Posts tagged credit
Director of Hisss, Jennifer Lynch, also accuses the film’s producers for having taken the project away from her much before the pre-production stage
This was meant to be the international collaboration: David Lynch’s daughter Jennifer Lynch directing Mallika Sherawat in a film about a snake-woman. But guess what? Lynch left the project and India before editing the material.
A source close to the project says, “What Jennifer shot is very different from what we finally see in Hisss.” Apparently, the film’s co-producer Govind Menon, who directed a couple of duds with Sherawat (Khwahish and Kis Kis Ki Kismat) put together the final material in Hisss.
When contacted, Jennifer Lynch reveals, “Hisss was taken away from me in the edit. I have no idea what the film looks like. I came close to a directors’ cut, which Mallika, Venus and producers (Govind Menon and Vikram Singh) referred to as ‘European, languid and sensual’ all the things I thought were compliments.
Apparently, that did not make them happy. I have no idea what is out there. Good or bad, I cannot take credit for it. Aside from shots and performances that I pray have not been butchered.” We’ll let the critics clarify that last bit for her.
Jennifer wanted to make the film a love story. She added, “They took the songs out; they wanted more horror.”
Despite all this, the director hopes to return to India someday. Will bygones be bygones for her? She says, “My name is all over it (the film). I can do nothing. But I want to come back.”
Meanwhile, Mallika, her brother Vikram Singh and Govind Menon were busy giving interviews on Hisss. But Ratan Jain of Venus was nowhere to be seen.
Despite having major financial stakes in Hisss, Jain has been in London for the past two weeks.
When asked about his apparent lack of interest in a project that reportedly cost him close to Rs 50 crore, Jain says, “How can I take personal interest in every film we produce? I’ve a strong team in Mumbai looking into the project’s progress.”
So Jain is all for teamwork, but a source tells us, “Soon after Ratan Jain decided to fund Hisss, he knew it was a dubious project. Mallika Sherawat’s buddy Govind Menon and brother Vikram Singh had joined hands, only to promote her and give themselves a foothold in the industry.”
When asked if Venus came on board because of Mallika, Ratan Jain says, “No. It was the whole snake theme. Our audience loves movies about nagins. Also a very distinguished British director David Lynch’s daughter, Jennifer, was directing the film.”
‘Was’ being the operative word.
By Neville Bode, October 18, 2010 – 15:43 IST
With the enormous success of the South Indian blockbuster, Robot (Endhiran) has already made a benchmark in the evolution process of filmmaking in India. The Rajinikanth – Aishwarya starrer directed by S.Shankar, got rave reviews for its uniqueness in action and visual effects. With a budget of over a hundred and fifty crores, 25 % of the funds were allotted in executing the commendable work done in VFX that helped in the narration of the film.
The film revolves around Dr. Vaseegaran played by Rajinikanth who invents a High-end robot named Chitti, a mirror of his own image. The scientific body, AIRD, declines the approval of the robot stating that it does not have emotions and the ability to make rational judgment. An unexpected flash of lightning induces emotions in the robot, and Chitti is geared up for its integration into the human world. Chitti then falls in love with Dr. Vaseegaran’ fiancée Sana played by Aishwarya Rai and goes against his creator.
The film has already spread its wings across the globe with raking in massive box-office collections. V. Srinivas Mohan, the VFX supervisor of this film and CEO of the VFX studio – Indian Artists, utilized the innovative skin grafting technology that got laudable appreciation from critics for Sivaji. Shankar got him on board for his latest endeavor Endhiran. He has also worked with the director in Aparichit and Boys hence it was certain that the director would need the VFX extraordinaire in executing the science-fiction film. Along with him Frankie Chung of Kinomotive studios and Eddy Wong of Menfond Electronics & Arts, both from Hong Kong, also worked as additional VFX supervisors for their respective sequences.
