We hope this resilience and tenacity to overcome the obstacles, to face the challenge as a team is the essence of a sphinx and that we would be able to bring back that old ‘normal world’ once again and hope that those days are not far off.”

    Producer Saibal Banerjee said, “Everybody was sceptical in the beginning but as days passed by we gained confidence. We have tried to sketch a foolproof SOP and everyone is strictly adhering to it. We have a strong monitoring cell keeping vigil on day to day activity. Artists are feeling safe with the new arrangements in the make-up rooms and the safety standards maintained by the make-up artists. We are using fumigation techniques to sanitize costumes and makeup materials. New techniques are adapted for master shots to give an illusion of more artists in the set. Mannequins are used for giving a feel of proximity. In other words, we are innovating new ways and not compromising with the storyline. Technicians too are feeling safe with the adequate safety arrangements.”

    Meanwhile, exhibitors in India are hopeful that the government will soon permit the reopening of cinemas halls in the next few months. Even though movie theatres are shut and the film industry at a standstill, the producers, distributors and exhibitors have been putting guidelines in place to ensure that they are ready to start functioning, in full compliance with health and safety norms.

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  • SPN obtains govt permissions to resume production

    SPN obtains govt permissions to resume production

    MUMBAI: After a brief hiatus following the nationwide lockdown in India owing to the COVID-19 situation, Sony Pictures Networks India (SPN) has obtained all relevant government permissions to resume production for its television, film and OTT businesses in India.

    The network is working closely with its production partners to ensure shoots resume in a controlled environment with strict compliance to all necessary government rules, regulations and safety protocols.

    At SPN, health, hygiene and sanitisation are taken very seriously, and the network is doing all that it can to ensure the safety of its cast, crew and production partners. Other than cast and crew members, visitors will not be allowed on the sets.

    Moreover, SPN is actively extending its support to the Indian Film and TV Producers Council (IFTPC) in containing and minimizing the adverse impact of the pandemic on our industry. Firmly determined to extend full support to the fraternity in these difficult times, the network has undertaken the following specific initiatives:

    1. Effective July 2020 uptil December 2020, full payments of the cast and crew will be released within a 30-day time frame

    2. 100 per cent of the proposed insurance cost for the cast and crew will be borne by SPN during the Covid pandemic

    Producers working with SPN, have been asked to strictly comply with all guidelines issued by the government and local authorities and ensure that they are not flouted in any manner whatsoever.

  • TV producers on restarting offices with safety measures

    TV producers on restarting offices with safety measures

    MUMBAI: On 8 June the Maharashtra government allowed all private offices to operate with up to 10 per cent of full staff strength or ten people (whichever is higher). Production houses are still waiting for permission from Film City and district collectors to start production in Mumbai and Thane. In the meantime, certain producers have restarted their offices, while others are waiting for things to get normal.

    Famous Studio MD Anant Roongta who resumed office on 8 June thanked his team for their constant effort. The company is currently working with less than ten people. However, it has introduced a shift system to manage the workflow. There are no more than five people per floor. The studio has five facilities and across the entire facility, 35 to 40 people are working.

    Apart from that, the office space is sanitised on a regular basis. It is mandatory to wear surgical gloves while working on any equipment to stop the mitigating virus. Social distancing is followed by providing separate rooms to each employee. As far as visual reality is concerned people are working in the extreme ends of the room. Most employees are also given separate stations to maintain the social distancing norm. For travelling, employees are using private vehicles or sharing a car with no more than two people.

    Creative Eye has also re-started its office. Its managing director Dheeraj Kumar says, “We are functioning as per the permission granted by the government. We have already started working on a project that was supposed to happen before the lockdown. We have booked the set, paid advances and realigned 15 scripts.”

    In the last few days Kumar has shifted his focus to operational issues. As a service provider Kumar highlights that the company works on a project basis. If needed, it has close to 100 people on the set. For now, the permanent staff consists of 50 employees and only those who are close by are coming to the office in their private vehicles. People who live far off are still working from home.

    The teams required in the office are the ideation and creation teams. They include CEOs, CFOs, head of departments, general managers, operational team, studio manager, executive secretary, administrative manager, housekeeping staff and kitchen staff. Apart from that, editors are permanently also living in the office.

    Endemol Shine India CEO Abhishek Rege makes it clear that it will not be starting its office any time soon. Employees will be working from home for the next six months at least and even after that work will resume in a shift system.  

    He adds, “The key change will be the number of people coming on the set and how they behave. What can be done to maintain social distancing, and other necessary guidelines.”

