On Saturday evening, Dr. Jayantilal Gada of Pen Studios and director-producer Rohit Shetty met the Chief Minister of Maharashtra, Uddhav Thackeray to discuss the reopening of the theatres across the state. The meeting was held in Mumbai, with Kamal Gianchandani (President of Multiplex Association of India & CEO, PVR Pictures), Alok Tandon (CEO, Inox Leisure Ltd), Devang Sampat (CEO, Cinepolis India), and Kunal Sawhney (Chief Operating Officer - Carnival Cinemas) in attendance, where the CM assured that theatres will resume work from October 22 and the Standard Operating Procedures (SOPs) will be shared soon.

An hour or two later, Rohit and Akshay Kumar announced that their policewala drama, Sooryavanshi, will finally release on Diwali this year. In an interview with BT a few weeks ago, Akshay had said, “Even I want to see Sooryavanshi on the big screen. As for the audience and my fans, I’m really grateful to them who, despite waiting for so long, are still waiting and they keep asking for updates on its release.”

Talking about the latest developments which come as a huge relief for the film industry and theatre owners, Kamal Gianchandani said, “It’s delightful that our CM allowed cinemas to reopen from October 22. In our business parlance, a couple of regions together are called the Bombay Territory, one of the largest contributors to a film’s box office, especially if it’s a Hindi film.”

Kamal Gianchandani added, “For a large number of Hindi films to release, it was crucial to have theatres in Mumbai and the rest of Maharashtra running. The announcement by the CM in a very direct way has pushed the business on the road to recovery. We have also been in touch with several producers and from the vantage point that I see this, we’re looking at a very busy six months, starting with Sooryavanshi’s release around Diwali. It gives us a head start. It will be one of the busiest times we have seen in our business. After going through two shut downs and phased reopenings, we, as a team of professionals, are ready to welcome the audience back in.”

About a year ago, when Bombay Times had hosted a video panel discussion with industry stakeholders in the film business, Sooryavanshi opening on a festive weekend was suggested as the right step forward whenever the theatres opened. Akshaye Rathi from Saroj Cinemas, who had strongly supported this suggestion, says, “Over a period of time, we have seen business come back to glory when producers have put forth a commendable commercial outing. Whether it’s Master in the South or Puaada in Punjab... when a sector comes back to business, it needs to shout from rooftops about it. Even though we had some decent films running in cinemas when we reopened briefly last year, the audience sent a clear message that the films were not exciting enough to pull them back in. Sooryavanshi is the breakout film that will push the consumption cycle rolling. With Diwali already booked, we will have many big films queueing up all the way up to the end of January, 2022. The industry was waiting for theatres in Maharashtra to open.”

The list of films awaiting theatrical runs includes Ranveer Singh’s '83 and Jayeshbhai Jordar, Akshay Kumar’s Prithviraj, Saif Ali Khan and Rani Mukerji’s Bunty Aur Babli 2, John Abraham’s Attack and Satyameva Jayate 2, and Aamir Khan’s Laal Singh Chaddha among several others. While going to press, director Kabir Khan announced that 83 would release on Christmas 2021 while Aamir Khan’s Laal Singh Chaddha would release on Valentine’s Day 2022.

Manoj Desai, who operates the G7 and Maratha Mandir theatres in Mumbai, cautions, “Yes, we are happy that finally we also can open our theatres and welcome the audience in, but all these dates have no relevance till we don’t see the SOPs. There are very big films in the pipeline, starting with Sooryavanshi and we are hopeful that we will have big numbers to report when the film releases. The big question is: how many people and in what way will I be allowed to seat in my theatres.”

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Filmmakers welcome SOPs, gear up to shoot across the country
Rishabh Suri (HINDUSTAN TIMES; August 25, 2020)

In a relief for the industry, Union information and broadcasting minister Prakash Javadekar announced on Sunday that all film and television shoots across the country can resume, along with a set of Standard Operating Procedures (SOPs) in place. While shoots had resumed in the main hub of Bollywood, Maharashtra, and in some other parts of the country such as Kolkata, pan-India shoots hadn’t been allowed until now.

SOPs range from only actors facing the camera being exempted from wearing face masks, to ensuring visitors or audiences are barred on sets.

Ashoke Pandit, chief advisor, Federation of Western India Cine Employees (FWICE) welcomes this move. “Now we can go to any state and shoot. It’s not only job opportunities for our industry, but everyone related to shooting,” he says, adding the SOPs are similar to what had been in effect for Maharashtra.

Filmmakers are happy too. Vinil Mathew, who is directing Taapsee Pannu-starrer Haseen Dillruba, says, “While it’s good to have official endorsement, as it will be a guidance for the crews, it all boils down to where you want to shoot, the municipality will decide. We are planning to get on floors in October.”

Echoing similar sentiments is Sabbir Khan, who is helming Nikamma starring Shilpa Shetty Kundra. He says, “SOPs being issued is a great sign. I will probably resume my shoot after the monsoon. I have four-five days of outdoor shoot left.”

The ease to shoot across different locations seems to be a common point of connect. J D Majethia, chairman, Indian Film and TV Producers Council (IFTPC) and producer of the show Bhakarwadi says, “The smallest of things have been kept in mind in these SOPs. Films and web series will benefit a lot, TV was carrying on shoots in a controlled environment.” Agrees trade analyst Joginder Tuteja, who says, “Shooting is needed not just for films which have to come to theatres, but also those planning to come on OTT. We don’t know when theatres will reopen, but atleast those OTT films can resume, or those who have 10-15 days of shoot left.”
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Insiders feel daily wage earners will benefit most from the move
Prashant Singh (HINDUSTAN TIMES; August 25, 2020)

The Coronavirus lockdown has had an adverse impact on everyone, including the showbiz world. And daily wage crew members — such as spot boys, carpenters, tailors and drivers etc. — have been hit hardest. But now, as the Ministry of Information and Broadcasting greenlights shoots with guidelines, the fraternity has welcomed the move, adding it will have an immediate and direct positive impact on daily wagers.

