Showing posts with label Dilip Pithwa. Show all posts
Showing posts with label Dilip Pithwa. Show all posts
Denounced by most film and TV federations, FWICE union protests run out of steam
7:47 AM
Sanyukta Iyer (MUMBAI MIRROR; August 17, 2017)
Last week, the Federation of
Western India Cine Employees (FWICE), led by General Secretary Dilip
Pithwa, announced that from August 15 there would be an indefinite
strike by workers across Hindi, Marathi film and TV industries. FWICE's
demands included eight hour shifts with compensation for overtime,
salary hike, legal contracts for all assignments, food and drinking
water arrangements on safety-compliant and hygienic sets, and life and
accident insurance for all workers.However, two days in, the strike is grappling with disorganization even as it has been labelled a “flop attempt at stalling shoots“. Art director Sukant Panigrahy, president, Association of Cine and Television Art Directors and Costume Designers, was the first to reveal that his association was not consulted before the strike and they are not a part of it. Sharad Shelar, president, Cine Artists Associations, expressed shock that the executive committees of all parties were not made aware of the strike. “We not only disapprove of the strike, but strongly condemn it,“ he asserted, adding that shootings were on across Mumbai despite the protests.
Wednesday's strike kicked off at 10 am with 80-100 people outside Film City studio. Security was beefed up and by 2 pm there were 100 cops on site to maintain peace. “Around 3 pm, a bunch of protestors began to stop cars and workers tried to enter the premises. They were roughing up employees who were on their way to work. That's when the police resolved to lathi charge. By 4 pm, all the protesters had cleared out the gates and the strike was over,“ says Mirror photographer Nilesh Wairker.
By this time, the Indian Motion Pictures Producers Association had already passed a notice in-sync with a Sessions Court judgement that no shooting would be stalled. Indian Film and Television Producers Council (IFTPCP) as well as Indian Film and Television Directors Association (IFTDA) chimed in with a resolution that they were neither supporting the strike nor were they involved in it in any capacity. Gangeshwar Srivastav, general secretary, Film Studio Setting and Allied Mazdoor Union, also confirmed that the organisation wasn't associated with the strike. “It was not a well-strategised and executed strike. The unions are especially irked because the protestors resorted to political support, which has never happened in the past. IFTDA strongly condemns the strike,“ member Ashoke Pandit told Mirror.
Shah Rukh Khan, Amitabh Bachchan, Deepika Padukone’s films’ shooting stalled?
8:17 AM
Bharti Dubey (DNA; August 15, 2017)
The shooting of films starring Amitabh Bachchan, Shah Rukh Khan, Deepika Padukone and several television serials may get affected from today — August 15. The Federation of Western India Cine Employees has called for a strike as their demand for increment has not been honoured by the producers.
Members of the FWICE will be assembling outside Film City and other studios today. BM Tiwari, president of the FWICE, says it is a do or die situation this time for them, “We have been exploited by the producers and will not allow it to happen anymore.” Tiwari also claims that other workers’ association affiliated to political parties are supporting their strike.
However, The producers’ bodies call this strike illegal. Mukesh Bhatt says, “The producers will be seeking police protection and continue to shoot. Besides, the issue is with the TV producers who have their sets, film producers will go and shoot outside of Mumbai.’’
The Film and Television Producers Guild of India had filed a suit against FWICE and its allied associations against their call for a strike in the Bombay High Court. They have got an interim order from the High Court of Bombay that FWICE and its members should not physically stop any member or non-member voluntarily willing to work with the Producers. The members of FWICE have also directed not to indulge in causing a commotion or violence or agitation near the shooting sites.
Siddharth Roy Kapur, President of the Film and Television Producers Guild of India states, “We are pleased with this very fair verdict. It is unfortunate, but unavoidable, that we have had to exercise our legal options to ensure the safety and security of those film and television workers who are gladly willing to continue working, despite the arbitrary strike call given by the FWICE. We believe that there should be complete freedom between producers and workers to decide on commercial terms which work best for both sides. We, as industry bodies, should rather focus our energies on facilitating healthy and safe working conditions for all those employed on production units, rather than on imposing arbitrary decisions which hamper the well being of the industry and ultimately impact the very workers that we are supposed to protect.”
However, General Secretary of FWICE, Dilip Pithwa, says, “This time the court order is more in our favour. The last time, we were not allowed inside Film City, but this time we can enter the studio and can stand outside the set and convince our members for non-cooperation. We are fighting this battle for them. Producers are blackmailing workers and asking them to sign papers stating that they are happy with 7.5 per cent increment given to them. Here, we are fighting to get 11 per cent hike which was committed to us by the producers in 2015.’’
TV producers are going to take precautions. A senior TV producer said, “Producers will deploy security guards outside the sets and if the federation members try to stop the shoot, they will record it and show to the court.’’
The Cine and Television Artistes Association is not supporting the strike called by the FWICE.
Film industry workers’ union calls for strike
10:04 AM
Bharati Dubey (MID-DAY; July 29, 2017)
The Federation of Western India Cine Employees (FWICE), the film industry workers' union, will go on strike from August 15. The cause, they say, is the producers' bodies like IMPPA and IFTPC) and their failure to revise their remuneration. Dilip Pithwa, FWICE General Secretary, says, "When we went on strike in October 2015, we were told that we'd get 11 per cent wage hike in 2016 and another 11 per cent in 2017.
Pithwa adds, "We didn't complain about not getting the increment last year. Now, we are only asking for 11 per cent, which most filmmakers have agreed on, but the TV producers claim that [it will be difficult for them since] they are not doing well. I've spoken to broadcasters and they have agreed to pay 7.5 per cent of the sum. The TV producers only need to shell out 3.5 per cent."
J D Majithia of Indian Film and TV Producers Council (IFTPC), says, "We have agreed to the 7.5 per cent hike and the workers agreed to it too."
Going on strike, says Pithwa, was the only available option for FWICE, because the members are upset about not being taken care of by the producers. "We lost four production executives on set due to stress. Our members work beyond working hours and don't even get paid for their phone bills and conveyance," says Pithwa.
Filmmakers fear shooting in Mumbai due to dadagiri by FWICE
2:33 PM
With clashes between producers and the FWICE becoming rampant, filmmakers are opting to shoot outside Mumbai. BT investigates the matter
Rachana Dubey (BOMBAY TIMES; June 24, 2017)
Last Friday, an unpleasant
incident unfolded on the sets of Tumhari Sulu, when Vidya Balan and Neha
Dhupia
were filming the iconic Hawa Hawai number. Less than 30 minutes after the
camera rolled, members of the Federation of Western India Cine
Employees (FWICE), accompanied by their aides, arrived on the scene and
demanded that the shoot be halted. Their grouse was that the dancers for
the song had been hired through an external dance coordinator and not
their union.
