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NOW CONVERT YOUR FILM
RESTORATION www.picklemag.com
BEFORE
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in SD/HD/2K and All Other Formats SERVICES OFFERED: 2D to Stereoscopic 3D Conversion for Feature Films & other Content. Rotoscopy for Stereo Conversion. Stereo Painting. Stereo Post Production.
Make The Most of India’s Entertainment Economy
SCANNING Frame by Frame 2K Scanning of 35mm & 16mm on LED scanner
Government of India
Stereo VFX. Stereo Correction of 3D Shoot.
April 23-25 2015
DI (Color Grading)
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Pragati Maidan, New Delhi, India
SERVICES OFFERED: 4K Conversion (From HD & 2K) 4K Color Grading 4K Restoration : us at Conversion : Visit EAN
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MAY 13-22, 2015
LEVEL UP! REGISTER NOW on www.marchedufilm.com
CII Big Picture Summit October 16-17, 2015, New Delhi
Towards $100 billion Indian M&E Sector
Make in India, Show the world
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+ Bronx (Paris) www.bronx.fr
4th Edition
Confederation of Indian Industry presents the fourth edition of its annual flagship event - The Big Picture Summit - for the Media and Entertainment sector. Join key decision makers, strategists and visionaries driving digital change. “Make In India, Show the World� will be the theme at the Summit.
For more information Ms Kavita Saini/ Ms Neetu Sikka Phone +91 11 45771016, 45771053 email: kavita.saini@cii.in | neetu.sikka@cii.in Website: www.ciibigpicture.com
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MAY 13-22, 2015
LEVEL UP! REGISTER NOW on www.marchedufilm.com
CII Big Picture Summit October 16-17, 2015, New Delhi
Towards $100 billion Indian M&E Sector
Make in India, Show the world
Join 11,500+ attendees
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+ Bronx (Paris) www.bronx.fr
4th Edition
Confederation of Indian Industry presents the fourth edition of its annual flagship event - The Big Picture Summit - for the Media and Entertainment sector. Join key decision makers, strategists and visionaries driving digital change. “Make In India, Show the World� will be the theme at the Summit.
For more information Ms Kavita Saini/ Ms Neetu Sikka Phone +91 11 45771016, 45771053 email: kavita.saini@cii.in | neetu.sikka@cii.in Website: www.ciibigpicture.com
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MIPTV®, MIPDoc® and MI The Tunnel: © 2015 Shine Inte related logos and characters ar Dora and Friends and all relate
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MIPTV is the world’s most established TV and digital content market. It isn’t simply big, it’s the best ecosystem for dealmakers and content creators to forge partnerships, seal distribution deals, and network with their international executive peers. And with the MIP Digital Fronts empowering the new digital content era, we anticipate and shape the future of entertainment. With you.
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DHANAK IS INDIA’S FACE AT BERLIN
Dhanak (Rainbow) is an uplifting, enchanting, magical fable set in Rajasthan that reinforces the belief that life is beautiful. The story revolves around the wonderful relationship between a 10-year old girl Pari and Chotu, her 8-year old brother who live in a picturesque village nestled among the sand dunes. Having lost their parents to an accident at a very early age, they live with their uncle and aunt. Step out and make this wondrous journey with Chotu and Pari and believe once again that if one wishes with atrue heart anything is possible. International Sales: Rajesh Das I sales.dhanak@gmail.com +919930663691
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Nagesh Kukunoor’s Dhanak in Berlinale’s Generation K Plus Filmmaker Nagesh Kukunoor’s film Dhanak has been invited for the Generation Kplus programme of the 65th Berlin International Film Festival 2015. It will also have its world premiere at the festival. Dhanak’s story revolves around the wonderful relationship between a old girl Pari and Chotu, her 8-year old brother who live in a picturesque villagenestled among the sand dunes in the desert state of Rajasthan, India. Having lost their parents to an accident at a very early age, they live with their uncle and aunt. Chotu is blind but he is anything but sad. Happy, precocious and a smart ass, he is the life of the village. Pari is his eyes, his guide and his best friend. And Chotu is the center of Pari’s universe. As children sometimes do, not truly understanding the consequences, Pari has promised Chotu that he will be able to see by the time he turns 9! On their weekly trip to the neighboring village to see a movie, Pari sees a poster with an Indian movie star, Shah Rukh Khan (SRK) appealing to people to donate their eyes. Pari is convinced that her reel life hero can help her fulfill her promise to her brother. In all her innocence she writes a letter to SRK pleading Chotu’s case. She doesn’t hear back but this doesn’t deter her and she writes a letter to SRK every day. One day fate intervenes - Pari hears that SRK is shooting in a location about 300 kms from her village. This is all the motivation she needs! She is confident that if she can meet SRK, Chotu will get his eyesight back. In the dead of the night, holding Chotu’s hand, she runs away from home. What unfolds is a magical journey that only the innocence of childhood allows you to experience. Chotu and Pari meet a host of colorful characters who sometimes help and sometimes thwart their plan but always nudge them one step closer to their destination. Dhanak is an enchanting fable that reinforces the belief that life is beautiful.
SCREENING SCHEDULE: February 8, 2015 12:30 pm Zoo Palast 1 February 9, 2015 3:30 pm Filmtheater am Friedrichshain February 11, 2015 11:30 am CinemaxX 3
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INDIA @ EFM
ENGAGING WITH INDIA EROS INTERNATIONAL Eros International Media operates on a vertically integrated studio model managing content as well as distribution and exploitation across all formats globally, including cinema, digital, home entertainment and television syndication. It has over 1900 films in its library and is at EFM with new Bollywood films.
39 PROJECTS, 30 COUNTRIES Thirty-nine feature film projects from 30 countries will be presented at the 11th Berlinale Co-Production Market (Feb. 9-11). Two Indian projects have been selected this year. Ritesh Batra’s Photograph will be part of the main selection, Avinash Arun’s Sway With Me will be one of the three Berlinale Directors projects The co-production market gives film producers the opportunity to come together for pre-scheduled individual meetings with 500 potential co- production and financial partners.
