Sound designer will also be co-producing the film with a Hollywood studio
Avinash Lohana (MUMBAI MIRROR; February 14, 2019)

Ace sound designer, sound editor and mixer, Resul Pookutty, who bagged the Oscar for Best Sound Mixing for Danny Boyle’s 2009 Brit drama Slumdog Millionaire, is now gearing up to direct a Hindi film titled Sarpakal.

It is being penned by Kamlesh Pandey who wrote Rang De Basanti and Delhi-6 for Rakeysh Omprakash Mehra earlier. The film which is on the lines of the Oscar-winning franchise, The Lord of The Rings, takes off next year. Resul will produce the film with a Hollywood studio and it will have a mix of Indian and international actors.

According to a source close to the development, Resul is presently working on another Hindi film, casting for which is underway and that will roll first. “Sarpakal will be heavy on VFX and will be shot both in India and abroad. Resul is slated to begin recce in a few months,” adds the source.

Resul confirmed the news to Mirror, but refused to divulge any details. He leaves for the US soon. He is nominated for a Golden Reel Award at the Motion Picture Sound Editors Guild of America for Best Sound Design for the Rajinikanth and Akshay Kumar-starrer futuristic sci-fi fantasy-adventure, 2.0. He will also be attending the Oscar ceremony, where he had won his prestigious award 10 years ago, on February 24. 

Vinod Ranganath, Chairperson of the Dispute Settlement Committee of the association, responds to the filmmaker
MUMBAI MIRROR (March 31, 2018)

A day after Mirror ran a story by Khalid Mohamed (March 30, Sai Paranjpye: Film Writers Are Vulnerable... They Get A Raw Deal) Vinod Ranganath, Chairperson of the Dispute Settlement Committee of the Screenwriters’ Association (SWA), sent this paper his version of events in the case.

The letter states: “Sai Paranjpye approached our then General Secretary Kamlesh Pandey to help her in the matter of her script of the film Chasme Buddoor. Pandey heard her out and explained to her that we have a dispute settlement committee which handles such matters. He requested her to fill out the complaint form giving details of the case, also attaching her script and her contract with the producer. He also informed her that the Dispute Settlement Committee (DSC) will go through the matter and then take a decision. It was also impressed on her that the DSC is a settlement committee and does not have arbitration or judicial authority.

Sai Paranjpye wanted immediate action to be taken which was not possible without a complaint being registered. She then asked about other options she could pursue. Pandey told her only a judicial court could ensure immediate action as SWA or DSC doesn’t have the power or jurisdiction to stop a films release. She then decided to go to court. So it was not as if the SWA didn’t want to help her. We couldn’t help her without her lodging a formal complaint. This is the reality.”

Manishaa R (DNA; October 25, 2017)

The biopic on beauty baroness, Shahnaz Husain, being made by Puja Bedi, daughter of famed producer, Bobby Bedi, may not star Priyanka Chopra, after all. Instead, sources reveal that Bedi has now sounded the script to Aishwarya Rai Bachchan. Puja, who is also directing the film, was keen on casting Priyanka but her dates are unavailable for the next two years due to her Hollywood commitments. Also, both Bedi and writer Kamlesh Pandey, who is scripting the film, feel Aishwarya will do justice to the part.

THE FIRST CHOICE
Hussain has also expressed a keen desire to have Ash on board. Pandey confirms, “Aishwarya was always our first choice.” He reveals two other contemporary actresses expressed a keen desire to essay the role of Hussain, which spans from the age of 16 to 60. “But we want the tehzeeb and adab of the character to reflect in the actor’s DNA. The vocabulary certainly could not be that of the Facebook and Twitter generation. Aishwarya is perfect, keeping in mind all these prerequisites,” he says.

‘ASH HAS POTENTIAL’
Pandey, who also penned Ash’s comeback film Jazbaa, says, “She has immense potential in comparison to the opportunities that have come her way. Bollywood has been too preoccupied by Aishwarya Rai’s beauty to challenge the actor in her.” Pandey and Bedi are waiting to have a meeting with Ash.

