Actor Rana Daggubati, who has been a part of Indian cinema for almost 15 years, says that the Telugu industry is showing remarkable growth, be it global success stories like the Baahubali and Pushpa series, and RRR (2022), or smaller films.

“Globally, the theatres are on a decline in some manner. Seven or eight years ago, there were three times the number of theatres that there are today,” shares the 40-year-old, who will next be seen in the web series Rana Naidu 2, adding, “Now, there are so many more mediums of entertainment or content viewing, be it OTT, YouTube or just something on your phone.”

Despite the challenges, he remains optimistic: “Cinema will always find its beat; there are a few things that are still communal as watching a film together — that doesn’t go away easily.”

He cites actor Priyadarshi Pulikonda’s Telugu legal drama Court as an example of how good cinema still resonates, despite a small budget. “There are so many independent films that have become popular, which wouldn’t have been the case a few years ago. Like Court which has done very well. Such films are almost getting to mainstream numbers,” he says.

Rana also praises the Telugu industry’s diversity and affordability. “Telugu is doing better than the other industries because of the larger variety of stuff that is being produced. And the cost of going to cinema in Andhra Pradesh and Telangana is still not as expensive as Mumbai and Delhi.”

Regarding the expectations of pan-India blockbusters from Telugu films, he emphasises that not every story is meant to be universal. “Some things are just for a local market. You need that cultural understanding. Having said that, there are also films made with the clear intention of reaching audiences across the country, and that has been happening,” he ends.

While Adarsh Gourav built his career in Hindi and international projects, his heart has always held a quiet connection to Andhra Pradesh, where his family comes from. Now, with his first Telugu film underway, that bond finally finds expression onscreen. As he shoots for his Tollywood debut in Hyderabad, the White Tiger actor opened up to Hyderabad Times what this journey means to him, the joy of rediscovering his Telugu roots, and his desire to become a director.

Born Adarsh Gourav Bhagavatula in Jamshedpur, the actor comes from a Telugu-speaking household. “Both my parents have roots in Andhra — my dad is from a village near Srikakulam and my maternal grandfather is from near Vizianagaram. It was a rule to speak in Telugu at home,” he shares. “It’s our mother tongue, and my parents made sure I learned it properly from a young age.”

Despite a tight six-day-a-week shoot schedule, Adarsh says Hyderabad has already left a lasting impression. “There wasn’t much time to explore, but the food instantly made me feel at home,” he smiles. “I love Andhra food — pappus, chutneys, kuras, vankai kura, bendakaya kura. It all reminded me of eating at home.”

But it’s more than just food and familiarity with the language. “What’s unique about Hyderabad is how much people love cinema. You’ll find doctors, architects, people from different walks of life trying their hand at filmmaking. That’s really special.”

Adarsh isn’t one to restrict himself by language or geography. He’s currently learning Malayalam and hopes to work in Tamil cinema too. “Wherever there are authentic stories, I want to be a part of them. Language is secondary as long as the story resonates.”

His Telugu debut, he says, has been a point of pride for his entire family. “Over the years, my father’s family in Hyderabad and Visakhapatnam would often ask me when I’d do a Telugu film. I’m finally able to show them something in our own language.”

Adarsh’s portrayal of Jugnu, a trans character, in Guns & Gulaabs was a turning point in his career. “I definitely felt the gaze towards me had shifted,” he reflects.

“It gave me a chance to empathize with what it’s like to transition later in life and the kind of strength it takes.” He adds, “We need to build more sensitivity around the trans community. Live and let live — why would anyone take someone else’s truth as a personal problem?”

In Aanand L Rai’s upcoming Tu Ya Main, Adarsh will be seen in a completely new avatar — as a rapper. “It’s a creature feature, and Shanaya (Kapoor) is my co-actor. It’s a genre I’ve never explored before.” 

