Oye Oye was everywhere when the film, Tridev, released in 1989. Today, over three decades later, the chartbuster has landed filmmaker Aditya Dhar and his massive hit Dhurandhar The Revenge in legal trouble. Last week, Tridev filmmaker Rajiv Rai filed a lawsuit against Dhar’s banner B62 Studios for allegedly using his song in the movie without seeking his permission.

“After I saw the movie and my song in it, I was in shock. I filed [the legal suit] now because it takes time to move the court,” said Rai, on a call with mid-day.

In the first hearing that took place on April 9, Rai’s production house Trimurti Films alleged that the usage of Oye Oye amounted to copyright infringement. While the filmmaker admitted that Tridev’s music was sold to late Gulshan Kumar and his label T-Series in the late ’80s, his point of contention is that the contract did not mention anything about the songs being remixed. According to him, composer Shashwat Sachdev reimagining it as Rang De Lal is a copyright violation.

He said, “I count all my songs as my creativity, along with that of the music director and lyricist. The catch is when you sold the music in the ’70s and ’80s, you had to sign a [contract]. In it, there was no [mention of] remixes or that one could take a song and put it in another film. That phenomenon didn’t exist then. I’m sure when you sign that piece of paper, you don’t sign away your copyright, IP [Intellectual Property], or creative rights. I have not created the song for some guy to mutilate it.”

For Rai, what added insult to the injury is the reinterpretation of the track. “They have mutilated Oye Oye, and the young producer [Dhar] feigns innocence. They have crossed the line. Where is their conscience? My lawyer said [the case] becomes too ambiguous [due to the contract]. But where have I given the permission to mutilate my song?”

- During a film’s making, the producer is the primary copyright holder for the music.

- The music label acquires these rights from the producer while buying the film’s music. Contemporary contracts of labels include the all formats clause, which means the company has the power to remix and recreate the acquired songs.

- In the absence of an all formats clause, before remixing a song, the label has to take consent from the producer, who in turn has to seek permission from the composer, lyricist, and other stakeholders.

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Mumbai: Music labels are increasingly initiating action against hotels, restaurants and event organisers among others for playing copyrighted music on their premises without permission, said intellectual property rights lawyers, music companies and analysts.

They have filed 197 civil suits and 172 police complaints in the past three years over copyright infringement outside the digital space, said legal firms.

“There has been at least 30% growth in civil suits filed by music labels for copyright infringement in the past three years,” said Himanshu Deora, partner and head of IP Practice at law firm King Stubb & Kasiva.

Operators of hotels, restaurants and private spaces must obtain a licence from the copyright holder for playing original music, and failure to do so is a civil and criminal offence under the Copyright Act, 1957. This requirement has often been ignored due to a lack of awareness, absence of robust government machinery to handle non-compliance and utter disregard for the law.

But music labels have now become aggressive in protecting copyright, said lawyers and industry executives.

“Copyright infringement in sound recordings remains a pressing challenge. Despite the Copyright Act, 1957, unauthorised public communication of music is still rampant,” said Deora. “Businesses such as hotels, bars, event organisers, and digital platforms must recognise that unauthorised use of music is a cognisable and non-bailable offence.”

According to the estimates shared by music labels, industry analysts and law firms, labels are losing more than Rs 2,000 crore a year from copyright infringements in the non-digital space. Labels have been able to recover as low as 3% to 10% of the royalties due to them, said industry experts.

“There is a big need for a single-window system for monitoring, selecting and administering the copyrights and royalties due to musicians and labels, especially in non-live and non-musical events,” said Shivansh Jindal, chief executive of Merchant Records, a label owned by music composers Salim and Sulaiman Merchant. “Today, the total amount of recovery of music royalty is apparently 3%,” he said.

There are two key industry bodies which monitor copyright infringements. Phonographic Performance Ltd issues licences for playing original recordings of music labels in a commercial or non-commercial set up. The Indian Performing Right Society provides licences and collects royalties on behalf of music authors, composers and music publishers.

"Every unlicensed use of music robs not only music companies—regional music firms that take immense risks in creating and acquiring it—but also lyricists, composers, singers and musicians whose art sustains our culture," said Phonographic Performance managing director and CEO GB Aayeer.

Music labels also collaborate with third-party entities to spot copyright infringements, especially in private spaces like five-star restaurants, said Vaibhav Muley, lead analyst for media and entertainment at Yes Securities. “Even though the publishing income from the non-digital side has been increasing, it is still below 10%,” said Vaibhav Muley, lead analyst for the media and entertainment sector at Yes Securities.