INDIA’S NEW ENERGY As many as nine names in the Berlinale Talents this year are from India is indicative of a new energy coursing through the country’s off-mainstream cinema. As many as seven of these nine new talents invited to Berlin are aspiring directors and that tells a story to be excited about. Significantly, four of these seven – Khusboo Ranja, Jasmine Kaur Roy, Sanghmitra Hitaishi and Jessica Sadana – are women with ideas that could alter India’s cinematic landscape when they attain fruition.
DISNEY INDIA Bringing together the best of both worlds, The Walt Disney Company and UTV have formed Disney India Studios - one of the leading film studios in India. Objective at EFM : Showcase of UTV’s current line up and commercial exploitation of theatrical and non-theatrical rights of UTV’s library for European, South Asian, North Africa, Middle East, Russia, Far East and South/ Latin American markets. UTV’s lead products for the season are P.K.(from the makers of the Indian blockbuster 3 Idiots), Haider, Highway, 2 States among others.
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JAR PICTURES Ajay G. Rai and Alan McAlex, came together to form Jar Pictures - a versatile film production company that is steadily gaining a stronghold in the Indian film industry. Between them, they have worked on independent films, Indian “new wave”, and Bollywood’s top grossers. Apart from offering production services to mainstream Indian films and international productions, Jar Pictures is also seriously involved with developing story ideas into successful films. The company’s recent foray into independent film production, has also led the producers to explore the international co-production markets, having represented several projects at premier world film markets.
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Visible Indian Showbiz Presence at Berlinale PVR PICTURES PVR currently operates a cinema circuit consisting of 462 screens spread across 92 cinemas covering 44 cities in India. PVR is the dominant leader and commands 30-35 per cent share of box office collections for Hollywood movies in India & 20-25 per cent share of Bollywood movies. PVR is at Cannes to acquire all rights for Hollywood films and other foreign language films.
ULTRA DISTRIBUTORS Ultra is a next-generation studio engaged in multiple aspects of entertainment, including full-scale film and television production and distribution, digital media and post production services. Our catalog has over 1500 titles of Indian blockbusters for exploitation in various platforms in the International Market. STAND: 110MGB
CELIBRITY FILMS PVT. LTD
MOTION MAKERS ANIMATION STUDIOS Motion Makers is a Animation and Visual effects company situated in Mumbai India. It produces feature film, television, commercial and visual effects. Motion Makers also provides a full-service solution for feature animation, visual effects, and film property development from the basic concept to the final film print. It is constantly on the lookout for collaborations, co-productions for more work in field of Animation and VFX.
Leading film distribution company in all segments. Also into local film production through associate company Oscar Films Pvt. Ltd. It has imported over 400 Hollywood & world cinemas like “The Sea Inside”, “Motorcycle diaries”, “Downfall” etc so far, recent one being, “Black Water”, “Crank”, “The Rebel”, “Flash Point”, “The Tournament”, “The Promise”, “Fighting Fish”, also 51 library movies. Also latest acquisitions to include are, Insidious, Midnight F.M, Sanctuary, Brave. Objective: To acquire Hollywood, European, World movies for distribution in Indian subcontinent,all rights.
OVERDOSE ART Overdose is a fiercely independent film production house based in Kolkata. They create locally rooted but globally relevant feature films, documentaries, music videos and potent virals, and are committed to producing original content that pushes boundaries. They have an eclectic network of artists, technicians, distributors, commissions, broadcasters, and a loyal fan base across the globe.
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BOMBAY BERLIN FILM PRODUCTION BBFP produces films and documentaries, offers Co-Production and line production services for feature films/documentaries to be shot in India and Europe and consulting services for international film festivals including world sales, promotion and distribution.
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Nagesh Kukunoor’s Dhanak (Rainbow) is in the official selection at the 65th Berlin International Film Festival (Generation Kplus). A chat with the filmmaker who remains to himself and enjoys luxury of being offline
Nagesh’s
Rainbow How did you get into children genre for Dhanak? One thing that I have consistently done is never cater to a genre. Filmmakers thrive on the fact that this is the space that they occupy. If you take my filmography no one can identify a genre or a space that I operate, I have always said that when a story excites me is when I feel that I can do a good job for the audience. I have done festivals all my life. In the majors, this is the first time my film (Dhanak) is invited at Berlin. I am very excited. My film Lakshmi last year was at Palmspring. How did Dhanak happen? Lot of story ideas bounce on your head. Suddenly on the strangest way it take roots. The image that you seen on the poster (little boy and girl walking on the desert). Manish Mundra who produced the film was excited when the film was briefed. At the very least I won’t repeat the genre. One of the things that I don’t enjoy is I can’t creatively get energised repeating the same thing. I never sit down and say I am going to write a children’s film. As a matter of fact, I told myself that after Rockford I won’t do a children film. After Lakshmi, I
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Nagesh Kukunoor Filmmaker
Cheaper filmmaking and better access to foreign films will ensure better cinema comes out of India 11
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Stills from Dhanak
I always have the complete liberty to tell that stories I wanted to. Obviously there is stress associated with low-budget filmmaking would never do a dark film. The story in Dhanak excited in me to write that stuff and I did it. After Dhanak, I am going to shift gears. There is no pattern to my films. As a filmmaker, how does story comes about and you execute it? Lot of times a film takes shape when I see an image. The film originates there. The entire film begins to revolve around that image. In Dhanak, the boy and girl walk around the desert in Rajasthan. That’s it. Lakshmi was based on a true story. I had the image of girl in the brothel and began to write. Iqbal was very clearly a sports film. It originated as a short story and as I wrote the story. For me, an image sets everything into motion. How has been the survival in the space that you have created for yourself ? Fourteen films. It is tough. The white hair that I have is what filmmaking has given me. I have ventured into filmmaking only for the true love I have for it. The love for movies came from my dad. But he never wanted me to give up a kushy job (Nagesh is a chemical engineer). Filmmaking is very risky. My family has no ties to cinema. I am not also from a business family to take risks. I am not in this field for the wrong reasons. Money, glamour, going for award shows are irrelevant for me. That’s the proof of me