He also stars in Alien, a sci-fi show by Noah Hawley. “I was never into sci-fi before, but now I’ve completely switched sides. We shot in Thailand for six months alongside The White Lotus team. It was one of the most enriching experiences I’ve had.”

Looking ahead, Adarsh has his sights on directing. “I want to venture into filmmaking in my 30s. My first film might be a satire-drama. I think horror is very difficult to do well, and I’m not ready for that just yet. But I do have many stories in me and I’m excited to tell them.”

Though Adarsh had harboured a desire to work in Telugu films for a while, he wasn’t sure how to break into the industry. A chance conversation with actor Samantha Ruth Prabhu at the Citadel success party changed that. “I told her that I wanted to work in Telugu cinema and she connected me with Himank Reddy, who took me around Hyderabad and introduced me to a few directors and producers. That’s when I met Jahnavi and Baba, and things fell into place.”

The film, a psychological horror thriller, is being helmed by a debutant director. “Baba’s actually an architect who’s been working on the script for nearly 10 years. I found that fascinating. It’s also his first film and mine in Telugu, so it felt like a great alignment,” he says.

Vijaywada: Andhra Pradesh police have launched a multi-city search for filmmaker Ram Gopal Varma (RGV) after he failed to appear for questioning before Ongole police in Prakasam district of the state for a second time on Monday.

Notices were earlier issued to RGV to appear for questioning after he was booked by the police for allegedly posting defamatory and morphed images of chief minister and TDP chief Nara Chandrababu Naidu, his son and IT minister Nara Lokesh, and Jana Sena chief Pawan Kalyan on social media during the promotion of his film 'Vyooham'.

The case was registered following a complaint against RGV by Muttanapalli Ramalingam, TDP's Maddipadu mandal general secretary, on Nov 10.

RGV approached AP high court seeking protection from arrest but his plea was rejected.

The court directed him to cooperate with the investigation and appear for questioning on Nov 19. However, Varma requested an extension of four days, which was granted and fresh notices were issued asking him to appear before the police on Monday.

After he failed to comply again, a police team from Ongole visited Varma’s residence in Hyderabad but could not find him. After coming to know that he was at Coimbatore in Tamil Nadu to attend a wedding, a team was sent there but he was untraceable. His mobile phone remains switched off.

Police are exploring ways to trace him. While two teams are searching for him in Hyderabad, cops have been posted outside his farmhouses at Shamshabad and Shadnagar. Simultaneously, police are looking for him in Coimbatore, Chennai, and Mumbai.

Meanwhile, a member of Varma’s legal team said in Hyderabad that there is no need for his physical presence in the investigation as Digital India has enabled “digital policing” across the country.

“Give us a virtual mode, and we will cooperate with the investigation. The new Bharatiya Nagarik Suraksha Sanhita permits hybrid-mode probe for minor cases. This case is neither sedition nor connected to international crime,” he told media.

Prakasam district SP, AR Damodar, said the filmmaker proposed to attend the inquiry digitally but police rejected his request. “Despite multiple notices, he failed to respond. We have no choice but to arrest him,” the SP told TOI.

New Delhi: After a three-month-long investigation, a 23-year-old ‘fan’ who allegedly created and first uploaded a deepfake video of actor Rashmika Mandanna on social media has been tracked to Andhra Pradesh by Delhi Police’s Intelligence Fusion & Strategic Opsunit, reports Rajshekhar Jha.

According to special commissioner R P Upadhyay, Eemani Naveen, a BTech graduate with expertise in picture and video editing, operated fan pages of three film stars, including Mandanna, and committed the act allegedly to boost count of the followers.

Naveen hadn’t expected the severe backlash and nationwide outrage, including tweets calling for action from actors like Amitabh Bachchan, and so deleted the video and changed the page name. By then, however, it had gone viral.

“Personally, I’m an atheist. I don’t believe in god. I don’t believe in any religion. But I understand the power of spiritualism. For me, spiritualism is an emotion. And I write stories filled with emotions,” Rajamouli told The Associated Press.