Manishaa R (DNA; September 29, 2017)

Filmmaker Puja Bedi, niece of producer Bobby Bedi is all set to make a biopic on internationally-renowned beauty entrepreneur Shahnaz Husain. The film will be based on Husain’s daughter, Nelofar Currimbhoy’s biography on her mother titled, Flame: The Inspiring Life Of My Mother, of which Bedi acquired the rights last year.

PC would be perfect!
Bedi has roped in writer Kamlesh Pandey of Rang De Basanti fame, to write the story and screenplay of the film. Sources reveal that Priyanka Chopra, Kareena Kapoor Khan, Aishwarya Rai Bachchan and Vidya Balan are some of the names being considered to play the role of the beauty baroness. In an interview, Husain had said that if a biopic on her life was to be made, only Priyanka Chopra would be ideal to portray her on screen.

Work in progress
Kamlesh Pandey confirms, “I am working on the script and screenplay of Shahnaz Husain’s fascinating and inspiring story. The film will trace her successful journey from a naïve, young girl hailing from a conservative Muslim family to one of the most successful businesswomen in the world of beauty,” Pandey reveals.

Bedi will soon be roping a well-known director for the biopic. The film is scheduled to begin early next year.

Avinash Lohana (MUMBAI MIRROR; September 11, 2017)

Writer Kamlesh Pandey, who’s been commissioned to script the Arth remake, on how he plans to give the path-breaking film a contemporary twist
Avinash Lohana (MUMBAI MIRROR; February 3, 2017)

Mirror (October 21) was the first to report that Mahesh Bhatt has sold the remake rights of his path-breaking 1982 marital drama, Arth, to filmmakers Sharat Chandra and Pravesh Bhardwaj. We have now learnt that the duo has roped in Kamlesh Pandey, writer of Rang De Basanti and Delhi-6, to pen the story, screenplay and the dialogues of the remake.

Prod the writer about the new gig and he says, “It is a challenge to remake a film like Arth which I believe was ahead of its time. It was not only about infidelity, but also about the two women (played by Shabana Azmi and Smita Patil) finding true meaning to their lives. While we intend to keep this basic plot line the same—revolving around a man and two women— their relationships will be treated differently keeping the present environment in mind,” says Kamlesh, adding that the remake will also explore other aspects of the story, like why the affair happened, why a woman has to depend on a man, and focus on the individual lives of the trio.

Arth is a semi-autobiographical film about a filmmaker having an extra-marital relationship with an actress for whom he decides to leave his wife. It delved into Bhatt’s real life relationship with Parveen Babi and featured Shabana Azmi in a National Award-winning performance as the wife, Kulbhushan Kharbanda as his screen alter-ego and Smita Patil as the actress.

Kamlesh, who began writing the story a week ago, reveals that he took up the challenge as he found it interesting to set the subject in today’s times when divorce and live-in relationships aren’t a big deal, especially in metros. “We’ll carve a story which young people can identify with. I don’t believe in shortcuts, so it won’t be a copy of the original. I’d like to retain the original names of the characters but I might change their professions and will take my time over the script,” informs Kamlesh.

Does he have any actors in mind for the lead characters? “I never think of actors while writing the story, it’s not my job. You will be surprised to know that Manoj Bajpayee was signed to play the lead in Rang De Basanti, but when Aamir (Khan) heard the script, he politely asked Manoj to step down,” Kamlesh concludes.

Contemporary political themes dominate the opening session of the fourth Indian Screenwriters Conference
Ektaa Malik (MUMBAI MIRROR; August 4, 2016)

Kurta-clad, jhola-toting lekhaks rubbed shoulders with the designer-stubbled, cargo shorts-donning Yari Road hipsters at the St Andrews Auditorium on Wednesday morning. The venue buzzed with contagious energy as the Salim-Javeds, Juhi Chaturvedis and Himanshu Sharmas of the future came out in full force to participate in the opening session of the two-day fourth Indian Screenwriters Conference, a Film Writers Association (FWA) initiative. Contemporary political issues dominated the discourse as the rather impressive panel of speakers debated the theme of this year's conference: "Do our stories reflect India's reality?"