In recent years, labels such as T-Series, Sony Music Entertainment India, Universal Music India and Rajshri Entertainment have filed civil cases against hotels, restaurants, salons and other private corporations for playing their music without a licence.

Amit Trivedi appears to be having a lot of fun, and here's why this fact isn't to be taken lightly. Sure, Trivedi isn't one to disappoint with his compositions, but there's something magical that follows those phases when his interactions with fans and media are markedly playful. Speaking about his upcoming album, Azaad Collab, Trivedi appears delighted and nervous in equal measure. With a bevy of popular faces putting their might behind the project, he admits to having his hopes pinned on this pop album that presents the "music icons of India" in new light.

Fans of Trivedi will agree that his four-year-old label, AT Azaad, is a goldmine of music that is both innovative and appealing. Evidently then, this latest 14-track offering is being welcomed with open arms. In this interview, he discusses the response to the first song, Jubin Nautiyal and Hansika Pareek's Rangeeni, and crafting an entrepreneurial journey as an artiste. Edited excerpts from the interview:

The [reason] behind creating the label wasn’t to be the next T-Series or Saregama. It is an artiste-led label. I should have the upper hand [when it concerns] what I create. I am putting in the work and money. I should have the freedom to make what I want. If I was signed on by a label, I’m not sure if I would have had that liberty. There would have been a lot of restrictions and clauses that may have been in their favour. I wanted to avoid the hassle.

I launched it in April 2020. So, it’s been four and a half years. I’d say, the label isn’t doing that great, nor is it doing too poorly. There is a lot of scope for improvement. I need a song that can really do well. [Some] songs become popular, but those that do [very well] are made rarely. I would say, of the 10 lakh songs that are released in a year, only 10 to 15 do that well. Not every song becomes a [banger]. I was lucky that my first song, Moti Veraana, did that well, and so did the following ones, Lagan Laagi Re and Madhubala. But, for a label to function regularly, we need at least one song per year to do that well. That hasn’t happened in the past two years. I’m hoping that changes with Azaad Collab. I have 14 more songs to go. So, let’s see how it does. It’s up to the audience.

I do a lot of film work. A film’s soundtrack usually has only four to five songs. In a rare case, we may have 10 songs. But to arrive at those five songs, we create a lot of music. If I have created 25 songs, and only five are chosen, what should I do with the rest? They are all great songs; ones that I believe in. Maybe they didn’t work for the filmmaker, but that does not imply that the song is bad. So, many of the songs are those that were made for films. Rangeeni was one such song. It was made for a film, but it [wasn’t used]. But, people are loving it today. Then there are some songs that I pro-actively create, keeping the album’s structure in mind.

It has 22 collaborators, including artistes of all [calibres]. We started off with Jubin Nautiyal and Hansika Pareek. There are songs with Neha Kakkar, Sunidhi Chauhan, Armaan Malik, Neeti Mohan, Nikita Gandhi, Shahid Mallya, and Javed Ali, among others. They are all playing 'front'. They are called playback singers, but now they are playing front. They are starring in their own videos, and in those of this album too. They are all out there, dancing, acting, performing, and grooming themselves well. Look at Armaan, Sunidhi, and Neeti—they are like rock stars, both on and off the stage. They are our country’s musical stars.

Also, Jubina and Hansikar have never been paired before. I don’t think I’ve heard them before together. That’s [a pattern] I’ve tried to retain across the album—create [a pairing] and a video that the audience has not seen before. Javed and Shahid have never been heard together before, and neither have Neeti and Asees Kaur. I’m trying these new combinations.

Every collaborator is special in their own way. Each singer has been amazing, both in the studio and on the set, while we were shooting. The shoot lasted 14 hours, and they were accommodating. I’m genuinely blessed that these artistes have agreed to do this for me. [The album’s genre] is pop, mostly. There is folk, and Sufi music too, but it’s all in the space of pop music. There are no sad, intense, or hard-hitting songs. It’s my first season. If this works, it will encourage me to do the next season in which I can experiment more. This one is smooth, easy, and colourful.

We are in a democratic situation. Everybody and anybody can showcase their content easily. You simply need to record and upload it on YouTube. At our time, it was very tough. But the drawback is that today, there is no filtration process. There are a lakh singers and composers, and all are making music. Creating a song is like throwing a grain in a room full of grains. They all look the same. Only the audience will decide which one will stand out. Either it grows organically, or you will need to pump in a huge amount of money.

