We figure out whether OTT platforms are overshadowing production houses on their own projects, and how much of it is fair
Juhi Chakraborty (HINDUSTAN TIMES; August 12, 2020)

The Coronavirus pandemic and the subsequent shutdown of theatres have resulted into a beeline of films releasing on OTT platforms. And even before this present crisis, several films that were released on OTTs were either tagged as their presentations or called originals. This brings us to the question whether a project’s creative team takes a back seat when a film releases on an OTT? Has it become now more about the platforms and less about the films?

Ajit Andhare, Chief Operating Officer Viacom18 Studios, whose digital content brand- Tipping Point, has produced a number of ‘originals’, says from a makers perspective, you would want due credit being given.

“Not just on platforms but also on various marketing collaterals such as the trailer, posters, the visible assets that you have created. The platforms will argue they are building their ‘original’ branding. The idea is to place it in front of consumers as what the platform is offering. That’s the lens through which they look at it. I think we should find a way of co-existing because I don’t think by giving credit to makers you’re taking away anything from the platform. I think proper representation of that collaboration is the responsibility of people in control of these decisions,” he shares

There is a way one can deal with this, feels Siddharth Anand Kumar, Vice President - Films & Events at Saregama India Ltd which owns Yoddlee Films, whose recent productions Axone and Chaman Bahaar released on an OTT platform.

“The onus of building a brand is on us. Of course, when a film releases on OTT, the platform does its own marketing and a production house does its own marketing, so that should not stop. If a producer does not drive for his brand for an OTT release then they are being myopic and they will get wiped out. They won’t be able to sustain,” Kumar muses.

A lot of actors’ films, originally meant for theatres, made its way to the OTTs in the last few months. Actor Kunal Kemmu, whose film Lootcase skipped theatrical release, says that it is too early to say whether OTTs are indeed overshadowing films.

“There are certain films that are made for platforms and they are going to be part of the platform’s creative content, while there are now films which are acquisitions of OTTs. So, it remains to be seen what happens when we get out of the current situation,” the actor says.

Producer Anand Pandit feels that there is no question of a producer ever taking a backseat when it comes to their films. “There are two aspects to this — from a creative ownership point of view, from the time a project is conceived till the time it releases and even after, it remains the producer and team’s creative product. That never changes. The other aspect is the success of the film — for box office or OTT the one thing that assures eyeballs is awareness and recall,” he says, adding that for OTT since there are no ticket sales, word-of-mouth factor is huge and so is awareness, therefore one has to remain involved at every point.

The makers of recently OTT released film, Shakuntala Devi feel that there is no point cribbing about it as it is a win-win for both parties. “I mean we don’t see a problem with it. We are releasing a film on an OTT, it still remains our film. As a platform which is taking the film forward to the audiences, they will have some right over the film,” says Vikram Malhotra, CEO of Abundantia Entertainment.

As they wait for international travel restrictions to be lifted, makers of Taapsee Pannu-led Shabaash Mithu prep for London leg
Mohar Basu (MID-DAY; July 11, 2020)

The Coronavirus lockdown may have put the brakes on Taapsee Pannu's prep to transform into Mithali Raj on screen, but the pre-production work on Shabaash Mithu has been underway. Even as they are waiting for the international travel restrictions to be lifted, the makers of the biopic on the Indian women's cricket team skipper are laying the groundwork for an elaborate schedule in London.

Ajit Andhare, COO, Viacom18 Motion Pictures, says, "We have to figure out when it will be possible to shoot in the UK. At the moment, we are zeroing in on the venues while mapping the dates to suit all parties involved. Location hunting has been quite a challenge as recce is out of the question and we have to rely on pictures to determine if a venue is suitable for shooting. As a producer, I am jittery taking a call on something that we haven't seen."

The producer emphasises the lockdown has had little effect on the film's progress, with the casting director conducting auditions online. "Pre-production has changed form, but work on the film has continued through these months. We are in the early stages of casting and are determining the ensemble cast. Rahul [Dholakia, director] and his team are polishing the screenplay, and the music is being composed."

Though Ranveer Singh's cricket drama '83 has the first-mover advantage due to its Christmas release, the producer believes Raj's journey is fairly unknown and hence, will appeal to the audience. "As a cricket-crazy nation, we remember every story about the cricketing heroes, but have ignored the women in blue who are as accomplished in the profession. That irony presents a great opportunity from a storytelling perspective," concludes Andhare.

Mohar Basu (MID-DAY; July 6, 2020)

With their films hitting a roadblock due to the lockdown, production house Viacom18 Motion Pictures has sped up work in its digital wing, Tipping Point. The studio has signed on directors Suparn Verma, Kanishka Verma, Anand Tiwari, Vijay Lalwani of Karthik Calling Karthik fame and Milind Dhaimade to create five web series. "Some stories lend themselves better as series," says CEO Ajit Andhare, citing the example of Third Eye, which was pitched as a feature film to the studio, two years ago. "It is an intriguing series around hypnosis and repressed anger, developed by Vijay."

The line-up includes a political thriller inspired by the Radia Tapes controversy. For the unversed, the Indian income tax office had tapped political lobbyist Niira Radia's telephone conversations with politicians, senior journalists and corporate houses between 2008 and 2009. It was alleged that some of the conversations outlined Radia's attempts to broker deals in relation to the 2G spectrum sale. "Suparn Verma is writing and directing The Tapes, an adaptation of Neelima Kota's book, The Honest Season," informs Andhare.

