Hindi
Universal to make film from BioShock video game
MUMBAI: 2K Games, a US game company, has reached an agreement for video game BioShock to be developed as a feature film by Universal Pictures.
2K Games, whose 2K Boston and 2K Australia studios developed BioShock, is a video game publishing label of Take-Two Interactive Software.
Gore Verbinski, director of the Pirates of the Caribbean trilogy, is slated to direct and produce the BioShock movie. John Logan, who won Oscar nominations for writing Gladiator, The Aviator and Sweeney Todd is in talks to do the screenplay.
The expected release date and terms of the agreement were not disclosed. BioShock has sold approximately 2 million units worldwide since its release in August 2007. A sequel to the game, BioShock 2, is planned for a release in 2009.
Take-Two chairman Strauss Zelnick said, “We are excited that 2K Games’ vision for BioShock will be carried forward in a new medium. BioShock has been hailed as one of the most highly cinematic and richly plotted titles in interactive entertainment, making it extremely well-suited to film. In partnering with Universal and Gore Verbinski, we have assembled a team that respects the uniqueness of BioShock and will translate it into a powerful movie experience.”
“Our ability to attract a major studio and unparalleled creative team speaks volumes about the strength of our BioShock franchise. It also demonstrates how Take-Two is delivering value, based on our strategy of creating and owning our industry’s most powerful intellectual property,” Zelnick added.
In the game after barely surviving a plane crash, the player lands in icy uncharted waters and discovers an undersea city called Rapture, a failed utopia whose citizens had embraced genetic engineering before the city descended into pure anarchy. Power and greed have run amok and the city has succumbed to civil war.
2K Games, president Christoph Hartmann said, “BioShock fans appreciate the depth and complexity of the game, and our partnership with Gore Verbinski will introduce the world of Rapture to an even wider audience. In addition to his impressive body of work, Gore is an avid video gamer and true fan of BioShock. That was extremely important to us in deciding to move forward with this project.”
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.
