Showing posts with label Thalaivii. Show all posts
Showing posts with label Thalaivii. Show all posts

Salman Khan advised me to meet Sanjay Leela Bhansali as I am someone who will fit into his films-Kangana Ranaut

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kangana ranaut

Madhureeta Mukherjee (BOMBAY TIMES; May 21, 2022)

She kicks, punches, shoots, slays, breaks bones and shatters glass — soaked in blood, sweat and revenge — Kangana Ranaut as Agent Agni in the just-released action spy thriller Dhaakad, delivers one deadly blow after another, like a true action star. The actress, who has skillfully flexed her muscles in various genres earlier, has now cracked the action space — with guts galore. In a conversation with us, she talks about her warrior spirit, how playing a hardcore action girl was cathartic and what we need to do to save our film industries. Read on...she is on fire...

We know how involved you get in creating and fleshing out your character in every film. In Dhaakad, you portray seven dramatically different looks. How much did you actively participate in creating each one of those?
I was not involved in it at all, because we had such a talented team, and Razy (director Razneesh 'Razy' Ghai) is so competent. Having directed about 400 ad films, he had such a clear and international vision. When I was approached for this film, I was wondering...will I be able to fit into this part at this age and stage? At the time when I started my career, I did not fit into the format of a Bollywood heroine, and I was always trying to find my ground and figure where I belong. I was quite jobless after Gangster. I would get offered those druggie, edgy or homeless kind of roles. When I did Fashion, also because of my body type, I was appreciated, and then I did Krrish 3. Back then, I felt that I would be offered more action roles, so maybe I could create a category for myself and be able to fit in. So, I actively trained in kickboxing and martial arts. Lekin aisa kuch hua hi nahi, things derailed for me, and I did films like Double Dhamaal. I was disoriented and stopped training. Then films like Queen happened, aur main acting mein bahut deep chali gayi, and with every character, I would try to learn accents, gain weight and lose weight. Cut to two years ago, I had put on 20 kilos, and personally, too, I have metamorphosed into an individual where there is a certain way I think and dress… (like I wear a lot of sarees now). I have come to be a certain person.

So, when this film came your way, you were in an entirely different mind space?
Yes! Razy was sitting in front of me and telling me about this role and I was thinking about those days when I wanted it so badly. And there I was, as far as I could’ve been from this character (Agent Agni). When he approached me, I was shooting for Thalaivii, and mentally and physically, I was in a different mind space. I was wondering whether I would be able to pull off all those looks, miniskirts and firing guns? It was not just the weight, there was a lot more resistance I had as a person. So, when I met him, in my mind, I was sure that I wouldn’t do it, but he didn’t give up on me. These different looks were a part of it, and my major concern was to be able to pull it off convincingly.

Florian Hurel, the make-up artiste, who worked on these different looks for you in the film, mentioned in an interview that you are one of the very few artistes who possess the courage to experiment and then own each of those not so common looks. This is evident in the way you style yourself on and off screen.
Florian Hurel was the make-up artiste and Sheetal Sharma designed the looks with the director, and to fit into their vision was my challenge. I tell this story to a lot of people. When I first met Salman Khan before Gangster, I showed him my portfolio. He advised me to meet Sanjay Leela Bhansali and said that you are someone who will fit into his films. I went to meet him with my portfolio, which showcased various looks. He went through my pictures, looked at me with great curiosity and said, “Are you a chameleon or what? You change with every look.” I asked him, “Sir, is it a good thing or a bad thing?” He said, “I don’t know, you will figure it out.” And it was such an appropriate answer because, yes, it was difficult to get a break in the industry. You don’t know what you are, and you could be anything. Once you are successful, I guess it is a boon. Razy wanted me for this part as he knew that as a spy on a mission, I could transform with every look. But for my first break in the industry, people could not slot me, and that became a challenge. So, it was good and bad. Over the years, I could not find my ground and say this is my space, which every actor has. At this stage, of course, it seems like a great thing.

Personally, are you a fan of the action spy thriller genre? Any inspirations from other women on screen who you think have pulled off action superbly?
I like action films, but the kind of grounded and raw action that you see in Dhaakad. The superhero kind of films and that kind of action is not my zone. I think Charlize Theron is somebody who looks tough and looks good doing action. You need that physicality, and you need to look convincing, and she pulls it off really well. Baaki toh thoda modelling type ho jaata hai.

During Manikarnika - The Queen Of Jhansi, you had said that it was physically the toughest role you had played. You even met with an accident while shooting, which left you with a scar on your forehead. Would you say that you had to push your limits harder for Dhaakad?
Yes, the training was really tough. There is a 15-minute long action sequence, and it is something you have never seen before in our cinema. I trained in kickboxing and other martial arts, including Jiu-Jitsu and Krav Maga, to play this part. It is a draining role, and even to be angry, it takes a lot of your energy. We shot for 20-25 nights for that action sequence, and putting in that energy for days and days is exhausting. There are times your body is numb, you have no energy left, but you have to drag yourself on set. Having said that, for me, what works is that, by nature, I am a violent person. I mean in my ideologies. I have that thought process. If we were in different times, I would probably have been a warrior. My school of thought is not — tum ek thappad maaro, toh mein dusra gaal de doongi. I believe in, mujhe khoon do, main tumhe azaadi doonga. So, my very core is right wing. Coming from that space, this part was a bit cathartic. So, it is not like it was imposed on me, I also enjoyed it. It is in my nature, only that my body was not ready for it. In KGF - Chapter 2, there is this dialogue that the lead actor Yash says, “Violence, Violence, Violence! I don’t like it. I avoid, but, violence likes me.” I would tweak that for myself and say, “I like violence and violence also likes me (laughs!).”

You have worked with Arjun Rampal way back in 2011 for Rascals ,it was in a different space and time. After all these years, how was it teaming up with him for such an intense film? In an interview with us, he said that when he heard that you were playing the protagonist, he knew you would give it your all.
The evolution of Arjun as a creative force is tremendous. When we did Rascals, I didn’t understand him as an artiste. We became good friends, and we would party together. During Dhaakad, whenever we sat together, he would talk about the film, how he could add to my character and how we could do certain scenes. It became such an inspiring experience to see how much he is consumed by the entire process and the extent to which he has grown. He is writing scripts, he wants to direct and is producing films. Also, when he was offered the part, people around him were apprehensive about him working with me, but he was so nonchalant about it. He is his own person, and I have huge respect for such people. He doesn’t roam around in herds; he takes his own call.