A retelling of the Burari case, where 11 members of the Chundawat family were discovered dead in 2018, is also on the cards. He adds, "Kanishka Verma is developing it as an investigative series with paranormal undertones. Dhaimade of Tu Hai Mera Sunday fame is writing a situational comedy, and Tiwari is working on the adaptation of the book, Boots, Belts and Berets."


Former telecom minister A Raja; Radia

BOMBAY TIMES (December 3, 2019)

On December 3, 1982, an Indian cricket legend was born — Mithali Dorai Raj. Coinciding with her birthday today, Viacom18 Studios has announced their next film, Shabaash Mithu, which is based on the life of the former captain of the national women’s cricket team.

The studio, which has backed several movies with strong women characters — Kahaani (2012), Queen (2014), Mary Kom (2014) and Padmaavat (2018) — has roped in Taapsee Pannu to headline the film, which will be directed by Rahul Dholakia.

Ajit Andhare, COO, Viacom18 Studios, says, “The idea for this story struck me about a year ago while watching the movie, Hidden Figures. After securing the rights, we worked with several external writers to develop the script. However, it was our creative director Priya Aven, who finally cracked the script I was looking for. So, it’s a completely home-grown film for us. Mithali Raj is a name that stands for women power in the world of Indian cricket. Playing her will be Taapsee, who is not just a powerhouse of talent, but also the face of the new-age woman in Bollywood. We are proud to present the untold story of the rise of Indian women’s cricket on screen.”

Mithali adds, “I have always stood for and voiced my opinion for equal opportunity for women, not just in cricket, but in all fields. I want to thank Ajit Andhare and the studio for not just bringing alive my story on screen, but for also giving me a bigger platform to reach out to young women who dare to dream.”

Taapsee shares, “It’s an honour to play the role of India’s most successful captain as far as women’s cricket is concerned. Though I have already started feeling the pressure of stepping into her shoes, I don’t want to trade this place with anyone else. Mithali has always been brave and strong to back the truth, and that is why I connect with her. She has changed the way women’s cricket is perceived in India and her story is truly worth telling. Kudos to the studio for choosing to tell this tale. I look forward to working with Rahul Dholakia for this first-of-its-kind story and to learn a sport, which is treated as a religion in our country.”

Rachana Dubey (BOMBAY TIMES; August 26, 2019)

As the head honcho of a leading movie studio in India, he has a lot to feel elated about. With five National Award-winning films in the company’s repertoire, Viacom18 Studios’ COO Ajit Andhare, has a lot riding on his shoulders now, more so, after the studio’s clutter-breaking film AndhaDhun was honoured with National Awards recently. In a conversation with BT, he gave an insight into the road ahead for the studio, and what has contributed to its growth across various markets. Excerpts:

The success of AndhaDhun was not something you had anticipated. The film won the National Film Award for Best Hindi Film, and Ayushmann Khurrana, too, bagged the Best Actor Award for his performance in the film. Your thoughts?
I’m thrilled that AndhaDhun has bagged the highest film honours in the country. In a year of outstanding films like Badhaai Ho, Uri: The Surgical Strike and Padmaavat, the best film award for AndhaDhun is hard to anticipate. Nothing gives the producer in me more joy than watching the film you’ve nurtured right from the script stages to be loved and lauded. Having said that, nobody sets out to make a film with the intention of bagging awards. When I first heard the narration from Sriram Raghavan (director, AndhaDhun), I knew we had a winner. By winner, I meant a great script and an unusual story that needed to be told. I believed in the story and with a few changes to it and the right cast, I was confident we had a solid film on our hands. All of us — Sriram, Sanjay Routray (producer) and I — are overwhelmed with the love the film garnered globally. We thank the audience and eminent jury for embracing AndhaDhun.

A film like AndhaDhun,which is a dark comedy, rarely gets this kind of recognition at the box office and award ceremonies. Your film studio has won National Awards on four other occasions with extremely different kinds of films. What do you think your studio has done differently to achieve this success and honour?
Viacom18 Studios is the only studio in India that has bagged five best film National awards in the last six years with Bhaag Milkha Bhaag (2013), Queen (2014), Mary Kom (2015), Dhh (2018) and now AndhaDhun (2019). Unusual and incredible stories are our DNA. Five Best Film National Awards in six years is an unusual script in the narrative of any studio. We have taken creative risks and searched for answers in places not many would venture into. Bhaag Milkha Bhaag’s unique success created a new category of biopics, Queen and Mary Kom showed that heroism in a script can come from a woman, instead of only heroes. Dhh (Gujarati film) draws its magical quality from the innocence of childhood, while AndhaDhun is dark, macabre humour ensconced in a thriller. There is earnest intent to find such stories and talented storytellers around which, a strong content ethos has been built over many years. We have also done other unusual films like Maanjhi, Drishyam, Toilet - Ek Prem Katha and a blockbuster like Padmaavat. Our films that did not do as well as expected such as Lucknow Central or Rangoon also demonstrate a strong creative idea at its core. An important aspect here is our complete involvement from the script stage to ensure that we have the best film. We aren’t just ‘suits’ as studios are often known as. It’s our instinct for storytelling, belief in new talent be it directors, co-producers or actors, that sets us apart.