BT was present on the set to witness the drama. One of the producers reasoned that there was no communication or agreement between the industry and the federation on the matter, but in vain. The union members still insisted that the dancers' payments be routed through them. When the dance coordinator argued that this amounted to extortion and an assault on his livelihood, a heated war of words ensued. Producer Tanuj Garg and executive producer Deepika Gandhi spent five hours trying to resolve the stand-off between the warring factions, but the union members left the set only after the coordinator was ousted in the wee hours of Saturday. Tanuj says, “It's unfortunate that producers suffer such unnecessary nuisance and stress while shooting in Mumbai. Anyway, what matters is that the song was completed as planned.“
A COMMON MENACE
This, as much as we'd like it to be, wasn't a stray incident. Over the last few months, similar ruckus has happened on the sets of filmmakers like Madhur Bhandarkar, Milan Luthria and Nikkhil Advani. Madhur, who has shot almost all his films in Mumbai, says that he continues to face issues even after two decades in the business. He presses the fact that for years, filmmakers have been campaigning for the one-window-one-permission plan, which can simplify the process for seeking permission to shoot films in Mumbai.
“The plan is still stuck in limbo,“ says Madhur, whose Indu Sarkar set in Karjat was invaded by the federation workers. He adds, “As on date, if we have to shoot anywhere in and around Mumbai, we need permissions from many bodies; each one of them has to be approached individually, which is time-consuming. There are thousands of workers' bodies and their representatives that land up on the set with the intention of making some quick buck. When you invest money to procure permission for a location and block a top star's dates, you don't want work to stop. You'd rather 'resolve' the matter amicably instead of halting the shoot for hours on end. Also, there are too many bodies representing the same categories of employees. They stamp on each other's feet, and in the bargain, the producers suffer monetarily and otherwise.“
FACTIONAL WARS IN FWICE ADD TO WOES
According to industry insiders, the situation has worsened over the last three years, particularly after FWICE chief Dharmesh Tiwari passed away. The federation's new governing heads have not been able to save it from getting fragmented, which has only made matters worse for producers who have to deal with every group separately.
Producer Mukesh Bhatt rues that even calling the cops doesn't help much. He adds, “Lately, there have been quite a few incidents of federation workers creating a ruckus on sets. I am not surprised that despite being the hub of show business, most film and TV show shoots have moved out of Mumbai. The ones that are here might also pack up soon. Unless absolutely necessary, no one wants to shoot here anymore. You see, workers and producers have to co-exist; dadagiri is no solution to any problem. The rules followed by the federation are age-old and don't fit into the scheme of things today. They need to revamp their way of functioning and their set of regulations.“
WILL FWICE BE DONE AWAY WITH?
A case for doing away with the FWICE is pending before the Competition Commission of India for the last 18 months and a decision is expected next month. Shoot disruptions are becoming increasingly common and producers are regularly inconvenienced by the ego wars and politics between industry factions. BMC and police woes only compound the problem. Siddharth Roy Kapur, the head of the Film and Television Producers Guild of India, says, “The FWICE matter is sub judice; the commission is looking into the monopolistic and restrictive trade practices being indulged in by these associations, and a ruling is expected very soon.“
Producer Sandeep Singh points out another disturbing trend - increasing animosity amidst producers because of the problems they face while tackling the federation workers and resolving other issues. He says, “We're fragmented as an industry; we don't support each other. TV producers and channels are far better in that sense, they stand united in the face of a problem. Filmmakers are distracted - they first seek permissions, and then start fighting rabble rousers due to which the films suffer. There's a reason filmmakers run away from Mumbai for their shoots. As far as the case is concerned, even serious ones take five years to reach a conclusive judgement in our country. I don't think our case matters so much to the government.“
BT was present on the set to witness the drama. One of the producers reasoned that there was no communication or agreement between the industry and the federation on the matter, but in vain. The union members still insisted that the dancers' payments be routed through them. When the dance coordinator argued that this amounted to extortion and an assault on his livelihood, a heated war of words ensued. Producer Tanuj Garg and executive producer Deepika Gandhi spent five hours trying to resolve the stand-off between the warring factions, but the union members left the set only after the coordinator was ousted in the wee hours of Saturday. Tanuj says, “It's unfortunate that producers suffer such unnecessary nuisance and stress while shooting in Mumbai. Anyway, what matters is that the song was completed as planned.“
This, as much as we'd like it to be, wasn't a stray incident. Over the last few months, similar ruckus has happened on the sets of filmmakers like Madhur Bhandarkar, Milan Luthria and Nikkhil Advani. Madhur, who has shot almost all his films in Mumbai, says that he continues to face issues even after two decades in the business. He presses the fact that for years, filmmakers have been campaigning for the one-window-one-permission plan, which can simplify the process for seeking permission to shoot films in Mumbai.
“The plan is still stuck in limbo,“ says Madhur, whose Indu Sarkar set in Karjat was invaded by the federation workers. He adds, “As on date, if we have to shoot anywhere in and around Mumbai, we need permissions from many bodies; each one of them has to be approached individually, which is time-consuming. There are thousands of workers' bodies and their representatives that land up on the set with the intention of making some quick buck. When you invest money to procure permission for a location and block a top star's dates, you don't want work to stop. You'd rather 'resolve' the matter amicably instead of halting the shoot for hours on end. Also, there are too many bodies representing the same categories of employees. They stamp on each other's feet, and in the bargain, the producers suffer monetarily and otherwise.“
FACTIONAL WARS IN FWICE ADD TO WOES
According to industry insiders, the situation has worsened over the last three years, particularly after FWICE chief Dharmesh Tiwari passed away. The federation's new governing heads have not been able to save it from getting fragmented, which has only made matters worse for producers who have to deal with every group separately.
Producer Mukesh Bhatt rues that even calling the cops doesn't help much. He adds, “Lately, there have been quite a few incidents of federation workers creating a ruckus on sets. I am not surprised that despite being the hub of show business, most film and TV show shoots have moved out of Mumbai. The ones that are here might also pack up soon. Unless absolutely necessary, no one wants to shoot here anymore. You see, workers and producers have to co-exist; dadagiri is no solution to any problem. The rules followed by the federation are age-old and don't fit into the scheme of things today. They need to revamp their way of functioning and their set of regulations.“
WILL FWICE BE DONE AWAY WITH?