In a previous interview with us, you had said, “Movies with women leading the show are being made, but they are mostly small-scale films. So, if it works, it’s fine, else it doesn’t hurt the producer’s pockets to a large extent.” But now, would you say that there’s been a change — in the way people view films led by women and the budgets that back those films?
It is high time… kyun ki uss chhote se budget mein aap kya karenge? Woh 20-30 crore mein social message wali films ban sakti hai. They will mostly be offbeat films, not mainstream. The budgets are not to show off that we have so much to spend, but so that we get more creative freedom. Today, if Razy has brought in an award-winning DOP, Tetsuo Nagata, for Dhaakad along with the kind of action crew that we had, it is because we could monetarily back that scale. This is the liberty that every artiste wants. We also need a good budget for a woman-led film, so that we can deliver.

Which also helps in achieving pay parity that has been a larger ongoing discussion in the industry for years. You seem content with what you are being paid for your work now, right?
Yes, of course. For me, it was important to feel that I am well paid, and not exploited. Don’t I go to a set and give my 100%? There are so many injuries that I have taken upon myself for these roles. So, just because I am a woman, not getting paid as much as my male counterpart is a very sad and unfortunate reality. Ab mere saath aisa nahin hota hai.

You recently made your OTT debut with the reality show Lock Upp. Do you want to explore this space further, with different kinds of content?
Yes, sure. The medium also gives you a global platform and being a creative person to have that is great. I would love to explore it more.

There is a lot of talk about pan India stars and pan-India movies lately. Actors from the South and Bollywood have been expressing that we should represent our cinema to the world as Indian films and not Hindi, Tamil, Telugu, etc. We should be one united film industry. Your thoughts?
I had said this long ago, that we should bring India together with our movies. While growing up, I didn’t know much about people from the South and their culture, but today, when we see their films, we get to know so much about them — what they eat, what they wear. Movies expose us to that. I was more exposed to American culture through their movies, over South Indian films or, say films from the North East. Cinema only brings us together. It’s high time that we come together and save our screens rather than let Hollywood take over, like what happened with the German and French film industries. We need to save our industry, and for that, we need to come together as one force.

Do you wish to be India’s new action star?
Hopefully!

How long will you have to wait to see a theatrical release on an OTT platform?

7:50 AM

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The Humour In Badhaai Do Is Not At The Expense Of LGBTQ+ Community: Bhumi Pednekar
A film’s exclusive run at theatres was reduced from eight to four weeks during the pandemic, but now as life returns to normal, it remains to be seen whether this release format will be more flexible henceforth
Rachana Dubey (BOMBAY TIMES; April 29, 2022)

In 2020, when many summer releases featuring top stars and backed by renowned banners had initially begun to take the OTT route for release, it had caused a huge stir in the film exhibition market nationally. Until then, films would first open in theatres and would head to satellite channels and OTT platforms about eight weeks after the release. However, the release of films directly on OTT in the summer of 2020 had riled up the traditional distribution and exhibition business in the country.

Shoojit Sircar’s Gulabo Sitabo, featuring Amitabh Bachchan and Ayushmann Khurrana, was the first film to announce its release date on OTT, followed by several others in quick succession. Two years later, the scenario has changed, and now there’s constant communication between filmmakers OTT platforms as well as exhibitors to figure out just how much time is right before a film heads from the big screen to the digital space.

83 Review: Ranveer Singh Lives The Part Of Kapil Dev In Rousing Cinematic Saga
‘WE HAD ARRIVED AT THIS AGREEMENT AT THE PEAK OF THE COVID PERIOD’
With time, a few films opened in theatres in 2020, when cinemas were allowed to run at 50 per cent capacity, but they met with a lukewarm response. Post the second wave, when the lockdown was eased, films gradually began to make their way back to the theatres again. By then, it had been mutually decided between the producers, distributors and exhibitors that a film releasing in theatres will have a four-week window before it goes to an OTT platform. And eventually, when theatres were allowed to operate at 100 per cent capacity, the scenario changed yet again.

Two years later, there is talk of a new kind of understanding between filmmakers, OTT platforms and exhibitors. Devang Sampat, of Cinepolis Cinemas, says, “We had arrived at this when we were at the peak of the pandemic, with uncertainty looming large. The headcount was restricted, and people were not coming to theatres in large numbers, but that has clearly changed now.”

‘THE FOUR-WEEK WINDOW ARRANGEMENT HAS ENDED’
Kangana Ranaut’s Thalaivii, which had hit the screens in September last year, had reportedly broken the said four-week norm to release on OTT platforms in just 15 days of its theatrical run, which had led to a lot of heat between the said parties. On the other end is a film like '83, which was released on OTT three months after its theatrical release on December 24, owing to a court case that was later settled. Other than these, most Hindi films, including Chandigarh Kare Aashiqui, Sooryavanshi, Bellbottom, Satyameva Jayate 2, Bachchhan Paandey and Badhaai Do, have followed the four-week window norm. The subsequent OTT runs of the recently released, Jersey, and the forthcoming Ajay Devgn-starrer Runway 34, are yet to be announced.

Rakesh Sippy, a leading distributor, says, “The month-long window was the need of the hour two years ago. The recoveries were not clear, and one didn’t know if the audience would flock back and when. Films like RRR, Gangubai Kathiawadi and The Kashmir Files have done great business. The four-week window as an arrangement had a time cap, which came to an end at the end of March. Filmmakers, exhibitors and distributors will now have to come to a consensus at some point. It will now depend on a fresh set of negotiations whether we will settle at four weeks or escalate the window to six or eight weeks. In my opinion, this should be dealt with in a case-to-case manner to ensure no one in the chain takes an undue hit.”

‘LONGER GAP BETWEEN THEATRICAL AND OTT RELEASE GIVES PEOPLE AN INCENTIVE TO COME TO THE THEATRES’
Akshaye Rathi, an independent exhibitor with cinema chains spread across India, says, “As we get back to normalcy, the window between theatrical and OTT releases is quite likely to go back to the previously followed eight weeks. That will incentivize people to come to cinemas, which is the best medium for great content to be experienced. We are a little away from getting back to a mutually agreeable eight-week window. A lot of filmmakers are proactively following the idea already. Like S S Rajamouli had said that his film will not head to a satellite channel or an OTT platform for about 90 days after release. It’s a pragmatic call that helps filmmakers optimally monetize their business and exhibitors to incentivize people to come back to theatres.”

Bachchhan Paandey Review: Demo On How Not To Make A Film Rides On Akshay Kumar's Over-The-Top Presence

After Kangana Ranaut would finish her Thalaivii shoot every day, we used to start the prep for Dhaakad-Razneesh Ghai

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Politician during day, spy by night
Dhaakad director Ghai recounts how Kangana trained in Krav Maga and Jujutsu for the actioner while shooting for Thalaivii in Hyderabad
Mohar Basu (MID-DAY; April 25, 2022)

Director Razneesh ‘Razy’ Ghai wants to give Bollywood a powerful female action hero with Dhaakad. If the teaser is any indication, he has put together a slick film that sees Kangana Ranaut in a no-holds-barred action avatar as Agent Agni. From wielding guns to gouging the enemy’s eye out, there is little that the actor hasn’t done as a fierce on-screen spy.