"We are all stories, and we regale each other with them. India is where storytelling began. The Ramayana, the Mahabharata, Kathasaritsagara and the Panchtantra. These are the stories that have surrounded us forever and I am just scratching the surface. Today, when we are surrounded by social and political cruelty, religious violence and economic disparity, are we really telling these stories?" questioned noted Hindi literary figure Ashok Vajpeyi, in his address as the special guest. The former Sahitya Akademi chairperson touched upon a variety of issues; from Dalit oppression to cow slaughter, and emphasised the need to protect India's pluralism. "We as writers attempt to tell the truth, but we are also victims of self-doubt. We are too quick to judge. But literature doesn't judge."

This was followed by the keynote address by 'rural reporter' P Sainath who spoke at length about intersection of realities - and how they are narrated. "There is nothing as Indian reality - there are multiple Indian realities. Malabar Hill and Chanakyapuri are as much a reality as [are] Dharavi and other such places," shared the author of Everybody Loves A Good Drought: Stories from India's Poorest Districts. "I think we are failing - as writers in various forms of that discipline - when we are confronted with these realities. We are unable to look at what happens when these realities intersect. But that's where the action is. Whose stories do we try and tell?"

Kamlesh Pandey, writer of Rang De Basanti, and the general secretary of the FWA, urged writers to back the rural zeitgeist to the 70mm screen. "I think Do Bigha Zamin was the last film that showcased our villages. Since then - they have all but disappeared from mainstream narrative. Stories are all around us - they are looking for us, we just need to welcome them," said the doyen of urban tales.

Anirban Das (MID-DAY; May 9, 2016)

After hitlist reported about unit hands of Tigmanshu Dhulia’s Bullett Raja awaiting their dues three years after the film’s release (Wage-ing a war, on May 5), a few people associated with Sanjay Gupta’s last directorial, Jazbaa, have brought forth a similar complaint.

Sources suggest dialogue writer Kamlesh Pandey, screenplay writer Robin Bhatt, choreographer Ahmed Khan, director of photography Sameer Arya and a few others have not received full payment for working on the film, which hit theatres on October 9 last year. Unlike Bullett Raja, which misfired at the box office leading to losses for the makers, Jazbaa starring Aishwarya Rai Bachchan and Irrfan did fairly well.

“The total amount due is more than Rs 20 lakh. They had reached out to Gupta and he has assured them that the dues will be cleared once he receives the payment from Essel Vision (which produced the film),” says a source.

However, those awaiting their remuneration are in a fix since there is no clarity over who is supposed to clear the dues. Pandey says, “I have not received the last instalment of my pay. We spoke to Gupta and he told us that all payments will be made once he gets a certain amount from Essel Vision. Essel Vision, on the other hand, has informed us that it is the responsibility of Gupta’s company.”

While Gupta remained unavailable for comment, Nittin Keni, CEO-Essel Vision, says, “Essel Vision was supposed to give the production and direction cost to Sanjay Gupta’s company, White Feather Films. We had made payments to him to make the film. He was supposed to enter into an agreement with all actors, writers, technicians and other members, and make the payments to them from the production cost we had given him. If he has not made the payments, then he should be questioned. We have informed the members, who have not received their payments, about this.”

Anirban Das (MID-DAY; November 4, 2015)

The schedule of daily soaps and a few films is set to go for a toss with the Association of Film and TV Editors deciding to launch an indefinite strike from today. Reason? Signing of the new agreement between their parent body, Federation of Western India Cine Employees (FWICE) and producers’ association has been inordinately delayed and they are unsure if any of their demands will be considered eventually.

