As shoots in India seem to be resuming slowly, producers are opting for foreign locations to complete their pending films
Juhi Chakraborty (HINDUSTAN TIMES; August 14, 2020)

While the Coronavirus pandemic upended the film industry badly, it is now in restart mode with several productions trying to resume shoots. Recently, the cast and crew of Bellbottom, including Akshay Kumar, Huma S Qureshi, headed to the UK to kick-start the shoot, while Aamir Khan is in Turkey for the shoot of Laal Singh Chaddha. This could very well be a signal that in order to restart work, more such shooting schedules might move out of the country given the current situation in India.

Admitting that the decision of shifting Laal Singh Chaddha’s shooting location was a result of the situation, producer, Ajit Andhare, Chief Operating Officer Viacom18 Studios, says, “Our production plans were very different and we had to recast them and that’s why we have a fresh production schedule and release date.”

While many productions have resumed in the country at present, Andhare feels that it is still very challenging in terms of what happens when people contract the virus. He adds, “What these overseas places provide is a far better control and better planning of what you are able to do on a shoot.”

“Shooting in the country would require permissions from various states and that could be a hassle. There are many countries that would be extending invites for shoots to many Bollywood films and many more films will head out,” feels trade analyst Atul Mohan.

“The shoot of Salman Khan’s Radhe is pending and they might make some alterations in the script and also find a suitable country and location to shoot. If situation is not favourable in the country, why waste time here,” Mohan says, adding that at least this way, filmmakers can keep their projects ready for when theatres reopen.

Shifting of shooting locations would also depend on the story of the film. “If some countries have opened up totally, then of course, shoots can move to those places. But it would all depend on the story. There are some films which have to be shot in the country if they are heartland-based stories,” says Shibasish Sarkar, CEO, Reliance Entertainment.

There are other countries, too, where a lot of Bollywood productions can move shoot to, including Australia and New Zealand, along with Europe. “Shooting overseas becomes economical as there are a lot of subsidies given. I’m sure many European countries will be welcoming film crews. Even films that have a budget of ₹10 to 20 crores, will end up saving 15- 20% by shooting abroad” says trade expert Joginder Tuteja.

Bellbottom co-producer Monisha Advani says that all of Emmay Entertainment’s shoots are happening exactly where they were intended to pre-lockdown. “Bellbottom, was always intended to be shot in the UK and has proceeded as planned. Likewise, we hope to resume our other projects in Mumbai, Rajasthan and Lucknow soon. Prep is on full swing as we mobilise crew members for each of these units,” she says.

We figure out whether OTT platforms are overshadowing production houses on their own projects, and how much of it is fair
Juhi Chakraborty (HINDUSTAN TIMES; August 12, 2020)

The Coronavirus pandemic and the subsequent shutdown of theatres have resulted into a beeline of films releasing on OTT platforms. And even before this present crisis, several films that were released on OTTs were either tagged as their presentations or called originals. This brings us to the question whether a project’s creative team takes a back seat when a film releases on an OTT? Has it become now more about the platforms and less about the films?

Ajit Andhare, Chief Operating Officer Viacom18 Studios, whose digital content brand- Tipping Point, has produced a number of ‘originals’, says from a makers perspective, you would want due credit being given.

“Not just on platforms but also on various marketing collaterals such as the trailer, posters, the visible assets that you have created. The platforms will argue they are building their ‘original’ branding. The idea is to place it in front of consumers as what the platform is offering. That’s the lens through which they look at it. I think we should find a way of co-existing because I don’t think by giving credit to makers you’re taking away anything from the platform. I think proper representation of that collaboration is the responsibility of people in control of these decisions,” he shares

There is a way one can deal with this, feels Siddharth Anand Kumar, Vice President - Films & Events at Saregama India Ltd which owns Yoddlee Films, whose recent productions Axone and Chaman Bahaar released on an OTT platform.