A case for doing away with the FWICE is pending before the Competition Commission of India for the last 18 months and a decision is expected next month. Shoot disruptions are becoming increasingly common and producers are regularly inconvenienced by the ego wars and politics between industry factions. BMC and police woes only compound the problem. Siddharth Roy Kapur, the head of the Film and Television Producers Guild of India, says, “The FWICE matter is sub judice; the commission is looking into the monopolistic and restrictive trade practices being indulged in by these associations, and a ruling is expected very soon.“
Producer Sandeep Singh points out another disturbing trend - increasing animosity amidst producers because of the problems they face while tackling the federation workers and resolving other issues. He says, “We're fragmented as an industry; we don't support each other. TV producers and channels are far better in that sense, they stand united in the face of a problem. Filmmakers are distracted - they first seek permissions, and then start fighting rabble rousers due to which the films suffer. There's a reason filmmakers run away from Mumbai for their shoots. As far as the case is concerned, even serious ones take five years to reach a conclusive judgement in our country. I don't think our case matters so much to the government.“
CINTAA breaks away from parent body FWICE, alleging corruption
7:52 AM
Neha Maheshwri (BOMBAY TIMES; December 29, 2016)
This is a shocker of a
divorce. The Cine And TV Artists Association (CINTAA) has ended its
58-year-long association with its parent body, the Federation of Western
Indian Cine Employees (FWICE), citing 'unethical practices'. The
decision was taken on November 1 after the governing body allegedly
failed to address
CINTAA's concerns.
Sushant Singh, general secretary and spokesperson, CINTAA, says, “Our biggest issue was the unethical practices by Junior Artists Association (JAA) and Mahila Kalakar Sangh (MKS), under the garb of job-loss compensation and job-loss compensation and closed membership. They may claim to be making new members, but it's just on paper.“
He adds, “Their combined strength is around 2,000 members, which doesn't suffice the producers' requirements. They don't admit new members, thinking it would affect the job prospects of the old ones. It's a vicious cycle. Due to shortage of junior artistes, producers are forced to hire outsiders. The association will then raise a ruckus demanding compensation for loss of job, saying producers didn't hire their members. Isn't that unfair? Why can't they take in some new members instead? It has become an extortion racket. We decided to break away from the federation because they never objected to this practice, which in fact is the reason why a case has been filed against all its affiliates in Competition Commission of India.“
Sushant elaborates, “Those producers who didn't want to pay job-loss compensation, sent us applications of junior artistes in bulk, thus doubling CINTAA's membership between 2010-15. But this put our reputation at stake as our members can't be employed as junior artistes.“ He adds, “It put us in a precarious position, but how do you compromise on principles?“
However, Dilip Pithwa, Honorary General Secretary, FWICE, counters, “These allegations are baseless. We have ended many practices, including job-loss compensation, and CINTAA is aware of it. They need to furnish proof if they believe otherwise. We too keep hearing about discrepancies in CINTAA, but we can't point fingers without proof. They have indirectly hinted that we should dissociate from JAA and MKS, but that's not acceptable. We are here to fight for workers' rights and can't ignore their welfare.“
He adds, “We have always addressed CINTAA's grievances, but a solution can't be arrived at overnight. They didn't even wait for us to come up with a solution.“
Sushant Singh, general secretary and spokesperson, CINTAA, says, “Our biggest issue was the unethical practices by Junior Artists Association (JAA) and Mahila Kalakar Sangh (MKS), under the garb of job-loss compensation and job-loss compensation and closed membership. They may claim to be making new members, but it's just on paper.“
He adds, “Their combined strength is around 2,000 members, which doesn't suffice the producers' requirements. They don't admit new members, thinking it would affect the job prospects of the old ones. It's a vicious cycle. Due to shortage of junior artistes, producers are forced to hire outsiders. The association will then raise a ruckus demanding compensation for loss of job, saying producers didn't hire their members. Isn't that unfair? Why can't they take in some new members instead? It has become an extortion racket. We decided to break away from the federation because they never objected to this practice, which in fact is the reason why a case has been filed against all its affiliates in Competition Commission of India.“
Sushant elaborates, “Those producers who didn't want to pay job-loss compensation, sent us applications of junior artistes in bulk, thus doubling CINTAA's membership between 2010-15. But this put our reputation at stake as our members can't be employed as junior artistes.“ He adds, “It put us in a precarious position, but how do you compromise on principles?“
However, Dilip Pithwa, Honorary General Secretary, FWICE, counters, “These allegations are baseless. We have ended many practices, including job-loss compensation, and CINTAA is aware of it. They need to furnish proof if they believe otherwise. We too keep hearing about discrepancies in CINTAA, but we can't point fingers without proof. They have indirectly hinted that we should dissociate from JAA and MKS, but that's not acceptable. We are here to fight for workers' rights and can't ignore their welfare.“
He adds, “We have always addressed CINTAA's grievances, but a solution can't be arrived at overnight. They didn't even wait for us to come up with a solution.“
Fortnight of fund crunch: Bollywood still groans under cash crisis
8:02 AM
Bharati Dubey (MID-DAY; November 21, 2016)
The cash crisis sparked by the overnight demonetization of high value currency notes has dealt a blow to Bollywood with daily wage workers struggling to keep the fire in their kitchens burning. The Federation of Western India Cine Employees (FWICE), which controls 22 unions covering various crafts, held a meeting to discuss various modes of payment to daily wage earners.
FWICE general secretary Dilip Pithwa said, “A few suppliers and producers are now issuing ‘group cheques’. Workers have been clubbed into groups. The cheque is made out in the name of one worker, who withdraws the money and disburses it to the others. In our industry, many workers still don’t have a bank account, but we have no choice but to make cheque payment mandatory.”
Pithwa said the heads of various unions under FWICE have adopted cheque payment, but a few categories like carpenters, junior artistes and other technicians are still paid on a daily basis. "A supplier who used to distribute Rs 1 lakh per day, is now able to withdraw Rs 50,000 a week. So, they are now merely managing to pay Rs 50-100 as conveyance allowance to daily wage workers,” he adds.
Pappu Lekhraj of the Junior Artistes’ Association says cheque payment isn’t a feasible solution for daily wage earners. “We are running to banks and petrol pumps to get money, but the withdrawal limit is coming in the way of payment. We have started maintaining an attendance register for all workers so that when things ease out, we will clear their payment," he says.
A member of the Mahila Kalakar Sangh, who is working on Sanjay Leela Bhansali’s Padmavati and another small-budget film, alleges, “A few producers have put payment on hold while some others are continuing paying in Rs 500 and Rs 1000 notes. I am unable to get change for the big notes. Those who agree insist on taking a cut.”
Gangeshwar Srivastav of Film Studios Setting and Allied Mazdoor Union says workers have no choice but to accept the old notes and get it exchanged at banks. “If they don't, they might lose their jobs. But we plan to take up the issue with producers.”
Producer Mukesh Bhatt says the industry’s day to day operations have been crippled following demonetization. “We can hand out cheques to contractual employees, but what about carpenters, spot boys and junior artistes? I cannot ask them to work on credit. I cannot pay them in cash because I cannot withdraw enough money. Work is suffering and many have postponed shoots. Television producers, who have to deliver daily episodes, are reeling under the crisis.”