Months of intense preparation went into making Ranaut action-ready. For the film, she had to train in Krav Maga and Jujutsu, juggling the prep with the Thalaivii (2021) shoot. A source reveals, “Kangana was trained extensively to pull off the part of a lethal agent. In 2020, international stunt choreographers, including Cameron Hilts, Jason Ng and Stuart Williamson, taught her Krav Maga and Jujutsu over two months. Krav Maga, a form of self-defense that has its roots in the Israeli Army, focuses on contact combat, while the Japanese form of martial arts focuses on landing impactful blows and rendering the opponent defenseless. Kangana not only picked up the basics of these self-defense forms, but also performed all the stunts by herself. She decided to do away with body doubles since the film has many combat scenes.” 

Ghai remembers being impressed by his leading lady’s dedication towards her craft. Recounting her gruelling training, he says, “We flew down to Hyderabad with the action choreographers and trainers. After she would finish her Thalaivii shoot [every day], we used to start the prep for Dhaakad. Kangana is focused, and when it comes to work, she never allows herself to get tired. I was amazed at her hard work and ability to pack up from a film’s set and jump into the prep for another, all in the course of the same day.”

The multi-lingual — Hindi, Tamil, Telugu and Malayalam — also stars Arjun Rampal.

After Thalaivii, '83 to become second film to have simultaneous release on two OTT platforms

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Ranveeer Singh's 83 to release on two OTT platforms

After Thalaivii, Ranveer’s cricket drama '83 to become second film to have simultaneous release on two OTT platforms; Netflix bags Hindi rights while regional versions will stream on Disney+ Hotstar
Upala KBR (MID-DAY; February 12, 2022)

Filmmaker Kabir Khan wanted his ambitious sports drama, '83, to play out on the big screen, a fitting canvas for Team India’s victory at the 1983 cricket World Cup at Lord’s. Though the Ranveer Singh-starrer opened in theatres last December to much acclaim, its box-office performance was hampered by the third wave of the pandemic. For all those waiting to revisit one of the greatest milestones in Indian sports, there’s good news — the film is expected to drop on two OTT platforms simultaneously later this month. mid-day has learnt that Netflix has bagged the rights of the Hindi version, while Disney+ Hotstar will stream the Tamil, Telugu, Kannada and Malayalam versions.

When '83 was launched in 2017, Star India was apparently in talks for the television rights. “At the time, the OTT boom hadn’t hit India. The deal was finalised, and Star Gold had got the satellite rights,” reveals a trade source.

However, the audience consumption pattern changed in the past two years of the pandemic. “With digital premieres gaining popularity since 2020, Disney+ Hotstar — the OTT arm of the Walt Disney Company India, of which Star India is a subsidiary — gained the rights to the regional versions.”

It was in the wake of the OTT revolution that the producers apparently sold the Hindi rights to Netflix. “With this, '83 becomes the second Hindi movie after Thalaivii [2021] to be streamed simultaneously on two web platforms. The film is likely to drop on both platforms on February 18 or 25. Only after two months of its OTT release, will the Hindi version air on Star Gold.”

Usually, movies make their way to OTT platforms after four weeks of theatrical release. However, the makers of 83 wanted a longer gap. “'83 hit the marquee on December 24. During the negotiations, the makers made it clear they wanted a minimum eight-week run before it released digitally and on TV,” adds the source.

mid-day reached out to producers Khan, Sajid Nadiadwala and Vishnuvardhan Induri as well as the two streaming platforms. None of them responded till press time.

'83 is the top overseas grosser of 2021; beats Sooryavanshi

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sooryavanshi 83 release
Box Office India Trade Network

The Overseas market was dull in 2021 like the Indian market as only '83 and SOORYAVANSHI managed to collect well but this is two films doing well as compared to one in India. The standout performance was SOORYAVANSHI although '83 collected a little more that came over the Christmas and New Year period which is easily the most lucrative period for the box office in Overseas with a prolonged holiday period. 

Also SOORYAVANSHI was that film for the mass circuits like Maharashtra, Gujarat and CP, CI. So an $8 million plus overseas total is actually more impressive than its India business. SOORYAVANSHI became the second highest Akshay Kumar grosser in Overseas after GOOD NEWWZ but that was a more overseas friendly film and released over the New Year period.

The rest fared poorly though TADAP surprised in United Kingdom as it beat the likes of BELLBOTTOM, ANTIM and CHANDIGARH KARE AASHIQUI. Overall TADAP could not do much in Overseas but UK has done pretty well as it has collected £187k till date and is still running after 9 weeks of release. It might add another £3-5k and a £190k final total which is not much less than films like BALA and DE DE PYAAR DE which released pre-Covid in 2019.

The top ten grossers Overseas ins 2019 are as follows.
1. 83 - $8.5 million (expected)
2. Sooryavanshi - $8.35 million
3. Bellbottom - $1.92 million
4. Antim - The Final Truth - $1.8 million
5. Chandigarh Kare Aashiqui - $1,060,000
6. Bunty Aur Babli 2 - $1,000,000
7. Tadap - $620,000
8. Mumbai Saga - $470,000
9. Thalaivii - $380,000
10. Chehre - $320,000

I couldn’t move my right hand and it took me a year to recover from it-Bhagyashree

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Titas Chowdhury (HINDUSTAN TIMES; November 7, 2021)

Actor Bhagyashree finally made a return to the big screen — more than a decade after her last stint — with Thalaivii. The actor, who was last seen in Red Alert: The War Within (2010), attributes the hiatus to a health condition, which, in turn, led her to studying more about nutrition and fitness.

Talking about it, Bhagyashree shares, “During the course of the shooting for my television show Laut Aao Trisha (2014-15), I couldn’t move my right hand and it took me a year to recover from it.”

The 52-year-old actor reveals that this “life-changing” episode opened up a new world for her and she took to studying during that period. “I studied nutrition and fitness, virtually, from Stanford University, American Fitness and Professional Associates, and University of Pennsylvania (UPENN).”

She continues, “The doctors had suggested surgery but I was really scared of it. I self-healed, which came as a shock and surprise to them. I realised that a simplistic way of living can help one heal within their home.”

On the work front, Bhagyashree is looking forward to the release of Radhe Shyam, another pan-India project, after Thalaivii. She says, “Maine Pyar Kiya (1989) was dubbed in a dozen languages. It was the biggest hit, be it in Tamil, Telugu or Spanish. I went to Spain a few years ago and people recognised me from the film. I would say that multilingual is my forte (laughs).”

She believes that now is the right time to make her return to Bollywood. “I’ve been very lucky and blessed... The money is crazy right now and I’m glad that I have come back at the right time,” ends the actor.

Fenil's Bollywood Talk # 696

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CINEMA HALLS TO FINALLY OPEN IN MAHARASHTRA THIS FRIDAY!