“It has been five months since the lockdown started (on March 25). Do you think it has been easy for people? Not at all,” says filmmaker Nikkhil Advani, who has multiple projects readying to go on the floors now. In fact, last week, when Advani held rehearsals at Film City for Kaashvie Nair’s film (his next production starring Arjun Kapoor and Rakul Preet Singh), a few crew members came up to thank him. “They were like, ‘It’s becoming difficult to keep up with the expenses with every passing day.’ Remember actors, directors or producers can survive this lockdown, but for daily-wagers, it’s an everyday earning,” he says.

Many feel while daily wage crew members will directly benefit, the ministry’s move will impact the entire ecosystem of the film and TV industry. “Of course, the daily wagers stand to benefit from work resuming in full flow. But we also have many actors, especially in the TV world, who work on daily-wage basis. And none of them had earned a penny till TV shows restarted shoot in June. The great thing is now we can look at shooting anywhere in the country,” says Amit Behl, senior joint secretary and chairperson of CINTAA.

Director Anees Bazmee, on his part, feels that a longer lockdown can make things “tougher for many”. “We (filmmakers and actors etc.) have had no issues (due to the lockdown) but the daily wagers have had a really tough time. Unke liye toh roz ki kamaai hoti hai,” says the Welcome (2007) maker, adding: “Ek filmmaker ya actor sirf shauq ke liye bhi film kar sakta hai par for them, it’s their only source of income. Agar yeh kaam nahi hoga toh shayad bahuton ke ghar chulhe bhi nahi jalenge,”

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

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

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

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

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

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

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

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

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

As the ‘boycott China’ chorus grows louder, we find out what’s at stake for Hindi films in China
Prashant Singh and Juhi Chakraborty (HINDUSTAN TIMES; June 19, 2020)

Of late, China has emerged as a lucrative market for Hindi films, though it’s still not anywhere near other overseas countries such as US, UK or Europe. PK which released in China in 2015, Dangal in 2017, Secret Superstar, Bajrangi Bhaijaan (BB) and Hindi Medium in 2018 and Andhadhun have had dream run at the China box office.

However, the present situation in eastern Ladakh, where 20 soldiers of the Indian Army were killed in a violent confrontation with Chinese troops in Galwan Valley late on Monday, has posed the question of whether Indian films will cease to release in the neighbouring country.

While Dangal earned a whopping ₹1,908 crore, Secret Superstar raked in ₹874 crore. Likewise, PK made ₹831 crore, even as Andhadhun touched ₹324 crore figure in China, while BB also crossed ₹300 crore mark.

No more number games
Filmmaker Nikkhil Advani refuses to look at the balance sheets. “If 20 of our soldiers have been brutally killed, there’s no question of even talking or thinking about having our films released there, or how much financial losses — miniscule or big — it will entail. Hypothetically, if we are in such a tense situation with a country that contributes in a big way to our overseas film business, will we think of releasing films there? No, I don’t think so,” he says.

Filmmaker Sanjay Gupta, whose Kaabil released recently in China, admits that China is “undoubtedly the fastest growing movie market in the world”. “But Hindi films don’t have a definite market share there yet, with a very negligible business. So, it’s not like we are going to lose out on a huge pie if we skip China,” says Gupta. Exhibitor-distributor Akshaye Rathi puts it in perspective. “It’s a producer’s call. Money-wise, you don’t stand to lose much. So, our filmmakers can skip it,” he says.

A high probability
Film trade expert Amul Vikas Mohan feels that film industry is most likely to take a stand on the matter. “I will be shocked if they don’t. I understand that China is a brand new market, and movies are doing well there. But regardless of the financial aspect, the patriotic feeling is much stronger and that will affect decisions,” he says. Trade analyst Atul Mohan also agrees that when emotions run high in the country, it won’t be business as usual for the film industry.

Not a big blow
Despite the whole monstrosity about the China market, Rathi notes that revenue-wise, not releasing films in China will not make much of a difference to the overall scheme of things.

“China has a policy where they allow only a limited number of foreign language films to release. So, we weren’t looking at the release of more than three to four Indian films there anyway. Plus, the business policies that the Chinese entertainment industry has is such that out of the big money that a film makes, a very small share comes to the producers,” Rathi explains.

The Covid factor
While it indeed is lucrative for Indian filmmakers to release their films directly on 25,000 screens in China, the Coronavirus pandemic has anyway dented that prospect and cast a cloud of uncertainty about theatres opening in such large numbers.

Joginder Tuteja says, “It will take two months for an Indian film to get a clearance for release there. The films which are going to release are anyway old, they will go there, release silently and come back. It won’t make much of an impact,” he shares.

The big rush!
Till now, a number of Hindi films have hit Chinese big screens starting with 3 Idiots and PK among others. Of late, Hindi films like Hichki, Andhadhun, Kaabil and Mom released in the neighbouring country to varying degrees of success. In April, reports suggested that Hrithik Roshan-starrer Super 30 will release in China once the situation becomes ‘normal’ after Coronavirus pandemic. We tried to reach out to Reliance Entertainment Group CEO Shibasish Sarkar about the same, but he refused to comment.