To The New Yorker, he said, “There might be some overlap, but I don’t try to bring my personal beliefs into my films. For me, there is a very clear and pure relationship between the audience and me. The audience is paying me their hard-earned money, giving me their time, and expecting some kind of entertainment. That’s my job.”

In a departure from his otherwise cookie-cutter interactions with the Indian media, Rajamouli’s recent spate of interviews to the US press have seen him shoot straight when it comes to hot-button topics, sometimes at the cost of being not-so-politically correct.

Delving further into his personal beliefs, he told the outlet recently that at one point in his life, “I got caught up in my family’s religious fervour. I started reading religious texts, going on pilgrimages, wearing saffron cloth, and living like a sanyasi for a few years. Then I caught onto Christianity, thanks to some friends. I’d read the Bible, go to church, all kinds of stuff. Gradually, all these things somehow made me feel that religion is essentially a kind of exploitation...My love for stories like the Mahabharata or the Ramayana never diminished. I did start pushing away from those texts’ religious aspects, but what stayed with me was the complexity and the greatness of their drama and storytelling.” 

Among the other topics the filmmaker’s touched upon are religious extremism, the Andhra Pradesh-Telangana bifurcation connect in RRR, his political leanings and whether or not there’s an undercurrent of the latter in his films.

“I hate extremism. I hate extreme people in any section of society,” said Rajamouli, when quizzed about his own politics and whether his films may reflect them. While talking about the rise of extremist sentiments in society and their impact on its films, the filmmaker added, “I don’t think in those terms. I always feel like films reflect the society that created them, whatever that society’s feelings are. Films reflect the pace of society because filmmakers have to cater to audiences. They’ll see what audiences like, what their present mood is, and make films for that. If there is a rise in that kind of sentiment in society, those kinds of films will come out. But I always stay away from that. I go a completely different route,” he said.

“I don’t have any kind of hidden agenda. I make films for people who are willing to pay their hard-earned money for the film ticket ,” he reiterated to AFP, adding, “I like to get them entertained, make them feel dramatic about the characters, about the situations, have a good time, go back and live their lives.”

During The Hollywood Reporter’s Awards Chatter podcast, Rajamouli addressed the bifurcation of Andhra Pradesh, saying, “The bifurcation of the state itself was not a painful one. You can bifurcate a state, but nothing is going to change. The distance is not going to change, the people are not going to change. The relationships are not going to change. It’s just a matter of thinking they are two different states. But what really troubled me was in the process of bifurcating the states, the kind of angst and the kind of anger the people were spewing against each other. And, like, for a small period of time, which part of the state we belonged to became a major topic of discussion for everything. For 45 years, we didn’t even have this notion. Why is this suddenly coming up? Why are the people whom we thought of as brothers and sisters suddenly asking about my regionality and looking at each other as enemies? That really made me feel bad. And there was nothing I could do. So when the idea of RRR came out, my main idea was to bring the two heroes together. And I realized, what if I can bring these two people – one from Andhra, one from the Telangana region – and if I could say these two people were friends? Yes, it is completely fictional, but it’s my way of saying, ‘guys, these two heroes, whom we look up to as demigods, are friends. If they can be friends, if they can sacrifice their life for each other, we can also be the same’. I don’t think many of the people would have got it. I was not vocally saying, that is the reason why I was making it, but it’s almost for myself that I was making it .”

On accusations that RRR’s concluding musical number highlights Subhas Chandra Bose and Bhagat Singh but omits others like Mahatma Gandhi and B R Ambedkar, Rajamouli told The New Yorker, “Whichever stories touched me, made me cry, or made my heart swell with pride – those are the historic figures that I chose for that scene. I could also only highlight eight people in that musical number. I would need room for 80 in order to put all the figures that I respect in the movie. Still, I respect all of the revolutionaries that I chose, and, if I didn’t put Gandhiji’s portrait there, it doesn’t mean I disrespect him. I have huge respect for Gandhiji, no doubt about that. My question is : If I were to replace Netaji Subhas Chandra Bose’s portrait with Gandhiji’s, would all these people ever question me, saying that I disrespected Subhas Chandra Bose by not portraying him there?”

