Showing posts with label Maddock Films. Show all posts
Showing posts with label Maddock Films. Show all posts
Vaani Kapoor to play an adult star lookalike in Sarvagunn Sampann; film to finally premiere on OTT
9:32 AM
Mohar Basu (MID-DAY; July 23, 2026)
Will it release? Will it not? That was the chatter around Vaani Kapoor’s Sarvagunn Sampann, which was produced by Maddock Films and reportedly lying ready since 2023. The good news is that the social comedy is set to stream soon on Zee5, as was made evident by the streamer’s announcement of its new slate.
Starring Ishwak Singh alongside Kapoor, Sarvagunn Sampann is set in the 1990s and sees the leading lady portray an adult star lookalike. With it, director Sonali Rattan Deshmukh explores themes of identity and self-acceptance while challenging societal expectations and perceptions.
Kapoor, who was last seen in Mandala Murders (2025), said she was drawn to the film’s “unique and heartfelt” central idea.
She shared, “At its heart, it’s about identity, the labels society places on us, and the personal journey of finding your own truth. What I loved most is that the film explores this subject with warmth, sensitivity, and humour, making it entertaining while leaving you with something to reflect on.”
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‘Pooja Meri Jaan’, the Huma Qureshi and Mrunal Thakur-starrer that had been reportedly ready for four years, is also set to drop on the platform
Deepika Padukone in talks with Maddock Films for Vicky Kaushal’s Mahavatar
8:36 AM
Mohar Basu (MID-DAY; December 9, 2025)
In the last week of November, Deepika Padukone was spotted at Maddock Films’ office in Santacruz, Mumbai. Her appearance intensified the industry chatter that the actor is set to join the Maddock Horror Comedy Universe. But sources now indicate that she is, instead, in early conversations to star opposite Vicky Kaushal in ‘Mahavatar’.
Centred on the immortal warrior Parashurama, director Amar Kaushik’s ambitious mythological epic was announced in November 2024. Even as the project is in pre-production, casting for the female lead has remained one of its most closely guarded decisions.
A production insider told mid-day, “The team has been looking for someone who can bring gravitas and emotional depth to the role written opposite Parashurama. Deepika fits that space perfectly. Conversations have begun, but they are still at an early stage. She is among the top names the studio has engaged with.”
Even as the mythological drama focuses on the story of Parashurama, it is heard that the female lead will have a strong character graph. “Amar Kaushik has been clear from the beginning that the character must have equal footing in the narrative,” added the source. If the talks result in a deal, this will be Padukone’s first collaboration with leading man Kaushal.
mid-day reached out to Vijan, who didn’t respond till press time.
Dimple Kapadia’s granddaughter Naomika Saran to debut with Vedang Raina; film to go on floors by mid-2026
9:53 AM
Dimple Kapadia with Naomika Saran; (right) late Rajesh Khanna
Mohar Basu (MID-DAY; October 17, 2025)
In the past few months, Naomika Saran, granddaughter of Dimple Kapadia and late Rajesh Khanna, has been spotted out and about in the city, most frequently outside Maddock Films’ office. Those in the business know what that means — a Bollywood debut is around the corner for the star kid.
Sure enough, a bit of digging revealed that Saran, the daughter of ‘Pyaar Mein Kabhi Kabhi’ (1998) actor Rinke Khanna, is set to foray into Hindi cinema with a Dinesh Vijan production.
Sources told mid-day that a breezy romantic comedy has been zeroed in on for her debut. The project is expected to go on floors by mid-2026. A source shared, “Naomika has been training over the past year, undergoing acting and dance workshops. Dinesh and his team were clear that they didn’t want to announce her debut until she was completely ready.”
Interestingly, the film’s male lead has undergone a change. We’ve heard that the role was originally written with Agastya Nanda in mind. However, after discussions and scheduling issues, the makers are now in advanced talks with Vedang Raina, who was seen in ‘Jigra’ (2024).
“Vedang and Naomika have great chemistry. When the team saw them together, it just clicked. Vedang is currently shooting for Imtiaz Ali’s film and will then move to this movie,” added the source.
The film will be helmed by a new director from the Maddock stable.
Ranveer Singh to join Maddock's horror comedy universe?
8:24 AM
(From left) Ranveer Singh; Manushi Chhillar. Pics/Yogen Shah, Instagram
Sources claim that Ranveer Singh is set to join Dinesh Vijan’s horror comedy universe
Mohar Basu (MID-DAY; June 27, 2025)
It’s definitely more the merrier when it comes to the horror comedy universe. After Rajkummar Rao led the on-screen world’s inception with Stree (2018), he has been joined by Bhediya’s (2022) Varun Dhawan, Munjya’s (2024) Abhay Verma, and Thama’s Ayushmann Khurrana. Who’s next? Ranveer Singh, we’ve heard.