So, I don’t know if this boom is good or bad; it may be good for the artistes. But, to truly thrive, the artiste has to have talent, and must not be dependent on anything.

That’s a vision. These days, I can’t talk about film music. I don’t know what’s going on. I only notice that things are not working very well. I have not seen such a downer in the Hindi film industry in my entire life. In the '80s, I heard there was a lull. But that too was not as bad as this is. Till 2019, things were good; we had a lot of work. After the pandemic, things haven’t picked up. Various factors would be at play. We are seeing a different side to cinema; people are not going to theatres, and OTT has also become saturated. So, where are people consuming content? Creators are putting in a lot of money, but their effort and money are going to waste. It’s sad to see that. Maybe it’s a phase; I believe it will come back up. 

There are exceptionally talented people in the industry today. I’m happy to hear about some of the work that people are doing. But, right now, the pie has been divided among too many people. Earlier, only a handful of people were operating in films. Today, there are 20,000 composers working for films alone. So, there share has been divided. It’s a strange place that we find ourselves in. For a track to work, you must pump in money, or [hope] it can organically grow, like Hanumankind’s song, or Gulabi sari did. It’s pure luck, sometimes.

The war between the two Diwali releases, Singham Again and Bhool Bhulaiyaa 3, had been heating up over the past few weeks. It took a bitter turn on Saturday when the makers of Ajay Devgn’s cop actioner released the title track on YouTube and other social media platforms. Soon, T-Series, which has produced Bhool Bhulaiyaa 3, issued a copyright strike as the song infused some elements from the original Singham (2011) theme, the rights of which rest with the music label.

As a result, director Rohit Shetty and his team had to pull down the title track from all platforms, rework the composition and have it uploaded again on Tuesday afternoon.

A source reveals, “The song included a 10-second element from the theme of the original Singham. As is customary, T-Series flagged off the content because using anything above three seconds [without owning the copyright] is non-permissible. Bhushan Kumar’s company issued a copyright claim, and the song had to be pulled down. A simpler way to do this would have been to reach out to Singham Again’s team and sort out the matter. Saregama, which is the cop fare’s music partner, uploaded the track on Tuesday after composer Ravi Basrur removed the contentious bits and stitched it together.”

This dispute is being viewed as a “clash effect” by the internet. Fans and industry observers feel that T-Series’ decision to enforce its copyright claim could be strategically influenced by the upcoming clash between Kartik Aaryan’s horror comedy and the Devgn-starrer.

Another source notes, “Since the Singham Again team had to upload the track again, it lost all the original viewership and likes on YouTube.”

Actor Divya Khossla has sparked a heated debate with her Story criticizing Alia Bhatt’s latest release Jigra (see grab on the right) and publicly clashing with co-producer Karan Johar, who responded to her allegations by posting: “Silence is the best speech you will ever give to fools” on his social media. To which, Khossla quickly retaliated with another Story: “Truth will always offend fools opposed to it.” We speak to Khossla exclusively to learn more.

“Today, when I speak up, Karan Johar uses derogatory language to shut me down. Is it right to call a woman a fool for pointing out unethical practices? If this happens to me, what about those new to the industry? No one is a king here, and I won’t be treated like a subject,” she says.

Khossla’s initial post targeted actor Alia Bhatt for allegedly benefiting from “fake ticket bookings”. She says, “Alia doesn’t need to resort to such tactics; she’s already well-established. But true heroism is speaking against wrongdoing. Let the audience decide based on merit, not money and power.”

Khossla highlighted her concern with corporate bookings and manipulated box office numbers: “After Covid, smaller production houses have shut down, and only those with money survive. I saw an empty theatre, yet Jigra’s opening figures were inflated. That needs serious correction.”

Khossla claims “Jigra is a copy” of her film Savi, a jailbreak story. Savi was based on The Next Three Days (2010), for which her team bought the rights. She notes that “both films share the same story line”, but her project “was in production first”.

Both Savi and Jigra share a common link — Mukesh Bhatt, Alia’s uncle, who co-produced Savi. When asked if she discussed the similarities with him, Khossla confirms, “Yes, but I won’t drag him into this due to his family ties and age.”

Khossla dismissed claims that her outburst was due to Jigra clashing with her husband Bhushan Kumar’s production, Vicky Vidya Ka Woh Wala Video: “This is about plagiarism and manipulating numbers, not a box-office rivalry. No one dares to speak out for fear of losing work, but I’ve established my own position in this industry.”