Shortly before the second wave of the pandemic hit the country hard, the film business down South had taken off in a big way. Rana Daggubati’s bilingual Haathi Mere Saathi, which was up for release at that time, had to be held back, yet again. It faced a similar situation in 2020, too. In a conversation with BT, Rana spoke about the impact of the pandemic, his understanding of the new normal and way he sees things moving, hereon. Excerpts:

The pandemic has affected every business, brought it to a stop, and moved it to a point of reinvention and innovation. Where there has been a big pause, there has also been extreme growth of different kinds, and that is not restricted to any one business in the country. In our line of work, movies started going to OTT platforms in big numbers, and writers and directors are developing way more content than they have done in the past because they have the time on hand to do that extensively and deeply. It’s a wait like it is for everyone for things to open up, but there will be a significant change in the way we create our content and the way people consume it.

The opening of theatres and the way the theatre ecosystem depends on their ownership and the kind of films that are being made. In South India — I can talk about Andhra Pradesh and Telangana — the filmmakers and the film studios run large theatre chains. It was in their best interest to open theatre chains and have them full with films quickly. That is not the case in other business territories. Also, in the South, we have a larger mainstream film narrative with stories that are larger than life, written for the big screen and they are the spectacle kind of movies. It was something that the audience had been waiting to watch on the big screen.

The audience has watched so much content across languages and cultures on different channels in the last 18 months that filmmaking across the board will now have to be upped and improved. On the other side, we will have to see what kind of content will work in which space. That bifurcation between what’s suited for the big screen and what’s better for the OTT space will become clearer. Cinema consumption everywhere will see a drastic shift. Something meant for a big screen and the wholesome experience will go to the big screen, and the rest will be consumed on other platforms.

This crossing over has always happened. More Hindi film actors have taken up work down South. In comparison, there are fewer Telugu stars in Hindi cinema. But now that everything else is merging even more, and everyone is watching everything, people have begun to show a liking for individual talents from different industries. In the future, it will be interesting to see the kind of cinema that will come out of this, how the industries will grow, and how newer artistes will emerge in different territories in the country.

Haathi Mere Saathi’s release had to be moved around. The impact of such a decision had to be kept at bay looking at what people around us were going through. It is a very difficult phase for people. Their lives have been impacted severely. Haathi Mere Saathi is a very special and poignant film for today’s times when we understand and value nature more than we ever did. It was a beautiful experience putting that film together in different languages with different cast members.

Yes, I do, I find the space very interesting. I am interested in taking up something in the long-format narrative. I think it’s very interesting how a story has a longer shelf life and also characters have a wider spectrum and actors have the scope to play out the arc. In comparison, there’s a definite start and finish to a story and a character’s journey in films. In the OTT show space, the connection and the duration one gets to play with is much longer. I would love to find something in the long-form that interests me.

The last few months have seen a lot of citizens across the country step up as COVID Samaritans, who have reached out to those battling the Coronavirus. Several actors have turned COVID warriors, too, helping out people in various ways. Bhumi Pednekar, along with her team of volunteers, has been actively working towards providing help and support to people in these times.

“The last few weeks have been nothing short of heartbreaking for the volunteers and me. When I got into it, I didn’t realise that things could be so devastating. Speaking to families in despair and trying to calm them down when they’re crying for help is extremely difficult. I’ve felt that most people seek hospitalization either as soon as they test positive or when the condition has gone completely downhill. It’s that gap in the middle when they need to make the decision and move. We’ve also received so many SOS calls for ICU beds. There’s a dearth of oxygen supply in the North belt. As volunteers, we have all had to find ways to join the missing dots and get aid for the patient in need. There are so many small things that have to be taken care of, between getting a patient from his or her home to the hospital.”