Has all the recognition that your projects have received changed your approach to the kind of films you give the nod to?
If awards are what you mean, no! And it’s not just about giving the nod to a film, it’s also about understanding what the creative vision is and whether it resonates with us. Selecting and developing winning films with gifted luminaries like Rakeysh Omprakash Mehra, Sanjay Leela Bhansali, Vishal Bhardwaj, Sriram Raghavan, the Phantom directors (Anurag Kashyap, Vikramaditya Motwane, Vikas Bahl and Madhu Mantena) or newer directors like Omung Kumar or Manish Saini requires tremendous commitment, courage and a touch of empathy for their craft. Above all, we are passionate about storytelling and that drives everything at our studio. There are also several films that we’ve let go off that we couldn't identify with, even if they were from pedigreed names. Being faithful to only stories that we understand instead of just reputations, has served our cause well.

AndhaDhun’s success has added a lot of muscle to the studio’s existing strength in the market. How do you plan to capitalise on it?
I think maybe our future partners will now take us more seriously (Laughs!). On a more serious note, I think, we are on the right track, on a journey that we began to ‘redefine Indian cinema’. I want to continue doing good cinema, across various languages. Viacom18 Studios is currently looking at expansion down South, where I believe we have a lot to learn from. With respect to AndhaDhun, we’ve just sold the Tamil rights and are currently in the process of finding partners that would be able to do justice to the film across languages. We’ve been flooded with requests, but we want to be doubly sure before giving the go-ahead.

Who will headline the cast of the South remakes of AndhaDhun? Can you tell us more about the project?
AndhaDhun will soon have a Tamil as well as Telugu remake. Prashanth will be reprising the role of Akash in the Tamil version, and I think, it’s going be an interesting take on the Hindi one.

What kind of line-up is the studio planning for the next two years?
We are focussed on building a complete portfolio across regional, Hindi and Hollywood films. Our exciting Hindi slate features Laal Singh Chaddha with Aamir Khan, a big franchise comedy Doghouse, a heartwarming comedy Motichoor Chaknachoor and a thriller remake, which is in post-production stage. We are also planning a project on the story of the Indian women cricketers focussing on Mithali Raj and her team. Then, of course, we have Top Gun: Maverick leading our Hollywood slate. On the regional front, we have some soon-to-be-announced projects like Dada and Vasantrao under development. Our Tamil slate includes films with Karthi and Jyothika, a soon-to-be-released film with Dulquer Salman, one each with Vijay Sethupati and Vikram. We have already made two films with Nagarjuna in Telugu and one with Dileep in Malayalam. There is Nikka Zaildar (Punjabi film) with Ammy Virk due for release in September.

A distinct quality of the studio is its strong regional presence. Content can reach far and wide either in the form of remakes or dubbing it in other languages. That increases the repertoire of the studio manifold, and in the bargain, helps all kinds of content find a larger audience across platforms. What are your thoughts on this?
Indian cinema is now exposed to a larger global audience thanks to the OTT platforms. The line demarcating Hindi films and regional films is diminishing with more crossovers. The new-age audience is hungry for better concepts, newer stories irrespective of the language. We want to cater to this expanding audience. There’s good content available across Tamil, Malayalam, Marathi, Gujarati and Telugu cinema, and we want to collaborate with some of the best talents across regions. We’ve tremendous success with our Marathi films starting with Aapla Manus, Ani…Dr. Kashinath Ghanekar, Bhai and expanded our portfolio down South with Telugu films like Devadasa, Manmadhudu 2, and announced Tamil films with some of the best talents. Our maiden Malayalam film, Kodathi Samaksham Balan Vakeel, starring Dileep, ran over 50 days in theatres. I think this is just the beginning, and there’s a lot more to explore. (smiles)

After setting a new benchmark for the studio, does it become difficult to choose projects that can live up to the expectations that the audience has from the company?
Yes, National Awards are a gratification, but making films with awards and image in crosshair isn’t a helpful tip. It’s a great time to be making cinema as madness and maturity in content both co-exist. We have built a legacy and we strive to live up to it.

Apart from films, your studio is all set to present digital content as well, right?
Yes, besides our films, you will soon see our digital content from Tipping Point. We recently produced a few exciting series that were announced earlier, and they will be released on major digital platforms soon. There are tons of stories waiting to be told in the universe.

Avinash Lohana (MUMBAI MIRROR; July 3, 2019)

After playing a hockey player in Shaad Ali’s Soorma based on the life of Sandeep Singh, India’s former captain, Mirror has learnt that Taapsee Pannu is now gearing up to feature in another sports biopic. It is based on the life of cricketer Mithali Raj who is the captain of the Indian women’s cricket team in One Day Internationals (ODIs).

According to a source close to the development, the project has generated a lot of interest since it was announced by Viacom18 in September 2017. And while Taapsee and the filmmakers have verbally agreed to do the film together, she is yet to sign on the dotted line. “The formalities will be done once the studio has a director on board. They have also locked the story but the script is still being developed,” informed the source.

Born in Jodhpur, Mithali is regarded as one of the greatest batswomen the game has produced. She is the highest run-scorer in international women’s cricket and the only female cricketer to surpass the 6,000-run mark in WODIs.

In June 2018, during the Women’s Twenty20 Asia Cup, she became the leading run-getter for India (either male or female) in T20Is. Last week, Mithali completed 20 years in International Cricket and toasting the milestone with thanks to family and friends, the changing/ evolving team, coaches and mentors, she had said she is looking forward to sharing more of this journey.

“The film is expected to roll next year and Taapsee will undergo rigorous training in cricket as part of her prep,” added the source.