Tell her that people speculate that she only gets films because of her husband, to which she responds, “T-Series produces 40 films a year; I am not cast in those. If they were pushing (backing) me, like Karan does for his gang, I would be doing more films...”

Days after reports of Jasleen Royal filing a lawsuit against label T-Series, lyricist Raj Ranjodh, and singer Guru Randhawa hit headlines, Randhawa says “it’s her right” to fight her case. “I usually write and compose my own songs. The song in question, however, was written by Raj [Ranjodh], who has previously written a lot of songs in the Punjabi language. [My team] removed the song from all the platforms on the day we learned that there is [a dispute]. I have not composed or written it; I am only the singer,” says Randhawa, adding that any dispute regarding the ownership of the number should have transpired between the lyricist and Royal.

The Heeriye singer, however, refutes that any exchange of ownership rights occurred. “Neither were the rights transferred nor was any paperwork executed. No money was even received [by me]. This is also why this whole episode is unsettling,” she tells mid-day, adding that she finds the “disregard for creative ownership” showcased in this incident disrespectful.

“I composed this song for Ajay Devgn Ffilms to serve as a promotional track for their film [Runway 34]. Raj provided the lyrics, and a scratch version was subsequently recorded with Guru. But, I wasn’t satisfied with how that version turned out, so the producers and I decided not to move forward with it for the film. To my shock, a year later, Guru and Raj decided to release the song through T-Series, without my permission. I don’t know how often this happens to others, but it’s deeply shocking that any artiste would take someone else’s work and think it’s okay to release it as their own. You don’t expect this from anyone, let alone someone of Guru’s stature.”

Randhawa, on his part, says he doesn’t intend to reap benefits from the song. “We will not take [any credit] or money for this song. [Fighting this case] is her right. I have never collaborated with her, but I like her music. I understand that this happens; when someone is popular, the blame falls on him.”

Mid-day reached out to the team behind T-Series, which didn’t respond till press time.

In the era when pop music enjoyed its time under the sun, Raghav Mathur’s Angel Eyes (Teri Baaton Mein) (2004) became the easy hit that made its way to clubs, iPods, and song-streaming shows. The track from Storytellers—the album that brought the musician immense stardom—was in every way an evergreen number that underwent several official and unofficial iterations over the years. Soon after it went viral again during the lockdown-induced social media boom, Mathur found himself with an offer.

“[The makers of Teri Baaton Mein Aisa Uljha Jiya] came to me two years ago with an idea to recreate it. I’ve been approached many times with similar offers, some of which came as veiled threats. This time, I agreed to go ahead. However, the original number, Angel Eyes, was written over an old reggae song called Murder She Wrote. Before my music career started, I was working in a CD store selling electronics in Calgary. My manager was working with some of the greatest Jamaican reggae producers of all time, and I had access to amazing producers. I believe this rhythm is probably the greatest dance hall rhythm of all time. I told my manager that I could write 100 songs over this rhythm because I just felt it. It’s a four-bar loop over which you can sing anything,” he recalls, further highlighting how his mother helped him pen the lyrics to Angel eyes, one of the “biggest hits of my career”.

While Mathur was willing to share the rights with the makers, the team had to also procure the required permissions from the makers of Murder she wrote. “They had to approve of the financial and creative terms because the music is synonymous with that record. We needed to have seven publishers on the same page, willing to allow iterations in the lyrics, and verses. I would give T-Series credit for being patient,” says Mathur, who asserted that the new version be rendered by him. He shares that while he was taken aback when he realized that the film had been named on the song, he “sorted it out pretty quickly”. 

Mathur acknowledges that unlike several hit records of the early 2000s, Angel eyes was synonymous with the artiste who created it. In this case, it was him. “Teri Baaton was a cult classic for 20 years, if I may say so. But it was never benefited with a proper music video. I’m glad [it does have it now]. Many people said I should have been in the video, and I’m like, have you seen Shahid Kapoor?”

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’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.

Part autobiographical, starring brand news faces Rahul Roy and Anu Agarwal, director Mahesh Bhatt’s Aashiqui became a smash hit in 1990. Its music topped the charts for years and continues to resonate with listeners. The romantic musical saw a sequel headlined by Aditya Roy Kapur and Shraddha Kapoor and directed by Mohit Suri in 2013. A third successor, Aashiqui 3, was announced in September last year by the same collaborators (T-Series and Vishesh films) with Kartik Aaryan in the lead and to be helmed by Anurag Basu.

