Hindi
Eros Q3 net jumps 48% to Rs 651 mn
MUMBAI: The pure play film producer and distributor company Eros International has reported a 48 per cent jump in consolidated net profit (before minority interest) on the back of commercially successful movies like Ra.One and Rockstar for the third quarter ending 31 December 2011.
Eros has posted a net profit of Rs 650.9 million in the quarter, as against a net profit of Rs 439.9 million in the year-ago period.
Total income during the quarter under review went up 44.8 per cent to Rs 4.12 billion, compared to Rs 2.84 billion it had posted in the corresponding quarter of the previous fiscal.
Eros’ Ebit for the quarter stood at Rs 1.03 billion, up 57.1 per cent, compared to Rs 653.5 million a year ago.
Eros International Media MD Sunil Lulla said, “Eros International has performed well for Q3 FY2012 on account of successful releases such as ‘Ra.One’, ‘Rockstar’ and ‘Desi Boyz’.”
We are continuing to enhance our existing film slate by further adding new films such as Kochadaiyaan starring Rajinikanth, Yohan Adhayam Ondru starring Vijay, Go Goa Gone to name a few to our existing film slate which includes ‘Housefull 2’, ‘Cocktail’, ‘Khiladi 786’, ‘Hum Se Pyar Kar Le Tu’ and many others that also include regional language releases, thus maintaining a leadership position in this rapidly evolving sector.
Eros has announced that it has over 50 films on its slate which will be released during 2013 and 2014. It expects to release 7-8 Hindi movies in the next six to nine months, prominent among them being Agent Vinod, Khiladi 786 and Housfull 2 among others.
“We continue to focus on making advances towards regional movie releases including Tamil and Punjabi movies in order to widen the overall product portfolio by adding a few Tamil movies on global scale. With regards to this, we recently announced a co-production deal with Media One for Kochadayiaan starring Rajinikanth and Photon Kathaas Productions for a Tamil film titled ‘Yohan: Adhyayam Ondru’ starring Vijay.”
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.