Sources have told us that the superstar is in advanced talks with producer Dinesh Vijan to front a new instalment. A source close to the development revealed, “Ranveer has been in conversations with Dinesh for a while. He was at the Maddock office last week. The makers wanted a fresh energy to drive the next chapter, and Ranveer is keen to explore the genre. The paperwork is likely to be completed soon.”
It’s apparently being developed as a crossover that merges characters and storylines from Stree, Bhediya, and Thama. “The idea is to create an Avengers-style culmination down the road. They are talking dates as Ranveer will wrap up Aditya Dhar’s Dhurandhar soon. He has allotted some dates to Don 3 as well. This project is expected to roll in early 2026,” the source added.
The buzz is that Manushi Chhillar is the top choice for the female lead.
Dinesh Vijan holds back release of three completed films over OTT pricing
10:47 AM
With Pooja Meri Jaan and Rumi Ki Sharafat stuck in the cans for over a year, sources say producer Dinesh Vijan waiting it out until he cracks a profitable OTT deal
Priyanka Sharma (MID-DAY; May 12, 2025)
Dinesh Vijan’s films have had a good run in theatres since last year — if Munjya and Stree 2 were among the few successes that Bollywood enjoyed in 2024, the producer delivered a blockbuster in Chhaava this year. Now, Maddock Films is gearing up for the release of Bhool Chuk Maaf, while Cocktail 2 will go on floors soon, and the scripting of Vicky Kaushal’s Mahavatar is underway. That’s quite a populous slate. But there’s more. Three of the banner’s films — Pooja Meri Jaan, Rumi Ki Sharafat, and Sarvagunn Sampanna — have been shot and ready, but staring at an uncertain future.
What’s been the hold-up? Sources say Vijan’s attempts to strike a deal for their OTT première haven’t worked out to his liking yet. He is confident of their content — after all, Huma Qureshi and Mrunal Thakur’s Pooja Meri Jaan highlights the issue of stalking, while Radhikka Madan’s Rumi Ki Sharafat is a social comedy
“All these mid-sized films have varied subjects with strong performances, falling in line with the banner’s vision of bringing diverse content. But after being ready for over a year, they are facing delays as Dinesh hasn’t been able to crack a deal with streamers that befits these projects. He believes the films deserve a certain figure, but the platforms feel they are too expensive,” says a source.
Last year, mid-day had reported that Pooja Meri Jaan’s release was pushed from November 2024 as Vijan wanted it to premiere after Chhaava (Raja trumps Pooja, Oct 14). Rumi Ki Sharafat was shot in 2023, as was Sarvagunn Sampanna.
Another insider notes, “If one looks at it from Dinesh’s point of view, he is right. Maddock Films is in a position to wait it out. After the pandemic, the acquisition budgets have reduced. But Dinesh doesn’t want to sell them at a price that doesn’t do justice to their potential.”
mid-day reached out to Vijan’s team, who didn’t respond till press time.
Bombay High Court stays release of movie Bhool Chuk Maaf after PVR Inox plea
8:09 AM
Swati Deshpande (THE TIMES OF INDIA; May 11, 2025)
Mumbai: In a set back for the Rajkummar Rao starrer Bombay High Court on Friday stayed the forthcoming release of a court room drama granting interim relief to PVR Inox Ltd which sought the stay claiming violation of a contract for its release in theatres.
PVR moved the HC for a special hearing citing urgency. Through senior counsel Dinyar Madon and advocate Darshan Mehta it said unless the scheduled release is stayed its claim would be rendered infructuous. Madon said the urgency was because Maddock Films Pvt Ltd and others who produced the film had only on a day earlier terminated an Agreement dated 6th May 2025 by which it agreed to release the film “Bhool Chuk Maaf” in PVR theatres in India on 9th May 2025.
Under the agreement Maddock had to also keep a minimum eight weeks hold back from the First Theatrical Release Date in India till the date of release on OTT platforms. He submitted that PVR spent on promotions and also had prior bookings for the May 9 release but now the film was to be release instead on OTT on May 16. Maddock through senior counsel Venkatesh Dhond and advocate Ameet Naik opposed the application for the grant of urgent reliefs.
Dhond first submitted that not only had PVR misconstrued the Agreement, the 8 week restraint clause would kick in only if the film was to be theatrically released.
He said since the producers have now decided not to release the film in theatres, in view of the heightened security presently prevalent across the nation and in particular in the Northern part of the Country, there was nothing to prevent its release on other platforms.
Justice Arif Doctor who heard the matter after applying the law of contract to the facts of the dispute said PVR made had in keeping its end of the obligations, taken steps and incurred costs towards marketing and advertising the release of the film in its theatres and sold tickets and “any such last minute cancellation would also affect (the theatre’s )reputation and goodwill.”
Besides arguments that owner of the film can decide where to release is “also plainly untenable,” as it had no right to breach a concluded Agreement. The HC order made available on Saturday restrained the film’s release and sought a reply from Maddock and film’s owner in two weeks. It will next hear the matter on June 16.