However, a row over the ownership and creative rights of the franchise seems to have ensued, given Vishesh Films’ recent public notice followed by Mukesh Bhatt’s statement (he heads the banner, after Mahesh and he parted ways). Taking to their official Instagram handle, Vishesh Films issued a notice on September 25.

Excerpts from the statement said, “Vishesh Films is the producer and joint rightful owner of the intellectual property rights associated with the Aashiqui franchise. Any communication made without our involvement is unauthorized and fraudulent.”

Mahesh Bhatt, who made the iconic 1990 original, spoke to Bombay Times exclusively, shedding light on the issue.

He said, “In this time and age when the moral compass of the world has shattered, and it’s become a moral desert, it’s important that elders behave like elders. Right isn’t always legal, and 50 per cent rights are in any case with T-Series. But I choose to stand for what’s morally right. In the case of Aashiqui, that moral legacy belongs to Gulshan Kumar and, in his absence, to Bhushan Kumar. Gulshan’s vision, support, and timeless music are at the heart of Aashiqui’s enduring impact.”

Mahesh Bhatt recounted, “I remember that I was shooting at Horizon Hotel in Juhu, and a man who was standing at the corner of my set introduced himself as a music baron, who had just moved to Mumbai from Delhi. He said, ‘Main Shivji ka bhakt hu. Unhonay mujhe sapne mein kaha ke main aapke paas aau. Aapse film banwau. Aapka naam Mahesh hai na?’ I said yes. He said, ‘Music ka bank hai mere paas. Anurada ji (Paudwal) humare company ke saath hai. Aapko jo gaane pasand hai aap le lijiye, ya naye banwalijie. Ek acchisi musical bana dijiye. Main aapko promise karta hu, Hindustan kay konay konay mein main yeh gaane le jayunga. Har ghar mein bajwaunga. Badle mein, aap 50 per cent le lijiye.’ The simplicity and innocence with which he spoke was the beginning of Aashiqui. I distinctly remember I was shooting Dil Hai Ki Manta Nahin (1991) in Madhumalai forest (Tamil Nadu) with Aamir Khan and Pooja (Bhatt). In that forest, I heard one of the songs from Aashiqui playing. I turned to Pooja and said, ‘That man promised me that he will take the music across India."

“When we decided to have a resurgence of the Aashiqui franchise, Bhushan was aware that he was up against a formidable brand called Aashiqui (1990) and its music, but he wanted to keep his father’s legacy alive. I personally feel that since I was the person whom Gulshan Kumar came to, I must speak up. They (T-Series) own the 50 per cent rights anyway, and the moral right of a product belongs to the person who gave birth to it. Let the legal experts sit down and discuss the details, I am talking about the moral compass, and I want to set the record straight. I have nothing to gain from this,” Bhatt says.

He further elaborates, “I am known as an autobiographical filmmaker for my films like Arth (1982) or Zakhm (1998), but the romance you see in Aashiqui (1990) between Rahul Roy and Anu Agarwal is based on my first love with Lorraine Bright (Pooja Bhatt’s mother). I was 16 and she was 14 and studying in Bombay Scottish. The classroom scenes, her being thrown out and becoming my responsibility… my personal life was in Aashiqui. That film had the truth of my life and the musical vision of Gulshan.”

The ownership debate doesn’t interest me because I have never been a man of business. I have consciously stayed away from it. I don’t have the stomach to sit down and argue the legal aspects. That’s for the legal experts to sort out. We are talking about the moral background. We come from a time when everything wasn’t spelt out. If you gave someone your word, you stood by it. Those values need to be resurrected even more today as everyone looks at the other with distrust.”

Singer Sonu Nigam and T-Series’ head Bhushan Kumar have buried the hatchet. Things between the two had turned sour in 2020.

A source says, “Aamir Khan (actor) wanted only Sonu to sing a song (Main Ki Karaan?) in Laal Singh Chaddha (2022), whose music was owned by T-Series. Bhushan extended an olive branch. They met and talked things out. They decided to let bygones be bygones. Sonu sang the title track for Shehzada (co-produced by Bhushan) and two songs in Adipurush. Things are fine now.”

Sonu says, “Let’s not make a big deal out of it. Peace and love should prevail eventually.”

Bhushan chose not to respond.