The day is finally around the corner. Two days from now, on October 22, theatres will finally be allowed to resume operations in the crucial state of Maharashtra. We have spoken in this column about how the Maharashtra government has been quite unfair to the film industry. The state contributes nearly 30% of all India business. Hence, without Maharashtra, it was not practical to release a Hindi film. It was no surprise that only 3 major Bollywood films released post the second lockdown – Bellbottom, Chehre and Thalaivii. The first two announced the release dates with the hope that Maharashtra would open up by August 15.

What shocked many was that the cases have been declining steadily almost everywhere in Maharashtra since June. The same month, the government announced a very practical plan of starting theatres and other businesses in cities or districts with least positivity rate. As a result, cinema halls opened in some towns for a few weeks. But this plan was taken back after fears of Delta Plus. Meanwhile, from July onwards, theatres were allowed to open in several states. By mid-August, except for Maharashtra, Kerala and some minor states, cinemas were operational all over the country.

The industry sadly was too scared to openly speak about their anger. Nevertheless, they continued having meetings with the government. Finally, on September 25, chief minister Uddhav Thackeray agreed to open cinemas but from October 22. The industry was overjoyed. However, a few wondered why can’t the theatres start immediately. Also, there were fears that the government might push this date if the cases increase due to the festivals. Moreover, cinema hall owners were also worried that if the government doesn’t allow shows at night, then it can affect the business. The last bit worried the producers too.

But fortunately, the cases reduced instead of increasing. The government didn’t play any mischief and cinemas are opening on October 22 as scheduled. And earlier this week, it allowed restaurants to operate till 12 midnight and shops and malls till 11:00 pm. This made it clear that there’ll be no night curfew and that theatres can play night shows.

Since cinema halls were open in other states, a lot of Hollywood films were released and some of them even did well. Most of these films would make it to cinemas in Maharashtra from October 22. These include Venom: Let There Be Carnage, No Time To Die, Shang-Chi And The Legend Of The Ten Rings, Free Guy and Jungle Cruise. Bellbottom, Chehre, Thalaivii and a small Hindi film starring Faisal Khan, Faactory, will arrive in cinemas too. Then regional films like Doctor (Tamil), Love Story (Telugu), Honsla Rakh (Punjabi) and Qismat 2 (Punjabi) would be screened in select multiplexes.

Two Hindi films would release tomorrow across India, and also in Maharashtra. One is Bhavai, starring Scam 1992 star Pratik Gandhi. It was earlier titled Raavan Leela but its title was changed due to protests. Despite this controversy and Pratik Gandhi’s presence, there’s no excitement. The other Hindi film is Babloo Bachelor, starring Sharman Joshi and Pooja Chopra. Its trailer was poor and it’ll sink without a trace.

Finally, two Hollywood films are also arriving in cinemas tomorrow. While The Last Duel would release across India, the much awaited film Dune would release everywhere except Maharashtra. This is because it won’t get sufficient IMAX and 4DX screens in the state as these screens will be taken over by films like Venom: Let There Be Carnage, No Time To Die and Shang-Chi And The Legend Of The Ten Rings. Hence, Dune will be available in Maharashtra from October 29.

Hence, as one can see, there are plenty of options for cinemagoers from tomorrow. Most of the films sadly won’t get sufficient footfalls but a lot of hope is riding on Venom: Let There Be Carnage as it released just last week elsewhere and did great business.

I was fed up of being known as a two-scene actor, says Raj Arjun

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Juhi Chakraborty (HINDUSTAN TIMES; October 9, 2021)

The film business is tough, and it is especially hard for actors to make it big given the volume of talent in the industry, feels actor Raj Arjun. Sharing his own ordeal, he says that despite being consistent with his performances, he had to struggle for more than a decade.

“I was trying to break the wall and the wall is invisible, so I was just throwing my hands here and there. It’s so uncertain. I was banging on each and every door. I remember I didn’t leave any stone unturned,” says Arjun, who started his career with Black Friday in 2007.

Recently seen in Thalaivii, the actor reveals that he was always ahead of his peers when it came to presenting himself on the professional front and yet the outcome wasn’t as he expected. “I was very updated. When people used to send out photos, I had my CV. When people used CV, I was already on pen drives and would distribute it to casting people. When people got to pen drives, I was doing it on my ipad,” he shares, adding that he soon realised that it was all futile as he was already typecast by filmmakers.

“What I realised was that people started seeing me as one and two-scene actor and that was a problem. I thought that I may not be able to break the wall after all,” he says.

What followed was a break from acting. “So then I took a break… main thahar gaya. I decided I won’t do these small roles which I was doing for 10-12 years. As an actor, I wasn’t satisfied with that work. I was doing them just because of the greed that someone someday will notice me and offer me something big,” Arjun shares, revealing that he didn’t gain anything from the small roles he did for long. “I was neither getting recognition nor money. I don’t blame anybody for this,” he says.

Indeed, taking a step back worked in his favour. “I don’t like asking for any favour in life... I felt shy asking for work. So when I took a step back, that is when Secret Superstar (2017) happened and changed things for me,” he ends, terming the musical drama as the turning point in his life.

Fenil's Bollywood Talk # 692

11:21 AM

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WILL MAHARASHTRA CINEMAS OPEN SOON?

The flow of Hindi film releases has once again stopped. Bellbottom kickstarted the movie-watching season followed by Chehre and Thalaivii. The reason why no more films are releasing is because the crucial state of Maharashtra is still shut. What’s shocking is how the industry is silent. The losses are mounting and survival has become difficult for the theatre owners in the state. Yet, except for some token gestures and pleas to open cinemas, the exhibition and production sector isn’t doing much. Away from the limelight, the industry stakeholders have met the Maharashtra government officials and have requested them to allow the reopening of cinema halls. But unlike shop owners and the restaurant industry that did public protests and put immense pressure on the government, the conduct of the film industry, in comparison, is lacklustre.

However, since the past few days, some murmurs are going around in the industry and trade that cinema halls would finally be allowed to reopen in Maharashtra. While some predict that it’ll happen in the first week of October, some have claimed it can happen as early as next week.

The Ganesh Chaturthi festival was celebrated from September 10 to September 19 in Maharashtra. Though the government put a lot of restrictions on the celebration, people were still free to go to each other’s houses and even travel out of town. Some experts predicted that the cases would increase once the festival ends. However, till now, there has been no major upsurge in cases. Hence, the buzz is that once the state government realizes that the cases are in control, they’ll allow the theatres to restart by next week or a week later.