“The onus of building a brand is on us. Of course, when a film releases on OTT, the platform does its own marketing and a production house does its own marketing, so that should not stop. If a producer does not drive for his brand for an OTT release then they are being myopic and they will get wiped out. They won’t be able to sustain,” Kumar muses.

A lot of actors’ films, originally meant for theatres, made its way to the OTTs in the last few months. Actor Kunal Kemmu, whose film Lootcase skipped theatrical release, says that it is too early to say whether OTTs are indeed overshadowing films.

“There are certain films that are made for platforms and they are going to be part of the platform’s creative content, while there are now films which are acquisitions of OTTs. So, it remains to be seen what happens when we get out of the current situation,” the actor says.

Producer Anand Pandit feels that there is no question of a producer ever taking a backseat when it comes to their films. “There are two aspects to this — from a creative ownership point of view, from the time a project is conceived till the time it releases and even after, it remains the producer and team’s creative product. That never changes. The other aspect is the success of the film — for box office or OTT the one thing that assures eyeballs is awareness and recall,” he says, adding that for OTT since there are no ticket sales, word-of-mouth factor is huge and so is awareness, therefore one has to remain involved at every point.

The makers of recently OTT released film, Shakuntala Devi feel that there is no point cribbing about it as it is a win-win for both parties. “I mean we don’t see a problem with it. We are releasing a film on an OTT, it still remains our film. As a platform which is taking the film forward to the audiences, they will have some right over the film,” says Vikram Malhotra, CEO of Abundantia Entertainment.

BOMBAY TIMES (July 28, 2020)

The guidelines for Unlock 3.0 are expected to be announced shortly, and there is buzz that cinemas across the country, which have been shut since March 15, could possibly open their doors for patrons on August 1.

In a recent panel discussion on the Bombay Times Talk Show, when studio heads/producers and theatre owners came together, they spoke about how theatres could reboot in the unlock phase and how producers and theatre owners need to work closely to enable films to make their way back to the big screen and also get a wider release.

The panelists comprised Ajit Andhare (COO, Viacom18 Studios), Shibasish Sarkar (CEO, Reliance Entertainment), Shariq Patel (CEO, Zee Studios), Jackky Bhagnani (Managing Director, Pooja Entertainment), Ronnie Lahiri (Producer of films like Gulabo Sitabo and Pink), Kapil Agarwal (Joint MD, UFO Moviez), Kamal Gianchandani (CEO, PVR Pictures) and Akshaye Rathi (Director, Saroj Screens).

The in-depth conversation covered an array of subjects that the industry is currently dealing with, and the one thing that they unanimously agreed upon was that now, more than ever before, the industry has to come together and find solutions and a way ahead for survival.

As they wait for international travel restrictions to be lifted, makers of Taapsee Pannu-led Shabaash Mithu prep for London leg
Mohar Basu (MID-DAY; July 11, 2020)

The Coronavirus lockdown may have put the brakes on Taapsee Pannu's prep to transform into Mithali Raj on screen, but the pre-production work on Shabaash Mithu has been underway. Even as they are waiting for the international travel restrictions to be lifted, the makers of the biopic on the Indian women's cricket team skipper are laying the groundwork for an elaborate schedule in London.

Ajit Andhare, COO, Viacom18 Motion Pictures, says, "We have to figure out when it will be possible to shoot in the UK. At the moment, we are zeroing in on the venues while mapping the dates to suit all parties involved. Location hunting has been quite a challenge as recce is out of the question and we have to rely on pictures to determine if a venue is suitable for shooting. As a producer, I am jittery taking a call on something that we haven't seen."

The producer emphasises the lockdown has had little effect on the film's progress, with the casting director conducting auditions online. "Pre-production has changed form, but work on the film has continued through these months. We are in the early stages of casting and are determining the ensemble cast. Rahul [Dholakia, director] and his team are polishing the screenplay, and the music is being composed."

Though Ranveer Singh's cricket drama '83 has the first-mover advantage due to its Christmas release, the producer believes Raj's journey is fairly unknown and hence, will appeal to the audience. "As a cricket-crazy nation, we remember every story about the cricketing heroes, but have ignored the women in blue who are as accomplished in the profession. That irony presents a great opportunity from a storytelling perspective," concludes Andhare.