Meanwhile, Taapsee has wrapped up Saand Ki Aankh with Bhumi Pednekar. They play the world’s oldest sharpshooters, Chandro Tomar and her sister-in-law Prakashi Tomar, in the Anurag Kashyap production.

Rachana Dubey (BOMBAY TIMES; November 10, 2018)

Five weeks after its release, AndhaDhun continues to draw footfall at cinema halls. The film, which was appreciated by the audience and the critics, broke all the stereotypes — there were no racy songs, star cameos or predictable patterns. Its makers, Ajit Andhare, COO, Viacom 18 Studios, and director Sriram Raghavan, discuss what worked in its favour and tell us about the road map ahead. Excerpts:

There is nothing that can help one strike a formula for success. AndhaDhun is an example of that. Today, how would you encapsulate your journey with this film?
Ajit Andhare: For me, the journey began when the story was narrated to me. There’s hardly anything conventional about it and that’s what struck me. Also, it was in tune with the core belief of the studio, as we have always tried to back subjects that break stereotypes. The story was perfect. Right at the outset, we chiselled out elements that were not holding up to the rest of the narrative. We had many discussions, deliberations and debates. The team enjoyed working with Sriram (Raghavan) and Pooja (Ladha Surti, writer), because he was open-minded, unlike most directors with a creative reputation. That allowed us to explore possibilities, and so, we could strike a balance between a perfect end and saying what we have to say, stylishly.
Sriram Raghavan: Badlapur was my first film that did well, commercially. People have also watched the other films that I have made, but they didn’t bring in the footfall. I had been nurturing AndhaDhun’s idea from the time I worked on Badlapur and it was drawn out of a short film. We started work on it after Kaabil released, because we wanted to see if that film has any element similar to ours. The teams from Viacom 18 would come and see chunks of the edit and their feedback helped me gauge what worked and what left people flummoxed. My working style is democratic and I want people to be honest with me. Reputation makes everyone agree with your point, which is dangerous for any filmmaker. Once the trailer was appreciated, I tried to go into zen mode. I am used to the fact that my films rarely bring in numbers. So, this time too, I wasn’t sure how many people will turn up to watch the film. But the response was beyond expectations.

The audience has been trying to interpret whether Ayushmann Khurrana’s character was really visually challenged. Was this an ending you always wanted, or was it chosen during the course of making the film?
Sriram: The sooner you arrive at the ending, the easier it gets to put the rest of the narrative in place. So, while developing the film, we thought that it might be a great idea to leave the loops open — let people analyse whether he really had an impaired vision. Ayushmann felt very strongly that we should not have an open ending, because everyone has that little worry — will people accept this. Eventually, we decided to go with an ambiguous ending.
Ajit: I think it’s still debatable whether it was an open ending or not. Ayushmann’s character hits the can, so there are multiple interpretations there. While narrating a plot, there are points that you don’t go too deep into — for instance, what happened to Simi when she was in the car or to Manohar who was stuck in the lift. While the story conveyed something, the audience very happily has come up with their own readings — someone wrote on social media that maybe he gets Manohar’s eyes. We didn’t even think of this ending, which is fabulous because the audience now owns this film and has given it newer dimensions.

Who or what would you credit for the audience’s changing taste in cinema?
Ajit: The multiplexes have facilitated this. The shackles of distribution have also opened up because we have more screens for different films to play simultaneously. The audience, thanks to the digital boom, has been exposed to the finest in international entertainment, which has opened up their minds. As a studio, that encourages us to make genre-breaking content which tempts the audience. What worked brilliantly for AndhaDhun is the fact that it has a distinct layer of comedy running through a dark film. People have seldom felt morbid while still laughing. Now, you have to look for strange concoctions.
Sriram: My cast didn’t have the typical face value, but they are fantastic actors, which worked well with the characters. Someone told me that the music doesn’t work, but I could not have inserted a Punjabi dance number in the film. So, adding elements while staying true to the subject is very important. There are all kinds of rules made on the basis of previous successes, but we just don’t know what works.

Lastly, what’s next on the cards?
Sriram: Of course, we will collaborate on more films, but we are not talking about AndhaDhun 2 just yet. I won’t say never, but we’re yet to find that right story to team up for, again.
Ajit: Our film is doing brisk business. We’ve put the film in theatres for the visually challenged, which is an achievement. There are queries from different languages for the film to be remade. China has shown interest in the film as well. So, it will take us a while to shift our attention to our next project together right away.

Roshmila Bhattacharya (MUMBAI MIRROR; September 22, 2018)

A decade after Firaaq, Nandita Das’s second directorial, the biopic on author Saadat Hasan Manto, arrived in the theatres on Friday and immediately ran into an unexpected hurdle with morning shows cancelled across India. As rumours flew thick and fast, there was talk that the no-show was because of pressure from “some higher authority”, with an audio clip making the rounds. Some reported that the Censor Board had raised “some issue with the dialogue” and as the discussions got more bizarre by the hour, the Twitter handle @chyPhoenix was telling Nandita and the production studio, Viacom 18, “Don’t get ashamed and turn violent as this is the Muharraam Day Madame. And being wise enough you can easily presume that outcome if this was released today. Sorry but you re talking something bluntly foolish. Regards Chymk.” Meanwhile the multiplex chain Inox informed that they had to cancel the morning shows “due to lack of content KDM” while PVR attributed it to a “technical glitch”.