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Maddock sued by PVR for Rs. 60 cr damages for cancelling theatrical release
Niharika Lal (BOMBAY TIMES; May 11, 2025)
What happened
The makers of Bhool Chuk Maaf have been sued by PVR INOX cinemas. The cinema chain is seeking a “stay on the OTT release and damages of Rs. 60 crore” at the Bombay High Court.
A source says, “The cinema chain has requested the court to stay the OTT release. The film should be released in cinemas first, and then on OTT after eight weeks, as per the initial arrangement.” The court has already heard both the parties – the cinema chain and the producers and will issue its order on Monday. Attempts were made to contact the producers, but there was no response till the time of going to press.
‘Producers shouldn’t have bypassed theatres’
“PVR INOX has approached the court to set an example against unethical practices,” says an exhibitor, explaining, “If others follow this route of skipping theatrical release last minute, cinemas will have no films to show.”
A source adds, “If the film had been released theatrically, it wouldn’t have been eligible for an OTT release so soon, that’s why they skipped it.
Veteran exhibitor Raj Bansal says, “The producers should have refrained from bypassing theatres and jumping to OTT.”
Cinemas argue that this is a matter of principle. A cinema business analyst says, “The producers took the OTT route because there was no buzz around the film. It was an easy way out. The government didn’t tell you to shut cinemas. As of now, there is no advisory. If you opt out after giving hope to cinemas for nearly a month with promotions, you must be held accountable.”
Background
After the trailer for Bhool Chuk Maaf played in cinemas for months, the film took an unexpected turn just two days before its release. Producer Dinesh Vijan’s Maddock Films and Amazon MGM Studios announced that the romantic comedy would bypass theatres and head straight to Prime Video on May 16, citing “heightened security drills across the nation.”
Raaj Shaandilyaa apologizes for unauthorized use of Stree content in Vicky Vidya Ka Woh Wala Video
8:02 AM
BOMBAY TIMES (October 14, 2024)
Director Raaj Shaandilyaa issued an apology to the makers of Stree for the “unauthorized use of character and dialogue” from the franchise without their approval in his film Vicky Vidya ka Woh Wala Video, starring Rajkummar Rao and Triptii Dimri.
In a statement issued on social media, Raaj said, “I, Raaj Shaandilyaa, the director of the film Vicky Vidya ka Woh Wala Video, on behalf of myself and on behalf of Super Cassettes Ind. Pvt. Ltd., Balaji Motion Pictures and Wakaoo Films, the producers of the film, extend our sincere and unconditional apology for the unauthorized use of character and dialogue from Maddock Films’ franchise Stree in our film.”
Shaandilyaa also stated that he regrets any harm caused to the makers of Stree. He added, “We deeply regret any harm caused to Maddock Films and their franchise as a result of this infringement. We are taking immediate steps to rectify the issue and are in the process of removing all infringing content from our film.”
The director continued, “It will be our endeavour to complete this process by Tuesday. We also commit to ensuring that no such unauthorized usage will occur in the future. We further confirm that our film Vicky Vidya Ka Woh Wala Video is in no way associated with Maddock Films, their Stree and Stree 2 franchises, or any of the characters therein. Additionally, we make no claim to any intellectual property rights in Stree, Stree 2, or any related characters.”
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HINDUSTAN TIMES (October 14, 2024)
Director Raaj Shaandilyaa, who has helmed the Rajkummar Rao-Tripti Dimri-starrer, Vicky Vidya Ka Woh Wala Video, has issued an apology to the makers of the Stree franchise for adding references from it in his movie without their approval.
He also clarified that the film is not connected to the Stree universe. Prior to Shaandilyaa’s apology, social media users had already pointed out references to the horror franchise in the new release. Controversy started over a scene in Vicky Vidya Ka Woh Wala Video, where Stree, the ghost character from the Maddock Supernatural Universe makes an appearance.
Shaandilyaa, took to X, with a post that read: “I, Raaj Shaandilyaa, the director of the film Vicky Vidya ka Woh Wala Video, on behalf of myself and on behalf of Super Cassettes Ind. Pvt. Ltd., Balaji Motion Pictures and Wakaoo Films, the producers of the film, extend our sincere and unconditional apology for the unauthorized use of character and dialogue from Maddock Films’ franchise Stree in our film. We deeply regret any harm caused to Maddock Films and their franchise as a result of this infringement.”
He added, “We are taking immediate steps to rectify the issue and are in the process of removing all infringing content from our film wherein we have used character and dialogue from Maddock Films’ Stree at the earliest. It will be our endeavour to complete this process by Tuesday, 15th October 2024, to the full satisfaction of Maddock Films. We also commit to ensuring that no such unauthorized usage will occur in the future.”
On his film not being associated with the Stree franchise, he wrote: “Additionally, we make no claim to any intellectual property rights in Stree, Stree 2, or any related characters.”