Robot boasts of a mammoth 2000 visual effects shots in 40 scenes. The bulk of the VFX work was undertaken in Srinivas’ Indian Artists Computer Graphics Pvt. Ltd., Kinomotive Studios, Menfond Electronics & Arts, Pixion, Vensat, Firefly Creative Studios Hyderabad, EFX Prasad Studios, Oyster and Ocher studios also assisted in executing some of the VFX and post production work for the film.
Apart from the studios that were on board in this project, talented freelancers from London, Iran, Germany, France and Hong Kong were required for their expertise.
In this exclusive two part case study, BollywoodHungama gets to the bottom of the making and visual effects process that made this monumental film and Rajinikanth shine like steel.
Shankar the director called up Srinivas in the winter of 2007 and narrated the entire story to him for over four hours. Amazed and excited about the project since nothing of this nature was undertaken by any filmmaker in India before. The conceptualization and ideation was done entirely by the director. Following the preparations of the script, Srinivas explained to the director that pre-production and planning was needed to execute his ideas before production of the film began.
When Srinivas, the VFX supervisor, understood the script, a test was carried out to get a glimpse of the scene with visual effects. The director and Srinivas chose the train sequence for the test. With the shot divisions regarding the different camera angles in place during pre-production, an animator Sanath P.C. from Hyderabad was roped in to enhance the pre-visualization process.
Maya, an academy award winning software was used to create a digital set based on the script. Layouts of the train and characters were made using the software, although the team didn’t finalize any locations during the test, they used actual physical proportions of a real train. Once the director approved of the layouts, basic actions of the scene were carried out.
Srinivas along with the director and the director of photography blocked the camera angles for the scene using the software. Each shot had 2 to 3 versions of camera angles made to get a better view of the sequence. With the digital shots in place, temporary clips better known as ‘playblasts’ were extracted from the software to view the shots they made in real time. With these clips in hand, Anthony – the editor, was required to line up these clips according to the scene. This gave the team some room in improvising the shots that were made. Utilizing this method, the team planned out 40 crucial visual effects scenes of the film.
After the test
Shankar did the shot division of the script which he handed over to the supervisor for pre-visualization. With the pre-visualization sorted out, Srinivas who headed the visual effects team did the entire VFX breakdown of the film. With this the team had more clarity in terms of execution and knowledge of the different layers that consisted of live action, CGI and animatronics. Based on the breakdown, Srinivas started hunting for appropriate artists and talent they needed for the film.
Director of Photography
The D.O.P, R.Rathnavelu was instrumental in the pre-production stage; he helped Srinivas and the director in blocking the different camera angles that were required. This clarified what was needed in all the different layers involved in the shots. With his tremendous knowledge in visual effects, Rathnavelu pointed out the constraints in executing the shots in terms of lighting and other technicalities.
The opening shot of the film
The opening shot of the film where-in the robot gets assembled and the credits of the film are rolling weren’t decided in the script initially. Instead of the animation sequence seen in the film, the makers had initially thought of using live action for the introduction sequence. This didn’t go well for an opening shot. With this in mind, Srinivas consulted the director and suggested using an animation of the robot getting assembled in the scene.
He points out that this was a last minute decision which worked in their favor. Pre-visualization and implementation of the animation was done in a week. Pixion in Chennai did the opening credits and animation for the opening scene.
Animatronics is mostly used in filmmaking and other avenues of entertainment. It is basically electronic puppetry that simulates real life in front of a camera. This technology is used in a large number of films in the west. Srinivas insisted in using this unique innovation for Robot based on the visual effects break down that was made for the film.
He approached Legacy Effects formerly known as Stan Winston Studios in LA, to assist in the making of the film. The American studio worked in movies like Terminator: Salvation, Avatar, Alice In Wonderland etc. Srinivas points out that they utilized electronic puppetry in place of the actor for its realism. The scene where Rajinikanth places the eye on the robot was all executed by Legacy Effects. They also assisted in special make up that was required for Rajinikanth.