In 2020, when Sonu spoke about the music “mafia” on social media, people assumed it was Bhushan, though the former didn’t take names. Then an article appeared, where some singers reacted to Sonu’s nepotism claims. In another video, Sonu called it a “press release” and said, “You have messed with the wrong person.”

He made digs at Bhushan, asking if he remembers “Abu Salem (gangster)” and model Anupama Kuwar aka “Marina Kuwar”, who accused Bhushan of sexual misconduct. In retaliation, Bhushan’s wife, actor Divya Khosla Kumar, shared a video implying Sonu was connected to the underworld and said he owed his career to her father-in-law, late Gulshan Kumar.

The 32-year-old partnership, formed in 1990 with Aashiqui, between T-Series and Vishesh Films, continues with their new project, Aashiqui 3. Producers Mukesh Bhatt and Bhushan Kumar are set to reunite for the much anticipated third instalment of the Aashiqui franchise with director Anurag Basu. The music will be scored by Pritam and the film will star Kartik Aaryan in the lead. The team began the collaboration on a positive and spiritual note by seeking Lord Ganesha’s blessings during Ganeshotsav.

The Aashiqui franchise that revolved around love and relationships with some great music has remained in the hearts of the audience to date. Mukesh Bhatt said, “On the evening of August 16, 1990, a day before Aashiqui’s release, Gulshan ji (Gulshan Kumar) and I were very nervous, but the next day records were broken and history was created. Today with Bhushan, Pritam, Anurag and the heart-throb of the nation, Kartik, I assure everyone that Aashiqui 3 will celebrate love like never before.”

Bhushan Kumar said, “The movies (Aashiqui franchise), whose storyline and music is etched in our hearts it’s time to relive that again. We are ecstatic to announce Aashiqui 3 in collaboration with Mukesh ji, directed by my all-time favourite, dada Anurag Basu. The film is sure to have a fresh side to it while retaining its true essence. We couldn’t have found an actor better than Kartik, a true rockstar in every sense, after the massive hits he has delivered; he truly fits the part to a T. Music is an integral part in this romantic musical, and along with Pritam, we aim to raise the bar higher. Working with such a dream team is something I look forward to. I can’t wait to recreate the magic again.”

Talking about headlining the film, Kartik Aaryan shared, “The timeless classic Aashiqui is something I grew up watching, and working on Aashiqui 3, is like a dream come true. I feel privileged and grateful for collaborating with Bhushan sir and Mukesh sir for this project. I’ve been a big fan of Anurag sir’s work, and collaborating with him on this one is definitely going to shape me in many ways.”

Director Anurag Basu added, “Working with Vishesh Films is literally like coming home, and I am glad that I am directing Aashiqui 3. Bhushan ji and I have a long-standing relationship and every outing together is even more exciting than the last one. He is a solid collaborator, who I am privileged to have by my side. Aashiqui and Aashiqui 2 were emotions for the fans that have remained in their hearts till date, the aim is to carry the legacy ahead in the best possible way. It’s my first venture with Kartik Aaryan, who is known for his hard work, dedication, grit and determination, and I’m truly looking forward to this one.”

Music composer Pritam said, “The Aashiqui franchise is known for its great music. I am glad to be part of this amazing franchise, and I will try to take it to the next level.”

Srijit Mukherji is a relieved man today. After kicking off the shoot of Sherdil in the Dooars in North Bengal on November 21, the filmmaker called it a wrap by the first week of December. The three-week shoot stands in stark contrast to the many years it took for the project to get off the ground. “The film’s idea has haunted me for four years. To watch the story unfold in front of my eyes was incredible,” begins the noted Bengali filmmaker.

The idea for the Pankaj Tripathi, Neeraj Kabi and Sayani Gupta-starrer came to him after he read an article about poverty-stricken villagers living near the Pilibhit Tiger Reserve, who would send their elderly family members to the forest as tiger prey so that they could claim compensation.

It has been a long struggle to make the movie that was considered commercially unviable by certain studios. The project rolled when T-Series and Reliance Entertainment came on board. “We had been working on it since 2018, and were to shoot in 2019. It then got pushed to 2020, only to be delayed further by the pandemic.”

Giving shape to the film with Tripathi was a joyful experience, just as the director had expected. “It was cold and everything a forest could possibly be in the winter. Pankaj would stay back with us after his shoot, wandering around the jungle. After working in the city, when you visit the jungles, it’s a cathartic experience. We all used to have long addas after shooting.”

Mukherji is all praises for his leading man. “As an artiste, Pankaj is in control of his craft. He contributes creatively, but is never interfering. He was euphoric when we completed the movie ahead of time.”

