Film Production
The spell of pandemic spills over to writing
MUMBAI: Will the Covid2019 pandemic have a direct bearing on the way TV and film script writers churn out their scripts? Now that the Maharashtra government has allowed conditional resumption of film, television, OTT shoots, how are the writers faring? Indiantelevision.com spoke to a few scriptwriters from the film and television industry to get answers to these questions.
Even if shooting begins, the plotline will have to go for a change; it is not going to be the same as before. Writers face the twin challenges of creating something refreshing that connects with the audiences all the while keeping in mind the numerous restrictions that have been implemented.
While some script writers want to reflect the current pandemic situation in their writings, a tiny minority feels that it is not necessary to always showcase the reality. And one thing everyone agrees is the role technology will play in the narratives.
According to Screenwriter Association president Robin Bhatt, many stories can be created keeping in mind the guidelines laid down by the government. With the help of technology, action scenes can also be choreographed. A lot of film scripts have already been written which don’t require any changes, but in the coming days writers will avoid writing crowd scenes or stories where SOP is compromised, he said.
In future, he says, technology is going to play a major part in cinema. He has already finished one show which is highly technological in nature, with a lot of graphics and animation. Bhatt is currently excited to begin the shoot of Sanjay Gupta’s much-awaited movie Bombay Saga starring John Abraham. Bhatt, who is the writer of the film, says that most of the editing, background score, sound design as well as VFX had started much before the lockdown. As of now, he has not received any directions from Sanjay Gupta to make amendments in the script.
He adds, “The current pandemic scenario will definitely reflect in my writing because the entire world has changed. The same old narratives of how couples fall in love, tragedy or drama will change. Currently, it is a wait-and-watch situation.”
Writer-producer Zaman Habib says that until and unless the country emerges out of the risk of the pandemic, there will be changes in scriptwriting accordingly. Scenes with huge crowds or many characters will be avoided. Habib is currently a story consultant for the Star Plus’ show Yeh Rishtey Pyaar Ke.
Habib points out that the advantage of being a writer is that it is not necessary to be present on sets. A lot of freelance writers, who have left for their hometowns, continue their work through video conferencing and similar apps. “In television, we don’t participate in day-to-day works. So it is not bad for writers but there is going to be a major change on the floor while shooting.”
According to him, television shows are divorced from reality. But, now writers, producers and broadcasters will want to put the reality out there.
“There are many people who want to shut off their emotions and have lighter moments. But when we write we create different characters with different emotions. So, one just cannot shy away from the reality or what is happening around us,” he added.
Writer of Once Upon a Time in Mumbai, The Dirty Picture, Kick, Gabbar Is Back and Taxi No. 9211, Rajat Arora said that as of now he has not made any changes in his scripts.
“As we move forward, only then we will understand what can be executed and what cannot. So, as the shooting begins, we will see if any changes in the script are required. There are certain things which cannot be done while filming as per the current guidelines. But it is just a small part. At the end, safety of our people is of utmost importance.”
Currently, he is busy working for Ahan Shetty’s debut film. The project is backed by Sajid Nadiadwala. He is also doing the pending work of Jayalalitha biopic starring Kangana Ranaut.
Contrary to what other writers said, Arora feels that the current pandemic is so terrible that he doesn't want to show this situation in his writing. “I think no one wants to be reminded of a pandemic. I personally don’t want to dwell on it. Dystopian shows are now today's reality. So, we don’t want to face reality or may watch it on screen.”
Film Production
Priyanka Kaur Dhillon joins SVF Entertainment as lead for music distribution
A seasoned content dealmaker with 16 years in digital and satellite media joins the Bengali entertainment powerhouse as it pushes into the pan-India music market
Mumbai: Priyanka Kaur Dhillon has made her move. The content acquisitions and commercials veteran, most recently commercial manager at Sony Pictures Networks India, has joined SVF Entertainment as lead for music distribution, stepping into one of the more interesting briefs in regional entertainment right now.
SVF is no ordinary regional label. Over 30 years it has built a formidable legacy in Bengali cinema and music, driven by culturally resonant storytelling and a catalogue that consistently punches above its weight. Its recent success with Chiraiya underlines the point. But the Kolkata-based powerhouse now has its sights firmly set beyond Bengal, most visibly through Legacy, a rap reality series produced in collaboration with hip-hop label Kalamkaar that signals a deliberate push into the pan-India music ecosystem.
Dhillon brings precisely the kind of muscle SVF needs for that expansion. At Sony Pictures Networks India, she led film acquisition and commercials and handled music licensing across the entire satellite network. Before that, she spent nearly 15 years at Hungama, rising to assistant general manager and leading strategic content licensing for the platform’s digital entertainment business, with a particular focus on international markets. Her label relationships span the full roster: Sony Music, Universal Music, Warner Music, Believe International, Tunecore, The Orchard and a clutch of smaller aggregators. She has negotiated and closed deals with Hollywood studios, Bollywood production houses and regional content players alike, building pricing models and deal structures off data analysis rather than instinct.
Announcing the appointment, Dhillon said she was “thrilled to begin this journey with an iconic Bengali music label and content powerhouse,” adding that SVF’s “constant drive to push boundaries” was what drew her to the role.
SVF has spent three decades proving that regional does not mean limited. With a sharp commercial operator now steering its music distribution, its bid to go national just got a good deal more serious.