The memorandum of understanding (MoU) outlining the workers’ demands for higher wages and improved working conditions was expected to be signed by October 14, eight months after it was supposed to be renewed. However, it is still in the process of being fleshed out.

On Tuesday evening, the editors’ body met FWICE president Kamlesh Pandey, who tried to convince them against launching a strike, say sources. However, majority of members apparently expressed that a ceasework was the only way to bring their plight to the producers’ attention.

Firoz Khan, treasurer of Association of Film and TV Editors, says, “We had asked for a basic payment and monthly wages for all editors, instead of a lump sum payment of 90 days, but they haven’t agreed to it. Our members are really annoyed, angry and agitated since the MoU has been delayed for long. So, we are going on strike.”

J D Majethia, producer and co-chairman of Indian Film and TV Producers Council, assured that the process to sign the MoU was on. However, sources said that other unions among the FWICE’s 22 affiliate bodies are also likely to go on protest path soon.

Up in arms
Members of Allied Mazdoor Union have called for a non-cooperation on the sets of a TV show in Naigaon over wages for outdoor shoots. Work has been stalled for the last four days, confirmed Gangeshwar Srivastav, general secretary of the workers’ union

Anirban Das (MID-DAY; October 20, 2015)

By October 14, the Federation of Western India Cine Employees (FWICE) and producer associations were supposed to sign an MoU primarily outlining the former’s demands for higher wages and improved working conditions. However, the agreement is yet to be fleshed out.

The MoU, which is drafted by the workers’ body and renewed every five years, expired in February this year. Producers did not agree to many of their demands and refused it sign the document, causing resentment among the cine employees, who threatened to launch a strike from time to time. On October 3, all 22 affiliate unions of the FWICE, resorted to an indefinite agitation.

It was, however, called off within 24 hours after producers conceded to their demands with an assurance to sign the renewed MoU by mid-October.

Explaining the delay in signing the MoU, J D Majethia, producer and co-chairman of Indian Film and TV Producers Council (IFTPC), says that lawyers representing both the parties are still working on its legal nitty gritty. “We are making sure that everything is legally sound. Multiple meetings between producers and the federation have been taking place and the agreement will be signed soon,” he adds.

However, neither the federation nor producers could give a tentative date for completing the process of signing the MoU. Kamlesh Pandey, president of FWICE, says that the meetings last almost 12 hours a day. “Producers, members of federation and the 22 bodies it governs, heads of major broadcasters and lawyers representing both parties are part of these meetings to ensure that the MOU has no loopholes and no member is exploited henceforth. The environment in the meeting has been positive so far,” states Pandey.

FWICE President Kamlesh Pandey on the indefinite strike to increase wages of technicians
Sanyukta Iyer (MUMBAI MIRROR; October 1, 2015)

The General Council of the Federation of Western India Cine Employees (FWICE), which is the representative body for all the 22 crafts from the film industry, including the associations for directors, writers, sound recordists and cameramen, has decided to stop work across film and television indefinitely.

President of FWICE, Kamlesh Pandey, told Mirror that there were two primary reasons for the strike. "Basic demands such as holidays every second Sunday of the month, have been rejected by the Governing Producer bodies of IMPPA, The Producers Guild and IFPTC. On June 20, a hike in the daily wages of workers was approved, but the new MoU has yet to be passed. While the producers roam in their BMWs, the workers do not have money even for auto-rickshaws," says a disgruntled Pandey, adding that FWICE had been chasing producers for over six months, before taking the call.

Beginning October 1, the All India Film Employees Confederation (AIFEC) is also joining the strike. FWICE has sent a legal notice to the producers and will now wait for 14 days before moving court.

"A joint dispute committee settlement has been set up to solve the problem of wages and address the grievances of writers who have not been paid for over two years. We are Bollywood's panchayat, if we don't address these issues, who will? It is not in our interest to go on strike, in fact, we are the ones who will suffer. This is our last resort," Kamlesh informed, pointing out that technicians are forced to work for over 12 hours a day, regularly, at remote locations with no breaks.