On the other hand, the skeptics don’t want to keep any hope. They argue that even in August, Maharashtra health minister Rajesh Tope had assured that the theatres will open soon. But that didn’t happen. In June’s first week, the government introduced a level-based reopening model. As per this strategy, the cities and districts with the least cases were put in Level 1 category and these places were allowed to open theatres. As a result, theatres had opened in Malegaon and Aurangabad. But in 20 days, this level-based formula was thrown out of the window due to fears of the Delta Plus variant. Many were shocked how this level-based model, which seemed very sensible and practical, was abruptly ended within a couple of weeks.

Hence, the government can’t be trusted. There’s a possibility that cinemas might not open in October. The government didn’t give any reason why it didn’t open theatres in September and even the industry got too scared to speak about it openly. Also, in September first week, a newspaper article in The Times Of India had reported that the government is looking at opening drama theatres first, in the first week of November, and then they’ll decide on the theatres and multiplexes! If this is what the government implements, the industry would lose out on the Dussehra holiday (October 15) as well as the Diwali holiday (November 5). This would prove catastrophic and one can only hope that the theatres open as soon as possible.

Filmmakers don’t want their films to release unless they can in Maharashtra-Komal Nahta

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Vishnu Vardhan Induri: People unwilling to return to theatres

Despite recent offerings faring well, filmmakers unwilling to release movies in limited theatres; Hollywood offerings make the most of lack of competition
Mohar Basu, Uma Ramasubramanian (MID-DAY; September 18, 2021)

Not too long ago, Akshay Kumar was hailed by industry folk for leading from the front and facilitating a theatrical release of his film, Bellbottom. However, despite a notable collection of Rs 30-crore — collected from theatres across India, where a 50 per cent occupancy clause was in place — the development hasn’t encouraged other filmmakers to follow suit.

Mid-day has it that the recently released offerings have been unable to recover costs. Kumar’s Bellbottom, which also began airing on Amazon Prime Video this week, earned about Rs 30-crore, but trade pundit Atul Mohan puts the predicted figure of a pre-pandemic film of this nature at Rs 150-crore. 

“Roughly, 30 per cent of the national box office [collection] comes from Maharashtra, 20 per cent of which comes from Mumbai and Thane alone. Mumbai is where buzz around a film is generated. Because the centre is shut, exhibitors are not particularly interested in [showcasing] films. Bellbottom, Chehre and Thalaivii are doing [well], but the industry isn’t picking up pace. Among the factors contributing to this failure are the ticket prices, which are too high for a post-pandemic era. There’s also a great deal of fear among viewers, who are willing to wait for an OTT release that follows within weeks.”

When establishing how the film’s subject affects its collection, Kangana Ranaut’s Thalaivii serves as an ideal case in point. The film’s primary market was South India. Rs 3.85 crores of the Rs 5 crores generated by the film, he says, came from this market.

Producer Vishnu Vardhan Induri says that while he didn’t expect promising collections from a theatrical release, the film warranted a big-screen airing. “People are unwilling to return to theatres. Our focus was still trained on the digital and satellite platforms. Kangana has a huge fan base, and many people would have watched it, had it aired in Mumbai. We were not expecting great collections. We knew it was not going to screen in multiplexes.”

The development has taken a toll on Bollywood. With news of a third wave intensifying, and city cases averaging 500 a day, cinema halls are not expected to open soon. Trade sources set the expected date in November, ahead of Diwali.

Trade analyst Komal Nahta says, “Filmmakers don’t want their films to release unless they can in Maharashtra. There is no Hindi film screening in the forthcoming fortnight.”

Hollywood flicks, in the interim, are making the most of the lack of competition. Daniel Craig’s much-awaited No Time To Die is set to hit screens on September 30, with The Boss Baby: Family Business, House Of Gucci and Resident Evil: Welcome To Raccoon City following in the weeks that will follow. It is believed that the first Hindi film will be Tadap, in December.

Fenil's Bollywood Talk # 691

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FLOW OF HINDI RELEASES STOPS ONCE AGAIN; HOLLYWOOD AND REGIONAL CINEMA TO DOMINATE

The Akshay Kumar-starrer Bellbottom was released in cinemas on August 19 and it was the first Hindi film since April 2021 to arrive on the big screen. Its release date was announced when cinemas are opening up in many states. It was assumed that the crucial state of Maharashtra, which contributes 30% of the revenue, would also open up by August 19. Sadly, it didn’t and it affected Bellbottom’s performance. Chehre arrived next, on August 26 and it was also released with the idea that Maharashtra would have opened up by then. Finally came Thalaivii on September 10. Its release was planned at a time when it became clear that Maharashtra is not opening up. Yet, the Kangana Ranaut starrer released since it is also releasing in Tamil version and the state of Tamil Nadu has allowed theatres to resume operation.

Sadly, all three films have flopped at the box office. Bellbottom was expected to collect at least Rs. 50-60 crore but its lifetime will now be around Rs. 30 crore. Chehre won’t be able to even cross the Rs. 5 crore mark while Thalaivii won’t go beyond Rs. 7-8 crore. The word of mouth of all three films was positive but these films were not properly marketed. Also, audiences were not excited to see it.

On the other hand, a Hollywood film, Shang-Chi And The Legend Of The Ten Rings, had a surprise opening and is about to reach the Rs. 30 crore lifetime. The two Punjabi films, Puaada and Chal Mera Putt 2, have done extraordinary business. However, the industry has chosen to ignore this part. They have focused only on the dismal performance of the three Hindi films and have decided to not release any major film till Maharashtra is open.

As a result, for the next three weeks at least, no significant Hindi film is releasing on the big screen. The Hollywood films and regional films will now dominate cinemas for a while. Tomorrow, three Hollywood films will release – Free Guy, Don’t Breathe 2 and Old. The first two has a slight chance of pulling audiences. Shang-Chi And The Legend Of The Ten Rings will continue to dominate the business in the coming week too. The next week will see the release of Qismat 2, the sequel of a super-hit Punjabi film Qismat, and the Hollywood entertainer, Jungle Cruise, starring Dwayne Johnson. Finally, on September 30, the James Bond film, No Time To Die, will finally arrive in cinemas and its expected to do huge business in India.

(Crisp) Movie Review: THALAIVII by FENIL SETA

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Thalaivii starts with a bang. The first half is devoted to showcasing Jaya’s film career; this part is interesting but not as terrific as the first scene. Thankfully, the film goes on another level in the second half as Jaya joins politics. From here on, the film doesn’t let your attention even for a second as there’s so much happening. A few scenes are exceptional and would keep lingering in your mind even after the film ends. Vijayendra Prasad and Rajat Arora, the two massy writers, have collaborated beautifully and came up with an entertaining script. A L Vijay’s direction is simple and it's easy to comprehend the goings-on. On the flipside, the first half is a bit haphazardly edited. A few sequences will leave audiences bewildered. One even gets restless as one wants the political track to begin. The intermission point is significant but also dull and could have been better. Speaking of performances, Kangana Ranaut, as expected, rocks the show. This is yet another mind-blowing and National Award worthy performance. Arvind Swami also delivers one of the greatest performances of his career. You have to see it to believe how perfectly he has essayed the yesteryear star-turned-politician. Raj Arjun is the surprise of the film and its great to see that he has such a lengthy role. Nassar is superb. Bhagyashree is lovely while Madhoo doesn’t get much scope. All in all, Thalaivii is a simple and massy political drama that’s surely worth a watch. It’s a grand fare and if it has been released in your city, do watch it on the BIG screen! (P.S.: Don’t miss the beginning)

My rating - *** ½ out of 5!

