Hindi
Lionsgate acquires rights for Oliver Stone’s film on George Bush
MUMBAI: Independent film studio Lionsgate has acquired the US distribution rights from QED International to W, a biopic about President George W. Bush directed by Oscar winner Oliver Stone Platoon.
Lionsgate will also distribute W in the UK, Australia and New Zealand. The announcement was made by Lionsgate president of Theatrical Films Tom Ortenberg.
W will star Josh Brolin No Country For Old Men as George W. Bush, Elizabeth Banks Seabiscuit as Laura Bush, James Cromwell The Queen as George Herbert Walker Bush, Ellen Burstyn Requiem For A Dream as Barbara Bush, Thandie Newton Crash as Condoleezza Rice, Jeffrey Wright Syriana as Colin Powell, Scott Glenn as Donald Rumsfeld, and Ioan Gruffud as former UK PM Tony Blair.
W begins production today in Louisiana. Lionsgate is releasing the film on 17 October, 2008. Stone says, “The impact of George W. Bush‘s presidency will be felt for many years to come. Despite a meteoric, almost illogical rise to power, and a tremendous influence on the world, we don‘t really know much about Mr. Bush beyond the controlled images we‘ve been allowed to see on TV. This movie‘s taking a bold stab at looking behind that curtain. I‘m real pleased that Lionsgate has the independence necessary to bring this provocative story to an American audience.”
The studio adds that whether you love him or hate him, there is no question that George W. Bush is one of the most controversial public figures in recent memory. W will take viewers through Bush‘s eventful life — his struggles and triumphs, how he found both his wife and his faith, and of course the critical days leading up to Bush‘s decision to invade Iraq.
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.