Mohar Basu (MID-DAY; July 6, 2020)

With their films hitting a roadblock due to the lockdown, production house Viacom18 Motion Pictures has sped up work in its digital wing, Tipping Point. The studio has signed on directors Suparn Verma, Kanishka Verma, Anand Tiwari, Vijay Lalwani of Karthik Calling Karthik fame and Milind Dhaimade to create five web series. "Some stories lend themselves better as series," says CEO Ajit Andhare, citing the example of Third Eye, which was pitched as a feature film to the studio, two years ago. "It is an intriguing series around hypnosis and repressed anger, developed by Vijay."

The line-up includes a political thriller inspired by the Radia Tapes controversy. For the unversed, the Indian income tax office had tapped political lobbyist Niira Radia's telephone conversations with politicians, senior journalists and corporate houses between 2008 and 2009. It was alleged that some of the conversations outlined Radia's attempts to broker deals in relation to the 2G spectrum sale. "Suparn Verma is writing and directing The Tapes, an adaptation of Neelima Kota's book, The Honest Season," informs Andhare.

A retelling of the Burari case, where 11 members of the Chundawat family were discovered dead in 2018, is also on the cards. He adds, "Kanishka Verma is developing it as an investigative series with paranormal undertones. Dhaimade of Tu Hai Mera Sunday fame is writing a situational comedy, and Tiwari is working on the adaptation of the book, Boots, Belts and Berets."


Former telecom minister A Raja; Radia

Radhika Bhirani (HINDUSTAN TIMES; June 1, 2020)

The romanticism of Switzerland, the rough desert terrain of Abu Dhabi, exotic locales of France and spectacular islands across the world — Bollywood has, for long, captured the beauty of these and more in its films. But this could temporarily change in the aftermath of the Coronavirus pandemic, not just due to logistical reasons, but also as India gets ‘vocal for local’.

Karan Johar’s team had done extensive recce to lock locations across Italy and Spain for his ambitious project Takht. And he’s not the only one in a quandary over locations. According to trade sources, a spate of movies — some yet to be announced — were slated to be shot abroad. An OTT show was due to be shot in Bangkok, Salman Khan’s Radhe had a schedule in Dubai, Bhool Bhulaiyaa 2 and Tiger 3 also had foreign schedules.

Filmmaker duo Raj Nidimoru & Krishna DK say 50% of one of their big projects was set abroad, but now they’re reassessing plans.

Raj Nidimoru, who believes it may be “irresponsible and impractical” to think that once the lockdown is lifted, people can do as they want, says, “It’s a question of what precautions you’re going to take.”

So, while the “let’s wait and watch” mantra continues, industry experts feel some filmmakers may tweak scripts to set them in India.

Bhool Bhulaiyaa 2 producer Bhushan Kumar tells us, “If you haven’t started shooting yet, you can change the script. Our film had a foreign scene, but we’re thinking of changing the setting to Goa now. Getting permissions to shoot abroad won’t be easy now, too.”

Considering that the effect of this unprecedented crisis will last another six to eight months, filmmakers will have to consider minimal outdoor shoots, points out Ajit Andhare, COO, Viacom18 Studios. He explains, “We’ve to redraw shoot plans. However, to redraw you need to first define and determine conditions that are unknown as yet. Locations will be a key point to re-examine.”

Incentives such as tax credits, cash rebates, refunds, fee-free location scouting et al, have attracted filmmakers to shoot in myriad locations abroad in recent years, but Red Chillies Entertainment COO Gaurav Verma says at least 90% of our films and series are shot within India. Having said that, he raises the several questions that will come with planning an outdoor shoot.

“Countries will exercise caution. So, one has to see how much travel will be allowed. And that is apart from the fact whether we want to travel or not,” Verma says, adding that it “will take time to build confidence” before people start travelling even within India, let alone to foreign countries.