FWICE threatens to disrupt shoot of Tigmanshu Dhulia's next unless he clears Bullett Raja's dues
7:50 AM
Anirban Das (MID-DAY; May 5, 2016)
Three years after Saif Ali Khan and Sonakshi Sinha-starrer Bullett Raja released, producers Tigmanshu Dhulia and Rahul Mittra have been accused of not clearing workers’ dues to the tune of Rs 40 lakh.
A source says, “Several unit hands, including the art director, are still awaiting payment. Last year in July, the Federation of Western India Cine Employees (FWICE) issued a non-cooperation notice against Tighmanshu and Rahul, but they have still not cleared the dues. The workers have threatened to stall the shoot of Dhulia’s next film when it rolls in June.”
Dhulia, on his part, says “many people had lost money” after Bullett Raja failed to set the cash registers ringing. “Even I also lost R 65 lakh. But I am compensating the due payment. The (same) art director is working with me on my next film based on Subhash Chandra Bose,” he explains.
However, Rahul has a different story to offer. He says the unit hands were quoting different figures at different points of time. “How can anyone demand a random amount like Rs 40 lakh? The due amount is just Rs 2 lakh. Previously, they asked for Rs 7 lakh; then it became Rs 11 lakh. The Western India Film Producers’ Association has asked me not to make any payment since they are demanding an unjustified amount. I will pay them once the association resolves the matter,” he adds.
Dilip Pithwa, general secretary of FWICE, defends the workers involved with Bullett Raja. “The film released in 2013 and it is unfair if people have still not been paid. The federation had also sent a letter to Rahul’s current employer, Wave Pictures, on April 26 and the break-up of money on that letter also stated that the due amount is over Rs 40 lakh,” he says.
FWICE to conduct routine raids to ensure that industry gets second Sunday of every month off
7:36 AM
Anirban Das (MID-DAY; April 6, 2016)
Producers are yet to renew their memorandum of understanding (MoU) with the Federation of Western India Cine Employees (FWICE), but the workers’ body claims that one of their demands — compulsory holiday on second Sunday of every month — has been accepted unofficially. To ensure that members of all 22 bodies of the FWICE are rested on that particular day, senior members of the federation will conduct raids on sets across the city.
A source says, “Though signing of the MoU has been inordinately delayed, the federation wants to ensure that the second Sunday holiday rule is implemented.” Interestingly, around 25 to 30 cars packed with FWICE members will move around the city as part of the inspection on April 10. “Massive raids will be conducted in and around Mumbai. If any member affiliated to the federation is found working, they will be requested to pack up and go home,” says the source and adds, “Calls will also be made to different parts of India to ensure that no films or TV shows are being shot on April 10.”
Dilip Pithwa, general secretary of FWICE, says, “The producers had agreed to the second Sunday off plan from April 2016. We will try and implement the rule even though the final MoU, which is being delayed, is yet to be formed. Our members will inspect sets in Mumbai.”
Second Sunday will be 'rest day' for TV industry
7:45 AM
Actors are thrilled about the idea, but producers believe it will send their schedules in a tizzy. BT talks to both parties and finds out if they can reach a consensus
Neha Maheshwri Bhagat (BOMBAY TIMES; March 9, 2016)
The television industry is
known for toiling relentlessly to give us our daily dose of
entertainment. Due to the frenetic pace, actors and technicians are
hardly left with any time to unwind. However, there is some respite in
sight for them as the Federation of Western India Cine Employees (FWICE)
has decided to make every second Sunday a mandatory holiday for the TV
industry from April 1. While artistes have welcomed the move, producers
are worried about its adverse effects on the telecast of their shows.
Dilip Pithwa, Honorary General Secretary, FWICE, reasons, “We have decided to take a holiday on every second Sunday. The producers aren't supportive as they don't want to shell out extra money for a holiday that will be considered paid leave. Do they realise the rising frustration levels of the workers working in the same environment day-in and day-out? What they don't know is that the worker pays another member to fill in for him on a particular day from his own pocket. They may be hired on the basis of salary, but they are actually paid for the number of days they shoot; they don't even get overtime.“
He adds this issue can be addressed if enough planning is done in advance and explains, “If a producer can holiday abroad without worrying about the telecast of their shows, why can't they manage it by making second Sunday a mandatory off? They can work towards getting scripts in advance, so that they can keep a bank of episodes ready.“
ACTORS GLAD TO GET A DAY OFF
Gautam Rode, currently seen in Suryaputra Karn, says, “The mandatory off will make an actor's life much easier, especially when you are shooting away from the city. Many actors shoot for 30 days, which has an adverse effect on their health and performance. Should a situation arise, I'm sure producers can manage without shooting for two days in a month.“
Ssharad Malhotra, the male lead in Kasam, seconds the actor, “It's a viable idea if executed well. We slog daily and need an off to replenish our energy. But when telecast issues crop up, we don't mind shooting an extra day as we understand that TV is a deadline-driven medium. Contrary to the general perception, an actor doesn't get time for his personal life. Better time and resource management would surely help at all levels.“
Actress Meghna Malik calls the current TV scenario a 'war zone' rather than a 'work zone'. “The TV industry isn't equipped to
give technicians, actors or producers even the fixed calendar holidays
as telecast deadlines have to be met. It's a work-till-you-drop-dead
policy. It is high time that things change.“
However, some actors feel they should get an off on weekdays. Actress Arti Singh says, “The industry should be more organised. Ideally, we need four holidays in a month. We should get a weekly holiday on a working day as we don't face gruelling traffic on Sunday.“
Sana Amin Sheikh adds, “We also have important chores to run, which can't happen on Sundays. But if shows are aired seven days a week, it will be difficult to get a holiday, especially for lead actors. I am used to this, so I don't mind.“
WHY IT CAN'T BE ACHIEVED
The producers have been averse to the proposed idea as they believe it would result in confusion on set and hamper the telecast. They suggest that everyone can take a weekly off after coming to a consensus. Producer Rahul Kumar Tewary says, “We haven't been informed about the development as yet. It should be a unanimous decision. No individual or association can take a stand, which impacts the entire industry. Meeting the deadline for delivering content in shows, which air six days a week, is a difficult feat in itself. We also incur late delivery charges if an episode is sent to the channel beyond the decided hours. Our team is working round-the-clock to meet the telecast demands as well address various issues at the shoot. The weekly/monthly offs without implementing the required procedures will affect shows and deliveries.“
Producer Rajan Shahi asserts that it's a misconception that the television industry works without a break. He elaborates, “There are some who deviate, and that issue needs to be addressed immediately. The unit gets breaks at regular intervals (usually four days off in a month) to rest and improve its efficiency. I myself give breaks according to the unit's convenience.“ He adds that fixing a day off isn't a feasible option as people might prefer to take a holiday on another day. “A holiday is necessary and mandatory, but those working should get to decide when they want to take an off,“ says Rajan.