Bhumi, who has also dealt with COVID cases within her extended family and close friend circles in Delhi and Mumbai in recent weeks, says, “The last one month has been one of the most life-changing periods of my life.”

While social media and WhatsApp groups of volunteers have been helpful in getting resources to those in need, sadly, it has also thrown up several cases where patients and even volunteers have been fleeced by those claiming to have access to medical supplies.

Bring this up, and Bhumi says, “I am a part of several volunteer groups. At a personal level, all of us have all dealt with COVID-led tragedies while helping a friend, a close family member or even someone from our extended families. At such a time, people are vulnerable; their mind tends to be clouded. It’s difficult to judge whether you’re making the right choice or not. It’s human to go through that.”

She further adds, “Oxygen cylinders and concentrators are being held up by people, and that is creating a wide gap between demand and supply; this is something I know because I have my ears to the ground. People who need it are not getting it easily. You need to report the people who are fleecing you to the cops and on social media with their phone numbers, so that others don’t fall prey to them. Another reason why I’m raising an alarm here is that all these help and support groups functioning across the country are citizen-led, and I don’t want volunteers to be exploited and fleeced when all they’re trying to do is help. It’s a scary scenario.”

The actress plans to intensify her movement, taking it to rural areas and smaller cities where social media platforms are not used as much. Bhumi elaborates, “We’re taking one day at a time. None of us had the time to sit back and think ahead. The situation exploded before we knew. I’ve had a lot of support from students in Delhi and Maharashtra in these weeks. We are now mobilising more citizen and student groups in West Bengal, Assam, Andhra Pradesh, Tamil Nadu, Rajasthan, and somehow, also penetrate the rural pockets, which need attention. Social media, so far, has been our greatest ally, our war room, so to say. The best part is that this movement of citizens across the country does not depend on any one person leading it. It’s run with kind intentions and collective strengths of people, which won’t fizzle out any time soon.”

The shoots of Adipurush and Shabaash Mithu are in limbo

The past four weeks haven’t been easy on film and television producers. After the Maharashtra government imposed a junta curfew on April 15, some producers called off their shoots while several others promptly moved base to Goa, Hyderabad and Silvassa to continue filming their projects. Now, with a lockdown announced in the beach state and Telangana, it’s a déjà vu moment of the worst kind for the makers.

The unit of Taapsee Pannu-starrer Shabaash Mithu was Hyderabad-bound in April. “A few days into the shoot, the production found it too risky to work amid the rising cases, even though they were in a bio-bubble. One of their gravest concerns was the fragile healthcare infrastructure in the city, so they returned to Mumbai by April-end,” says a unit hand.

The makers of Adipurush are at their wits’ end. The team, including Prabhas, Saif Ali Khan and Kriti Sanon, were expected to leave for the south Indian city in the second-half of May. A source from the project reveals, “Director Om Raut had drawn up a plan where not more than 20 people would be required on set at any given time as he would shoot, using CGI, at Ramoji Film City. But with the lockdown brought into effect in Telangana, the makers will take a call after two weeks.” 

Goa that was reeling under the pressure of television shoots, including Apna Time Bhi Aayega and Ghum Hai Kisikey Pyaar Meiin, is finally breathing easy. “There were 13 serials, three web shows and three films being shot,” says Sandeep Natwarlal Kotecha, a line producer in the state. He rues that illegal shoots had become rampant in the past few weeks. “Around 25 units were filming without procuring the necessary permission. The work was halted after they were caught.” 

No sooner were the restrictions imposed in the beach state last week than the crew of the Star TV show, Ghum Hai..., flew down to Hyderabad. “The Andhra Pradesh government has yet to issue a lockdown. So, the unit is continuing the shoot of their own accord in a bio-bubble,” says a source. 