BOMBAY TIMES (December 3, 2019)

On December 3, 1982, an Indian cricket legend was born — Mithali Dorai Raj. Coinciding with her birthday today, Viacom18 Studios has announced their next film, Shabaash Mithu, which is based on the life of the former captain of the national women’s cricket team.

The studio, which has backed several movies with strong women characters — Kahaani (2012), Queen (2014), Mary Kom (2014) and Padmaavat (2018) — has roped in Taapsee Pannu to headline the film, which will be directed by Rahul Dholakia.

Ajit Andhare, COO, Viacom18 Studios, says, “The idea for this story struck me about a year ago while watching the movie, Hidden Figures. After securing the rights, we worked with several external writers to develop the script. However, it was our creative director Priya Aven, who finally cracked the script I was looking for. So, it’s a completely home-grown film for us. Mithali Raj is a name that stands for women power in the world of Indian cricket. Playing her will be Taapsee, who is not just a powerhouse of talent, but also the face of the new-age woman in Bollywood. We are proud to present the untold story of the rise of Indian women’s cricket on screen.”

Mithali adds, “I have always stood for and voiced my opinion for equal opportunity for women, not just in cricket, but in all fields. I want to thank Ajit Andhare and the studio for not just bringing alive my story on screen, but for also giving me a bigger platform to reach out to young women who dare to dream.”

Taapsee shares, “It’s an honour to play the role of India’s most successful captain as far as women’s cricket is concerned. Though I have already started feeling the pressure of stepping into her shoes, I don’t want to trade this place with anyone else. Mithali has always been brave and strong to back the truth, and that is why I connect with her. She has changed the way women’s cricket is perceived in India and her story is truly worth telling. Kudos to the studio for choosing to tell this tale. I look forward to working with Rahul Dholakia for this first-of-its-kind story and to learn a sport, which is treated as a religion in our country.”

Rachana Dubey (BOMBAY TIMES; August 26, 2019)

As the head honcho of a leading movie studio in India, he has a lot to feel elated about. With five National Award-winning films in the company’s repertoire, Viacom18 Studios’ COO Ajit Andhare, has a lot riding on his shoulders now, more so, after the studio’s clutter-breaking film AndhaDhun was honoured with National Awards recently. In a conversation with BT, he gave an insight into the road ahead for the studio, and what has contributed to its growth across various markets. Excerpts:

The success of AndhaDhun was not something you had anticipated. The film won the National Film Award for Best Hindi Film, and Ayushmann Khurrana, too, bagged the Best Actor Award for his performance in the film. Your thoughts?
I’m thrilled that AndhaDhun has bagged the highest film honours in the country. In a year of outstanding films like Badhaai Ho, Uri: The Surgical Strike and Padmaavat, the best film award for AndhaDhun is hard to anticipate. Nothing gives the producer in me more joy than watching the film you’ve nurtured right from the script stages to be loved and lauded. Having said that, nobody sets out to make a film with the intention of bagging awards. When I first heard the narration from Sriram Raghavan (director, AndhaDhun), I knew we had a winner. By winner, I meant a great script and an unusual story that needed to be told. I believed in the story and with a few changes to it and the right cast, I was confident we had a solid film on our hands. All of us — Sriram, Sanjay Routray (producer) and I — are overwhelmed with the love the film garnered globally. We thank the audience and eminent jury for embracing AndhaDhun.