Sonup Sahadevan (MID-DAY; June 9, 2015)

Filmmaker Rakeysh Omprakash Mehra is set to produce yet another biopic tinged with patriotism. This time, he has sought inspiration from the bravado of Rifleman Jaswant Singh Rawat, a 22-year-old soldier who lost his life in the 1962 Indo-China war.

Writer Kamlesh Pandey, who is currently developing the script, says, “We have been preparing it for the last two years. It’s a unique story of a young soldier who sacrificed his life for the nation. The treatment of the story would be somewhat similar to that of Rang De Basanti where we used Bhagat Singh and his friends and connected them to young India. Rawat’s story will resonate especially today.”

For the uninitiated, Rawat was serving with the 4th Battalion of the Garhwal Rifles when his company came under heavy Chinese attack, firing away at Indian soldiers using a Medium Machine Gun (MMG). Undeterred, Rawat charged at them with grenades in his hand and hurled them just 15 yards from the enemy’s point of attack. Having killed two Chinese and wounding several others, he then seized the MMG and while on his way back to the Indian position, he was felled by the enemy’s bullets.

A war citation says Rawat was hit in the head and died on the spot with the MMG firmly in his grip. The soldier was awarded Maha Vir Chakra posthumously and is today seen as a revered entity of valour and patriotism.

The movie will be directed by Sanjay Khanduri of Ek Chalis Ki Last Local fame. The team right now is focusing on locking the right cast while also completing the formalities with the Indian army and Rawat’s family.

Rakeysh refrained from sharing details, saying: “It’s too early to speak. Let’s talk in a month or two.”

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.”

Asira Tarannum (MID-DAY; April 24, 2015)

The shoot schedule of film and television units may go haywire next month with the Federation of Western India Cine Employees (FWICE) planning an indefinite strike from May 6. Federation president Kamlesh Pandey says the employees will be forced to resort to the step if producers do not sign its MoU that calls for a hike in daily wages.

The agreement, which is drafted by the FWICE and renewed every five years, expired on February 28. “The new MoU was sent to film and television producers in March. Initially, they refused to acknowledge its receipt and now they are not signing it. So, we are left with no choice but to call for a strike. They can go ahead with their shoot, but the federation members will not extend any co- operation to them,” says Pandey.

He adds that they will change their decision if the producers agree to sign the MoU.

Bharati Dubey (MID-DAY; February 6, 2015)

With controversy over the All India Bakchod (AIB) roast video AIB Knockout escalating, the Federation of Western India Cine Employees (FWICE) has asked Karan Johar, Ranveer Singh and Arjun Kapoor, who participated in the insult comedy show, to tender a public apology for the “vulgar” act.

The Federation has stated that the show was a “travesty of basic human decency in the name of art and a blot on the culture and tradition that we need to safeguard”.

The letter says, “It is unfortunate that young impressionable minds are being exposed to vulgarity being displayed by people who claim to be youth icons… They should tender an unconditional apology to entire industry and the people of India and promise never to repeat (such an act) which amounts to cultural terrorism.”

Kamlesh Pandey, president of the FWICE, says he is personally not against any kind of moral policing or censorship because it would imply that the creators were neither mature enough nor had a sense of responsibility to decide what was right and wrong for public consumption. “But if a member of any association is found doing something which is not conducive to the image and the health of the film and entertainment industry, the FWICE is expected to take notice of this. We all have the freedom to express ourselves but with the freedom also comes responsibility,” he says.

Stating that the letter was not an order or a warning to the roast video participants, Pandey says, “It is merely a note of caution to desist from being part of such a show that sends wrong signals to the people. It is not even addressed to the gentlemen, it is just a statement that the FWICE felt was its responsibility to make when it received complaints from its sources of the film and entertainment industry.”

Bharati Dubey (MID-DAY; December 30, 2014)

Barely three days ago, the Federation of Western India Cine Employees (FWICE) dissolved the Film Studio Setting and Allied Mazdoor Union amidst allegations of criminal intimidation and disruption of film shoots by its members.

