As part of the 49th edition of IFFI, Bollywood filmmakers Vishal Bhardwaj, Abhishek Chaubey and Ramesh Sippy talk about how times have changed with corporates entering the film industry, the need for creative freedom and how artistes need to be objective about their craft
Rachana Dubey (BOMBAY TIMES; November 25, 2018)

The ongoing NFDC Film Bazaar in Goa, which is part of the 49th edition of International Film Festival of India (IFFI), had an interesting panel of guests yesterday, to discuss the contributions made by individuals in cinema, who have broken away from routine formulas of filmmaking. Filmmakers Vishal Bhardwaj, Abhishek Chaubey and Ramesh Sippy participated in a moderated discussion that covered topics like censorship, taking over the reins of a film as a director and producer, and all the responsibility that comes along with that.

About his initial experiences and what coaxed him to take up production, though he was only a writer and a director, Vishal told the audience, “When I made Makdee (2002) and Maqbool (2003), it was difficult to release them because there were no multiplexes that could play those movies. Post Maqbool, things became easier, but it’s now that the fruit has ripened. Times have changed. Corporates entered and that changed the scenario to a great deal. But there was a time when we had individual producers and that was a tricky space to be in. I remember how Gulzar saab was angry about Hu Tu Tu (1999) being cut by the producers. The version of the film that he had in mind didn’t reach the theatres. I became a producer by default because CFSI (Children’s Film Society India) had rejected Makdee, but I wanted to release it. So I had to step forth. I have never been manipulated by a producer and I have never given them a chance to do that, because I saw Gulzar saab go through it. The final cut of my film is always mine.”

Abhishek Chaubey, who has helmed films like Ishqiya, Dedh Ishqiya and Udta Punjab, and has also written movies, took the plunge as a producer with A Death In The Gunj a year ago. When asked about taking that path, he said, “It’s important for creative people to take control of their work. When you turn producer, you become more responsible for putting the money where the mouth is. You know how much has been spent and where, and you control the resources. Today, I have better access to funds when I direct a film or produce a film. Vishal (Bhardwaj) sir mentored me and now, I just think it is important that I do what he did for me.”

The filmmakers on the panel have all been producers and directors on their individual projects, so the pertinent question asked to them was whether they ever lost objectivity over their films, given that they were close to the subject. Vishal said, “You know, you need more hands that can slap you. You need friends who can show you better and disagree with you, otherwise you can’t be objective about your craft.”

Ramesh Sippy added, “Be as self-critical as possible. When you complete a film, be brave to see where you started and where you have reached, and whether you have been lopsided in your approach. Having friends who can give you advice is helpful, but you have to be your own critic. Raj Kapoor would see his films, show them to others and even if it needed to be reshot, he retained his original thought. Producers must understand this and allow a filmmaker that liberty to do so.”

Creative arenas, particularly films, have been braving censorship all along, more stringently so in the last couple of years. Bring up the subject and Abhishek, whose film Udta Punjab (2016) had to fight to find its way to cinemas, said, “Powers that be don’t take art seriously. They don’t see films or arts as cultural documents of a time.”

Vishal summed up, “What is the point of saying anything? Do they listen? They do what they want. We are the only nation that puts a ‘smoking kills’ disclaimer on a running visual, which is just ridiculous.” 

BOMBAY TIMES (November 14, 2017)

While talking to BT, Mukesh Khanna, Chairman, Children’s Film Society of India (CFSI), says that it’s the Central government’s responsibility to improve the state of children’s films in India.

It’s your third year as CFSI chairman. You had sanctioned about a dozen films, which are yet to see the light of day. What’s going on?
I have got eight movies off the ground in my tenure so far. You think it’s very easy to have films made? No, it’s not. Four of these are out-and-out commercial projects because I don’t want these films to circulate only in festivals. Earlier, no one tried to get the films made by the society a theatrical release. However, I’m trying to do that and hopefully, these films will release in the next quarter or so.

I’m looking for distributors to partner for Tennis Buddies, Banarsi Jasoos, School Chalega and Chidiya Khaana. It has taken me long because I’ve had to battle with the I&B Ministry to get budgets sanctioned. They don’t want to acknowledge that the cost of filmmaking has spiralled in the past 20 years.

Why is funding becoming an issue when there are government subsidies?
We have subsidies, not budgets. The ministry is yet to understand the system I have set up. In the next year, we should be able to start about 12 films. So, I’ve got things moving. Also, we have organized a children’s film festival in Telangana that ends today.

After taking over as the I&B Minister, Smriti Irani has been making changes. Have you met her to discuss the working conditions of the CFSI?
I have not met Smriti Irani yet. She is too busy. I am surprised that despite an official letter, she hasn’t given me an appointment yet. I have also written to the PMO, requesting for money for kids. I mean, hamare paas bacchon ke liye paisa nahi hai to kiske liye hai?

Do you think that the condition of the body has worsened over the years?
We can restore its lost glory. Every child needs a film that he can enjoy. They don’t need saas bahu and brainless dramas. I ask filmmakers, ‘If we can spend Rs 300 crore on Baahubali, can’t we spend Rs 10 crore on a children’s film?’ I am fighting a mentality that needs to change. More producers have to come forth and work — they expect a Harry Potter from Hollywood and not even make a Shaktimaan here.

Bharati Dubey (MID-DAY; October 8, 2014)

The Children Film Society of India (CFSI), which runs from a rented building in the city, is anxiously awaiting an official nod to set up its own complex. A plot of land near the entrance of Film City Studios in Goregaon had long been identified for the purpose but the allotment is pending. Shravan Kumar, CEO of CFSI, said they had approached chief minister Ashok Chavan, the then Minister for Cultural Affairs, in 2008 for the allotment of five acres in Film City.

“The Board of the Film City Studios approved in principle the allotment of land to CFSI. In 2009, they conveyed that the land measuring 1640 sq ft was identified for the complex subject to certain conditions so that the business of Film City is not affected. CFSI agreed and conveyed the same to the state government,” said Kumar.

Kumar adds, “We had sent them a detailed project plan and had a meeting, too, but the approval for allotment and handing over the land is still awaited from the state government’s side. I am planning to pursue the proposal further.’’ He now contemplates to meet Film City authorities. “The State Government has initimated us that Film City Corporation will also share their proposal on the land allotment,” he said.

Pic: Gattu (2012) was the first CFSI film to be released commercially in India