    On a similar note, Hats Off Productions founder J D Majethia is also not planning to restart his office. Firstly, he wants to ensure that everything is in place in terms of SOPs and safety and then he will think of restarting. Until then all the employees will continue working from home.

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  • Shooting in Mumbai, Thane likely to start by 23 June: IFTPC’s Nitin Vaidya

    Shooting in Mumbai, Thane likely to start by 23 June: IFTPC’s Nitin Vaidya

    MUMBAI: It will soon be lights, camera, action in the television industry. With permisisons being granted slowly, filmmakers and broadcasters will have to obtain permission from the police and district authorities before they can start shooting. Maraṭhi film and TV producer Nitin Vaidya, who is also a member of Indian Film and TV Producers Council (IFTPC), told indiantelevision.com that it is trying to seek permission from Film City to begin shooting in Mumbai and Thane from 23 or 25 June.

    He adds, “We producers, among ourselves, have decided a common date to start shooting between 23 to 25 June. We must put things in place like insurance and mediclaim for all cast, crew members and people on set. We are looking at bulk insurance deals from the IFTPC. Once that is done, we can start shooting. All the decisions have been conveyed to broadcasters also. We are hoping that all the permissions will be granted for Mumbai and Thane.”

    Marathi actor, TV host and Shiv Sena leader Aadesh Bandekar highlights that producers are waiting permission from Film City to begin shooting in Mumbai.  But district collectors in Thane, Sangli and Satara have already given permission to resume shooting.

    Vaidya also mentions that in other parts of Maharashtra permission has been given. But shooting has not yet started.  In the meantime, producers are prepping up for the post-pandemic return, in terms of fumigation, sanitisation, several other SOP measures and guidelines that need to be complied with.

    According to Vaidya, the association has requested broadcasters to telecast after 13 July 2020. So, producers can go ahead with immediate bank of episodes. As this is a new normal, Vaidya finds that it will be difficult to analyse what will happen on the set after shooting resumes.

    Earlier this month Maharashtra government allowed shoots across the state to resume. A list of SOPs and other guidelines too were issued, which also includes shooting only in non-containment zones. Producers will have to apply to managing director of the Maharashtra film, theatre, cultural development corporation, the Dadasaheb Phalke Chitranagari in Goregaon, Mumbai and district collectors outside Mumbai for resuming shootings.  

  • Telangana govt permits film, TV shootings

    Telangana govt permits film, TV shootings

    MUMBAI: After Maharashtra and Tamil Nadu, the Telangana government has given the much awaited nod to resume film and TV shooting as well as post-production work all over the state. This move comes after nearly three months of lockdown due to the pandemic.

    Telangana chief minister K Chandrashekhar Rao signed the file, allowing filmmakers, producers and television programme producers to resume their work.

    The chief minister, in an official statement, said that production and shooting can be started with limited numbers of staff while strictly adhering to the guidelines issued by the government. He also allowed post-production works to resume with the same guideline.

    However, the state government has not allowed the re-opening of cinema theatres and multiplexes, as per the guidelines issued by the centre. The government has also advised filmmakers to follow all the necessary guidelines and conditions to stop the mitigation of the SARS-CoV-2 virus.

    Several prominent film personalities from the south have met the chief minister recently and requested him to allow production work in the state. Cinematography Minister Talasani Srinivas Yadav, government chief secretary Somesh Kumar, among other film personalities have prepared the draft guidelines.

  • Can’t insist producers to use only their members: Competition Commission to FWICE

    Can’t insist producers to use only their members: Competition Commission to FWICE

    MUMBAI: In a landmark judgement, the Competition Commission of India (CCI) has told the All India Film Employees Confederation and Federation of Western India Cine Employees (FWICE) that they cannot insist producers to take only their members to work with them.

    On 31 October 2017, the CCI passed cease and desist orders against certain national and regional trade associations of film artists and producers for engaging in practices of controlling/limiting the supply of services and market sharing. Such acts have been held to be in contravention of sections 3(3)(b) and 3(3)(c) read with Section 3(1) of the Competition Act, 2002 (Competition Act).

    The  final order by the CCI was passed on an information filed by Bollywood producer and director Vipul Shah who alleged that specific provisions of the MoU dated 1 October 2010 (MoU) signed between FWICE and producer associations i.e.  IMPPA, FTPGI, and IFTPC relating to various matters including member-to-member working, fixation of wages, etc., are anti-competitive in nature.

    Thereafter, on 8 August 2019 an application under Section 42 of the Act alleging noncompliance of the aforesaid order by other parties was received by the Commission from Contiloe Pictures Private Ltd (CPPL).