(Stay tuned for part two of Rajinikanth Amalgamation into Chitti)
By Nikhil Ramsubramaniam, October 7, 2010 – 12:20 IST
By now its common knowledge that Tusshar Kapoor and Amrita Rao are the stars of Rajshri Productions Pvt. Ltd.’s next venture titled Love U…Mr.Kalakaar. The film is directed by debutant S. Manasvi, who has also penned the story, screenplay and dialogues. The cast and crew recently finished a schedule of the film in the picturesque town of Ooty and we bring you a sneak peek of the same.
Love U…Mr.Kalakaar is about two individuals: Sahil (Tusshar) is a cartoonist & artist who derives his inspiration from emotions that come from the sky, from the earth, a scrap of paper, a passing shape or even a spider’s web. Meanwhile Ritu (Amrita Rao) is a management trainee, whose world revolves around debits, credits, turnovers, profits, and deadlines. What happens when Ritu falls in love with Sahil forms the crux of the story.
The film is almost 70% complete and is expected to release in Feb 2011.
Peepli (Live) director Anusha Rizvi is unlikely to participate in the excitement regarding the film’s Oscar nomination. She explains why
In a day and age when a person even remotely associated with a hit film shouts from the rooftops about it, Anusha Rizvi seems remarkably unaffected and detached. The journalist-turned-director might have given a huge hit with her debut film, but would rather tour with her theatre group than be part of a marketing jamboree.
How did you get to know about the Oscar nomination for Peepli (Live)?
From the media! I heard it on NDTV. It was of course very exciting. Maybe we should’ve been informed by the government agency that decides which film goes to the Oscars.
Didn’t your producer Aamir Khan inform you?
He didn’t know! He is in London for the release of our film.
Why aren’t you in London for the release of Peepli (Live)?
Because I have not been asked to be in London. It is my film. But I live in Delhi. And I have no connection with the decisions that are taken in Mumbai.
Why have you cut yourself away from your film?
That’s partly because of the person that I am. I can’t change that. And I’m happy being that way. My work finished when I made the film that I had to make.
Of course publicity and marketing are important. And a lot more people went to see Peepli (Live) because of the way it was promoted. But what is more important to me is that a film should be seen for what it is. I think it is important for the audience to discover a film on their own.
A film should not be pushed down people’s throats. It’s important for it to create its own credibility.
Changes were made in the Peepli narrative for the London market. Are you aware of this?
Yes. Only two scenes were tampered with: one featuring a reference to Saif Ali Khan and the other to TRPs.
These were scenes that were never part of the original screenplay. Like many other scenes they were added later to increase the running time of the film for the Indian market.
Initially the interval was coming after 40 minutes of playing time.
I don’t think Peepli (Live) needed an interval. I don’t think so either. But it’s an intrinsic part of marketing our film. And I’ve no quibble with it. However I wish the film had not been pushed as a comedy, although I know that so many people would not have seen it otherwise. Let’s be honest. Peepli (Live) was not easy to market.
The film has made huge profits.
Would you be expecting a larger budget for your next film?
The content of the film and not the success or failure of the earlier film should decide the budget.
The DVD of Peepli (Live) is out soon. Are you participating in its editing?
I’ve got nothing to do with the DVD. I’m back in Delhi. I’m simply cut off from Mumbai and the film now. My husband Mahmood Farooqui and I are back to travelling with our small theatre group.
Hasn’t Peepli (Live) changed your life in any way?
Yes, to some extent. It’s become difficult to travel by train. I really miss that.
Your husband co-directed Peepli (Live). Not too many people know that.
It’s in the credits of the film. And of course he’s the co-director. He has also done all the casting. In the credits after my names comes a long list of producers. Then his name. That’s why his name is missed.
Why is his name not in the credits jointly with yours?
These are things that we had no knowledge or control over. Our main concern was to make the film we had.
What has the experience of directing Peepli (Live) taught you?
It has taught me to deal with a large number of people. It has been a huge learning curve for me. I know how to cope better with the production part of a film the next time.
You’re the first debutant director from India after Satyajit Ray to be going to the Oscars.
Yes the comparisons between my film and Pather Panchali keep surfacing. But there can be no comparison between the two. And I’m not being modest.
Are you and your husband going to Los Angeles for the Oscars?
