Fiction
Swati Shetty’s & Grant Kessman’s prodco Bridge7 acquires Slumdog Millionaire sequel rights
MUMBAI: For those who know Swati Shetty, they will always commend her for her never-say-die spirit. The Los Angeles-based former Netflix director international originals & acquisitions and producer of Umrika has got together with former CAA agent Grant Kessman to set up a production outfit Birdge7.
And amongst the first transactions it has done is acquiring the film sequel and television series rights of the Oscar winning, Danny Boyle-directed Celador produced Slumdog Millionaire.
This is what the duo had to say after striking the deal with Celador: “Some stories stay with us long after the credits roll and ‘Slumdog Millionaire’ is undoubtedly one of them. Its narrative is universal, cutting across cultural and geograpahical lines and it embodies the kind of stories we love — ones that bridge entertainment with profound human experiences. What makes ‘Slumdog Millionaire’ extraordinary is not only its cinematic brilliance — spanning storytelling, music and its remarkable accolades, but also how it brought together talent from across the world to make a global winning team.”
Celador International chairman Paul Smith expressed his confidence in the duo acquiring the rights and said the studio was looking forward to working with Bridge7.
MUMBAI: On Christmas morning, whilst most of Mumbai slept off festive cheer, Satyam Tripathi’s heart gave out. 25 December proved cruelly ironic for a man who’d spent his career crafting drama—this time, there would be no second take. He was only 57.
Tripathi was a scriptwriter’s scriptwriter. Within India’s chaotic television industry, where writers are treated rather like spare parts, he’d carved out something rare: respect. For years, he sat on the executive committee of the Screen Writers Association, helping transform along with other leaders, what was once a talking shop into an organisation with teeth. When writers’ rights were little more than punchlines, Tripathi helped pen a different ending.
His credits read like a greatest hits of Indian telly: Hitler Didi, 12/24 Karol Bagh, Ek Mutthi Aasman, Parvarrish Kuchh Khattee Kuchh Meethi. Millions laughed, cried and switched channels to his work. He also championed the association’s Screen Writing Awards, ensuring that good writing didn’t go unnoticed in an industry obsessed with ratings and revenue.
Those who knew him speak of an affable soul, generous with time and advice. In a cut-throat business, Tripathi was that rarest of creatures: genuinely helpful.
His remains were cremated the same evening in the presence of industry associates and friends. The credits rolled quickly. But his final script—a better deal for India’s writers—continues to play out. That’s the sort of ending he’d have appreciated.
(Scriptwriters, producers and friends will be getting together to honour Satyam Kumud Tripathi’s memory and to hold a prayer meeting on 29 December. The location: Shri Guru Singh Sabha Gurudwara, 4 Bungalows, Andheri West, Mumbai. The time: between 3:30 PM and 5:00 PM.)