When Bhushan Kumar took charge of his father, Gulshan Kumar’s company, T-Series, he was a young 19-year-old. Today, not only has he turned the company into one of India’s most successful music labels, but he has also earned it the tag of being one of the country’s foremost film production studios. 

He is currently busy promoting his upcoming films, Chandigarh Kare Aashiqui starring Ayushamann Khurrana and Vaani Kapoor and Atrangi Re featuring Akshay Kumar, Sara Ali Khan and Dhanush. Besides that, he’s also been making time to visit the sets of his upcoming films like Shehzada starring Kartik Aaryan and Luv Ranjan’s next with Ranbir Kapoor and Shraddha Kapoor in Delhi.

In a freewheeling chat with BT, he spoke about the changing avatar of the entertainment business and what has helped him maintain his position despite intense competition and a global health crisis. Excerpts:

As a studio, we have always tried to make films that cater to every single bracket of audience in the country. My job is also to ensure my actors and directors are happy to work with me. The encouragement and appreciation they sense from a theatrical run are unmatched.

I didn’t want to take that away from them for the sake of profit. Having said that, the theatrical situation is not what it used to be. Before the second wave hit, we had released Saina and Mumbai Saga, which did nominal business. We took the steps that were important to keep the business going at all times. So now, we have a list of films that will be released in theatres, and some that were pre-committed to OTT platforms will have a direct to digital run.

All the films on our list were made for a theatrical run, but circumstances have forced us to recalibrate and think wisely about our release strategy. Today, we have 30 ongoing projects and twice as many in different stages of development. The decision to release content on different platforms was to ensure that we keep the audience entertained and we have ample cash flow at the same time for our new ventures. Apart from strong content, we look at the cast we have on board. Releasing a film in a theatre or on an OTT platform is a decision made with experience, gut instinct and the way a project shapes up, among several other things. We have already started drawing up our plans on what will work better as an OTT release and what can now be released in theatres.

My father, Gulshan Kumar, is a source of inspiration for me. Music was in his genes which he passed on to me, and filmmaking was his dream that I am trying my best to fulfil. It was a gradual process. When I started out, I braved competition from domestic players and international companies making big films. That was a tough phase, but I didn’t want to give up. Paisa sab ke paas hota hai, but not the kind of long-standing relationships that I have built and continue to invest in even now. A great set of directors like Aanand L Rai, Nikkhil Advani, Anubhav Sinha and newer filmmakers like Om Raut and Sandeep Reddy Vanga are all working with me as creative collaborators. Most of them are producing and directing content together with us. We play on each other’s strengths. With the space we give one another, and with the way we respect each other’s contribution to every project, they don’t want to leave my corner. I have never had a specific strategy to counter competition. This business runs on hard work, a little bit of luck, your own sensibilities as a producer and as a music label. The response to our content shows that we have probably made some wise and correct decisions. In the bargain, I have earned the goodwill I have.

Yes, it’s true that the space for music in our films is depleting. As a label, you have to keep your ear to the ground and know what people want to hear. In the last two years, we’ve made a lot of singles around bewafaai, which have worked really well. Before that, we made the best recreations of old songs. We have a vast catalogue today. The content earns for itself. You just have to try and understand what the audience seeks.

Right now, my biggest worry is the health situation in our country, which is changing every day because of new variants of the Coronavirus. Today, everyone is wondering what they should make, and what might draw people into theatres. Jab lockdown tha people had content that was released on OTT, and it was consumed. The real challenge for content creators begins now. We’re positive and hopeful that things will only get better. Health and safety are really the key. What may not change from now on is that a chunk of films will continue to go to OTT platforms, and some will make their way to theatres. As usual, we are prepared to embrace change and move ahead.

In April, Vidyut Jammwal launched his production house, Action Hero Films, with the idea of bringing high-concept stories to the screen. Almost three months on, the actor-producer has zeroed in on the banner’s first film — IB 71. The espionage thriller will be helmed by Sankalp Reddy, whose Ghazi (2017) won the National Award for best feature film in Telugu.

The movie, which sees Jammwal as an Indian Intelligence officer, recounts how the Intelligence Bureau played a crucial role and gave the Indian Army a tactical advantage during one of its wars against Pakistan. The first-time producer is unwilling to reveal too many details, only saying that as soon as he read the script, he instinctively knew that the heroics of the unsung heroes had to be captured on celluloid for posterity. “Some of the most interesting episodes in Indian history have inspired IB 71. With this film, my stable pursues the endeavour to unravel a riveting story envisaged by gifted writers. I have full faith in Sankalp’s vision as a filmmaker,” says the actor-producer, adding that the director will bring the required sensitivity to the storytelling.