Producer Sumeet Mittal emphasises, “We are in favour of granting an off to the entire cast and crew as they are overworked, but it's not feasible to commit a particular day for it. With all daily soaps airing seven days a week, it's impossible to do so. What if the telecast is stuck or an emergency situation crops up?“
NO CONSENSUS YET
Amit Behl, joint secretary of CINTAA (Cine and Television Artistes' Association), member of the dispute committee and Senior Vice President of FWICE, feels that both the parties have a valid point. He says, “A second Sunday off was a valid rule in the early '90s, when the deliverables weren't that high. Soon, a day-and-a-half shift (12 hours) became a regular feature. In the current scenario, where we are prone to casualties and other issues hampering the telecast, the broadcasters (before the October 2015 strike) passed a ruling that all producers will keep a bank of at least 10 episodes for their shows. Unfortunately, not many follow the rule. It's primarily because the scripts don't come in advance.“
However, he adds that it won't be right to blame anyone as everyone is fighting the ratings war. He explains, “I am fine with the idea of making second Sundays a mandatory holiday, provided producers are also given leeway to shoot on that particular day if the situation demands so. They do seek permission when they do a 2 pm to 2 am odd shift. I also second the producers, who propose that taking a holiday should be mutually decided upon, as we are not in a government job. We at CINTAA are still not clear till we have a detailed discussion with the producers' association and the broadcasters.“
Director Ismail Umarr Khan feels, “We can easily handle the pressure on an odd day with the second unit filling in for the first, which was a norm earlier. A unit can easily take the pressure of one episode. Every technician wants a holiday. I don't think anyone is against taking an off on Sundays. The bottom line is, workers will have a life.“
Dilip Pithwa, Honorary General Secretary, FWICE, reasons, “We have decided to take a holiday on every second Sunday. The producers aren't supportive as they don't want to shell out extra money for a holiday that will be considered paid leave. Do they realise the rising frustration levels of the workers working in the same environment day-in and day-out? What they don't know is that the worker pays another member to fill in for him on a particular day from his own pocket. They may be hired on the basis of salary, but they are actually paid for the number of days they shoot; they don't even get overtime.“
He adds this issue can be addressed if enough planning is done in advance and explains, “If a producer can holiday abroad without worrying about the telecast of their shows, why can't they manage it by making second Sunday a mandatory off? They can work towards getting scripts in advance, so that they can keep a bank of episodes ready.“
ACTORS GLAD TO GET A DAY OFF
Gautam Rode, currently seen in Suryaputra Karn, says, “The mandatory off will make an actor's life much easier, especially when you are shooting away from the city. Many actors shoot for 30 days, which has an adverse effect on their health and performance. Should a situation arise, I'm sure producers can manage without shooting for two days in a month.“
Ssharad Malhotra, the male lead in Kasam, seconds the actor, “It's a viable idea if executed well. We slog daily and need an off to replenish our energy. But when telecast issues crop up, we don't mind shooting an extra day as we understand that TV is a deadline-driven medium. Contrary to the general perception, an actor doesn't get time for his personal life. Better time and resource management would surely help at all levels.“
Actress Meghna Malik calls the current TV scenario a 'war zone' rather than a 'work zone'. “The TV industry isn't equipped to
give technicians, actors or producers even the fixed calendar holidays
as telecast deadlines have to be met. It's a work-till-you-drop-dead
policy. It is high time that things change.“However, some actors feel they should get an off on weekdays. Actress Arti Singh says, “The industry should be more organised. Ideally, we need four holidays in a month. We should get a weekly holiday on a working day as we don't face gruelling traffic on Sunday.“
Sana Amin Sheikh adds, “We also have important chores to run, which can't happen on Sundays. But if shows are aired seven days a week, it will be difficult to get a holiday, especially for lead actors. I am used to this, so I don't mind.“
WHY IT CAN'T BE ACHIEVED
The producers have been averse to the proposed idea as they believe it would result in confusion on set and hamper the telecast. They suggest that everyone can take a weekly off after coming to a consensus. Producer Rahul Kumar Tewary says, “We haven't been informed about the development as yet. It should be a unanimous decision. No individual or association can take a stand, which impacts the entire industry. Meeting the deadline for delivering content in shows, which air six days a week, is a difficult feat in itself. We also incur late delivery charges if an episode is sent to the channel beyond the decided hours. Our team is working round-the-clock to meet the telecast demands as well address various issues at the shoot. The weekly/monthly offs without implementing the required procedures will affect shows and deliveries.“
Producer Rajan Shahi asserts that it's a misconception that the television industry works without a break. He elaborates, “There are some who deviate, and that issue needs to be addressed immediately. The unit gets breaks at regular intervals (usually four days off in a month) to rest and improve its efficiency. I myself give breaks according to the unit's convenience.“ He adds that fixing a day off isn't a feasible option as people might prefer to take a holiday on another day. “A holiday is necessary and mandatory, but those working should get to decide when they want to take an off,“ says Rajan.
Producer Sumeet Mittal emphasises, “We are in favour of granting an off to the entire cast and crew as they are overworked, but it's not feasible to commit a particular day for it. With all daily soaps airing seven days a week, it's impossible to do so. What if the telecast is stuck or an emergency situation crops up?“
NO CONSENSUS YET
Amit Behl, joint secretary of CINTAA (Cine and Television Artistes' Association), member of the dispute committee and Senior Vice President of FWICE, feels that both the parties have a valid point. He says, “A second Sunday off was a valid rule in the early '90s, when the deliverables weren't that high. Soon, a day-and-a-half shift (12 hours) became a regular feature. In the current scenario, where we are prone to casualties and other issues hampering the telecast, the broadcasters (before the October 2015 strike) passed a ruling that all producers will keep a bank of at least 10 episodes for their shows. Unfortunately, not many follow the rule. It's primarily because the scripts don't come in advance.“
However, he adds that it won't be right to blame anyone as everyone is fighting the ratings war. He explains, “I am fine with the idea of making second Sundays a mandatory holiday, provided producers are also given leeway to shoot on that particular day if the situation demands so. They do seek permission when they do a 2 pm to 2 am odd shift. I also second the producers, who propose that taking a holiday should be mutually decided upon, as we are not in a government job. We at CINTAA are still not clear till we have a detailed discussion with the producers' association and the broadcasters.“
Director Ismail Umarr Khan feels, “We can easily handle the pressure on an odd day with the second unit filling in for the first, which was a norm earlier. A unit can easily take the pressure of one episode. Every technician wants a holiday. I don't think anyone is against taking an off on Sundays. The bottom line is, workers will have a life.“
Firoz Nadiadwala, Anees Bazmee at loggerheads
7:36 AM
Bazmee claims he hasn't received dues; Nadiadwala says that FWICE is being misled
Sanyukta Iyer (MUMBAI MIRROR; February 9, 2016)
Producer Firoz Nadiadwala and writer-director Anees Bazmee have been at
loggerheads since August 28, 2015 when Nadiadwala filed a complaint at
the Amboli police station against Bazmee for forcefully stopping the
post-production work of their last collaboration together - Welcome
Back, which featured John Abraham, Anil Kapoor, Shruti Haasan amongst
other actors and made it into the 100-crore club, a week after its
release on September 4.