A film like AndhaDhun,which is a dark comedy, rarely gets this kind of recognition at the box office and award ceremonies. Your film studio has won National Awards on four other occasions with extremely different kinds of films. What do you think your studio has done differently to achieve this success and honour?
Viacom18 Studios is the only studio in India that has bagged five best film National awards in the last six years with Bhaag Milkha Bhaag (2013), Queen (2014), Mary Kom (2015), Dhh (2018) and now AndhaDhun (2019). Unusual and incredible stories are our DNA. Five Best Film National Awards in six years is an unusual script in the narrative of any studio. We have taken creative risks and searched for answers in places not many would venture into. Bhaag Milkha Bhaag’s unique success created a new category of biopics, Queen and Mary Kom showed that heroism in a script can come from a woman, instead of only heroes. Dhh (Gujarati film) draws its magical quality from the innocence of childhood, while AndhaDhun is dark, macabre humour ensconced in a thriller. There is earnest intent to find such stories and talented storytellers around which, a strong content ethos has been built over many years. We have also done other unusual films like Maanjhi, Drishyam, Toilet - Ek Prem Katha and a blockbuster like Padmaavat. Our films that did not do as well as expected such as Lucknow Central or Rangoon also demonstrate a strong creative idea at its core. An important aspect here is our complete involvement from the script stage to ensure that we have the best film. We aren’t just ‘suits’ as studios are often known as. It’s our instinct for storytelling, belief in new talent be it directors, co-producers or actors, that sets us apart.

Has all the recognition that your projects have received changed your approach to the kind of films you give the nod to?
If awards are what you mean, no! And it’s not just about giving the nod to a film, it’s also about understanding what the creative vision is and whether it resonates with us. Selecting and developing winning films with gifted luminaries like Rakeysh Omprakash Mehra, Sanjay Leela Bhansali, Vishal Bhardwaj, Sriram Raghavan, the Phantom directors (Anurag Kashyap, Vikramaditya Motwane, Vikas Bahl and Madhu Mantena) or newer directors like Omung Kumar or Manish Saini requires tremendous commitment, courage and a touch of empathy for their craft. Above all, we are passionate about storytelling and that drives everything at our studio. There are also several films that we’ve let go off that we couldn't identify with, even if they were from pedigreed names. Being faithful to only stories that we understand instead of just reputations, has served our cause well.

AndhaDhun’s success has added a lot of muscle to the studio’s existing strength in the market. How do you plan to capitalise on it?
I think maybe our future partners will now take us more seriously (Laughs!). On a more serious note, I think, we are on the right track, on a journey that we began to ‘redefine Indian cinema’. I want to continue doing good cinema, across various languages. Viacom18 Studios is currently looking at expansion down South, where I believe we have a lot to learn from. With respect to AndhaDhun, we’ve just sold the Tamil rights and are currently in the process of finding partners that would be able to do justice to the film across languages. We’ve been flooded with requests, but we want to be doubly sure before giving the go-ahead.

Who will headline the cast of the South remakes of AndhaDhun? Can you tell us more about the project?
AndhaDhun will soon have a Tamil as well as Telugu remake. Prashanth will be reprising the role of Akash in the Tamil version, and I think, it’s going be an interesting take on the Hindi one.

What kind of line-up is the studio planning for the next two years?
We are focussed on building a complete portfolio across regional, Hindi and Hollywood films. Our exciting Hindi slate features Laal Singh Chaddha with Aamir Khan, a big franchise comedy Doghouse, a heartwarming comedy Motichoor Chaknachoor and a thriller remake, which is in post-production stage. We are also planning a project on the story of the Indian women cricketers focussing on Mithali Raj and her team. Then, of course, we have Top Gun: Maverick leading our Hollywood slate. On the regional front, we have some soon-to-be-announced projects like Dada and Vasantrao under development. Our Tamil slate includes films with Karthi and Jyothika, a soon-to-be-released film with Dulquer Salman, one each with Vijay Sethupati and Vikram. We have already made two films with Nagarjuna in Telugu and one with Dileep in Malayalam. There is Nikka Zaildar (Punjabi film) with Ammy Virk due for release in September.