Even as the team of Mehndi Hai Rachne Waali, currently stationed in Hyderabad, figures out the way forward, creator Sandiip Sikcand says he is unfazed about the hiccup as they have a bank of episodes. “We’re looking at options in Gujarat and Chandigarh.” Meanwhile, industry sources indicate that Daman will become the next shooting hub.

The Centre has greenlit the reopening of cinemas from October 15 as part of the Unlock 5.0 plan. According to the directive, theatres will be allowed to operate with up to 50 per cent seating capacity while adhering to the safety guidelines.

The news brought cheer in the exhibition and distribution sectors that have borne losses of Rs 1,500 crore every month since the shutdown was imposed on March 14.

Exhibitor Akshaye Rathi says, "We are hoping that state governments will act at the earliest to ensure there are no more job losses in our sector. A 50 per cent occupancy cap is a good starting point. Hopefully, the government will relax it further later this year." Rathi adds that theatres are likely to screen earlier blockbusters as filmmakers plan the line-up of new movies, which includes Christopher Nolan's Tenet, and Death On The Nile.

However, fans will have to wait longer to witness a Bollywood spectacle play out on the big screen. The makers of Akshay Kumar's Sooryavanshi — one of the few films that did not bite the OTT bait — have deferred its November 13 release.

"It's not practical to release Sooryavanshi on Diwali because we don't know whether cinemas in major states are opening yet. The state governments of Maharashtra, Tamil Nadu and Andhra Pradesh have announced that their cinema halls will remain shut this month. So, it will be fair to assume that most states will open up only by December 1," says Shibasish Sarkar, chief executive officer, Reliance Entertainment group.

The studio, which had announced a Christmas outing for Ranveer Singh's 83, has yet to determine the release calendar. "Once the country opens up, we don't want to hold off the films for too long. We may or may not change the release date of '83. We haven't had a discussion with the directors [Rohit Shetty and Kabir Khan] yet. I am assuming both films will hit screens between December 2020 and March 2021."

Sanat Mehra (MID-DAY; January 4, 2015)

There were several highs and lows in 2014 vis-à-vis the Hindi film industry, but the one thing that is encouraging is the rise of small-budgeted films. Not only that. Even the fact that they are released alongside big budget films was an appealing highlight of the elapsed year. However, the remedy of one problem has also brought to light another obstacle. Turns out filmmakers — big ticket or small — are finding it increasingly difficult to shoot in certain parts of the country.


(L-R): Nawazuddin Siddiqui, Chitrangada Singh and Tahir Raj Bhasin

In the news for his misadventure with the Federation of Cine Technicians and Workers of Eastern India, director Kushan Nandy recently claimed in a tweet that he was a victim of extortion, blackmail and his unit was held hostage for 72 hours. That might sound like a situation that mirrors the murkiness of AfPak but we are talking about West Bengal here. In Bolpur, a municipality in Birbhum district, to shoot his latest film, Nandy faced a number of problems that one would generally not associate with filmmaking. His film features Nawazuddin Siddiqui, Chitrangada Singh and Tahir Raj Bhasin in leading roles and is chugging on towards completion.

Nandy revealed that the screenplay of his film could be best picturised against the landscape of West Bengal, and after shooting for more than a month in parts of the state, the director was unable to shoot further in some interiors because of the “terrible” experience with the aforementioned federation. “While shooting in Bengal, according to rule, we have to hire 30 per cent of manpower from the local area. But the set number keeps increasing. It doubles and triples proving that there is no parity in what they say and do. Once 60 people become 180, the budgets begin to go haywire and because you have planned to do other things with that budget — instead of paying those who weren’t even present for the shoot — those feigning non-payment start hounding you,” rues the Mumbai-based director.