Fenil's Bollywood Talk # 690

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POLITICAL BIOPIC AND HORROR COMEDY TO RELEASE IN GANESH CHATURTHI WEEKEND

Due to prolonged lockdown for cinemas in Maharashtra, very few Hindi films have managed to release on the big screen. It started with Bellbottom on August 19 followed by Chehre on August 27. Both films were scheduled to release with the hope that Maharashtra, which contributes 30% of total all-India revenue, would open by August 15. Sadly, it didn’t happen and many films which were planned for a theatrical release in September have been pushed indefinitely. Thalaivii is the two of the last films that would release this season as of now, despite Maharashtra being shut.

This film stars Kangana Ranaut in the role of the iconic ex-chief Minister of Tamil Nadu, J Jayalalithaa. The film attempts to trace her journey from a famous film actress to one of the greatest political figures of India. The trailer was released in March this year as it was scheduled to initially release on April 23. But due to the second wave of Covid-19, it was postponed. The trailer is intriguing. Kangana’s off-screen persona has its share of lovers and haters but when it comes to her on-screen avatar, everyone agrees that she is one of the finest actors today. Hence, to see Kangana in such an author-backed role will surely pull audiences to some extent.

Sadly, Thalaivii will face some major problems. Firstly, the hype is negligible. The promotions have been very low-key and Kangana has not given any interviews or made conventional appearances on television shows. The makers have done the same mistake that was done by the producers of Bellbottom and Chehre, that is, not publicizing the fact that this film is releasing on the big screen. As a result, people are hardly aware that Thalaivii is releasing this Friday. Also, the subject is such that it’ll not easily attract audiences.

Another problem faced by the makers is that it might not be released in the major national multiplex chains. These chains contribute a huge chunk of business. But they have decided not to screen the film as it’ll release on Netflix 2 weeks after Thalaivii’s theatrical release. They believe that if audiences know that a film would release online within a fortnight, many might not go to see it on the big screen. Since the pandemic, the multiplexes and producers have jointly decided to release online 4 weeks after theatrical release. The multiplexes desire the same arrangement from Thalaivii as well. However, Thalaivii’s producer claims that he’ll bear a major loss if he releases it on digital after four weeks. He’ll be paid more for a release on Netflix post fortnight as opposed to a release post 28 days. He also said that at this point, box office figures won’t be encouraging and hence he needs revenue from Netflix to make the project feasible.

The multiplexes, however, have refused to budge. They feel that it’ll set a wrong precedent. If Thalaivii is given an exception, then many other producers would make a similar demand and as a result, the exhibition sector would suffer.

Till Wednesday morning, both parties have not been able to reach a consensus. If Thalaivii is released in multiplexes, then it can have an opening of Rs. 1-1.25 crore. Without these multiplex chains, its opening might be in the range of Day 1 of Chehre (Rs. 45 lakhs) or even lower.

The other release of the week is Bhoot Police. It’ll stream on Disney+ Hotstar from September 10. Interestingly, it was supposed to release on September 17 but on Tuesday, September 7, the makers announced that it’ll release three days later! The film stars Saif Ali Khan, Arjun Kapoor, Yami Gautam and Jacqueline Fernandez. The storyline seems interesting but the dialogues and treatment don’t seem up to the mark. If made well, it can make for a great horror comedy and would be lapped up by the youth.

Bhoot Police was shot last year during the pandemic. It was all set to release in cinemas, coincidentally that too on September 10. But due to the second lockdown, the producers decided to release it on OTT.

Thalaivii row: Industry divided over two-week gap demand

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Trade analysts feel makers aren’t wrong in asking for a two-week window before OTT release, theatre owners say deal not profitable
Anjuri Nayar Singh (HINDUSTAN TIMES; September 8, 2021)

Theatres are just about getting back on their feet, but they are in no mood to accept a two-week gap between the OTT and big screen release of actor Kangana Ranaut’s Thalaivii. While Telugu and Tamil versions of the film have a four-week window before they release on OTT, the Hindi version does not. And this decision of the multiplexes hasn’t gone down too well with Ranaut, who even took to social media to share her angst.

The industry, however, seems divided over the matter. While multiplex owners say a two-week gap won’t do them much good, trade analysts believe makers are not wrong about their decision.

Trade analyst Komal Nahta says, “Producers are right. The film sells 20-25% more (depending on many factors) if they release it sooner on OTT. In two weeks, they’ll get more than what they will in four weeks. Theatre owners, on the other hand, have signed four-week window agreements with big production houses, they can’t jeopardise that.”

Echoing this sentiment, trade analyst Atul Mohan points out that no film makes money beyond two weeks. “It’s the first weekend, first week and next weekend that matter. Makers could have taken a direct-to-OTT release, but they are still releasing in theatres to help them out. Of course, multiplexes feel why will anyone come to watch if they know it will release online in two weeks. But, how many people have access to OTT platforms in tier I and II cities?” he reasons.

But, multiplex owners insist a two-week gap is not profitable. “It is important to respect the window theatres get. Before Coronavirus, it was eight weeks. It’s been reduced to four weeks till the time the industry settles. We want to play the Hindi version of the film, as we know the audience is also waiting for it. But, we cannot accept the two-week window. We will play the Tamil and Telugu versions in theatres till this is resolved,” says Devang Sampat, CEO, Cinepolis India.

This issue is being discussed at length as it’s about more than just this film, opines Kunal Sawhney, COO, Carnival Cinemas. “Once you allow a two-week window for one film, it’ll happen for others as well. We want to bring films to cinemas, but we need to safeguard ourselves as well,” he reasons, adding, “We have not decided if we will play it or not, as of now.”

If I opt for a four-week window for Thalaivii's Hindi version, I will lose money and will land in a financial problem-Vishnu Induri

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Vishnu Vardhan Induri: Can recover cost only if there’s two-week gap

As leading multiplex chain refuses to screen Hindi version of Kangana’s Thalaivii due to narrow window between theatrical run and OTT release, producer says the demanded four-week gap is financially unfeasible
Uma Ramasubramanian (MID-DAY; September 7, 2021)

Kangana Ranaut and theatre chain PVR Cinemas were engaged in a war of words last week after the latter refused to screen Thalaivii until the makers ensured a four-week gap between its theatrical release and subsequent OTT run. The story took a turn on Saturday with PVR agreeing to run the film’s Tamil and Telugu versions after the producers met the four-week demand. However, the multiplex chain was “disappointed” that the Hindi version will drop on Netflix India only after a two-week window, and took a hard stand against its big-screen outing.