Boney Kapoor’s Bayview Projects wins bid for the development of Film City in Noida
8:08 AM
Faizan Haidar (THE ECONOMIC TIMES; January 31, 2024)
Boney Kapoor’s Bayview Projects LLP has emerged as the highest bidder for the development of the first phase of the proposed 1,000-acre film city near the upcoming Jewar airport in Uttar Pradesh.
According to the Yamuna Expressway Industrial Development Authority (YEIDA), the company is a joint venture between Boney Kapoor and Noida based real estate developer Bhutani group and have won the bid.
T Series, K C Bokadia’s Lions Films Pvt Ltd, Supersonic Technobuild Pvt Ltd of Maddock Films, and Cape of Good Films LLP were the other companies who had submitted bids.
YEIDA had invited bids for the construction of a 1,000-acre film city near the upcoming airport. The project will entail an investment of Rs 10,000 crore.
Real estate consultants CBRE, which had prepared a detailed project report, had proposed that the project be completed in three phases, with the first phase to be developed on 230 acres. The entire project should be completed by 2028-29.
The objective of the project is to provide an integrated media infrastructure for the movie business value chain.
The concession period will be for 40 years, which will be extendable for 30 years. The selected company will pay an annual premium or revenue share, whichever is higher, to the authorities.
The proposed 1,000-acre site includes 740 acres for filming, 40 acres for film institutes, 120 acres for an amusement park and retail, and the remaining 100 acres for commercial use.
The proposed land is located at Sector 21 on Yamuna expressway, four km from Jewar Airport. To enhance connectivity, YEIDA is linking the airport with the Delhi-Mumbai expressway. There will also be a bullet train operating between New Delhi and Varanasi, while pod taxis will connect the airport and the proposed film city.
There will be space for creative media art production, opportunities for enjoyment and learning and provision for common facilities and post-production facilities.
The project will also include media industry offices, a theme park, a hotel, and a retail and F&B hub.
Chief minister Yogi Adityanath had unveiled a plan to set up a dedicated infotainment city and rolled out an open offer to the film fraternity to come to the state.
The CM had said the government is well aware of the trend of OTT and media streaming platforms and has planned a high-capacity data centre along with all pre-production and the post-production infrastructure, processing labs, VFX and digital technology of international level.
Boney Kapoor, T-Series, K C Bokadia among others submitted bid to develop Film City project near Noida airport
7:02 PM
Faizan Haidar (THE ECONOMIC TIMES; January 6, 2024)
Boney Kapoor’s Bayview Projects LLP, T Series, K C Bokadia’s Lions Films Private Limited and Supersonic Technobuild Private Limited of Maddock Films, Cape of Good Films LLP have submitted bids for the development of phase-1 of 1,000-acre film city near the upcoming Jewar airport in Uttar Pradesh.
Yamuna Expressway Industrial Development Authority (YEIDA) said that technical evaluation of the bid will be done before calling the financial bid.
YEIDA had invited bids for the construction of a 1,000-acre film city near the upcoming Jewar airport in Uttar Pradesh. The project will entail an investment of Rs 10,000 crore.
CBRE, which had prepared a detailed project report, had proposed that the project be completed in three phases, with the first phase to be developed on 230 acres. CBRE has said the entire project should be completed by 2028-29.
The objective of the project is to provide an integrated media infrastructure for the movie business value chain.
The concession period will be for 40 years, which will be extendable for another 30 years. The selected company will pay an annual premium or revenue share, whichever is higher, to the authorities.
The proposed 1,000-acre site includes 740 acres for filming, 40 acres for film institutes, 120 acres for an amusement park and retail, and the remaining 100 acres for commercial use.
The proposed land is located at Sector 21 on Yamuna expressway, four km from jewar airport and there is no issue of connectivity as YEIDA is connecting Jewar airport with Delhi-Mumbai expressway and bullet train. There will be pod taxi to connect Jewar airport and film city.
There will be space for creative media art production, opportunities for enjoyment and learning and provision for common facilities and post-production facilities.
The project will also include media industry offices, theme park, hotel, retail and F&B hub.
Chief minister Yogi Adityanath had unveiled a plan to set up a dedicated infotainment city and rolled out an open offer to the film fraternity to come to the state.
The CM had said the government is well aware of the present trend of OTT and media streaming platforms and has planned a high-capacity data centre along with all pre-production and the post-production infrastructure, processing labs, VFX and digital technology of international level.