A little after noon, Nandita tweeted her disappointment, stating that six years of hard work and many people’s collective intent and commitment was to find its culmination on Friday morning. “Am assured by @Viacom 18 Movies it will be fixed at noon today. Pls let me know if it hasn’t been. Spreading #Mantoiyat will not stop!” the writer-director assured.

Mirror reached out to Nandita at around 4 pm, after the film featuring Nawazuddin Siddiqui in the lead had started playing in the afternoon shows. “Yes, it was a technical glitch so I don’t want to overdo the other rumours. It’s another matter why there should have been a technical glitch? A company that does so many films every Friday.” The film has been to international festivals, from Cannes and Toronto to Singapore South-Asian International Film Festival and even had a pre-release screening. If there was a technical glitch, it’s surprising that it went undetected. “Yes, considering we had given them the film a while ago, all this should have been checked,” she admitted, adding in a Manto vein, “I guess truth will always find hurdles. But it will triumph in the end!”

Nandita insisted that she hadn’t heard the audio clip doing the rounds and wasn’t giving it much importance because “higher authorities don’t just ‘tell’ people to not do things, I am sure they can channel it better”. She was even more dismissive of the other tweet, saying, “What has Muharram got to do with Manto? There were other film releases today and they all seem to have gone smoothly.”

Pointing out that everyone was coming up with theories and rumours trivialise the real reasons, Nandita asserted that she was just relieved that the film was playing in the theatres and that people can now watch it. “The challenges just never end,” she sighed, adding that the audience play an important role in the kind of films that reach them. “They need to watch it for Manto and to encourage diverse stories.”

When asked about the limited screens the film had got and if they were expected to increase over the weekend, she replied, “If the audience response is strong, Viacom 18 will increase the screens. At least that is what they said. I am new to all this and learning as I go along. No giving up though, Mantoiyat Zindabad!”
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Mohar Basu (MID-DAY; September 22, 2018)

Nawazuddin Siddiqui starrer Manto had a bumpy start at theatres yesterday — morning shows of the Nandita Das directed film were cancelled across the country. It was only in the early afternoon that cinema halls began screening the film.

Talking about the unfortunate development, Das said, “I am told that there was a technical issue, but it was intriguing and overwhelming to see the support we got. People [netizens] in Ahmedabad were coordinating with those in Gurgaon, giving them hope that the film will be on screens soon. And since noon, it was up and running. We are hoping for a great run.”

The film that opened in theatres yesterday had a rude shock in its first leg — multiplex chain PVR Cinemas had to cancel the morning shows citing “technical glitch”. Another leading multiplex chain stated that the prints had reached them only in the afternoon, owing to which they had to turn down customers for the morning shows. “Hugely disappointed... six years of work and many people’s collective intent and commitment was to find its culmination this morning. Am assured by @Viacom18Movies it will be fixed at noon today. Please let us know if it has not been. Spreading # Mantoiyat will not stop (sic),” Das had posted online.

BOMBAY TIMES (September 15, 2018)

After backing path-breaking and entertaining movies like Drishyam, Madras Café, Toilet: Ek Prem Katha and Padmaavat — and the soon-to-be-released Manto and AndhaDhun — Viacom18 Motion Pictures has now teamed up with Ajay Kapoor, producer and Managing Director of KYTA Productions.

The two have joined hands for an espionage thriller, Romeo Akbar Walter (RAW). The John Abraham-starrer is scheduled to release on March 15, 2019.

Based on true incidents, RAW is directed by Robbie Grewal. The film also stars John Abraham, Jackie Shroff, Suchitra Krishnamoorthi, Mouni Roy and Sikander Kher in pivotal roles. Along with Ajay Kapoor, it is also produced by Dheeraj Wadhawan, Vanessa Walia and Gary Grewal.

John Abraham says, “I’m thrilled that the studio has come on board for RAW. Having worked with them in the past, I know that we have the right partners for the film. RAW is a challenging project; for the first time, I will be sporting many looks in one film. With each look, I have to adopt a different persona, be it in terms of stance, body language or speech. I am having a great time pushing myself, and a lot of the credit goes to my director, Robbie. The audience has been kind to me this year, and I’m hoping it will continue with RAW.”

Ajit Andhare, COO, Viacom18 Studios, adds, “RAW is a gripping espionage drama. Robbie is an astute director with a unique perspective and we are sure that this film will keep you on the edge of your seat. Collaborating with Ajay is a pleasure and with John in the lead, you can be assured of a cinematic treat.”

On his part, Ajay Kapoor, shares, “I am happy to join hands with this studio. After associating for Baazaar, we just knew that we had to extend our partnership for RAW, as they match our enthusiasm for putting this project together.”

MUMBAI MIRROR (September 13, 2018)

Viacom18 Motion Pictures, the studio known for backing content-driven films like Toilet - Ek Prem Katha, Padmaavat, Manto and AndhaDhun, has come on-board for Saif Ali Khan’s Baazaar, which releases on October 26. The film is directed by Gauravv K Chawla, presented by Viacom18 Motion Pictures & KYTA Productions and produced by Emmay Entertainment.

Ajit Andhare, COO, Viacom18 Studios, says, “I am excited as this is India’s first film based on the roller-coaster drama of life and stock markets. At Viacom18 Motion Pictures, our endeavour is to look for new vistas, this film serves that objective very well. Happy to join hands with Ajay Kapoor and Nikkhil Advani on this new journey.”

