Hindi
Sony Pictures acquires distribution rights for Peter Jackson film
MUMBAI: Sony Pictures Entertainment has acquired the North American distribution rights as well as distribution rights in a number of foreign territories, including all English speaking territories, to the Peter Jackson produced sci-fi motion picture District 9. The rights were bought from QED International.
The Oscar winning director of The Lord Of The Rings is producing District 9 through his WingNut Films production banner. QED International, the Los Angeles based production, financing and international sales company, is fully financing the film. Jackson‘s manager Ken Kamins of Key Creatives is serving as executive producer along with QED International CEO Bill Block.
Neill Blomkamp makes his feature film directing debut with District 9, which he co-wrote with partner Terri Tatchell. The film is scheduled to begin shooting in next year in South Africa. Details of the film‘s plot are being tightly guarded while pre-production is underway.
Block says, “Amy Pascal, Michael Lynton and Jeff Blake and the entire team at Sony really understand this film and we couldn‘t be more excited to be in business with them. They are completely committed to the unique vision Neill and Peter have for District 9.”
Sony Pictures Entertainment co-chairman Amy Pascal says, “We have seen some of Neil‘s enormously creative work launching Halo 3 and he is a true talent who understands how to use visual effects in full service of the story. With Peter Jackson and his team at Weta workshop working with Neil, we believe District 9 can be a true event tentpole on our release slate”.
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.