A distinct quality of the studio is its strong regional presence. Content can reach far and wide either in the form of remakes or dubbing it in other languages. That increases the repertoire of the studio manifold, and in the bargain, helps all kinds of content find a larger audience across platforms. What are your thoughts on this?
Indian cinema is now exposed to a larger global audience thanks to the OTT platforms. The line demarcating Hindi films and regional films is diminishing with more crossovers. The new-age audience is hungry for better concepts, newer stories irrespective of the language. We want to cater to this expanding audience. There’s good content available across Tamil, Malayalam, Marathi, Gujarati and Telugu cinema, and we want to collaborate with some of the best talents across regions. We’ve tremendous success with our Marathi films starting with Aapla Manus, Ani…Dr. Kashinath Ghanekar, Bhai and expanded our portfolio down South with Telugu films like Devadasa, Manmadhudu 2, and announced Tamil films with some of the best talents. Our maiden Malayalam film, Kodathi Samaksham Balan Vakeel, starring Dileep, ran over 50 days in theatres. I think this is just the beginning, and there’s a lot more to explore. (smiles)

After setting a new benchmark for the studio, does it become difficult to choose projects that can live up to the expectations that the audience has from the company?
Yes, National Awards are a gratification, but making films with awards and image in crosshair isn’t a helpful tip. It’s a great time to be making cinema as madness and maturity in content both co-exist. We have built a legacy and we strive to live up to it.

Apart from films, your studio is all set to present digital content as well, right?
Yes, besides our films, you will soon see our digital content from Tipping Point. We recently produced a few exciting series that were announced earlier, and they will be released on major digital platforms soon. There are tons of stories waiting to be told in the universe.

Arjun Kapoor to conduct a masterclass on the future of cinema at the Indian Film Festival of Melbourne next month
Mohar Basu (MID-DAY; July 29, 2019)

As an actor with a flourishing career and the son of a successful producer, Arjun Kapoor has an innate understanding of the creative and commercial aspects of movies. That coupled with the fact that he is part of the current crop of actors navigating stardom in times of digital invasion makes him the perfect voice to analyse the growth of India cinema. It's only fitting then that Kapoor has been invited to the Indian Film Festival of Melbourne where he will spearhead the discussion on 'The Future Of Cinema'.

At a time when OTT platforms are churning out stories that can give films a run for their money, he will discuss their impact on the domestic box office, the change of template in storytelling, and whether he has contemplated jumping on the digital bandwagon. Joining him in the hour-long conversation on August 10 will be directors Sujoy Ghosh and Onir, Ajit Andhare, COO, Viacom Motion Pictures, and Gaurav Verma, business head, Red Chillies Entertainment.

"Understanding the perspectives of people from different places is always fun. This is my first time at the festival. I'm looking forward to exchanging notes about the future of cinema with the other members on the panel and the audiences. This diverse panel of speakers, each with an incredible body of work, is what Indian cinema is about today," says Kapoor, whose India's Most Wanted will be screened at the festival.

BOMBAY TIMES (June 22, 2019)

One of India’s premiere content studios, Viacom18 Studios, in association with Aamir Khan Productions, has announced their upcoming film Laal Singh Chaddha, which is inspired by the Oscar-winning movie, Forrest Gump (1994). The Hollywood film was headlined by Tom Hanks, who bagged the Academy Award for Best Actor for his portrayal as Gump. While Aamir Khan will essay the titular role in the Indian adaptation of the film, Kareena Kapoor Khan will star opposite him for the third time. The hit duo has previously shared screen space in 3 Idiots and Talaash.

Laal Singh Chaddha will be directed by Advait Chandan of Secret Superstar fame and is being written by actor-writer Atul Kulkarni. The film releases on Christmas 2020. Ajit Andhare, COO, Viacom18 Studios, says, “It gives me immense pleasure to announce our upcoming venture with Aamir Khan. For every cinephile out there, their must-watch list of films would be incomplete without Forrest Gump. To be able to adapt the classic for Indian audiences is a long-cherished dream for many of us. Knowing Aamir’s burning passion for this subject for many years, he is the perfect partner to bring to life this dream. I also want to thank Jim Gianopulos and Andrew Gumpert (from Paramount Pictures) and their team for believing in our vision and continuously supporting all endeavours to bring some of their best content to the Indian markets.”

“We’re thrilled to see them bring this timeless story to a whole new generation of audiences,” said Andrew Gumpert, Chief Operating Officer of Paramount Pictures.