Now it has emerged that the union's chairman Mithun Chakraborty had resigned about a year ago but the workers were kept in the dark about it. The actor had been leading the union since 1989.

FWICE president Kamlesh Pandey says, “It is true that he resigned a long time ago. He may have had his personal reasons but we feel he may have come to know what Gangeshwar Shrivastav (union general secretary who was expelled) was up to. In fact, Gangeshwar may have hidden the fact of his resignation only to be able to exploit it to his advantage and was falsely claiming that Mithunda was supporting him.”

Pandey adds that the veteran star had clarified about his resignation to Cine and Television Artistes Association general secretary and actor, Pankaj Dheer. “In the current scenario, Mithunda stands with us,” he asserts.

Gangeshwar, on the other hand, states that the union never accepted the resignation. “We consider Mithunda as our chairman and will continue to do so. Even when he tendered his resignation saying that he was planning to join politics, he told us that he will always back the cause of workers’ welfare.”

Chakraborty was not available for comment.

Bharati Dubey (MID-DAY; December 27, 2014)

The Federation of Western India Cine Employees (FWICE) expelled six members of the Film Studio Setting and Allied Mazdoor Union, including its general secretary Gangeshwar Shrivastav, allegedly for disrupting shoots and indulging in criminal behaviour.

The decision was taken after Shrivastav prevented workers from reporting to the ND Studio at Karjat
alleging that they were not given food allowance.

Claiming to have filed a complaint with the trade union office, he says, “They are trying to get me out of their way as I am fighting for workers’ rights. They want to de-affiliate the union. I will speak to producers and ensure that they are not troubled and my members get work.”

FWICE president Kamlesh Pandey says the list of offences against Shrivastav and Co. runs long. “They had practically unleashed a reign of terror on the entire film industry due to which shooting and setting activities were being moved out of Mumbai by the producers. The general council of the FWICE unanimously resolved to expel him and five of his agents and dissolution of his entire committee. An 11-member ad hoc committee has been appointed to oversee the activities of the union and fresh elections will be held by January 31 next year,” he adds.

Producer J D Majethia states that the FWICE had expelled Shrivastav in the past. “We have been informed that a new committee will make sure that no shoot is stopped and Shrivastav is not allowed to interrupt our work,” he states.

Bharati Dubey (MID-DAY; November 24, 2014)

Organisers of the International Film Festival of India (IFFI) have invited the wrath of two film federations, something that could prove costly to them.

The Federation of Western India Cine Employees (FWICE) and All India Film Employees Confederation (AIFEC) have taken offense to not being invited for the fest and decided to register its protest by boycotting the event next year. Kamlesh Pandey, president of FWICE, says: “The two federations have decided to boycott the IFFI in 2015. That, in effect, means members belonging to the 22 craft unions affiliated to us will not attend the festival.”

He adds that the decision has been communicated to all the affiliate unions. Pandey says traditionally, the FWICE and the AIFEC office bearers are invited and hosted by the IFFI every year. “This time, they did not even invite the AIFEC president, let alone the FWICE president representing 22 crafts of the film industry. They also did not even respond to our mail asking them to enlighten us with the reason. If they do not consider us important enough to deserve their respect and invitation, why shouldn’t the FWICE and the AIFEC abstain from IFFI events? The IFFI has shown disrespect not only to the apex bodies of the workers and technicians of the industry but also to a time-honoured tradition,” he rues.

There have been couple of instances in the past when Bollywood almost boycotted IFFI. The first time around was in 2007 when Film Federation of India (FFI) protested against Goa being the venue and the Bollywood segment not being included in the event schedule. Filmmakers Shakti Samanta and D Rama Naidu had allegedly been asked to prove their credentials.

In 2011, there was an uproar when the Directorate of Film Festival left out FFI from their guest list. FFI is one of the apex bodies of the industry which decides on India’s Oscar entries.