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making 14 films. How much of creativity and business runs in your mind in filmmaking? I apprise my producers that filmmaking is a huge risk and they could get zero returns from their investments. I operate in a very reasonable budget. I always have the complete liberty to tell that stories I wanted to. Obviously there is stress associated with low-budget filmmaking. But the joy that gives me is a fair trade. What is the way forward for Indian independent filmmaking? Everywhere in the world cinema culture is protected? Unfortunately in India filmmaking is always going to be a private entrepreneurial space. I feel sad that we are not able to witness glorious times of NFDC. Cinema has to supported by respective countries. If all of cinema comes as a commercial enterprise you are going to get only stories that play safe. People will not take chances. I am not saying everything independent or art house is terrific. Many a time it is crappy. But at least people will take risk. That will happen only when an entity like NFDC gets its muscle back. Look at Canada. The grants that a filmmaker gets are incredible. Right now, lot of interesting cinema is coming out of India because filmmaking has become cheap. Today, you could conLIKE PICKLE IN FACEBOOK
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Filmography Dhanak (2015) Lakshmi (2014) Mod (2011) Aashayein (2010) 8 X 10 Tasveer (2009) Bombay to Bangkok (2008) Dor (2006) Iqbal (2005) Hyderabad Blues 2 (2004) 3 Deewarein (2003) Bollywood Calling (2001) Rockford (1999) Hyderabad Blues (1998)
vince a producer to invest quarter or half-a million dollars. There is no level playing field. Commercial cinema and your cinema tickets cost the same in theatres… That’s a problem. You won’t get a theatrical release here. For interesting cinema to emerge you will have to look outside India. And, I have always said that when commercial cinema is made here, they are made by extremely intelligent people. They are not made by fools. They know exactly who they cater to. It is a great business set up. The younger audience is extremely internet savvy. They download international films all the time. The reach to world cinema is much faster than ever before. To look for alternative cinema, during my younger days, I used to go to the video library. That’s how I have sensibilities which are not mainstream commercial cinema. That’s how world opened out for me. Thanks to internet a new world of cinema is emerging. Cheaper filmmaking and better access to foreign films will ensure better cinema comes out of India.
Everything you need as a film professional is here, re-introduce yourself to cinando.com Powered by the Festival de Cannes with the support of:
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29-01-2015 14:49:57
THE NEW INDIAN CINEMA
SPIRIT OF TRUE INDEPENDENCE A new breed of Indian filmmakers is driving a remarkable cinematic resurgence. The fact that as many as nine names in the Berlinale Talents this year are from India is indicative of a new energy coursing through the country’s off-mainstream cinema, says Saibal Chatterjee
H
aving scooped up coveted prizes at the Venice, Singapore and Mumbai festivals in the past year with his remarkably crafted debut film Court, Chaitanya Tamhane is deservedly one of the hottest new Indian filmmakers on the global circuit today. His widely acclaimed tragicomic satire on the Indian legal system and the country’s deep-rooted class fissures has now been selected for the 44th edition of New Directors/New Films (ND/NF), a festival jointly hosted by New York’s Museum of Modern Art and the Film Society of Lincoln Center. To be held from March 18 to 29 in New York, ND/NF is “dedicated to the discovery of new works by emerging and dynamic filmmaking talent”. The Marathi-language Court is among the initial nine films officially selected from all over the world for ND/NF. It will play alongside such feted titles as the Cannes Critics’ Week grand prize winner The Tribe and the winner of the Un Certain Regard award White God. Tamhane is one of the most visible faces of India’s ‘new’ independent cinema – a stream of defiantly original filmmaking that exists outside the pale of the established Bollywood independent’ space, which is represented by the likes of Anurag Kashyap and Dibakar Banerjee. The fact that as many as nine names in the Berlinale Talents this year are from India is indicative of a new energy coursing through the country’s off-mainstream
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cinema. As many as seven of these nine new talents invited to Berlin are aspiring directors and that tells a story to be excited about. Significantly, four of these seven – Khusboo Ranja, Jasmine Kaur Roy, Sanghmitra Hitaishi and Jessica Sadana – are women with ideas that could alter India’s cinematic landscape when they attain fruition. While the principal players in the Mumbai independent cinema (notably Kashyap and Banerjee) have been co-opted by the mainstream, a new bunch of young filmmakers are setting themselves up to move into the breach and serve the cause of the kind of cinema that eschews commercial rules and follows its own artistic principles. Aditya Vikram Sengupta belongs to this emerging group. His debut effort, the Bengali-language Labour of Love, which premiered in the Venice Days sidebar of last year’s Venice Film Festival, bagged the FEDEORA (Federation of Film Critics of Europe and the Mediterranean) award for the Best Young Director. In tone and texture, the virtually dialogueless Labour of Love, a love story set in a recession-hit metropolis, is a far cry from the gangster flicks and socio-political thrillers that are favoured by a majority of Mumbai’s independent filmmakers. Like Tamhane’s, Sengupta’s is a unique directorial voice that stands well apart from the cinematic din that is inevitably generated in the world’s largest film proLIKE PICKLE IN FACEBOOK
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TALENTS FROM INDIA
DIRECTOR OF COURT CHAITANYA TAMHANE (LEFT) WITH PRODUCER VIVEK GOMBER
ANHEY GHORHEY GURVINDER SINGH
ELIZABETH EKADASHI GURVINDER SINGH
KILLA GURVINDER SINGH ,UUIDQ .KDQ 7LVFD &KRSUD 7LOORWDPD 6KRPH 5DVLND 'XJDO
QISSA $ ÀOP E\ Anup Singh
LABOUR OF LOVE GURVINDER SINGH
MARGARITA WITH A STRAW GURVINDER SINGH
QISSA GURVINDER SINGH
Berlinale Talents’ - Khusboo Ranja, Jasmine Kaur Roy, Sanghmitra Hitaishi and Jessica Sadana – are women with ideas that could alter India’s cinematic landscape when they attain fruition 5