It’s really exciting to see the film go to the Oscars. But it’s far more exciting to know that people in Patna, Gorakhpur and Barabankhi are watching and discussing it. Like I said Peepli (Live) was a film that we had to make. That it’s touched people is a very happy situation for us.
Final question. Would Aamir Khan be producing your next film?
No, he won’t.
Two scriptwriters of Trance up in arms as Mugdha Godse refuses to give them credit after they worked on the entire script
She is barely three films old but Mugdha Godse has already learnt some infamous Bollywood tricks. After asking newcomers Rubb Bhungdawala and Sundeep Choudhary to write the script of her next film Trance, in which she co-stars with on-off boyfriend Mithun Purandare, Mugdha didn’t think twice before paying them a paltry Rs 10,000 and taking complete possession of the script. What’s even more shocking is that Rubb was Mithun’s close friend before things went wrong.
Although Rubb and his team have registered the script now, they are deeply hurt because of being betrayed by Mithun and Mugdha. Consequently, Rubb and Mithun don’t even look at each other after their friendship of five years ended on a bitter note.
|Mugdha and Mithun
(Pic: Yogen Shah)
Rubb, a corporate ad director, was introduced to Mugdha by Mithun. Rubb says, “Sandeep and I were asked to direct this film. Our team also comprised scriptwriter Harish Kotiyan and associate director Rauf Bhungdawala.
We worked really hard for almost three months to write this film based on drugs. We also had regular meetings with Mugdha at her Versova residence.
We prepared over 19 drafts and left our regular jobs to work on this film. We were aware that Mugdha is the film’s lead actress, but later we also got to know that she is also the co-producer with Sanjay Pandey who owns the production house Full Power Entertainment in Bandra East.”
Rubb says that they didn’t sign any contract as they blindly trusted Mithun and Mugdha. Rubb was shocked when Mithun, Mugdha and Sanjay Pandey handed them Rs 10,000 and ‘bought’ the script. “Mugdha and Mithun used us and threw us away. After giving us the money, they also gave an emotional speech of how much they appreciate our hard work.
They also said that they don’t want us to direct this film and are looking for a high-profile director. Thereafter we haven’t received a single call from them. I have all the SMSes from Mugdha on my phone when she used to contact me while we were working on the script,” adds Rubb.
Commenting on Mithun’s reaction, Rubb says, “Mithun is Mugdha’s chamcha. She is the sole decision maker. Woh usko bolti hai uth toh uth, baith toh baith. One of the most important reasons she didn’t want us on board was because this is Mithun’s launch movie so we wrote the script keeping his character in mind. She is self-centred. She didn’t like the idea of me and or my team giving so much attention to him.”
|Sundeep Choudhary||Rubb Bhungdawala||Rauf Bhungdawala|
Mugdha denies the story. “This is a complete false story. I don’t even know these people. It looks like I am hearing a film story. These people are just trying to get publicity by using my name. Please don’t encourage them by publishing this story,” she says.
By Subhash K. Jha, February 4, 2010 – 12:06 IST
This would be the first Big B film to have a profanity attached to its title. But Budha Don’t F**k With Him – yup, that’s what the next Big B flick is titled-is about an aging dude with an attitude.
Koi Shaq? Well, f..k that shaq!
Telugu super-director Poori Jagannath who has to his credit the biggest hit ever Pokhiri (remade with Salman Khan as Wanted recently) in Andhra Pradesh, is all set to enter Hindi cinema with an actioner which will star Amitabh Bachchan in and as Budha.
The unusual and eyeball-grabbing tagline for this out-and-out masala film is, ‘Don’t F**k With Him’, obviously a brainwave of Ram Gopal Varma who’s going to produce the film.
Laughing at rumours that he is making a film on the life and teachings of Gautam Buddha Poori Jagannath says, “Mr. Bachchan’s character is actually quite angry and very violent. I’ve written the role especially for him. It is that of a 60-year old man who refuses to accept his age. Any time someone calls him budha (old man) he flies off the handle.”