Jammwal has joined forces with Reliance Entertainment and T-Series for the venture.

With Ghazi, Reddy had highlighted the mysterious sinking of PNS Ghazi during the 1971 India-Pakistan war. This time around, he will revisit another chapter of history, underlining how some victories are won, not on the battlefield, but off it, with clever manoeuvres. “The film depicts what goes on before a triumph. A different kind of heroism is at play here. I connected with these themes when the story was narrated to me,” says the director. Shibasish Sarkar, group CEO, Reliance Entertainment, adds, “The significance of this part of Indian history has inspired us to produce this [film].”

The thriller, written by Aditya Shastri and with screenplay by Storyhouse Films, will go on floors by the year-end.

The Mumbai Police have registered a case against producer Bhushan Kumar after a model and aspiring actress filed a rape complaint against him. As per the allegations of the 30-year-old complainant, Kumar raped her under the false promise of giving her work in films. She apparently knew him since August 2017 and has claimed that he sexually exploited her between 2017 and 2020. The police has registered the complaint under IPC Sections 376 (rape), 420 (cheating), 506 (criminal intimidation) at DN Na-gar Police Station. The complaint was recorded on Thursday night and further investigations are under way.

A statement issued by Bhushan Kumar’s T-Series read, “The complaint filed against Mr. Bhushan Kumar is completely false and malicious and the contents of the same are denied. It has been falsely alleged that the lady in question was sexually exploited between 2017 to 2020 on the pretext of giving her work. It is a matter of record that she has already worked for T-Series banner in film and music videos. Around March 2021 she approached Mr. Bhushan Kumar seeking help to fund one of the web series which she wanted to produce, which was politely refused. Thereafter, in June 2021 after the lifting of lockdown in Maharashtra she started approaching T-Series in collusion with her accomplice demanding huge sum of money as extortion amount. Consequently, a complaint was filled by T-Series against the attempted extortion at Amboli Police Station on July 1, 2021. We also have evidence in the form of audio recording for the extortion attempt and the same shall be provided to investigating agency. The present complaint filed by her is nothing but a counter blast to the complaint filed against her and her accomplice for the offence of extortion. We are in the process of consulting our lawyers in this regard and will take appropriate legal action.”

It was 20 years ago when two young dreamers gave Hindi cinema one of its biggest musical hits — Tum Bin. The romantic film marked the successful debut of the film’s writer-director Anubhav Sinha and producer Bhushan Kumar of T-Series. The film featured Priyanshu Chatterjee, Sandali Sinha, Raqesh Bapat and Himanshu Malik. From trusting and supporting each other’s dreams 20 years ago to banking on each other’s strengths to create content-driven cinema today, their association has become stronger.

After Tum Bin, Bhushan Kumar and Anubhav Sinha collaborated on films like Aapko Pehle Bhi Kahin Dekha Hai and Tum Bin 2 to the recent Thappad, which was appreciated by critics and audience. Their forthcoming films include Anek and Hansal Mehta’s directorial.

Tum Bin’s music broke records instantly. The songs, composed by Nikhil-Vinay and written by Faaiz Anwar, not only became instant hits then, but top several playlists even today. Bhushan Kumar says, “This feels surreal. From taking ahead my father’s vision to today producing films and continuing the main goal of T-Series as a music label, my team and I are grateful to God for a successful 20 years. Tum Bin will always remain special to me. I trust Anubhav’s vision and his faith in me helped us make a film and music that broke records. I am glad we are working together even today and giving our audience films that they will love.”

Anubhav Sinha says, “I remember it was early 2000 when I was shooting a music video for T-Series at 3 am, and Bhushan called me. He asked me, ‘Sir shall we make a film?’ Eighteen months later, we released one. Looking at the crowd thronging the box office, our Mumbai distributor, Vimal Agarwal, with all his experience, said, ‘Sir, yeh toh opening lag gayi apni’. That was Tum Bin. Bhushan and I didn’t know that night that one day we would celebrate the 20th anniversary of the film. That was the beginning of a relationship with Bhushan, which has reached a stage where none of us can instantly answer how many films we are doing together today. Thank you, Bhushan for the break and everything thereafter.”