Ajay Kapoor, Managing Director, KYTA Productions, says, “I am thrilled to be announcing the release of our film, Baazaar, and I am happy to be associated with Viacom18 Motion Pictures and Emmay Entertainment for a film that I truly believe in.”

Nikkhil Advani, Emmay Entertainment, says “Ending all speculation, we are delighted that such experienced and solid partners have come on board which is a testament of the quality of the film itself. Emmay Entertainment prides itself in telling novel and cutting-edge stories and we look forward to the audiences watching Baazaar.”

Baazaar features the enigmatic Saif Ali Khan, debutant Rohan Mehra, Chitrangda Singh and Radhika Apte. Based in the tireless financial and business capital of the country, the film is set against the backdrop of dreams, money, power and business.


Ajit Andhare, COO, Viacom18 Motion Pictures; Ajay Kapoor, MD, KYTA Productions; Nikkhil Advani, Emmay Entertainment

A war of words has broken out between the co-producers of the film on the Pokhran tests after the actor-producer put out a public notice terminating the agreement over breach of contract
Roshmila Bhattacharya (MUMBAI MIRROR; April 3, 2018)

On Sunday, John Abraham put out a public notice in a trade magazine terminating his agreement with Prernaa Arora and Arjun N Kapoor’s KriArj Entertainment Pvt. Ltd., his partners on his upcoming production Parmanu, accusing them of breach of contract over repeated delays in payment after the shooting was wrapped up on schedule last August.

When Mirror reached out to him on Monday, John pointed out that while he had not been perturbed initially when the cheques started coming sporadically, believing that there was an intent to pay and it was important to hold your co-producer’s hand through the process of filmmaking, he was forced to take this extreme step when payments started getting delayed from November 2017. Every time a notice was sent, he would recieve some money.

“They announced the release date thrice without our consent. We had to move each time because delay in payments led to delay in post-production but how do you explain that to someone who does not understand the process of filmmaking and asks what is pre and post-production? I have self-funded the entire post-production and with their money, when the cheques came in after several reminders, without compromising on quality. I am still in the process of paying off vendors and any parties who have an agreement with KriArj,” he informs.

He is however quick to point out that the real problem is that Prernaa and Arjun committed to a first copy deal and didn’t deliver. “They have defaulted on every payment, sometimes stopping payments when our boys were sent to the bank and giving wrong UTRs (Unique Transaction Reference),” the actor-producer grouses, pointing out that he had partnered with the duo on ethical grounds despite being approached by three studios because director Abhishek Sharma had approached both him and KriArj at the same time.

Prernaa counters this, saying that after Rustom’s release, when she was busy with Toilet - Ek Prem Katha, she met John whom she respected as a self-made actor-producer, and in December 2016, while in Jaipur for a vacation, had taken Abhishek who was her friend. “John really liked the story of Parmanu that Abhishek pitched and agreed to line-produce the film. Little did I know then that it was Shoojit Sircar’s company that had line-produced Vicky Donor and Madras Café. John had no experience in the field and had never done an acquisition before. He insisted on announcing the project in a hurry even after knowing that Ashutosh Gowariker, Shoojit and Excel Entertainment were planning films on the same subject,” she narrates.

John responds to this allegation saying that Shoojit was the first person he informed that he was making a film on Pokhran while Ashutosh had called to confirm the news and told him graciously that if John was making the film, he wouldn’t. “I appreciate that gesture,” John says, adding that he has line-produced many films and at least 15 ad films. “These people are traders who came into the business with a lot of money that has now whittled off because they may have over-committed or spread themselves too thin. Our film is ready for delivery but I am waiting for two payments that have not come through because I have lost all faith and trust in the other party. I don’t think they even know how to position or market the film as they don’t have the knowledge or the intent and so I want to keep control. Parmanu is my film and going by the reactions of target groups we showed it to, it’s turned out really well and I’m very confident of it,” he says, ready to release it himself if need be.

Prernaa will have none of that. She points out that John had given her a budget of Rs 35 crore which was way too high for it to be a commercially viable project. “Viacom18 and others had pegged it at Rs 28-30 crore given the subject and that it didn’t have any stars except John,” she says, pointing out that she had sold the satellite, digital, overseas and music rights to Zee Studios. “Of the Rs 35 crore, we have already paid him Rs 30 crore according to the shooting schedule and only Rs 5 crore remains, of which Rs 3 crore will be paid on delivery. We have been negotiating with him to forgo Rs 2 crore in deference to the excessively high budget and the production delay. Also, he has charged line-production fees and not even delivered on an item song as promised. He is miffed about that,” she retorts, adding “If he wants to terminate their agreement and release the film himself, he will have to pay back the Rs 30 crore first.”

John reacts to this saying the only figure she has got right is the Rs 35-crore budget. “I have been paid Rs 29.35 crore so far. I was asked if they could settle Rs 3.50 crore on delivery so I obliged. For the balance I have been haggling for the last two-three months with no assurance that I will get my money. I have not seen any third party agreement but she has been claiming that Zee Studio paid her Rs 27 crore for the satellite, digital and music rights and another partner, Kaita, another Rs 5.50 crore. I have also learnt that she has taken money from Vashu Bhagnani for Parmanu. If she has received Rs 32.50 crore for the film already, why is she not giving me my money?” John questions.