A diehard Bachchan fan Jagannath wrote the screenplay especially for The Big B. “Budha is not a remake of any of my Telugu films. It’s an original screenplay written especially for Mr. Bachchan. The challenge was to cast him as a character he hadn’t done before. After seeing Paa, I wonder what any director can make him do that’s new! I wanted to cast him again as the Angry Young Man I grew up watching in Zanjeer and Deewaar. But the character had to be modified to suit his age. So I thought of a 60-year old man who thinks acts and fights like a young man.”
Budha will have lots of action sequences, some of them of a very intricate and potentially dangerous kind.
Would Mr. Bachchan perform them?
The diffident director is evasive on the stunt front. “We’re yet to work out the details. But yes, there are action scenes. Like I said Budha is a film about a man who’s 60 but feels he’s 20 in body and mind. I wrote the film with Mr. Bachchan in mind.”
This would be the hotshot Telugu director’s first full-fledged foray into Hindi cinema, not counting the 2004 Tusshar Kapoor-Amrita Rao starrer Shart which Jagannath remade from his own Telugu blockbuster Badri.
The director would rather not think about his ill-conceived beginning in Bollywood. “Shart was being directed by someone else, then I was brought in later…It just didn’t work. I don’t really think of Shart as my film. So for all practical purposes Budha will be my Hindi debut.”
Ask him to comment on the quality of Wanted, the remake of his blockbuster Pokhiri and Jagannath shies away. “Boney is a very good friend of mine,” is all the director will say. “Right now my focus is entirely on Budha. We start as soon as Mr. Bachchan allots the dates. Hopefully in April.”
Bollywood’s most celebrated writer Abhijat Joshi in a candid chat with BT
HARSHADA REGE (BOMBAY TIMES; February 4, 2010)
3 Idiots has been the toast of Bollywood this season; and writer Abhijat Joshi is overwhelmed with the kind of reactions he’s been getting. Though all seems to be well, the movie has faced its share of controversies, too. The writer talks about the movie and the mayhem…
What do you make of the reaction that the movie has garnered?
To tell you the truth, we didn’t have the slightest desire to write India’s biggest blockbuster. When I saw people talking about the dialogues and even imitating the actors in the movie, I realised that this was something else. Figures and collections are important, but people speaking the lines from films… that’s beautiful!
Post the movie there has been a lot of media attention given to students’ suicides…
The first scene we wrote was the funeral scene of the student. It was bothering us as to why so many students face such pressure. Education should be a matter of excitement. When you get to know something new or see something new, you are excited. So then why’s that not happening? What’s the problem with education? We got thinking about that. We hope that this movie conveys that message.
You have worked with Raj Kumar Hirani on Lage Raho Munna Bhai and 3 Idiots. Do you see yourself going solo or turning director?
I think I am still growing as a writer. Two years later, I may change my mind and go towards direction. But right now, I think my craft as a writer is coming together.
Chetan Bhagat had issues with being given credit in the end of the movie…
We didn’t understand what the whole issue was. We had been saying for the last three years that Five Point Someone had inspired the film. We didn’t hide it. There was an agreement that the credit will appear at the end because we didn’t want people to watch it with the expectation of seeing the book on screen. In that case, they are already watching another movie in their mind. Our screenplay is of 168 pages and 160 pages have nothing to do with the book. But we value those eight pages a lot. Suddenly these allegations of copying and stealing cropped up… we didn’t know what happened. The book is not about a man who is an impostor, who crashes a wedding, whose friends go in search of him, his friends don’t stop a plane to search for him, they don’t kidnap a girl from her wedding, deliver a baby… Whatever we took from the book we gave them credit for. The contract was followed to the T. The book is about three kids who want to take it easy. One guy sleeps with the principal’s daughter and they steal the keys to get the exam papers. They get caught and put the blame on the girl. There’s no nobility in that act. We didn’t want to write that story. We don’t value it at all. What’s valuable was the ethos of the book. That’s why we bought the rights. The book triggered the story, we took parts of the book for which the credit was given.