Five months later, Bazmee along with
the support of the Federation of Western India Cine Employees (FWICE)
accused Nadiadwala of fraud and theft and filed a complaint at the 63rd
Court of Andheri. There are also 12 other complainants who are claiming
that they have not received their fees. These include the film's writer
Rajeev Kaul, cameraman Kabir Lal and make-up artist Basharat Khan.
But Nadiadwala claims that Bazmee wants more money and wishes to tarnish his reputation. "The Federation is an honest governing body, which is being blind-sided by Bazmee. He has always wanted more money, but I've paid his full and final dues and owe him nothing," Nadiadwala informed Mirror.
Bazmee counters this by saying that several cheques, which have been submitted to the Federation and are not on his name, have bounced and that is why the Federation has also issued a 'Non-co-operative directive', which forces Nadiadwala to clear all his dues before he rolls with any other project.
Nadiadwala continues to maintain that he was repeatedly blackmailed and had even sent a letter via his lawyers to the Federation to not deposit those cheques. "These stories are being spun around so that Nadiadwala does not have to pay his dues," Bazmee argues.
Leading this debate from either side, Dilip Pithwa of FWICE informed Mirror that he was busy and could not comment at the moment, while Vikas Mohan, Vice-Chairman, Indian Film and Television Producers Council (IFTPC) stated that the battle is internal and will be settled by a joint-committee of both the parties. "I have to see to it that the interest of the producer is taken care of. I am not going to address this matter publicly,"
Sanyukta Iyer (MUMBAI MIRROR; February 9, 2016)
Producer Firoz Nadiadwala and writer-director Anees Bazmee have been at
loggerheads since August 28, 2015 when Nadiadwala filed a complaint at
the Amboli police station against Bazmee for forcefully stopping the
post-production work of their last collaboration together - Welcome
Back, which featured John Abraham, Anil Kapoor, Shruti Haasan amongst
other actors and made it into the 100-crore club, a week after its
release on September 4. 
Five months later, Bazmee along with
the support of the Federation of Western India Cine Employees (FWICE)
accused Nadiadwala of fraud and theft and filed a complaint at the 63rd
Court of Andheri. There are also 12 other complainants who are claiming
that they have not received their fees. These include the film's writer
Rajeev Kaul, cameraman Kabir Lal and make-up artist Basharat Khan. But Nadiadwala claims that Bazmee wants more money and wishes to tarnish his reputation. "The Federation is an honest governing body, which is being blind-sided by Bazmee. He has always wanted more money, but I've paid his full and final dues and owe him nothing," Nadiadwala informed Mirror.
Bazmee counters this by saying that several cheques, which have been submitted to the Federation and are not on his name, have bounced and that is why the Federation has also issued a 'Non-co-operative directive', which forces Nadiadwala to clear all his dues before he rolls with any other project.
Nadiadwala continues to maintain that he was repeatedly blackmailed and had even sent a letter via his lawyers to the Federation to not deposit those cheques. "These stories are being spun around so that Nadiadwala does not have to pay his dues," Bazmee argues.
Leading this debate from either side, Dilip Pithwa of FWICE informed Mirror that he was busy and could not comment at the moment, while Vikas Mohan, Vice-Chairman, Indian Film and Television Producers Council (IFTPC) stated that the battle is internal and will be settled by a joint-committee of both the parties. "I have to see to it that the interest of the producer is taken care of. I am not going to address this matter publicly,"
Workers stall Mohenjo Daro set construction demanding higher wages; producers, FWICE offer conflicting views
7:47 AM
Asira Tarannum (MID-DAY; June 30, 2015)
Ashutosh Gowariker’s magnum opus Mohenjo Daro has suffered a setback workers refusing to construct the set at Ramdev Studios in Naigaon over payment issues. They have resorted to a ceasework since Sunday claiming that they should be paid one and half times their daily wage as they are working at a location outside Mumbai.
Gangeshwar Shrivastav, general secretary of Allied Mazdoor Union, says: “The producers have told us that the FWICE has recently passed a circular stating workers will only be paid their regular wages, and not 1.5 times of it as followed over the last 30 years. So workers have stopped the set work. I met them yesterday and am waiting for the makers to take a call on this.” The film’s line producer Lawrence D’Souza confirmed news of the ceasework, saying, "But as per FWICE’s instructions, we are paying them their regular wages.”
Interestingly, however, general secretary of FWICE Dilip Pithwa has a different version to offer. He claims that the workers are not only being given one and half times their pay but the set erection work has also resumed. “The work was stopped on Sunday due to illegal practices. The workers wanted to do their work, but some mischievous elements stalled it. The work has started and the workers are being paid 1.5 times their wages,” he adds.
Gowariker remained unavailable for comment.
High Court takes teeth out of strike threat
7:42 AM
Shoots of films and TV serials will continue even if workers' body stops work on May 6, with the producers granted permission to employ non-union labour to avoid disruption
Roshmila Bhattacharya (MUMBAI MIRROR; May 5, 2015)
If the Federation of Western India Cine Employees (FWICE) has its way, work will grind to a standstill in B'town and the TV industry from May 6. Around 21-22 different crafts, including spotboys, lightmen and other technicians, will go on strike.
However, the producers' associations is confident that this impasse is not likely to happen following a court order that gives them permission to shoot with anybody from any association should the Federation go ahead with its threat. The reason for the discord is the refusal of the producers' body to sign a MoU demanding a 50 per cent hike.
"How can we agree to such a demand? It's completely unacceptable," says an aggrieved T P Aggarwal, President of the Indian Motion Picture Producers' Association (IMPPA). "It would mean that a lightman or a spotboy who earns Rs 1,000 a day would now end up drawing Rs 45,000 every month. That is more than what my office boy or even a MBA graduate is likely to get."
Aggarwal informs that after the MoU signed five years ago expired on February 28, the FWCI demanded a 50 per cent hike for its members. "We offered them a 10 per cent raise. When they threatened to stop working, we moved court and got a High Court order which gives a producer the right to work with any association, headed by any political party, from the MNS and the Shiv Sena to the BJP and Congress, to ensure that work is not interrupted. Members of the Federation have been told to maintain a distance on the sets so there is no disruption."
A source from the industry on condition of anonymity pointed out that at a time when even big corporate houses are going through trying times, the Federation's highhanded demand is unjustified. And the court's order could bring about a policy of free trade will not only styme the Federation's plans for a strike but also bring party workers into the industry which could hurt them more.