Producer Vishnu Vardhan Induri says that while he empathises with the exhibitors, the two-week gap is a necessary measure in this hour. After all, backing Thalaivii — touted to be one of the most expensive woman-led films — comes with its share of risks. “As a producer who has invested so much money in the film, I have the right to recover the investment. Every producer is trying various means [to stay afloat] — some are taking the direct-to-web route, others are waiting for a few more months. I can recover the cost only if there is a two-week window because at this point, box office won’t give me the returns that we would get earlier.”

The biopic on J Jayalalithaa, the late chief minister of Tamil Nadu, was among the films that the exhibitors had hoped would turn the tide in their favour. While the Ranaut-starrer’s Tamil and Telugu versions are slated to drop on Amazon Prime Video in mid-October, Induri says his hands are tied as far as the Hindi counterpart is concerned. “If I opt for a four-week window [for the Hindi version], I will lose money and will land in a financial problem. I will never be able to make a film again.”

Despite the leading multiplex chain barring its release, he says the Hindi offering will enjoy a “wide reach” through local movie halls.

The A L Vijay directorial venture has another disadvantage — cinemas in Maharashtra continue to remain shut. But Induri is undeterred. “If I hold off the release and the third wave hits, I will lose out on seven months or so. Hence, the key people on the film have decided to go ahead with the September 10 release. Kangana stands by our decision.”

Thalaivii row: Filmmakers and exhibitors divided over the reduced gap between theatrical & OTT release

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Kangana Ranaut On Transforming Into Jayalalithaa In Thalaivi: 'Had To Take Hormone Pills'

While team Thalaivii wants the gap between the film’s digital and theatrical release for its Hindi version to be reduced to two weeks instead of four, exhibitors feel this will mean cinemagoers will not watch the film in cinemas, and instead wait for its digital release
Niharika Lal (DELHI TIMES; September 6, 2021)

Team Thalaivii and exhibitors are making an ‘appeal’ and ‘sincere requests’ to each other to negotiate the period between the film’s release in cinemas and its release on other platforms. Exhibitors believe that reducing the theatrical window further to two weeks (as opposed to the existing four weeks) means that cinegoers will not watch the film in cinemas, and would rather wait for the release on a digital platform. Whether this gap should further be reduced to two weeks or not is the core discussion around the release of Thalaivii.

WHAT IS THE DEBATE AROUND THALAIVII?
For now, Thalaivii is scheduled to be released in Hindi on an OTT platform two weeks after its release in cinemas, while its Tamil and Telugu versions are scheduled to be released on another OTT platform four weeks after its theatrical release. Multiplexes, such as PVR and INOX, are firm that if the four-week theatrical release window is not kept uniform across all languages then they will not release the film in Hindi. They will, however, release the film in Tamil and Telugu versions as the theatrical window for them is four weeks.

On Saturday, Kangana Ranaut released a video, saying, “We are theatre-made people, so our (Thalaivii) producers Vishnu Vardhan Induri and Shaailesh R Singh decided to support theatres. My producers have rejected several exclusive streaming offers, but we didn’t know that we will not get support from theatres... If multiplexes don’t screen our movie, watch it on single screens, and later on streaming platforms.”

On Saturday evening, PVR issued a statement that read, “We are thankful to the Thalaivii team for offering a four-week theatrical window for its Tamil and Telugu language versions. We are delighted to be able to play Thalaivii in Tamil and Telugu language at our cinemas, however, we are disappointed that for the Hindi language version, the Thalaivii team has decided to offer only a twoweek window. We would like to appeal to Kangana Ranaut, Vishnu Induri and Shailesh Singh to keep a uniform window of four weeks across all language versions, and therefore, allow all cinemas across the country to showcase the film on the big screen.”

Kamal Gianchandani, CEO, PVR Pictures Ltd Chief of Strategy, PVR Limited, says, “Considering the severe impact of the ongoing pandemic on our business, we have already agreed to reduce the eight-week theatrical window to four weeks, for all films releasing in the near future.”

Following PVR’s official statement, Kangana posted on Instagram, “I hope with talks, and a passion for the theatrical experience, we can come together to find a solution so that the Hindi version can also find love and appreciation on the big screen.”

WHY ARE EXHIBITORS RELUCTANT TO REDUCE THE THEATRICAL WINDOW TO TWO WEEKS?
An industry insider says, “The audience still doesn’t have full confidence in visiting a cinema hall. If we will reduce the window to two weeks, then they’ll not go to cinemas and would rather wait for two weeks. It will not just affect exhibitors, but also producers who are making films keeping the big screen in mind.” Another concern that exhibitors have raised is that if four weeks window is reduced to two weeks for one film, then cinemas will have to do it for other films, too, which means losing audience and revenue.
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WHAT IS A THEATRICAL WINDOW?

It is the period between a film’s release in cinemas and its release on other platforms. While before the pandemic, the gap between releasing a film in a cinema hall and on a streaming platform was eight weeks (two months), this has been temporarily reduced to four weeks (one month).
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‘HOLLYWOOD CAN RELEASE ON THE SAME DAY ON OTT AND IN CINEMAS AS THEY ARE A MATURE MARKET, BUT WE ARE AT A NASCENT STAGE’

In the last 15 months, multiple big star-led films from Gulabo Sitabo to Coolie No.1, were released directly on OTT platforms. However, films like Roohi and Suraj Pe Mangal Bhari that opted to release on OTT and cinemas both maintained four weeks window. However, this discussion on reducing the theatrical window to two weeks from four didn’t surface before. Some sources point out that it happened with Radhe: Your Most Wanted Bhai, however, it was not in the public domain.

Now, in Hollywood, some studios are opting for simultaneous releases on OTT platforms and cinemas. Last year, Warner Bros issued a statement saying it is abandoning the windowing system and will release the film the same day in cinemas and on its streaming platform. If in Hollywood, films can be released simultaneously in cinemas and on the streaming platforms, then why not in India?

Girish Johar, producer and film business analyst, says, “The pandemic has accelerated the growth of OTT in India. The growth that would have been in five years happened in the last 14-15 months in terms of reach, content and direct release on OTT platforms. But if cinemas reduce the theatrical window, viewers will not come. The reason why OTTs are focussing on a shorter theatrical window is so that they can encash film promotions. If word of mouth of a film is bad, it affects the film’s long-term prospects. OTTs want to make all possible revenues, and that’s the reason why Hollywood is now practising simultaneous releases. But Hollywood is a mature market. In India, we are at a nascent stage. There have to be a lot of technological advancements for us to come to a par where we can have simultaneous releases.”