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While the principal players in the Mumbai independent cinema (notably Kashyap and Banerjee) have been co-opted by the mainstream, a new bunch of young filmmakers are setting themselves up to move into the breach and serve the cause of the kind of cinema that eschews commercial rules and follows its own artistic principles ducing country, where an overwhelming majority of the titles are star-driven, song and dance extravaganzas made primarily for domestic consumption. . The two young filmmakers are not the only ones that are labouring to raise the bar for independent cinema in India. Anand Gandhi, whose Ship of Theseus was a huge critical success, and Gurvinder Singh, whose Punjabi film Anhey Ghorhey Da Daan, premiered in Venice before going on to win a Special Jury Prize in Abu Dhabi a couple of years ago, are two other directors whose careers are being intently watched by festival programmers across the world. Gurvinder Singh has just wrapped up the shoot of his second film, Chauthi Kot (The Fourth Direction), also in Punjabi. Another Mumbai filmmaker, Manjeet Singh, earned critical accolades for his debut film, Mumbai Cha Raja, which is an unwaveringly naturalistic take on the lives of the city’s slum children. His second script, Chenu, made it to the Atelier in Cannes two years ago. Several other Indian filmmakers, who have been around for a while, have opted to work outside the mainstream Mumbai movie industry and steadfastly follow their chosen creative paths. They have been none the worse for it. The likes of Anup Singh (Ekti Nadir Naam) and Ashim Ahluwalia (John & Jane) have been in the forefront of an Indian cinema movement that has thrived on a genuine spirit of independence. They have brought cinema from the subcontinent closer to the heights that the masters of yore had attained. Ahluwalia’s Miss Lovely and Anup Singh’s Qissa – The Tale of Lonely Ghost have both been applauded at festivals
around the world. Miss Lovely, set in the Mumbai C-grade movie industry of the mid 1980s, was in the official selection in Cannes in 2012. The film was commercially released in India last year. Ahluwalia is now adapting a novel by gay rights activist R Raja Rao into a film titled The Boyfriend. Qissa, which was premiered in Toronto in 2013, is slated to hit the multiplexes in the country sometime this year. Anup Singh’s next film, Mantra – The Song of Scorpions, is already in development and he has roped in Iranian-French actress Golshifteh Farahani for the project. At the Toronto International Film Festival as well as the Palm Springs International Film Festival early this year, Shonali Bose’s sophomore effort, Margarita With a Straw, struck an instant chord with the audience. At the former, it won the NETPAC prize; at the latter, it was voted into the top five audience favourites.Margarita With a Straw tells the story of a spirited cerebral palsy-afflicted woman who lets nothing get in the way of her personal desires and ambitions. The film is most remarkably for the outstanding performance that the director has extracted from lead actress Kalki Koechlin. The current burst of dynamism in Indian cinema is especially pronounced among non-Hindi films, with Marathi titles leading the way. Debutant director Shrihari Sathe has garnered much praise for his Marathi film Ek Hazaarachi Note. Yet another Marathi director, Paresh Mokashi, whose first film Harishchandrachi Factory was a major critical successful and India’s official entry for the Best Foreignh Language Film Oscar, has followed the triumph up with the equally praiseworthy Elizabeth Ekadashi.
Saibal Chatterjee is an independent New Delhi-based film critic and writer who has worked on the staff of several leading publications, served on the editorial board of Encyclopaedia Britannica’s volume on Hindi cinema and authored a biography of poet-filmmaker Gulzar.
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MUST DO THINGS AT EFM Bridging the Dragon at EFM EFM director Matthijs Wouter Knol says EFM is strengthening its industry relations with a bridge to Asia initiative this year
What are the trends you could see in EFM this year? EFM reflects the global trend of growing significance of serial formats in the audiovisual content industry and integrates that in its marketplace. Along with this we also see an opening towards new platforms, towards digital distribution and new forms of content as another trending development. Thus we brought the EFM startup initiative to life, offering ten up-and-coming companies from Berlin’s huge startup scene the unique possibility to participate at the EFM. The growing importance of Asian and especially Chinese markets is another process we observe. With our new initiative “Bridging the Dragon”, a newly found network of Asian and European producers, and with an EFM Industry Debate about the revolutionary success of Chinese online platforms, we accommodate this trend.
Television Segment has got into EFM. How do you see this grow? Serial TV formats are booming and especially high end drama series with high production value, a first-rate cast and complex, intelligently told stories have become very popular. The boundaries between classic film production and top quality series are dissolving. Serial formats have evolved quite impressively and won the favour of audiences around the globe and with this these formats have gained importance and become an
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Matthijs Wouter Knol Director, EFM
essential component of audiovisual culture. For us at EFM it was a logical step to include series in the market and offer the newly created platform Drama Series Days for those involved in their production and distribution. For the first time not only individual films are being traded at the European Film Market but also drama series from Germany, Scandinavia, Great Britain and North America that will be shown at market screenings in the Martin-Gropius-Bau. In addition, the EFM Buyers Lounge will serve as a central meeting point for the drama series industry on February 9 and 10. Furthermore, we offer two panel discussions dedicated to this subject: One of the EFM Industry Debates will be devoted to the German drama series market. Another panel with international experts will discuss the opening up of the US market for local productions from Europe, and how - as original series or remakes – their international reception is on the rise. Also, the Berlinale Co-Production Market - as part of the “Drama Series Days” - presents six serial projects that are seeking international coproduction and financing partners, including Tom Tykwer’s “Babylon Berlin”, the first German serial project, the Belgium series “Tabula Rasa” as well as the projects “Behind the Moon” at “That Time from Israel”, “The White Rhino Hotel” from the USA, “Hierro” from Spain and “Valkyrien” from Norway.