For those who came in late, Forrest Gump is a 1994 American comedy-drama film based on the 1986 novel of the same name authored by Winston Groom. The story depicts several decades in the life of Forrest Gump (Hanks), a slow-witted but kind-hearted man from Alabama, who unwittingly influences several defining historical events in the 20th century in the United States. The film was directed by Robert Zemeckis.

Rachana Dubey (BOMBAY TIMES; November 10, 2018)

Five weeks after its release, AndhaDhun continues to draw footfall at cinema halls. The film, which was appreciated by the audience and the critics, broke all the stereotypes — there were no racy songs, star cameos or predictable patterns. Its makers, Ajit Andhare, COO, Viacom 18 Studios, and director Sriram Raghavan, discuss what worked in its favour and tell us about the road map ahead. Excerpts:

There is nothing that can help one strike a formula for success. AndhaDhun is an example of that. Today, how would you encapsulate your journey with this film?
Ajit Andhare: For me, the journey began when the story was narrated to me. There’s hardly anything conventional about it and that’s what struck me. Also, it was in tune with the core belief of the studio, as we have always tried to back subjects that break stereotypes. The story was perfect. Right at the outset, we chiselled out elements that were not holding up to the rest of the narrative. We had many discussions, deliberations and debates. The team enjoyed working with Sriram (Raghavan) and Pooja (Ladha Surti, writer), because he was open-minded, unlike most directors with a creative reputation. That allowed us to explore possibilities, and so, we could strike a balance between a perfect end and saying what we have to say, stylishly.
Sriram Raghavan: Badlapur was my first film that did well, commercially. People have also watched the other films that I have made, but they didn’t bring in the footfall. I had been nurturing AndhaDhun’s idea from the time I worked on Badlapur and it was drawn out of a short film. We started work on it after Kaabil released, because we wanted to see if that film has any element similar to ours. The teams from Viacom 18 would come and see chunks of the edit and their feedback helped me gauge what worked and what left people flummoxed. My working style is democratic and I want people to be honest with me. Reputation makes everyone agree with your point, which is dangerous for any filmmaker. Once the trailer was appreciated, I tried to go into zen mode. I am used to the fact that my films rarely bring in numbers. So, this time too, I wasn’t sure how many people will turn up to watch the film. But the response was beyond expectations.

The audience has been trying to interpret whether Ayushmann Khurrana’s character was really visually challenged. Was this an ending you always wanted, or was it chosen during the course of making the film?
Sriram: The sooner you arrive at the ending, the easier it gets to put the rest of the narrative in place. So, while developing the film, we thought that it might be a great idea to leave the loops open — let people analyse whether he really had an impaired vision. Ayushmann felt very strongly that we should not have an open ending, because everyone has that little worry — will people accept this. Eventually, we decided to go with an ambiguous ending.
Ajit: I think it’s still debatable whether it was an open ending or not. Ayushmann’s character hits the can, so there are multiple interpretations there. While narrating a plot, there are points that you don’t go too deep into — for instance, what happened to Simi when she was in the car or to Manohar who was stuck in the lift. While the story conveyed something, the audience very happily has come up with their own readings — someone wrote on social media that maybe he gets Manohar’s eyes. We didn’t even think of this ending, which is fabulous because the audience now owns this film and has given it newer dimensions.

Who or what would you credit for the audience’s changing taste in cinema?
Ajit: The multiplexes have facilitated this. The shackles of distribution have also opened up because we have more screens for different films to play simultaneously. The audience, thanks to the digital boom, has been exposed to the finest in international entertainment, which has opened up their minds. As a studio, that encourages us to make genre-breaking content which tempts the audience. What worked brilliantly for AndhaDhun is the fact that it has a distinct layer of comedy running through a dark film. People have seldom felt morbid while still laughing. Now, you have to look for strange concoctions.
Sriram: My cast didn’t have the typical face value, but they are fantastic actors, which worked well with the characters. Someone told me that the music doesn’t work, but I could not have inserted a Punjabi dance number in the film. So, adding elements while staying true to the subject is very important. There are all kinds of rules made on the basis of previous successes, but we just don’t know what works.