If you look at the animals in The Jungle Book and in Bhediya, you will say that ours is as good-Dinesh Vijan
8:05 AM
Madhureeta Mukherjee (BOMBAY TIMES; November 22, 2022)
We have seen filmmakers create a whole universe with action, cops, comedy, even superheroes. But in our cinema and in today’s times, creating a horror comedy universe is rare, and let’s say, not a job for the weak-hearted. There in comes Dinesh Vijan, who leads Maddock Films, a place which he says, ‘Is a home for anyone who wants to tell a story, no matter where you come from’. After Stree and Roohi, he’s all set to release Bhediya in theatres on November 25 — a creature comedy starring Varun Dhawan and Kriti Sanon, directed by Amar Kaushik that is also backed by Jio Studios. Dinesh passionately talks to us about what drives him, how we need to unearth great stories from within us, and what made him pave new roads, and sometimes take the forests less travelled. Read on...
It’s hard enough to land a good comedy with the audience, and blending it with horror and thrill, and also building a universe around it with a string of movies, is tricky and needs a lot of conviction and courage. What pushed you in this direction?
Honestly, I have never looked at any film that I have made as a risk. When I made Hindi Medium, some people told me it was a risk, and before that, it was Badlapur. When you hear a concept from a director or writer, your first thought has to be, ‘I can’t not make this film’, and that’s what drives me to make it. Instinct is everything for me. If there is a voice from inside that tells me that I should make a film, I do it. After being in the business for 18 years, our strength is that we don’t take ourselves seriously. We don’t think we know it all. We believe that we have to constantly learn and evolve.
You have made films like Cocktail and Agent Vinod that are urban and contemporary, and also Love Aaj Kal (which, of course, did go into retro mode). And then, you gradually started moving towards stories that were very different in tonality and texture — more rooted in our culture and shot in small towns. Did you observe the audiences changing tastes for content before making that shift, or was this something that happened organically?
Agent Vinod taught me how to make Badlapur. I learnt what went wrong and how to correct it with director Sriram Raghvan (who directed both). Agent Vinod and Raabta (directed by me) have taught me more than all my films. If you are willing to learn, failure teaches you much more. In fact, Raabta taught me that trends had changed. Through the making of Love Aaj Kal, I was learning how to be a producer. I think that Saif (Ali Khan) and I made a pretty good debut production. Sometimes, it takes about ten years to find your voice and understand what satisfies you. Hindi Medium was a game changer for us. Badlapur and Hindi Medium made me realise that if you have a pure story, strong writing, the right man to direct the film (it’s not necessary that he has to be the best in the business) and good actors — you will hit home.
Most of your films are set in small towns, including Bhediya (shot in Arunachal Pradesh’s Ziro in Lower Subansiri, Sagalee in Papum Pare and Pakke-Kessang district). Do you believe that smaller towns are a hotbed for greater, rarer and untold stories which can emerge from only there?
A while back, we were aspiring to make films that were more like the West and I feel that around 2015 that changed. With Badlapur and Hindi Medium, even I realised that the power has moved as much to small towns, as the people there are actually going to the theatres a lot more. I looked inwardly and found a treasure. There are so many stories buried in these towns and cities. My dad always made me travel a lot and would tell me that, ‘You must know your country’. I owe a lot to him. Most people in the cities don’t know what the rest of India is. Your instinct as a filmmaker also comes with the life that you have lived. Amar Kaushik happens to be a Forest Ranger’s son, so like I said, it is about getting the right man to direct your film.
You made Badlapur with Varun Dhawan, and in a recent interview with us, he said, “When I asked Dino ki tu hamesha mere paas itna teda story kyon leke aata hai, he told me ki ussi mein hi mazaa hai. I want to put you in an uncomfortable zone.”
I think that’s when they are at their best. I have been telling Varun that this is his 2.0 version. He has given his blood and sweat to this film. Now when I see the film, I can’t imagine any one other than him in this part.
Would you say that Bhediya has been the most challenging film of your career — in terms of scale, subject, VFX, shoot, etc?
It’s the best film I have produced. With Bhediya, our instinct said yes, but we also knew that if we didn’t create a wolf that is of international standard, this film won’t work. And I can tell you that if you look at the animals in The Jungle Book and ours, you will say that ours is as good. When you see the film, you will feel like we have not used VFX, it looks real. We went to one of the best VFX companies in the world and made the film in a record time of about 18-20 months. And also, it’s about what the film leaves you with at the end. There are few films that talk about conservation. This is a film that you would want your kids and young adults to watch. I think what Indians now want are films emerging from their culture, but made at par with international standards. And they want it to be affordable in the theatres. If we can achieve that, we are home.
In recent times, there has been a lot of doubt and skepticism in the industry about what will work on the big screen. Maybe there isn’t one right answer, but do you believe that every theatrical release will need to be a visual spectacle to get the numbers? Or does great content minus the visual impact, too, have the power to bring back larger volumes to the theatres?
