Hindi
The irony of “out of the box” thinking in filmmaking
Mumbai: The film industry itself is a place that seamlessly operates on being ‘out of the box’—the irony, in fact, is its special quality. In the film industry, the fundamental concept of crafting narratives or conceiving ideas has consistently revolved around being pioneers, as the saying goes, ‘setting trends. For those with a creative inclination, the film industry serves as an unparalleled playground for imagination. For a creator and director, the best place to execute the impossible; for all other heads of departments, an incredible environment to showcase their skills thrives within the dynamic realm of film, television series, or short films, allowing artists to refine their craft while illuminating the essence of storytelling and the director’s vision. They are within the box of the story but can operate ‘out of the box’ in their skills.
The audience’s encounter and endorsement of the film industry are also completely “out of the box,” defying conventional expectations and norms. Their contemplation and admiration, whether experienced in the grandeur of cinemas, the intimacy of personal laptops, the convenience of cell phones, or the familiarity of a household TV, are uniquely intertwined with the film industry. This experience is markedly different from their everyday lives.
As a producer and business leader, the rationale behind navigating the film industry lies in our adherence to its ROI-centric principles. This approach not only guides our operational strategies but also informs our decision-making processes, ensuring sustainable growth and success within the dynamic landscape of the film business. In essence, the film industry thrives on the belief that the impossible is achievable. This conviction underscores the necessity of ‘out of the box’ thinking as a fundamental skill set for success in this dynamic field. Therefore, embracing creativity and innovation becomes not just a choice but a prerequisite for belonging to this vibrant world of storytelling.
The article has been authored by Amita Madhvani – co-heading business (EFPL/ RMF/ EV) and engaging for new business.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