Lastly, what’s next on the cards?
Sriram: Of course, we will collaborate on more films, but we are not talking about AndhaDhun 2 just yet. I won’t say never, but we’re yet to find that right story to team up for, again.
Ajit: Our film is doing brisk business. We’ve put the film in theatres for the visually challenged, which is an achievement. There are queries from different languages for the film to be remade. China has shown interest in the film as well. So, it will take us a while to shift our attention to our next project together right away.

BOMBAY TIMES (September 15, 2018)

After backing path-breaking and entertaining movies like Drishyam, Madras Café, Toilet: Ek Prem Katha and Padmaavat — and the soon-to-be-released Manto and AndhaDhun — Viacom18 Motion Pictures has now teamed up with Ajay Kapoor, producer and Managing Director of KYTA Productions.

The two have joined hands for an espionage thriller, Romeo Akbar Walter (RAW). The John Abraham-starrer is scheduled to release on March 15, 2019.

Based on true incidents, RAW is directed by Robbie Grewal. The film also stars John Abraham, Jackie Shroff, Suchitra Krishnamoorthi, Mouni Roy and Sikander Kher in pivotal roles. Along with Ajay Kapoor, it is also produced by Dheeraj Wadhawan, Vanessa Walia and Gary Grewal.

John Abraham says, “I’m thrilled that the studio has come on board for RAW. Having worked with them in the past, I know that we have the right partners for the film. RAW is a challenging project; for the first time, I will be sporting many looks in one film. With each look, I have to adopt a different persona, be it in terms of stance, body language or speech. I am having a great time pushing myself, and a lot of the credit goes to my director, Robbie. The audience has been kind to me this year, and I’m hoping it will continue with RAW.”

Ajit Andhare, COO, Viacom18 Studios, adds, “RAW is a gripping espionage drama. Robbie is an astute director with a unique perspective and we are sure that this film will keep you on the edge of your seat. Collaborating with Ajay is a pleasure and with John in the lead, you can be assured of a cinematic treat.”

On his part, Ajay Kapoor, shares, “I am happy to join hands with this studio. After associating for Baazaar, we just knew that we had to extend our partnership for RAW, as they match our enthusiasm for putting this project together.”

MUMBAI MIRROR (September 13, 2018)

Viacom18 Motion Pictures, the studio known for backing content-driven films like Toilet - Ek Prem Katha, Padmaavat, Manto and AndhaDhun, has come on-board for Saif Ali Khan’s Baazaar, which releases on October 26. The film is directed by Gauravv K Chawla, presented by Viacom18 Motion Pictures & KYTA Productions and produced by Emmay Entertainment.

Ajit Andhare, COO, Viacom18 Studios, says, “I am excited as this is India’s first film based on the roller-coaster drama of life and stock markets. At Viacom18 Motion Pictures, our endeavour is to look for new vistas, this film serves that objective very well. Happy to join hands with Ajay Kapoor and Nikkhil Advani on this new journey.”

Ajay Kapoor, Managing Director, KYTA Productions, says, “I am thrilled to be announcing the release of our film, Baazaar, and I am happy to be associated with Viacom18 Motion Pictures and Emmay Entertainment for a film that I truly believe in.”

Nikkhil Advani, Emmay Entertainment, says “Ending all speculation, we are delighted that such experienced and solid partners have come on board which is a testament of the quality of the film itself. Emmay Entertainment prides itself in telling novel and cutting-edge stories and we look forward to the audiences watching Baazaar.”

Baazaar features the enigmatic Saif Ali Khan, debutant Rohan Mehra, Chitrangda Singh and Radhika Apte. Based in the tireless financial and business capital of the country, the film is set against the backdrop of dreams, money, power and business.


Ajit Andhare, COO, Viacom18 Motion Pictures; Ajay Kapoor, MD, KYTA Productions; Nikkhil Advani, Emmay Entertainment