The world is gravitating towards the first statement you made. Do I completely believe in it? Maybe we will have more clarity in the next twelve months, but as we are talking about it, we have made one (spectacle film). However, we also have a variety of other kinds of films coming up. We have to accept that the digital medium is a reality because most people are in relationships with their phones. We need to understand the screen size, as your film will get consumed on all mediums, so we have to make films keeping that in mind. My first love is theatricals, and we make films for the big screen, but we can’t ignore other mediums. The West is largely in the spectacle kind of cinema space. I feel we need to pull up our socks and deliver high quality films. The film has to completely engage you, which most our films haven’t been doing lately. You need to have an experience — whatever that might be. Today, if you ask me whether a Hindi Medium would still do well, I would say, yes, it would. If I give you a really good comedy with a high concept, will you watch it in the theatre? I think you will. Bhool Bhulaiyaa 2 wasn’t a spectacle film, but it’s done such good numbers.
In the last two years, like many businesses, the film industry, too, has had to navigate through a lot of uncertainty. Was it all a huge learning experience for you as a filmmaker and a phase that changed your outlook and perspective?
Even pre-COVID, I was telling my friends that there is going to be a huge change in our cinema. I am happy that we instinctively made Bhediya, which will hopefully keep us relevant. Today, we have to fight to be relevant and win back the audience’s confidence. We have to achieve these two things. We are competing with the West, but we have to look at what we have. If we look deep inside, look at our culture and find those stories, we are going to be able to create that experience for them. And that is their own experience; it’s not America saving the world. It’s none of that. And it begins with writing. We have to reward our writers. My writers are empowered, they have a say and I believe in them. And we (Maddock Films) are a home for anyone who wants to tell a story, no matter where you come from. I was like that, as I don’t come from a film family. I am the first-generation coming into this industry, and all my directors are too. I want my directors to feel that they have got the best wingman in me and that I completely have their back.
Galwan Valley, lockdown, Coronavirus and migrant issues inspire film titles
8:27 AM
Niharika Lal (BOMBAY TIMES; July 6, 2020)
We had earlier told you that several film titles based on coronavirus have been registered, and now, lockdown and Galwan Valley are the latest words to feature in film titles. A source from a producers’ association tells us, “Maddock Films has registered the title Galwan Valley.”Apparently, several filmmakers are exploring options for titles related to Ladakh and Indo-China, however, no other title has been registered yet. Ajay Devgn, too, making a film on the same topic.
TITLES RELATED TO THE LOCKDOWN HAVE ALSO BEEN REGISTERED
Filmmakers have showed interest in film titles related to the lockdown, like Corona Lockdown, and India Lockdown, among others. A source from Indian Film and Television Producers Council (IFTPC) says, “We have received a query for the title Lockdown. The title Lockdown L Locha has been registered by Saregama Ltd.”
A film on the plight of migrant workers during the lockdown, titled Atmanirbhar, is to set go on the floors in August. It will tell the story of 15-year-old Jyoti Kumari, who cycled all the way from Gurgaon to her village in Darbhanga with her debilitated father as a pillion rider. She will also star in the film. Shine Krishna, who is directing the film, tells us that Sanjay Mishra has been roped in to play Jyoti’s father.CORONA-BASED TITLES A HIT WITH FILMMAKERS
While Aanand L Rai has registered Coronavirus, Kumar Mangat has registered COVID-19. Reports also say that Madhur Bhandarkar’s production house has registered the titles Corona 2020, Corona Lockdown and India Lockdown. Madhur Bhandarkar said, “I always make films on topical issues so I will take up this issue. My production house has registered coronavirus and lockdown related titles.”
Corona Pyaar Hai, Corona 2020, One Weapon Corona, and Corona — The Deadly Virus are some of the corona-related titles which have been registered.
FILM TITLES REGISTERED BASED ON CURRENT EVENTS
- Galwan Valley
- Lockdown
- Lockdown L Locha
- Atmanirbhar
- Coronavirus
- COVID-19
- Corona 2020
- Corona Lockdown
- India Lockdown
- Corona Pyaar Hai
- One Weapon Corona
- Corona – The Deadly Virus
National Award-winning director Praveen Morchhale accuses Bala makers, writers of copyright violation
8:14 AM
National Award-winning director Praveen Morchhale takes producer, writer of Ayushmann Khurrana’s next to court alleging copyright violation; reveals idea of premature balding man was conceived and registered by him first in 2007
Himesh Mankad (MUMBAI MIRROR; September 14, 2019)
On August 28, Praveen Morchhale, whose directorial Walking with the Wind bagged three National Awards in 2017, has filed a case against Maddock Films and writer Niren Bhatt in the Bombay High Court under the Copyright Act 1957, alleging that the story of their upcoming film, the Ayushmann Khurrana-starrer Bala, sounds similar to the screenplay he has written and narrated to several people in the industry. “I read a news article on Bala being a satirical comedy about premature balding, which was an idea I had conceived in 2005. I worked on it for two years and registered the story with the Film Writers’ Association (FWA) in 2007. After compiling information from various sources, I have arrived at the conclusion that Bala is very similar to my story and screenplay,” says Praveen.The filmmaker however admits that he hadn’t met the producer of Bala, Dinesh Vijan, its writer or anyone associated with the film for a narration. “But the case isn’t about meeting or narrating the film to them. I’ve met hundreds of people and narrated my story to them, anyone could have put the idea in their minds. Since I have registered my concept and script, I can narrate it to as many people as I want, nobody can copy it,” he explains, adding that the film is based on the same premise isn’t a coincidence.