On the subject of the item song, the actor-producer says it was part of a print and publicity deal and never a part of film. “They insisted on it and I told them they could shoot it on the print and publicity budget. When they said they couldn’t bear the expenses, I told them to scrap it,” John clarifies, going on to add that the issue is not about money but delayed payment and the way they have gone about their business. “A film is a perishable commodity and it is important to get your payments on time. Now I don’t want to jeopardise it in the hands of irresponsible partners,” he says.

Prod him on a release date and he says he would have liked the film to open on May 11, the 20th anniversary of the nuclear tests in Pokhran, but since Karan Johar’s Raazi releases on the same Friday he has now settled for May 4. “Karan is a friend and I believe in honouring relationships and commitments. Many people from the industry have congratulated me for belling the cat and while they may not support me openly because they don’t want to jeopardise their money and films, I know they are with me. For me nothing is more important than my honesty and credibility and that of my production house. I have never faced such a situation before as a producer or an actor but I can fight my own battles. I can go broke but I won’t cheat anyone. They are desperate to settle the matter out of court but I want the law to take its course,” he says.

Studio head honcho Ajit Andhare talks about the unconventional subjects that the banner has been backing over the years, and how he’s proud about the success of Padmaavat,a film that fought against all odds and won the battle
Madhureeta Mukherjee (BOMBAY TIMES; March 13, 2018)

Over the last few years, this studio has been offering the audience a varied and interesting mix of films, which are driven by rich content and fresh ideas. Talking about the studio’s roadmap, Ajit Andhare, COO, Viacom18 Motion Pictures, says, “The kind of stories that we are seeing today has come a long way from the monochromatic stories that were being made. As a studio, we focus on stories that resonate with the new and emergent India. We saw this possible shift five-six years ago, and hence, our choices have been unusual subjects. So, even if we did a love story, it was something like Tanu Weds Manu. We made thrillers like Kahaani and Drishyam. With a talent like Akshay Kumar, we made Special 26, OMG — Oh My God! and Toilet: Ek Prem Katha.

The hugely successful Padmaavat was the talking point of the nation for weeks. The studio firmly stood by the film and its director, Sanjay Leela Bhansali, and saw it through its tumultuous phase. “The fact that it was a big film was a by-product. The important thing was that we were telling a compelling story. To me, the lowest point was the assault on Bhansali, and I am surprised and sad that it didn’t cause as much heartburn for people as the events that had happened in the following months. That incident should have created an uproar, because you cannot have a situation where you assault a storyteller, and responsible one at that (also a Padma Shri awardee), who is making a film backed by a studio that is also known for making films with a strong sense of responsibility. And it is always tricky for a filmmaker or a studio, as the more you engage with someone who is throwing darts at you, the more you will end up giving them importance. Therefore, the best thing is to maintain a stoic approach. In hindsight, we know that it didn’t help, as it allowed people to spin the narrative that they wanted. It’s surprising that people still believe that what they saw on screen was an edited version. I keep clarifying ad nauseum that there was no other version. The film that released is the only film that existed, which I had greenlit two years ago. Also, what I am most proud of is the fact that we played with a straight bat and we did it without diluting the content or the integrity of the institution,” explains Andhare.

There was lot of heartache, but the battle was worth it and the victory was exemplary. “We opened the film in over 80 countries, which is 20 more than the biggest Hindi film ever, and interestingly, the film succeeded in not just traditional markets, but in the new markets as well. We developed a lot of international territories and got a phenomenal response,” he says.

Andhare shares excitedly, “We dubbed the film in South languages, and released it in 3D and IMAX 3D — all these aspects contributed to the success.”

Apart from the external factors that put brakes on the release of Padmaavat, there was a lot of talk about how the film industry remained a silent spectator throughout the studio’s struggle.

Contrary to what was being said, Andhare elucidates, “I am often asked if we felt alone in the battle to release Padmaavat, and I want to say that we shouldn’t confuse sloganeering or statement-making with support. I never felt alone, in fact, there was tremendous amount of goodwill and support from people who reached out to us personally. At times, not adding to the noise and the decibel levels help the cause much better.”

Looking ahead, the studio has a good mix of films slated for the year, like a thriller directed by Sriram Raghavan, another thriller with director Jeetu Joseph (of Drishyam fame) and the Ajay Devgn-starrer Taanaji, based on a legendary figure from Maratha history. They also have the Hollywood film Mission Impossible – Fallout, which they are distributing, as part of their line-up. The studio recently saw success with the Marathi film Aapla Manus, and now, they are exploring more films in the regional space. Andhare adds, “Regional films present fantastic opportunities for us and we have an amazing audience in languages like Marathi and Malayalam, who respond to a very different kind of storytelling.”

Filmmakers OK With Changes, Says CBFC
Bella Jaisinghani & Swati Mathur | TNN (THE TIMES OF INDIA; December 31, 2017)

Mumbai/NewDelhi:The prospects of the release of the controversial film “Padmavati” brightened significantly with the censor board and the filmmakers arriving at an agreement to change the title of the film to “Padmavat”, carry two disclaimers and modify a song sequence featuring the Mewat queen.

The Central Board of Film Certification has offered a “U/A” certification after it viewed the film on Thursday evening and suggested five modifications and not a couple of dozen cuts as speculated. The viewing was attended by CBFC chief Prasoon Joshi and the film has been vetted by a panel of experts.

Though anti-Padmavati protesters like Karni Sena, which has claimed the film misrepresents events relating to the medieval queen and Alauddin Khilji, and some prominent former royals continue to hold out, the discussions between the censor board and filmmaker Viacom and director Sanjay Leela Bhansali mark a breakthrough that can pave the way for the film’s screening, including in states where governments have announced a ban.