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EFM in Numbers According to latest figures, 7,848 professionals from 96 countries - including 1,524 buyers from 64 nations - have received accreditation so far for this year’s EFM (2014 total: 8,396 participants, including 1,499 buyers). 733 films had already been submitted for market screenings (522 Market Premieres)on the EFM’s 38 screens (the final total last year was 784 films shown in 1,109 screenings).
Producers Hub Initiative The newly created Producers Hub initiative is to cater especially for those producers who are not at the Co-Production Market or at the MEDIA stand so that they can find what they are looking for at the EFM such as financing or co-producers.
Berlinale Talents Market Hub American Independents at EFM The EFM is proud to continue its partnership with the Independent Filmmaker Project (IFP) and the Sundance Institute to bring you American Independents in Berlin - presenting new US-American works to international buyers, sellers and festival programmers as well as supporting its filmmakers, companies and organizations while in Berlin. For over ten years, “Sundance at EFM” has been the direct pipeline between the European Film Market and the Sundance Film Festival, giving EFM Buyers first crack at close to 50 new films fresh from their screenings at Sundance.
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The European Film Market 2015 welcomes Berlinale Talents once again to the initiative Berlinale Talents Market Hub in partnership with Canon. This platform, at its buzzing location in the gallery of the Martin-Gropius-Bau, serves as a contact and meeting point, offering new perspectives to both EFM participants and upcoming talents. Talents not only gain insights into how the EFM works, but also can use this prominent platform to introduce themselves to trade representatives and establish sustainable industry contacts.
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7,848 professionals from 96 countries including 1,524 buyers from 64 nations - have received accreditation so far for this year’s EFM
EFM Startups Drama Series Days The European Film Market and the Berlinale Co-Production Market are bringing the best in new drama series to the Market. Drama Series Days is an exciting new initiative, providing creators and producers of high-quality drama series with innovative platforms and channels to present and sell their new works. This includes a home base in the EFM Buyers Lounge where key players in commissioning and acquiring new content come together, as well as special screenings and a range of talks and events showcasing the latest industry trends and developments from Germany, Europe and North America. To complete the programme, the Berlinale Co-Production Market will present six handpicked international series-projects to potential co-production partners, funds and broadcasters attending the EFM.
Producers at EFM Starting in 2015, the EFM will expand its services for producers, developing new initiatives and platforms designed to better meet the needs of producers attending the Market.
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At the centre of Europe’s most exciting startup hub, the EFM takes Berlin’s leading entrepreneurs and connects them with the film and audiovisual media industries. This new platform provides EFM visitors with the opportunity to tap in to carefully selected startup companies, who can help them develop new ideas or provide the technical know-how to implement new production, distribution or marketing strategies.
Co-Production Market The Berlinale Co-Production Market is a three-day event for about 500 international producers, sales agents, distributors as well as broadcasting and funding representatives active in the field of co-production.
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Department of Commerce Ministry of Commerce and Industry Government of India
23-25 April 2015 Pragati Maidan, New Delhi, India
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Indian Prime Minister Narendra Modi will inaugurate the three-day Global Exhibition on Services to showcase India’s strength in the sector and provide platform to the industry to explore business opportunities. The GES will bring the Indian Media & Entertainment service providers under one platform. Content buyers, technology service providers, production and location executives will immensely benefit from the expo.The GES will enable delegates to explore M&E service solutions in the new emerging digital world
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GLOBAL EXHIBITION ON SERVICES
MAKE YOURSELF VISIBLE AT GES Block your diary April 23-25, 2015, to be part of the Global Exhibition on Services in New Delhi. The GES will bring the Indian M&E service providers, content buyers under one platform
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ndia is set to host the first Global Exhibition on Services (GES) in Pragati Maidan, New Delhi from April 23 to 25, 2015. Spearheaded by the Ministry of Commerce & Industry, Government of India, the expo is organised in association with the Confederation of India Industry (CII) and SEPC. The first Global Exhibition on Services will be a global platform to showcase the inherent strength of services sector in India. The main objective of the event is to position India as a leader in the Service sector to the rest of the world, to tap potential for services’ exports and to draw further investment into India in the services sector. The GES will bring the Indian M&E service providers under one platform at the expo. Content buyers, technology service providers, production and location executives will benefit. The GES will enable delegates to explore M&E service solutions in the new emerging digital world CII’s objective is to scale the Indian M&E sector towards achieving $100 billion by the end of this decade from the current $20 billion. CII believes that creative and production services vertical of the Indian M&E sector will contribute to the growth of this sector. Media and Entertainment is among the sectors included in the Government of India’s ‘Make in India’ campaign to promote creative services, production, locations and offshoring. The cost benefits for global M&E companies is estimated to be as high as 60-70%. The Indian content on screen reaches over 85 countries on all major platforms, including Netflix and iTunes. This is just the tip of the iceberg and is set to
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increase in the coming years. After Hollywood, Indian cinema has the highest reach (in terms of distribution for films) and reaches over 75 territories globally. India’s strength is emotional content -telling human stories that resonate the world over, irrespective of the language barrier. The Indian animation and VFX entertainment industry has evolved rapidly in a very short span of time. Indian production studios and production talent have had the privilege of working with global majors like Disney, WB, DreamWorks, Sony, Viacom/Nick, BBC, Cartoon Network, Fox, Ubisoft and Zynga among several others. The industry has gained rapid momentum and is set to witness a boom in the future. The demand for animation services in India is growing at a reasonably quick pace owing to the increase in high-end TV shows -- this sector will grow at about 15%+ per annum over the next few years. The Indian media industry is the biggest in the world by output. Over 500,000 hours of television content, 80,000 newspapers published daily, 1,600 feature films each year. 98% of this output is conceptualised, shaped and produced in India. 700 million Indians watch television for three hours every day. The industry supports six million jobs directly and equal number of jobs indirectly.