Praveen reveals that his script was called Mr Yogi, and like Bala, it was a satirical comedy on the struggles and hardships faced in such situations. “Even my script was about how the protagonist copes up with this unique and bizarre scenario,” he affirms.
Bala however isn’t the first film made on the concept of balding. The 2011 Vicky Bhardwaj directorial Hair Is Falling highlighted the problem of hair fall in youngsters in a humorous manner. More recently, the Shweta Tripathi-starrer Gone Kesh revolved around an aspiring dancer diagnosed with alopecia, a condition which results in rapid hair-fall.
Meanwhile, Praveen insists he isn’t doing this for publicity or money. “If my idea or screenplay has been borrowed, completely or even partly, they will be liable to injunction from the court. This case is filed to make a statement that you cannot just take off on somebody’s copyrighted idea or screenplay,” he asserts.
When Mirror reached out to Maddock Films, they denied the allegations. “Maddock is not aware of any case being filed against it by Mr Morchhale and denies that he has anything to do with its film Bala. Nobody from Maddock has ever met with Mr Morchhale or is even aware of him being associated with a story of a bald man,” read an official statement from the production house.
Saif Ali Khan to patch up with Dinesh Vijan?
7:37 AM
Meena Iyer (DNA; November 15, 2017)
A patch-up seems to be on the cards for Saif Ali Khan and Dinesh Vijan, after they parted ways three years ago. The duo floated Illuminati Films as partners and gave hits like Love Aaj Kal and Cocktail. However, their partnership ended in 2014, following differences after a couple of their films like Lekar Hum Deewana Dil and Happy Ending tanked. While issuing a statement, Saif had said that the split was amicable and profitable to both as they could produce more films individually. As it turned out, the statement was reportedly only partly true.
When their split became a reality, the two erstwhile friends started separate companies — Saif continued with Illuminati and Dinesh launched his banner, Maddock Films.
In spite of the reins being in Saif’s hands, Iluminati Films felt silent as he mostly concentrated on his own acting career and put film production on the back burner. On the other hand, Dinesh’s company saw tremendous success with Irrfan Khan’s Hindi Medium. Just when it seemed liked he could do no wrong, his directorial debut, Raabta, starring Sushant Singh Rajput and Kriti Sanon was a washout and Dinesh’s magic touch seemed to be waning.
Now, the buzz is that the two friends have reached out to each other and have been chatting incessantly. An insider confirms that they have also spoken about a patch-up.
If the duo mends fences and collaborates again, things could look up for both.
As things stand, Saif’s last acting assignment, Chef, was a disaster at the box office. A source adds that while analysing their individual successes and failures, they realised that they worked better as a team. “Their sensibilities do match on many levels and they are keen to work things out. After all, when they worked together, their banner was responsible for some really good and successful cinema,” said the source. The news is that they are likely to do a sequel to their film Go Goa Gone soon.
The appreciation for Badlapur proves that audience accepts atypical content-Dinesh Vijan
7:48 AM
BOMBAY TIMES (February 25, 2015)
Maddock Films' Dinesh Vijan
has produced films that include Being Cyrus, Love Aaj Kal, Cocktail, Go
Goa Gone and Finding Fanny. Reserved, unless he's promoting a film, we
caught Vijan celebrating the audience's overwhelming appreciation of his
latest outing, Badlapur, and managed to get some insights into the man
and his process.
How do you choose your projects?
I have to be
emotional about them. We generally don't seem to accept that the
audience will accept atypical content. This is a misconception. I
choose stories that resonate and don't initially look at figures. This
keeps the film pure. After it's canned is when my insecurities surface. I
wonder what mad dog bit me to make stuff that is considered risky or
niche and I analyse how to pitch it to the right audience.
But your choices have no pattern and seem like such a mixed bag.
Maddock Films enjoys the loyalty of talented directors like Sriram Raghavan, Homi Adajania, and with Illuminati Films, I've had the fortune of working with Imtiaz Ali and Raj & DK as well. Now, if my directors are a mixed bag of nuts, then what will our films be?
Director Homi Adajania told us that you were largely responsible for the unforgettable music of Cocktail and director Sriram Raghavan echoed the same about Badlapur's music.
That's generous of them. Music is a very important part of my life and my films. The process of collaborating to create music has taught me the value of harmony and helped me grow as a person. I enjoy a very special association with Pritam and Sachin-Jigar as well. Both relationships are unique, though they share the same ideology to explore and achieve some thing special.
Isn't a large part of producing about people management?