Kangana Ranaut, Arvind Swamy pay tribute to Jayalalithaa-MGR by revisiting 4 of their iconic tracks in Thalaivii song

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Mohar Basu (MID-DAY; August 28, 2021)

A retelling of J Jayalalithaa’s life would perhaps be incomplete without a mention of late actor-politician M G Ramachandran, better known as MGR. In Thalaivii, Kangana Ranaut and Arvind Swamy have paid a tribute to the actor duo with Teri Aankhon Mein. The track sees them recreate iconic moments from four of Jayalalithaa and MGR’s popular songs — Kanne Kaniye and Enna Porutham from Ragasiya Police 115 (1968), Ninaithathai Nadathiye from Nam Naadu (1969), and Ninaithen Vanthai from Kaavalkaaran (1967).

Ranaut, who has taken on the task of bringing the late Tamil Nadu chief minister’s life on screen, says that she devoured Jayalalithaa’s songs, studying her movements. “Jaya Amma’s songs are significant because they are part of pop culture. This song is an amalgamation of those tracks. Jaya Ma and MGR gave 60 to 70 songs together. They worked together for decades, but we had to crack it in the span of four days. In a day, I would go through several looks and hairstyles,” says the actor, admitting that pulling off the different looks was taxing. “The two forces of Tamil cinema created fireworks on screen, and I wanted that magic to be authentic.”

What made it all the more challenging was that director A L Vijay filmed the song at a time when Ranaut was gearing up for the latter half of the biopic and had begun to gain 20 kilos to look the part. “In her younger days, Jaya Amma had an hourglass body. But we were on the brink of shooting the second hour of the film. My director took it upon himself to make sure I was well-fed. His mother’s handmade meals came in three tiffins,” she laughs.

Thalaivii and '83 have been made for the big screen-Vishnu Vardhan Induri

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Rachana Dubey (BOMBAY TIMES; August 24, 2021)

In these unprecedented times, producer Vishnu Vardhan Induri braved a challenge, holding on to two big-ticket ventures — 83 headlined by Ranveer Singh and Kangana Ranaut-starrer Thalaivii — in order to unveil them on the big screen. While his plans are afoot to prepare a hybrid release strategy for his projects, the producer spoke to BT about his journey with these films and more. Excerpts:

On Independence Day this year, you announced a franchise called Azad Hind, and the first film in it will be about Durgawati Devi, popularly known as Durga Bhabhi. At a time when people are taking calculated risks, what drove you to plunge into a mammoth project like this?
Real-life stories have always inspired me. For a long time, I have wanted to build a franchise around our freedom fighters who have not received their due. There are so many. Durga Bhabhi is one of them. She inspired the likes of Chandra Shekhar Azad and Bhagat Singh and she made numerous sacrifices for the motherland. Her story is phenomenal. When I was planning the franchise, Azad Hind, we felt her story should be the first one to roll out. Also, I wanted to make this announcement coinciding with our 75th Independence Day. There could not have been a more momentous day to do it. We have already commenced work and we will announce the finer details of the project soon.

You already have two big films in the offing — Ranveer Singh-starrer '83 and Thalaivii headlined by Kangana Ranaut. There has been so much speculation about whether these films will really make it to cinemas...
The films are complete and ready for release. In fact, Thalaivii will be released on September 10 in Hindi, Tamil and Telugu. We made these films for a theatrical experience and we are going to bring them out in cinemas. It was a huge risk to wait with such big films in the kitty, and so, it was important for us to safeguard our investment while ensuring the films see a theatrical run. We are working out multiple options. In times like these, with the pandemic still playing on people’s minds, box-office collections can’t be taken as the benchmark for a film’s success. The only criteria should be the recovery of investment while ensuring the film is showcased to an audience as large as possible through whichever model a producer chooses for the film’s exhibition. It could be direct-to-digital, a hybrid of theatrical and OTT, or a straight-out theatrical release. The industry is going through a tough time and we can’t judge anyone if they decided to go with a direct-to-digital release. No one expected this pandemic to hit us this bad.

Producers, who are wanting to opt for a theatrical run, also need to look for various permutations and combinations to de-risk their investments, and in the process, they may need to take some drastic decisions, which might be unconventional. Thalaivii and '83 have been made for the big screen and we want to showcase our films in theatres first. At the same time, we definitely want to safeguard our investment through nontheatrical deals. We, as an industry, including producers, distributors and exhibitors, should all work together and create a win-win situation for each other by relaxing the traditional terms and conditions. Film business arms around the world are supporting one another. We should do that, too.

Thalaivii, with Kangana and Arvind Swami in central roles, was a difficult project to pull off in these times with independent producers backing it. After the trailer was released earlier this year, there was talk that the multilingual would be released on an OTT platform...
There were many offers, which were fancy and the prices quoted were quite high, but we have made this film for the big screen. We want the audience to experience this story on the big screen with lovely performances by Kangana and Arvind. It will be a delight to watch Kangana as Jayalalithaa in Thalaivii. Later, they can also watch it on an OTT platform. We have made our films for a theatrical experience. I have to thank Vijayendra Prasad and Rajat Arora (screenwriters) and Vijay (director) who brought my vision to life despite all the constraints and keeping the timelines and the budget of the shoot intact. I am fortunate to have a very strong team with me. Producer Shaailesh R Singh, co-producers — Thirumal Reddy and Hitesh Thakkar and Brinda Prasad, our creative producer have been with me on this incredible journey.

Kabir Khan’s '83 has also been a long journey for you, which started in 2013 when you announced the project...
It has indeed been a long journey, but one that has been extremely satisfying and fruitful. The ideas for most of my films come from me and I have been lucky to find writers who have brought my vision to life. Sanjay Puran Singh Chauhan had written the initial drafts of '83. Eventually, when Kabir Khan came on board, both as a producer and director, he brought in his own spin. He had his own take on it. Kabir played a captain’s innings in this film. As a director, he pulled off what seemed very difficult to imagine. He had an ensemble cast on hand, difficult weather conditions in the UK while shooting, and he had a strict timeline to meet. He ticked all the boxes well. The film looks great; it’s in 3D, and the audience will be treated to a fabulous experience when they watch it in theatres.

How have the actors in both your films reacted to the decision to endure such a long wait for a theatrical run?
They have all been very supportive and they stood by us in this. They have always supported every decision that makes business sense to us. We had come very close to releasing '83 when the first lockdown happened. A similar incident occurred when we were planning to release Thalaivii. It’s disheartening to bear with that, but the whole world was suffering and there was nothing anyone could do on both occasions. We had to wait to let things get a little better.

Lastly, where do you draw your strength to hold on to such big films with no time limit in sight?
If I am able to live my dreams and do things the way I feel is justified for the films we have made, it is because of the friends, family and extremely supportive business partners that I have. Without them and my faith in the almighty, things would not be the same.

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