For more information to participate and exhibit at GES email kavita.saini@cii.in
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India has one sixth of the global eyeballs. The global potential of our entertainment industry is expanding. Interest in Indian entertainment has gone beyond persons of Indian origin Mr Arun Jaitley, Minister of Finance, Corporate Affairs, and Information & Broadcasting
India has immense untapped potential in services space particularly in sectors like films, entertainment, tourism, yoga, hospitality, wellness... We are committed to encourage and facilitate India’s service sector Ms Nirmala Sitharaman, Minister of State for Commerce & Industry
57% of India’s GDP was contributed by the Services sector. Global Exhibition on Services will provide the platform to further boost India’s Services sector Mr Rajeev Kher, Commerce Secretary, Ministry of Commerce & Industry
India could be the international hub for global content. Let’s create in India for the world. Make in India, Show the World We believe that M&E sector has huge prospects, and content production and services will play a major role towards achieving $100 billion Indian M&E sector by 2020 Mr Chandrajit Banerjee, Director General, CII
Business to Business meetings will be key focus at the Global Exhibition on Services. Entertainment industry has a huge potential in services sector Mr Lalit Bhasin, Chairman, Services Export Promotion Council of India
I always say, Indian movies are Indian food – It’s an acquired taste, but once you’re hooked you can’t get enough of Indian cinema Mr Avtar Panesar YRF’s Vice-President, International Operations
Content creation in the digital format will allow the Indian creative community to access the world through new media platforms - “Made In India for the World” Mr Biren Ghose, Country Head Technicolor and President ABAI
We can make India as the production studio for the world. There is hardly a film in the world which does not have animation, VFX, post production done out of India Mr Sudhanshu Vats, Chairman, CII National Committee on Media & Entertainment and Group CEO, Viacom 18
India has abundant talent, production quality and offers cost advantage in the audio visual space. There is a potential to create 10 million Jobs in media space without massive public investments Mr Ashish S Kulkarni Industry veteran, M&E
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What to get at GES?
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ONESTOP SHOP
GES will offer a one-stop-shop for meetings, networking and collaboration in the entertainment space. GES is the place to explore ďŹ lm shooting destinations across India.
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2
GES, SET, GO
GES is the destination for independent ďŹ lmmakers, directors, distributors, producers, talents, writers and all those who provide services to the worldwide motion picture industry.
MEETING PLACE
3
The exhibition would be a meeting place for countries, for global service sector players to forge new business relationships and enhance international trade in services.
INTERNATIONAL INTERACTION
Interaction among international services sector players, seminars and discussions on M&E and dedicated B2B meetings to strike useful partnerships will be organized under the event. You can meet cost-effective post-production studios and service companies.
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A a a f e f o
5
AT GES, MEET SERVICE PROVIDERS IN THE FOLLOWING DOMAIN • •
or s,
o
re
g ,
s
• •
•
Entertainment Services Filmed entertainment Radio and Television Service Radio and Television Transmission Services Sound Recording
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MINDS AT WORK
At GES you have access to creative and business minds from all media and entertainment verticals from across India and over 40 countries.
nal
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7
WOW FACTOR
The Indian film industry is fairly unique in the world. The co untry, along with Am erica and China, is amo ng the few that can susta in their industry dome stically. You can make a film just for India, or ev en one region within In dia and still make a pro fit.
ALTERNATIVE MODELS It’s a great expo to look at alternative and emerging business models especially in the services space.
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GES WILL FOCUS ON NEW AREAS OF SERVICE • Pre-Visualisation (For Movies, News items, Architecture) • Rapid Prototyping (3D Modelling and 3D Printing)
Remote Colour Grading (For TV Shows and Movies) Things ••Lore tem ipi Remote On-Line Editing (For Packaging, Montages where multilayering and Effects are intense) • BW to Colour (for Movies, Documentaries and News Footage) • Tools development (based on India’s ICT expertise)
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MAKE IN INDIA
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CONTENT REACH
After Hollywood, Indian cinema has the highest reach (in terms of distribution for films) and reaches over 75 territories globally. India’s strength is emotional content -- telling human stories that resonate the world over, irrespective of the language barrier.
Media and Entertainment is among the sectors included in the Government of India’s “Make in India” campaign to promote creative services, production, locations and offshoring.
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DEMAND FOR ANIMATION
The demand for animation services in India is growing at a reasonably quick pace owing to the increase in high-end TV shows -- this sector will grow at about 15%+ per annum over the next few years. 28
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I p a a i c a A
1
P P
G f m t e f fi
13 14 LAUNCH PAD
It is a perfect launch pad for your products and services. If you are an App developer there is a great demand from companies looking at creating innovative Apps.
REJUVENATION MODE Start-ups rejuvenate economies, spur innovation, work beyond geographies and create jobs. Meet top innovators and SMEs from the Media and Entertainment Sector.
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CAPITAL IMPACT
PLATFORM PERFECT GES will be a platform for buyer-seller meets and you have the opportunity to experience instant feedback to your film or content. 29
For GES deleg ates, New Delhi is a muc h more affordable loc ation to do business durin g the expo. There is a wid e range of hotel options. It’s also a very hospitable city with many restaurants off ering the authentic flavo urs.