I'd be highly stupid to think that I know everything and only used technicians to execute things rather than apply their individual creativity. The energy on a project is very important. My main job is to bring out the best in people and make sure my team is happy. I'll risk sounding clichéd, but I have no doubt that the actual joy of the experience reflects on the screen.
How do you deal with failure?
Agent Vinod, Lekar Hum Deewana Dil and Happy Ending didn't end happily, to say the least. I truly believe that failure teaches you so much more than success ever can. How I see it is if a film goes down, it is my mistake and if it succeeds, it's everyone's victory. If that sounds like a lonely place to be, so be it, but I truly believe this.
What is next on your plate?
I have a story that Homi (Adajania) is co-directing with me because we have a blast working together. It's a long-haul shoot, so we decided to have an extended holiday. On a serious note, experiences are what make us grow. I feel it'll make me a stronger producer once I've gone through this experience.
Saif Ali Khan & Dinesh Vijan end their 7-year-long partnership over creative differences
8:08 AM
Vickey Lalwani (MUMBAI MIRROR; September 4, 2014)
Saif Ali Khan and his
business partner, Dinesh Vijan, have parted ways. They will
now produce films together only if they are on the same page
on a given subject.
Says the actor-producer, “From now on, Illuminati Films will be only Saif Ali Khan's company. Dinesh will head his company, Maddock. Our joint ventures will be produced under another banner which has yet to be named.“
For almost four years, the two have had creative differences and had planned to end their partnership after Agent Vinod. That decision was finally taken a week after their last co-production, Lekar Hum Deewana Dil, opened in the theatres.
Was the lukewarm response to the new-age love story marking begum Kareena's cousin, Armaan Jain's Bollywood debut, the reason for the split? “Not really, though I was clueless of what was going on. As far as I'm concerned, Go Goa Gone was technically our last film together,“ says Saif, admitting that Dinesha and he had been thinking of working independently for quite some time now.
He admits that though it's sad parting ways with a friend more than a partner, he is happy that finally he can produce films he believes in. “Isn't it better this way? We don't have to share the control. Now, I can produce the films I believe in and Dinesh can also go ahead with subjects he feels strongly about. It can get annoying when you have to do things you don't want to,“ Saif reasons.
The Nawab of Pataudi insists that the parting was amicable. And makes it clear that he will not star in every film he greenlights. “In fact, I don't think I will star in any of my productions initially. Later, I will,“ he informs, adding that he may now collaborate with other like-minded producers. “But what I make will be my decision solely and not anyone else's,“ he asserted.
Saif and Dinesh, who floated their production house in 2007, first met during the making of Homi Adajania's 2005 film Being Cyrus. At that point they were on the same wavelengths as far as filmmaking goes. But that obviously has changed now.
Dinesh didn't respond to our calls and texts.
MEANWHILE...
Saif is not going ahead with the biopic on his father, Mansoor Ali Khan Pataudi for now. “It's a difficult film to make and the person who directs it will have to do justice to the subject,“ he points out.“Also, it isn't easy bringing out every detail about somebody else's life. I might go ahead with it in future, but as of now, I am not sure.“
Says the actor-producer, “From now on, Illuminati Films will be only Saif Ali Khan's company. Dinesh will head his company, Maddock. Our joint ventures will be produced under another banner which has yet to be named.“
For almost four years, the two have had creative differences and had planned to end their partnership after Agent Vinod. That decision was finally taken a week after their last co-production, Lekar Hum Deewana Dil, opened in the theatres.
Was the lukewarm response to the new-age love story marking begum Kareena's cousin, Armaan Jain's Bollywood debut, the reason for the split? “Not really, though I was clueless of what was going on. As far as I'm concerned, Go Goa Gone was technically our last film together,“ says Saif, admitting that Dinesha and he had been thinking of working independently for quite some time now.
He admits that though it's sad parting ways with a friend more than a partner, he is happy that finally he can produce films he believes in. “Isn't it better this way? We don't have to share the control. Now, I can produce the films I believe in and Dinesh can also go ahead with subjects he feels strongly about. It can get annoying when you have to do things you don't want to,“ Saif reasons.
The Nawab of Pataudi insists that the parting was amicable. And makes it clear that he will not star in every film he greenlights. “In fact, I don't think I will star in any of my productions initially. Later, I will,“ he informs, adding that he may now collaborate with other like-minded producers. “But what I make will be my decision solely and not anyone else's,“ he asserted.
Saif and Dinesh, who floated their production house in 2007, first met during the making of Homi Adajania's 2005 film Being Cyrus. At that point they were on the same wavelengths as far as filmmaking goes. But that obviously has changed now.
Dinesh didn't respond to our calls and texts.
MEANWHILE...
Saif is not going ahead with the biopic on his father, Mansoor Ali Khan Pataudi for now. “It's a difficult film to make and the person who directs it will have to do justice to the subject,“ he points out.“Also, it isn't easy bringing out every detail about somebody else's life. I might go ahead with it in future, but as of now, I am not sure.“
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