When we contacted Aparna Ghatak of the Federation of Cine Technicians and Workers of Eastern India, for her side of the story, she said that the matter had been resolved. According to her, the shooting would resume shortly once the payments are received. “However, what angered the workers was that they have been portrayed in a bad light, even after the team from Mumbai was aware that the hooliganism was not caused by workers registered with the federation,” clarifies the general secretary. Ironically, this federation has gathered flak from quite a few filmmakers based in the region.


Kashmir
Bollywood’s romance with Kashmir has been elaborated over more than 20 blockbusters, but recently to document the harsh realities other than the beauty of the state, the few filmmakers who have ventured out there with a small crew and big plans have faced the suspicion of political groups. Take for example, Aamir Bashir’s experience, on shooting the film Harud. In an earlier interview he had said, “Kashmir being a politically volatile place, one had to face the mistrust that local people have for anyone coming from outside with a camera. So, there was a lot of negotiating involved on a day to day basis. With just 18 people in the crew, everyone had to multi-task. A lot of the scenes are outdoors on the streets of Srinagar and crowd-control was a big headache.” While that was the experience of a filmmaker operating on a low budget, not so long ago the crew of Haider was forced to retreat after students of the Kashmir University violently opposed the shooting of a sequence that was based on a fedayeen attack.


West Bengal
Intriguingly enough, the matter does not come as a shock to Onir. The filmmaker whose films include My Brother... Nikhil (2005), Sorry Bhai! (2008) and I Am (2010), is no stranger to the situation faced by Nandy. According to Onir, while producing Chauranga (2014), he too had a run-in with the federation at Bolpur, the same location where Kushan’s local crew played truant. After shooting 70 per cent of the film in West Bengal, both Onir and co-producer Sanjay Suri had to hunt for a new location in the neighbouring state of Odisha. Onir adds, “The problem faced by Kushan or me is because the federation is not able to differentiate between a big-budget and small-budget film. In order to continue shooting for Chauranga we had to shift to Odisha where we did not face any problem.” The shoot was resumed at Keonjhar, a small town in the northern part of the state.


Kerala
“Great content can float a great film on a low budget, but just because we have the technical means to reduce costs doesn’t mean that all visual offerings are up to the mark.”  Down South, filmmaker Bijukumar Damodaran, better known as Dr Biju, has several anecdotes to share on his clash with political realities. His doses of moving images might have insured that Indian cinema is far from ailing whether it was his film Perariyathavar or Veettilekkulla Vazhi but behind the scene, as can be noted, there are problems that continue to persist. According to this doctor-turned-filmmaker, the issue that compelled Nandy to cancel his shoot was a common problem until a few years back in Kerala. For better, the rules have been relaxed after a few directors, including Dr Biju himself, approached the Film Employees Federation of Kerala. “Numerous arthouse films come from our state. And to shoot these kind of films, the federation is more cooperative. This change has taken place over the past four to five years. As for the big budget productions, the rules remain the same,” the National Award-winning director asserts.


Uttar Pradesh and Bihar
The size of a film matters. Many a time, the budget makes all the difference — from a director's point of view — before it hits the marquee. Vasan Bala’s Peddlers (2012) collected a major part of its budget through crowdsourcing. It gave us deeper insight into how miniscule budget can be a boon as well as a curse for an indie filmmakers. “No matter what permission one procures there are always those extra payments that become difficult to pay for new filmmakers. Try shooting in UP and Bihar. It is a different ballgame all together; if you do not bring on board a producer who has some clout in that area then your shoot is bound to get disrupted sooner or later.” Would the big budget films reach a standstill in a similar situation? To elaborate further, Bala throws a word of caution for young filmmakers who might wish to venture out shooting our country’s backyard. “In hindsight, shooting without anyone knowing is the biggest thrill of any indie filmmaker, although it might curb the director’s vision. There might be filmmakers who might want a more nuanced approach to a scene; however, opting for a minimal crew can make the experience more thrilling.”