"Free trade means there no associations, no internal camaraderie between bodies. One can work with anyone and if he agrees to do the same job for less money, producers will no longer turn to members of the association. That's not an ideal solution because then how will its members keep their kitchen fires burning."
Dilip Pithwa, general secretary of FWICE, was unreachable but he has been quoted as saying that producers will be given time to reconsider.
While admitting that "as of now the strike is on", Aggarwal was optimistic that today, the Federation would sit across the table with the producers' body and reach an agreement to resolve the issue.
Film workers’ body to meet the producers today over wage hike demands
7:33 AM
Bharati Dubey (MID-DAY; April 29, 2015)
The Federation of Western India Cine Employees (FWICE), which had threatened to launch a strike from May 6, will meet film producers today for a discussion on its demands. In its fresh MoU, the workers’ body had called for a hike in daily wages and producers allegedly did not renew the agreement. Sources say the meeting will try to find a ‘middle ground’ so that film and TV show shoots are not hit.
FWICE president Kamlesh Pandey says, “No association affiliated to us is in favour of a strike. We are waiting for renewal of the MoU reflecting the terms and conditions and a reasonable hike in wages mutually agreed upon by the FWICE and the producer associations. It was due on March 1 and they have not responded to the new MoU until now.”
The producers have refused to sign the agreement stating that an inquiry has been ordered by the Competition Commission of India (CCI) into the functioning of the film and TV industry, and the contents of the MoU. “A case has also been filed by a film producer. How can we sign the MoU in such a situation?” asks a senior producer, who did not wish to be named.
Pandey, however, argues, “The producer associations are using it as an excuse to delay a justified, reasonable and fair increase in wages compatible with the rate of inflation.”
Producers allege that the hike demanded by FWICE is about 50 per cent of their present wage, which they cannot pay as the industry is going through a rough phase with very few films working at the box office. But Dilip Pithwa, general secretary of FWICE, says, “The producers should first come to the negotiation table. They are ready to pay Rs 10,000 to an actor’s spot boy daily, but why can’t our spot boy get Rs 18,000 per month?”
On a daily average, about 400 shoots of films and television serials take place. A source says, “If work stops for a day, the TV industry will incur a loss of Rs 5 crore. As far as films go, one cannot put a figure to it. The sets are standing and rentals have to be paid while getting an actor’s date is tough on the producer’s part in case the shoot is cancelled just for a day.”
Lightman succumbs to heart attack during the shooting of Bajrangi Bhaijaan
8:12 AM
MID-DAY (December 13, 2014)
A 36-year-old lightman died of a cardiac arrest at ND Studio in Karjat on Wednesday. Munib Ansari has been shooting for Kabir Khan’s Bajrangi Bhaijaan for some time now.
Gangeshwar Srivastav, general secretary of Film Studio Setting and Allied Mazdoor Union expressed his grief. “Ansari was in the hotel room when he suffered a heart attack. It was a morning shift and some of our members were present there Ansari suffered a massive attack and died on the spot.”
Ansari lived with his cousin in Mumbai. “His dead body has been sent to his native place and producers have taken care of it. The union expects death compensation of R 7 lakh as he had been working as lightman for nearly 13 years.” adds Srivastav.
The Federation of Western India Cine Employees has already been working a project that will take care of medical issues of workers.
Saddened by Ansari’s death, general secretary of FWICE, Dilip Pithwa said that one does not know what kind of pressure and stress the worker is going through when he comes to work. “We are working towards holding regular health check up or workers. A request letter has been sent to TV producers to donate R 10,000 each that will go towards health care of workers. One hopes they cooperate with us.”
Kabir has taken care of expenses and when contacted, the director said, “It is sad that he suffered a heart attack. He was with me for my other project Phantom as well.”
Film Writer's Association deems Kunal Kohli a plagiarist
8:13 AM
The Association found stark similarities between his and Jyoti Kapoor's script
Ankur Pathak (MUMBAI MIRROR; November 27, 2014)
On Tuesday evening, the Dispute Settlement Committee of the Film Writer's Association passed a decision in favour of Jyoti Kapoor in the plagiarism case she had filed against filmmaker Kunal Kohli.
An expert panel from the FWA went through both the scripts and observed that "some of the situations and sequences are quite unique to merit attention. Taking into account the fact that the respondent (Kunal Kohli) had access to the complainant's script, these points of similarities suggest that the respondent's work was definitely influenced by the complainant's work."
Jyoti had accused Kunal of stealing her script. She had claimed that Kunal met her in January last year and expressed interest in buying a script of hers. Since the duo couldn't agree on credit-sharing and the renumeration, Jyoti, who has previously written Daawat-e-Ishq, took her script to another production house.
She was in for a rude shock when she learnt that Kunal is directing a film, based on the same premise as the script she had shared with him. She filed a case against him with the FWA on October 10 this year, while Kunal maintained that his was an original script written by him and Sukhmini Sadana.
Hours after the FWA verdict, Mirror spoke to Jyoti, who said, "For me, this means truth and justice has prevailed."
However, Kunal reacted sharply to this. Speaking from London, where he has already started shooting the film based on the contested script, he said, "The FWA's decision is based on 3 points that are non-existent in my script. I've appealed against that."
Jyoti maintains that she did not file the case for a monetary settlement. "Kunal needs to stop this film and move on to another script. Since my script has already been acquired by another production house, I am not looking for money. This fight was for one's rights as a writer to pitch one's work without the fear of the idea being stolen."
To which Kunal shot back, saying, "She's lying that she doesn't want money. I have a letter from her lawyer asking for a monetary settlement."
--------------------------
Film writers celebrate Jyoti Kapoor’s victory, but rue lack of respect for original ideas
Bharati Dubey (MID-DAY; November 27, 2014)
The Bollywood writers’ fraternity has hailed the judgment of the Film Writers Association (FWA) upholding Jyoti Kapoor’s plagiarism allegations against filmmaker Kunal Kohli.
The association has stated that Kohli’s upcoming project, Phir Se, has been influenced by the Daawat-E-Ishq writer’s story that she had sent to him much before he completed his script. Jyoti had filed the complaint against Kohli earlier this month.
Vinod Rangnath, chairman of Dispute Settlement Committee of FWA, confirms Jyoti’s victory while the visibly excited writer tells hitlist, “I am glad that we are talking about things like copyright protection and ethics which were almost non-existent in the industry until recently. I look at the FWA judgment as a landmark decision and a moral victory, not only for me but also fellow writers who have faced a similar situation. Until we stand up for our own rights, no one else will.”
Following the verdict, the Federation of Western India Cine Employees (FWICE) has written to the filmmaker asking him to stop work on his project until their meeting with the joint dispute settlement committee of Indian Motion Picture Producers Association about the case takes place on December 10.
Dilip Pithwa, general secretary of FWICE, says: “We have already notified Kunal Kohli about the FWA verdict which has ruled in Jyoti Kapoor’s favour. If he continues shooting for the film, we will launch a non- cooperation movement against him.”
