Hindi
YRF’s Tiger provides shot in the arm for tourism in Ireland
MUMBAI: With Yash Raj Films’ Ek Tha Tiger being shot in Dublin, tourism in Ireland has got a shot in the arm.
Dublin will be portrayed as a modern and vibrant city, rich in history and culture; scenes are being shot in Trinity College, Temple Bar and other locations around the city.
This is the first time that a major Bollywood production – featuring two of India‘s most celebrated actors, Salman Khan and Katrina Kaif – is being shot in the country.
Tourism Ireland is confident that it will help to significantly boost awareness of the island of Ireland among India‘s growing middle-class that has the potential to visit the country in their holidays.
Speaking of the announcement, Ireland ninister for Transport, Tourism and Sport Leo Varadkar said, "It‘s a genuine pleasure to see a major Bollywood film being shot in Ireland, but it’s also great news from a tourism point of view. This film will be watched by millions of people in India and around the world, providing a global platform for Ireland as a visitor destination. The Indian film industry is the largest in the world after Hollywood but this is the first film of its type to be made in Ireland."
Tourism Ireland‘s chief executive Niall Gibbons added, "Bollywood is deep-rooted in the psyche of most Indians and the films have a considerable influence on Indian travellers when they are deciding on their holiday destination. We are confident that the footage shot here will help whet appetites and create a curiosity among Indians to come and visit the places where the colourful Ek Tha Tiger was shot."
Tourism Ireland works closely with TV and production companies to facilitate the making of films and programmes on the island of Ireland.
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.