The censor board said on Saturday it has begun the process for granting a U/A certificate to the film. This will be done once the filmmaker changes the title to “Padmavat” that makes it clear that it is based on the fiction poem of the same name. The disclaimers are to clarify that there is no claim to historical accuracy and the song picturised on Deepika Padukone, who plays the lead character, is to be altered in keeping with the depiction of the character of Padmavati.

An additional disclaimer will state that the practice of Sati is not being glorified, perhaps due to a view that the distinction between Jauhar and Sati may not be easily apparent.

Joshi said the film was viewed along with a special panel of historians that gave its “perspective” on the matter. “There are no cuts suggested in this film by CBFC, only five modifications. The incorrect or misleading reference to historical places must be modified.” Joshi did not, however, specify why Bhansali has been asked to run disclaimers to say the film does not endorse the practice of Sati, when the reference in the Padmavati story is to Jauhar, the act of self-immolation to escape dishonour, capture and enslavement. The censor board chief said the film’s producer Viacom and Bhansali are “completely in agreement with the changes”.

While the release date of the film will be decided only after the changes are incorporated, sources said the board’s meeting has indicated CBFC’s intention to clear its eventual release. Bhansali had applied for a certificate for the 3D version on November 28. The CBFC may take up to 68 days to grant a certificate to a film. However, a faster clearance cannot be ruled out once the changes are incorporated. Karni Sena and a few members of a royal family of Rajasthan have been up in arms against the “Ghoomar” dance in the film, which they feel is “indecorous”. The censor board has stipulated that the song will also have to undergo some alterations to “befit the character” of the queen. Given the violent protests that broke out, CBFC also consulted a panel of historians. The censor certificate, sources said, will be issued if and when the changes are carried out. Another meeting will be held to determine the release date.
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Padmavati to be renamed Padmavat as Censor Board clears film with “30 changes”
Sanyukta Iyer (MUMBAI MIRROR; December 31, 2017)

Following much controversy relating to the film’s release, the Central Board of Film Certification (CBFC) has issued a U/A certificate to Sanjay Leela Bhansali’s Padmavati. The board has suggested approximately “30 changes” and also recommended that the film’s title be changed to Padmavat. The CBFC has also suggested three additional disclaimers be added at the beginning and during the interval of the film.

Though the producers have not issued a statement yet, a senior executive at Viacom 18, which has produced the film, told Mirror that Bhansali and the banner will adhere to the suggested alterations and the editing of the film will commence immediately. “By changing the title of the film from Padmavati to Padmavat, the entire premise of the film turns into an imaginative narrative — a completely fictional account. This puts an end to the fact that the film sensationalises the acts of Sati or Johar. Bhansali has agreed to change the title in order to release the film,” a top CBFC executive told Mirror.

The decision has led to industry insiders and social media icons taking to Twitter to express their views on the development. While Raees filmmaker Rahul Dholakia, joked, “Thank god, we have not made a film called Gandhi! Can you imagine what title the CBFC would suggest?”, Twitter influencer Ramesh Srivats posted, “Both Sanjay Leela Bansal and Prasoon Josh are happy about Padmavat, and they hope this compromise is acceptable to Narendra Mod and Rahul Gandh.”

The historical-drama that features Ranveer Singh as Allauddin Khilji, Deepika Padukone as the titular Rani Padmavati and Shahid Kapoor as Raja Rawal Ratan Singh was screened for the censor board on December 28. “The certificate will be issued only once Bhansali Productions and Viacom18 Motion Pictures officially make the suggested modifications. There will also be changes in the already-released 'Ghoomar' song. The film’s release date will be announced thereafter,” the source added.

A panel including Arvind Singh from Udaipur, Chandramani Singh and KK Singh from Jaipur University, had “insights and also some reservations regarding claimed historical events and socio-cultural aspects” which were duly discussed at length. Another round of discussions will be held before the official certificate is issued.

'Bombay Talkies’ has become the bone of contention between Ashi Dua and Viacom 18 Motion Pictures
Avinash Lohana (MUMBAI MIRROR; December 21, 2017)

Mirror (February 11) had earlier reported that the four directors of Bombay Talkies — Karan Johar, Anurag Kashyap, Zoya Akhtar and Dibakar Banerjee — are reuniting for another anthology with a similar format, produced by Ashi Dua and Ronnie Screwvala. We have now learnt that Viacom18 Motion Pictures who had backed the 2013 anthology has sent a legal notice to Ashi, asking her to refrain from using the title ‘Bombay Talkies 2’ for her follow-up film.

KJo had begun shooting for his short earlier this month with the hashtag “#bombaytalkies2 begins” on Twitter, also tagging his cast of Vicky Kaushal, Kiara Advani and Neha Dhupia, along with the producers. Earlier this week, he referred to the film as Love and Lust in his post about its wrap-up.

When Mirror reached out to Ashi, she said, “I haven’t received any legal notice yet. And my film was never called Bombay Talkies 2. It’s called Love and Lust and has nothing to do with Bombay Talkies. It’s with a new producer, Ronnie Screwvala, and a different theme. Viacom was my first producer on Bombay Talkies and I have a great relationship with them. It’s got the same directors but is a completely different film.”

Viacom 18 Motion Pictures did not wish to comment on the matter.