Copyright society needed
While the writers’ community has welcomed Jyoti’s victory, it feels there still are other issues that need to be ironed out. Writer Sanjay Chauhan, who has penned the script for films like I am Kalam and Maine Gandhi Ko Nahin Maara, says the concept of a ‘film industry’ was a misnomer. “Had that been the case, writers would have been paid for research and development for a project, like it happens in the West. I am glad that more writers have started fighting for their rights and the FWA and the Indian Copyright (Amendment) Act have given them the courage to speak out. Of course, there are a few producers like Ritesh Sidhwani who understand the rights of a writer and will encourage you to register your script before sending it to their office,” he states.
Scriptwriters believe that though awareness about their rights is gradually growing, original ideas aren’t worth much. Anand Sivakumaran, who has written for films like Kalyug and Nazar, states, “At the international stage, for every character you create, you have a copyright on it and make money for a lifetime.Here, we can keep fighting individual battles but fundamentally nothing will change unless a copyright society is formed and the amended Act is implemented. In our industry, only money is respected so the one who gets paid Rs 50 crore is held in high regard, not people with original ideas.”
No room for originality?
Though the film industry has been stressing on the fact that content is the king, the ground reality is dramatically different, argues writer-director Amit Masurkar. He says, “The producers don’t respect writers as they are ruled by ‘ stars’. Hearing industry people say that there no good writers in Bollywood makes me laugh as it is all rubbish. We are there and have gone to them with our script but they didn’t bother reading it. They don’t mind buying the rights of a foreign film for Rs 50 lakh but will not pay a writer with an original idea.”
Amit is full of praise for Jyoti for pursuing the case against Kohli. He says plagiarism cases are commonplace in Bollywood. Without divulging the names of those who stole his ideas, he recalls, “I am someone who discusses ideas openly and one of my friends used it to his advantage. A day before his film was to release, he called me up to inform that he has stolen a sequence from my script and asked me not to create a ruckus! On another occasion, a director working with a famed studio lifted the first half of my script and sent it to a star. Luckily, the actor informed me about the same. The film eventually was not made, so I did not knock on FWA’s doors.”
Case file
Writer Jyoti Kapoor filed a case with Film Writers Association (FWA) earlier this month after she came across media reports about Kunal Kohli’s film, Phir Se.
Jyoti found his premise similar to the one she had narrated to him in January 2013. Kunal Kohli denied the allegations but was asked to put his film’s shoot on hold till the case was resolved. The FWA sent both scripts to experts for comparsion and uncanny similarities were found. Producer Trilok Malhotra is now making a film on Jyoti’s script.
Kunal Kohli asked to suspend shoot of Phir Se due to plagiarism charges?
7:54 AM
Bharati Dubey (MID-DAY; November 10, 2014)
Daawat-E- Ishq co-writer, Jyoti Kapoor has filed a complaint with the Film
Writers Association ( FWA) alleging director Kunal Kohli’s next film,
Phir Se, is based on the story she had narrated to him last year. The
case is now pending before the FWA’s dispute settlement committee with
Kohli denying the accusations.An industry source says, “Kapoor’s agency had sent her script to Kunal Kohli early last year. He liked it a lot and when he met her, he suggested certain changes in the script. There were also some issues regarding credit and money. Eventually, the deal did not materialise.” Kapoor is then said to have taken the script to veteran production executive, Trilok Malhotra to make the film.
However, when Kohli announced about his film, she felt that it bore uncanny resemblance to her story. The source adds, “Her agency had e-mailed the script to Kohli. His quotes about his film that have been flashed in the media also indicate that it is Kapoor’s story.
Defending himself, Kohli labels the allegations as a “case of harassment” and questions Kapoor’s claims. “How does she know which film I am making? This is being done just to extort money and so that one can be written about and get their two minutes of fame. Fraud cases like this discourage producer-directors from meeting new talent as you can never predict the intentions of people you meet,” he rues.
Kapoor refuses to divulge details of the case but says, “Neither my producer nor I want any money from Kohli. We just want him to stop making his film. As far as my two minutes of fame is concerned, Mr Kohli should check his facts. I am a graduate of the Film and Television Institute of India and a former journalist.
I have really worked hard to reach where I am in this industry.”
Malhotra, who is making a film with Kapoor’s story, has also filed a case with the Indian Motion Picture Producers Association (IMPPA). Association president, T P Aggarwal confirms the news, saying: “Our member Trilok Malhotra came to us along with the writer with the complaint that he has the rights to the story and Kohli cannot make it. He has already paid the money to the writer. We have written to Kunal Kohli to attend the dispute meeting and he cannot start shooting for the film till issue is resolved.”
Meanwhile, the Federation of Western India Cine Employees (FWICE) has sent a letter to Kohli preventing him from starting the shoot for his film. General secretary of FWICE, Dilip Pithwa says, “The case is currently under dispute. Kohli was called for the dispute settlement committee meeting which he did not attend. So we have sent him a letter asking him not to start shooting for his film till the case is resolved. If he does not comply to our directions, we will be forced to launch a non- cooperation movement against him.”
Both Kohli and president of Film and Television Producer Guild, Mukesh Bhatt denied having received any such letter from the FWICE. Bhatt states, “I have not received any such intimation from the FWICE and I am not saying this to protect my member. Let the FWA compare the two scripts and give its verdict. But nobody has the right to stop anybody’s work.”
Fire that happened on Yeh Hai Mohabbatein sets is now a part of the script?
7:36 AM
Bharati Dubey (MID-DAY; October 27, 2014)
A day after a major fire gutted the sets of Yeh Hai Mohabbatein, the producers have reportedly decided to incorporate the mishap as part of the script. The incident took place in the Killick Nixon Studio, Chandivali, apparently set by a misfired cracker. The blaze quickly spread to the other parts of the studio and destroyed the show’s main set. However, no casualty was reported.
A source from the channel said, “We are modifying our story track. The Bhalla house, which was our main set, has been completely damaged in the incident. So, now the shoot will shift to service apartments in SJ Studio nearby temporarily as reconstruction of the Bhalla house will take at least a month and half.” A unit member said costumes for several Balaji shows were stored in the godown that caught fire and are now unusable. The compressors of the set’s air conditioners are said to have exploded while the lights fell off as the blaze picked up intensity. “About three to four make-up rooms have also been destroyed while the editing room has been partially damaged,” said another source.
Meanwhile, actors of the Balaji Telefilms’ show were back to shoot the very next day of the fire. An actor of the show said, “We were quite shaken by the incident but reported to work the next day. Like they say, the show must go on.”
Dilip Pithwa, general secretary of the Federation of Western India Cine Employees, said the extent of property loss would easily run into crores of rupees. “But I really cannot put a figure to it. Thankfully, none was injured,” he added.
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