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ENTERTAINMENT ECO INDIAN M&E
INDEX $1.5 billion 2014 Box Office Collections
826 TV Channels
161million Cable and satellite TV Households
1200 Feature films produced in India
India has 8 screens per million people in comparison with 117 per million in the US “When you look at the world—and pick your markets—you have to believe India is one of the major markets of the 21st century” Bob Bakish, president of Viacom International Media Networks
“Bollywood is India’s biggest cultural export” 275 million 175 million entertainment Grammy-nominated DJ Internet Mobile and producer Paul van Internet Users User base Dyk
936 million Mobile Subscribers
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TV revenue in India is set to grow at a 16% annual CAGR in the years 2013 through 2018 according to Pwc LIKE PICKLE IN FACEBOOK
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Fac use 99 pla pho mo
Ind US Fac mo
Cu 173 Int It i 213 20 IM
Soc wit of
On as
ECONOMY OF INDIA
ns le th S
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Facebook has 112 million users in India, more than 99 million utilise the platform on their mobile phones at least once a month. India will surpass the US to lead as the largest Facebook user base on mobile by 2017 Currently there are 173 million mobile Internet users in India. It is expected to grow to 213 Million users by June 2015 according to IAMAIIMRB report
INDIAN M&E
INDEX Television Grew by
Films Grew by
12.7%
11.5%
Radio Grew by
Print Grew by
15%
8.5%
Animation&VFX Grew by
Gaming Grew by
12.5%
25.5%
Social media has witnessesed an increase of 38% in user base Online Video maintains a steady growth of 27% 31
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Digital Advertising Grew by
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29-01-2015 13:21:47
MEET ULTRA AT STAND 110 MGB EUROPEAN FILM MARKET
DIGITAL MEDIA WORKS
Pickle lists ďŹ ilmed entertainmnet services offered by Ultra
2D to 3D Conversions
We are a single window source from production to distribution and an end-to-end studio solution provider. We assure quality service with substantial savings Sushilkumar Agrawal Managing Director Ultra Group
2D to 3D Conversions
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UR3D is able to process an existing ďŹ lm (HD or higher (2K-4K)) and dimensionalize it for playback for: 3D stereo cinemas (RealD, Dolby3D), 3D stereo home systems (side by side or anaglyph) and/or digital signage systems (autostereoscopic, multi-view). Our process is in a controlled environment.
Film Restoration
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Ultra has set up technical studio facilities needed in-house and has been hiring out its capacities. It is equipped with state-of-the-art on-line and off-line editing studios, all types of video transfers, DVD authoring facilities, dubbing studio and post-production facilities. In short, Ultra is very well equipped with multiple units for various purposes to provide timely solutions to its clients. 3D Production Services
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3D PRODUCTION SERVICES As an integrated 3D service company, Ultra embraces live-action 3D. It works together with the top people in 3D production industry to create unique environments designed to achieve uncompromising quality, from preproduction through delivery and finally end-user experience.
State-of-the-art facilities at Ultra
Studio facilities Studio facilities offered by Ultra include digital intermediate & colour grading, DCP mastering, dubbing and editing units.
Film Restoration Ultra’s newest thing in old film restoration is the cutting edge technology, brand new ARRISCAN Archive System with WETGATE technology, a multidisciplinary and data-centric approach to film restoration. The titles we work on end up looking and sounding more beautiful than when they were first seen in theatres. State-of-the-art scanning is also done. Digital Restoration for Picture and Sound is one more advantage at Ultra.
Colorisation Ultra’s wide range of facilities and experience in the technology side of the media industry, transformed many great black & white films into colorised version which have been telecasted on top television channels to cater the audience of the current generation keeping the aesthetic value of that era where the film belonged to.
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29-01-2015 12:49:36
SHABNAM
DITTO TV @ BERLINALE
Ditto TV
Watch LIVE TV, Anytime, Anywhere Ditto TV of Zee New Media, ZEEL’s digital business arm, has witnessed a remarkable growth garnering over 5 lakh paid subscribers, over 5 million registered users and half a million downloads till date. An insight into this entertainment revolution for delegates at European Film Market, Berlin What is your view on On-demand, specifically from the perspective of world cinema and independent films? Digital VOD offers an ideal platform to cater to the tastes and preferences of premium and niche audience as it allows them to watch content such as critically acclaimed parallel cinema that is difficult to access otherwise. The platform is also ideal for films that are made under small banners or those that address offbeat topics as it also gives the filmmakers direct access to focused viewer groups and helps them by-pass the conventional marketing and distribution channels. In recent times, there have been many movie makers and actors who are open to experimenting with real cinema and off beat genres, which might interest only certain sections of the society. In addition, many international films and content are also finding audiences in the domestic market. Hence Digital VOD is a boon for world cinema and independent films, to reach out to the right audience. What are your expectations from large catalogued movie companies? How would you like to engage with them? Platforms such as Ditto TV present good value to aggregators of content like production houses and movie companies that own blockbusters and other critically acclaimed works since they are able to tap a wider viewership and cover a greater section of audience, all through one medium. According to market statistics, close to 42 per cent of the movie trailers were consumed through mobile devices and with a
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number of applications and websites now coming up, mobile television has become an independent medium in itself, with a very loyal audience base. Hence a strategic partnership with large catalogued movie companies is bound to be a win-win situation for all. We are already in talks with some prominent movie distribution and production houses. Going forward our key focus will continue to be to explore partnerships with international content owners / production houses to bring rich premium content for our consumers and enhance their viewing experience. We have several platforms today. Is Ditto TV present on all -- app ios, blackberry, windows 8? Ditto TV is the first operator-agnostic service of its kind and it is present across all Operating Systems such as Android, iOS, Symbian, Windows, Windows PC, Windows phone, Windows MAC as well as on Connected TVs. Each platform is unique in its features and capabilities and hence the challenge here was to develop the best cross-formatted app, rather than for just couple of platforms. In fact, Ditto TV was ranked #1 on the AppleApp Store within a week of its launch, and listed in ‘Featured Apps’ on the BlackBerry App World & Windows Store ‘Spotlight’. Further to that, Ditto TV was ranked as the top trending app on Google Play Store and the number 1 Top Grossing app on the iOS App Store in the Entertainment category. How is Ditto TV’s engagement with Content owners and aggregator? LIKE PICKLE IN FACEBOOK
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Q
A
How has Ditto TV’s growth been in recent months? Since its inception, Ditto TV has witnessed a remarkable growth garnering over 5 lakh paid subscribers, 5 million users and over half a million downloads till date. Ditto TV has a huge network spanning across 176 countries including UK, UAE, New Zealand, Australia and the US. It has also strengthened its position in the APAC region with viewers from 17 countries, including Singapore, Hong Kong, Japan, Australia, Thailand, New Zealand and Taiwan, have access to Live ZEE content using the Ditto TV app. One strategic development in the recent months was the tie–up with Fortumo to introduce a new payment option for consumers wherein they can pay through their mobile operator. In addition, we have also partnered with ‘Payment Solution Providers’ like Oxigen, itzcash, Payworld and Pay1 which offers Ditto TV users the convenience to make payments at these solution provider kiosks or even at the nearest retail outlets. On the content offering, Ditto TV has added a number of new channels including three HD channels from the National Geographic stable, Al Jazeera, three channels from the Times Television Network (TNN) - ET Now, Times Now and Zoom to its bouquet and the 24 hour international channel, Bikini TV is also now available LIVE on the app.