    On 12 March 2020, the matter was listed for hearing between FWICE and CPPL. Upon hearing the counsels of CPPL and FWICE, the commission observed that the contents of the directives issued by FWICE to its member affiliates/producers were in the nature of direction to its members not to engage the non-members and were in violation of the order of the Commission dated 31 October 2017.

    Later, FWICE submitted that they would withdraw their letters dated 29 March 2018 and 26 November 2018 issued to its affiliates and also the letter dated 30 November 2018 issued to CPPL, without any conditions. The association also tendered unconditional apology for disobeying the directions of the Commission.

    The Commission directed FWICE to issue communication to its affiliates," all production houses/ producers including CPPL regarding withdrawal of the said letters and file a copy thereof with the Commission within a period of 10 days. Further, FWICE was also directed to file an affidavit along with status/ compliance report within ten days to the Commission."

    However, the commission later observed that none of the parties have filed any evidence. Therefore, the commission has directed all the parties involved in the matter to file an affidavit along with status/compliance report through e-mail at secy(cci.gov.in, latest by 15 July 2020 without fail.  The secretary is directed to inform FWICE and CPPL, accordingly.

  • The spell of pandemic spills over to writing

    The spell of pandemic spills over to writing

    MUMBAI: Will the Covid2019 pandemic have a direct bearing on the way TV and film script writers churn out their scripts? Now that the Maharashtra government has allowed conditional resumption of film, television, OTT shoots, how are the writers faring? Indiantelevision.com spoke to a few scriptwriters from the film and television industry to get answers to these questions.

    Even if shooting begins, the plotline will have to go for a change; it is not going to be the same as before. Writers face the twin challenges of creating something refreshing that connects with the audiences all the while keeping in mind the numerous restrictions that have been implemented.

    While some script writers want to reflect the current pandemic situation in their writings, a tiny minority feels that it is not necessary to always showcase the reality. And one thing everyone agrees is the role technology will play in the narratives.

    According to Screenwriter Association president Robin Bhatt, many stories can be created keeping in mind the guidelines laid down by the government. With the help of technology, action scenes can also be choreographed. A lot of film scripts have already been written which don’t require any changes, but in the coming days writers will avoid writing crowd scenes or stories where SOP is compromised, he said.

    In future, he says, technology is going to play a major part in cinema. He has already finished one show which is highly technological in nature, with a lot of graphics and animation. Bhatt is currently excited to begin the shoot of Sanjay Gupta’s much-awaited movie Bombay Saga starring John Abraham. Bhatt, who is the writer of the film, says that most of the editing, background score, sound design as well as VFX had started much before the lockdown. As of now, he has not received any directions from Sanjay Gupta to make amendments in the script.

    He adds, “The current pandemic scenario will definitely reflect in my writing because the entire world has changed. The same old narratives of how couples fall in love, tragedy or drama will change. Currently, it is a wait-and-watch situation.”

    Writer-producer Zaman Habib says that until and unless the country emerges out of the risk of the pandemic, there will be changes in scriptwriting accordingly. Scenes with huge crowds or many characters will be avoided. Habib is currently a story consultant for the Star Plus’ show Yeh Rishtey Pyaar Ke.

    Habib points out that the advantage of being a writer is that it is not necessary to be present on sets. A lot of freelance writers, who have left for their hometowns, continue their work through video conferencing and similar apps. “In television, we don’t participate in day-to-day works. So it is not bad for writers but there is going to be a major change on the floor while shooting.”

    According to him, television shows are divorced from reality. But, now writers, producers and broadcasters will want to put the reality out there.

    “There are many people who want to shut off their emotions and have lighter moments. But when we write we create different characters with different emotions. So, one just cannot shy away from the reality or what is happening around us,” he added.

    Writer of Once Upon a Time in Mumbai, The Dirty Picture, Kick, Gabbar Is Back and Taxi No. 9211, Rajat Arora said that as of now he has not made any changes in his scripts.

    “As we move forward, only then we will understand what can be executed and what cannot. So, as the shooting begins, we will see if any changes in the script are required. There are certain things which cannot be done while filming as per the current guidelines. But it is just a small part. At the end, safety of our people is of utmost importance.”

    Currently, he is busy working for Ahan Shetty’s debut film. The project is backed by Sajid Nadiadwala. He is also doing the pending work of Jayalalitha biopic  starring Kangana Ranaut.

    Contrary to what other writers said, Arora feels that the current pandemic is so terrible that he doesn't want to show this situation in his writing. “I think no one wants to be reminded of a pandemic. I personally don’t want to dwell on it. Dystopian shows are now today's reality. So, we don’t want to face reality or may watch it on screen.”