Priyanka Chopra Gets Best Actress Award For Fashion
Bharati Dubey | TNN (THE TIMES OF INDIA; January 24, 2010)
Bollywood won in quite a few of the important categories in the 56th National Film Awards (for 2008) that were announced on Saturday. Priyanka Chopra won the best actress award for her performance in Fashion, while Arjun Rampal was honoured with the best supporting actor award for his role in Rock On!!. Both Fashion and Rock On!! bagged one more award with Kangana Ranaut getting the best supporting actress award for the first. Rock On!!was adjudged the best Hindi film.
But it was Anirudh Roy Chowdhury’s Bengali film Antaheen that won four of the biggest awards (best film, cinematography, best lyrics and best female singer). Chowdhury gave credit to the entire team saying that after a long time a Bengali film had got so many awards. Rampal was feeling on top of the world and a sleepless Chopra was equally ecstatic. “I, too, am excited. I am someone who always does a mix of cinema and I hope to continue doing it. I was hoping but not really expecting as there were nominations from other regional films too and I was told they were really good. I am happy that Fashion has won about 15 awards till now,’’ she said.
Shams Patel won the best child artiste award for the film Thanks Maa and Ashutosh Gowariker’s Jodha Akbar won two awards—Neeta Lulla for costumes and for choreography. Nandita Das’s directorial debut Firaaq won the best editing and art direction awards. Neeraj Pandey’s A Wednesday won the Indira Gandhi Award for a debut film and Dibakar Banerji’s Oye Lucky Lucky Oye got the Wholesome Entertainment Award. Sooni Taraporewala’s Little Zizou was adjudged the best film on family values.
Marathi film industry, too, got its share of accolades. Rajiv Patil’s Jogva won the best film on social issues. Umesh Limaye won the best actor award for the same film and Hariharan got the best male playback singer. Sachin Kundalkar won the best screenplay for Gandha. The film also won in the best audiography category and best music direction.
South Indian film industry saw Bala winning the best directors award for Tamil film Naan Kadauul. V Moorthy won the best make-up artiste for the same film.
Eight Films were selected for the best feature film in each of the language specified in the Schedule VIII of the constitution category—best Assamese film-Mon Jai; best Bengali film-Shob Charitro Kalponik; best Hindi film-Rock On!!; best Kannada film-Vimukthi; best Malayalam film-Thirakkada; best Marathi film-Harishchandrachi Factory; best Tamil film-Veranam Airam; best Telugu film-1940 Lookagramam. Land Gold Women (English), Yarwng (Kokborok) and Gaggara (Tulu) has been selected as the best feature films in each of the languages.
Some of the other awards: Assamese film Aai Kot Nai won the Nargis Dutt award for national integration while Roadside Romeo was the best animation film.
Farah Khan is all set to make her acting debut in Khichdi-EBLS, being produced by JD Majathia. The choreographer-turned-director has already shot the scene. Farah demanded – and got – her desired fee for the role: an elaborate Gujarati meal.
When contacted Farah Khan confirmed, “I have known JD since my Mithibai College days, when he used to do theatre with my brother Sajid. When he called me I immediately agreed. The brief was very clear, that I have to be myself, the stern and serious director that I am. However it was good fun shooting for the film and I thoroughly enjoyed it. My only condition was that I be treated to some great Gujju food on the sets, and they fulfilled my demand.”
|Farah Khan and JD Majethia on the sets of Khichdi-EBLS|
Majathia, who also has a role in the film, is thrilled with the coup. “All I can say is that Farah surprised me. I have known her for a long time but I really wasn’t sure how she would take the proposal because she is such a successful director. But she said yes without even without listening to what my film was about. She even cancelled her vacation because I needed her on some particular days for the shoot. Despite being a director herself, she followed everything she was asked to do by the film’s director, Aatish Kapadia.”
JD elaborates that Farah’s track is a vital one. “It’s a fun sequence, very humorous. She is approached to make a film for the express purpose of annoying someone. Farah agrees to make the film on the condition that she won’t be given credit. Trust me, people will love her in this comic role.”