Hindi
Kamal Hassan to helm Barrie Osborne film
MUMBAI: So taken away was Lord Of The Rings series producer Barrie M Osborne with Kamal Hassan’s latest film Vishwaroop, that he decided to produce a film that would star Hassan who will also helm it.
“It’s really not the right time to talk about it, but Osborne watched Vishwaroop and suggested we do something together,” said Hassan in a statement.
It is said that right after the screening of Vishwaroop in Los Angeles recently, Osborne got in touch with the actor-director and asked him to find a suitable script that he would both direct and star in. Initially Hassan didn’t take the matter seriously but Osborne was so persistent that Hassan had to consider the offer. He has since zeroed in on a suitable subject.
Osborne, known for his big-budget Hollywood productions such as Dick Tracy, The Big Chill and Fandango (the film that apparently inspired Zindagi Na Milegi Dobara), has liked Hassan’s script after which production details are being worked out.
Osborne has also produced The Great Gatsby, the screen adaptation of Scott Fitzgerald’s novel that has Amitabh Bachchan in a cameo role.
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.
