Hindi
Endemol bags remaking rights of Kahaani in Tamil and Telugu
MUMBAI: Known for making shows on Indian television like Bigg Boss and Fear Factor, Endemol India has forayed into the film making business.
Starting their foray, the production company has already acquired remaking rights of the Sujoy Ghosh-directed Vidya Balan-starrer Kahaani in Tamil and Telugu.
“After having produced content for some of the biggest format shows in the country, we realised that it was time for us to venture into something new. Film making was always on the cards and we are delighted to finally set out to actually do it. We are already lining up projects for 2013 and are extremely excited about our first project, the remake of Kahaani which will be in production soon,” Endemol India CEO Deepak Dhar said.
Will the Tamil and Telugu remake be a low cost affair like the original? “The South markets have their own dynamics and cost structures. We will be producing these films at levels comparable to medium to high cost films that one sees down South. We are investing in the best of talent and technical talent to do justice to the original script,” quipped Dhar.
Sujoy Ghosh, who produced the original script, will also step in as the producer for the remakes and will be working with a leading director from the South Indian film industry.
Would Ghosh direct the remakes? “Ghosh would continue to be involved in this project from the scripting to the first copy as a creative producer. His learnings and creative skills will be utilised to the fullest by us on the project. But to do justice to the local language and the market dynamics, we will be investing in the best of directorial, writing and technical talent down South,” Dhar observed.
Endemol India is currently in talks with a couple of leading actors from South for the lead role in the remake of Kahaani. Will the original characters be there in the remakes too? “We are currently writing the script for both languages keeping in mind the local culture and sensibilities. We will retain the original characters but who will play them and how they will play out will be a matter of time before we announce them,” answered Dhar.
Filming of the remakes is slated to begin in September while the release of the film in the two languages is earmarked for early January.
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.