Madhya Pradesh
Prakash Jha has a special corner for the State of Madhya Pradesh and its people, so much so that he has already crossed a hat-trick and shot four films in the region. Popularly dubbed as a filmmaker who manages to etch a story that mirrors the harsh political realities of our nation, Jha has sucessfully built a niche for himself.  Neither a commercial filmmaker nor one who woos the outsiders, Jha manages to give a balanced mix of reality and romanticism that he finds hidden against the backdrop of Madhya Pradesh.  Raajneeti, Aarakshan, Chakravyuh and Satyagraha are some of the films shot extensively in the state. However, the idea of shooting in Madhya Pradesh came to him after he had some bad experiences shooting in other parts of India. It has been reported that he is proud that Madhya Pradesh is getting considerable visibility through his films. Interestingly, from the Prakash Jha Banner another film starring Arshad Warsi, playing a conman with 13 wives, is being shot in the city of Bhopal. The film that is being directed by Saurabh Shukla will bring the audience, yet again, to the central heartland of India.


Mumbai
Mumbai is home to the best studios but what happens when our new age filmmakers, as Vasan Bala rightly pointed out, “want their visuals to be as close as possible to reality?” Well, they opt out of the studios and shortlist locations that would complement their screenplays. Filmmaker and screenplay writer who directed and scripted the film Ungli, Rensil D’Silva says, “Mumbai is a difficult city to shoot in. Right from permissions to managing crowds who invade your frame. It has also become hugely expensive whether it is an advertisement or a feature.” His point is in sync with what Rajkumar Gupta had stated on his experience working on Aamir back in 2008: “I’ve done two films in Mumbai so far and in terms of logistics, it’s getting costlier day by day. There is no one particular office to take all the possible permissions from. I don’t wish to blame anyone in general, but given the scale our industry is at present, ideally speaking, it should be far more convenient for the filmmakers.” We must not forget that the authorities have become more vigilant after the 26/11 terror attacks, but “with the internet there has been a rise in visual exchange of ideas that cannot be ignored,” concludes Bala.


Andhra Pradesh
The situation in Andhra Pradesh and Telangana isn’t a unique one, especially, after the recent incident faced by the crew from Mumbai in West Bengal. Only last year, in the month of December, over a thousand cine workers called a strike after their demands were not met by the AP Film Chamber of Commerce. As mentioned above, the situation was similar to the problem faced by Nandy, only here the situation has been resolved. The workers were demanding a raise in wages, a change that the AP Chamber of Commerce was willing to oblige to, but with a few clauses. Two of these clauses throw light on the major issues that our new breed of filmmakers has been eyeing in the face of budget constraints: To be given the liberty to choose workers even if they aren’t from the federation and not to pay the same wages that the big budget film producers pay. Probably, that explains maverick filmmaker Ram Gopal Varma’s tweet: “Federation workers shud open their eyes 2 the misleadings of their federation leaders nd start a new federation suited to today’s times.”

Indian states that were beautifully depicted

A still from Aarakshan

Madhya Pradesh: The central heart of India is a paradise for filmmakers. Director Prakash Jha who has shot four films in the state says that the authorities and federation give able support to filmmakers who come to shoot in the state.


Alia Bhatt, Imtiaz Ali and Randeep Hooda on the sets of Highway
Himachal Pradesh: If you have been bowled over by the scenic vistas shown in Imtiaz Ali’s Highway, a part of the credit also goes to Himachal Pradesh government that has eased out procedures to shoot in the state. They have adopted a single window clearance system that has made it easier for film crews.


A still from the film, Haider
Jammu and Kashmir: The state has been the location for films such as Haider, Yeh Jawaani Hai Deewani, Rockstar and Jab Tak Hain Jaan. While filmmakers have faced many issues in the region, it is still hard to ignore. Most probably, it is the manner in which the state can be depicted: some resurrect its beauty and others dissect its so-called polity.


Assam: In the eastern region, particularly Assam, our Bollywood filmmakers have avoided what can very well be the initial steps towards introducing the country to a region they are still in the dark about.