What’s the transparency you have set in the engagement? The OTT segment has witnessed significant growth in recent times and one key element driving this growth has been the evolving ecosystem. We have better internet services, growing adoption for smart phones and reduction in internet tariffs by telecom players which has led to increasing the consumer engagement in the OTT space. Our engagement with content owners is more of a partnership than transactional. We want to co-exist with our partners in the eco system rath-
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er than function in isolation. We have implemented a big data solution that gives us the capability to source complete information on the demographics of the consumer: nature of content consumed, duration of viewing, devices used, geographical spread, etc. In addition we can also offer subscription pattern, viewership details, most viewed content etc. all of which is valuable insight for content owners. This information helps them streamline the content as per user preference and offers scope for content localization. LIKE PICKLE IN FACEBOOK
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29-01-2015 12:49:38
MAMI: MOVIES & MOVES
MAMI: NEW TEAM, NEW PLANS
Anupama Chopra Director, Mumbai Film Festival
A new team has taken over Mumbai Academy of the Moving Image (MAMI) under Chairperson Kiran Rao. Mumbai Film Festival Director Anupama Chopra, film critic and author spoke to Pickle on changes at MAMI. The MAMI team is at Berlinale 2015
MAMI has now got new faces and new management team for its 17th edition. What’s on offer this year? Give a feeling of what to expect at MAMI? 2015 is the new face of MAMI and while it’s still very early, I think we can definitely expect a lot of change. We want to do many things. We are extremely ambitious and I am hoping that many of those things come true. What we want to do is create a 360 degree experience for the delegates. Not make it just about watching movies in the theatre but listening to people talk about movies and experiencing movies in more ways than one. This will of course translate into many different things which I don’t want to talk about until they’re all set in stone but definitely, it’s going to be a new and exciting MAMI.
people of Mumbai and for the people who travel to come here and see these movies. So it works both ways. We offer the best of world cinema to the people of Mumbai and we offer the best of Indian cinema to the world.
As a festival director, what’s your objective? What’s the overall vision of MAMI going forward? My objective and my vision is to create a two way dialogue. I would like for MAMI to be the one stop shop for the best in Indian cinema and I would like MAMI to be the gateway of great world cinema for the
There is no Cannes without French Films and Berlinale without a flavour of German cinema? What about Mumbai’s MAMI? MAMI would of course be absolutely incomplete without Indian films; there is no question about it. Last year itself we had an Indian film Chaitanya Tamhane’s
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What’s your focus at Berlinale this year? Our focus at Berlinale this year would be to go out and meet people and tell them about the changes at MAMI. We had a scare last year with the funding situation. People were concerned whether the festival would happen or not. So I think our biggest focus at the Berlinale is to go in there and tell people that we are here, MAMI will happen, come let us collaborate, let us build something great together.
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‘Court’ winning the International competition’s number one prize. I agree that there is no MAMI without the Indian cinema. Will MAMI be a catalyst for Indian cinema spread to newer territories? I certainly hope so and one of our aims is that we need to spread it. We need to take Indian cinema far and wide and that’s why we need to have the best of Indian cinema showing here so that programmers and sales agents can come here, look at it and take it further. Absolutely, it is very important. What are the international film festivals you love the most? For me Cannes and Toronto are the two international festivals that are just incredible. I’ve been to Cannes for more often than I have been to Toronto but I love both festivals. I think they do unique things and they do them extremely well. MAMI in 2014 survived because of passionate support from many industry stakeholders. MAMI crowd funding is a global case study now. How’s it going to be funded this year? We are hoping for it to be a combination of state, public and corporate partnership. So some funding coming in from patrons, some from states and some from corporate sponsors. That is the ambition right now. MAMI is also a breeding ground for first time filmmakers. Have you seen success on this front? I think it’s been extremely successful in being a breeding ground for first time filmmakers. Last year like I said Chaitanya Tamhane won for Court, also Chauranga which was a first time film, Killa by Avinash Arun; all these films got awards. I think it’s a great breeding ground; it’s a great platform for young filmmakers to get noticed. India has not got a full-fledged market for films? Do you see emergence of
Mumbai Film Mart and fill this gap? We still haven’t taken a call on the market. We do want to have a market but it won’t be traditional. We want to create something new and something exciting that serves our needs. I think what we don’t want to do with MAMI is simply ape other film festivals because the needs of Mumbai city, the needs of Indian filmmakers are different and we would like to fulfil those. You are moving as a MAMI festival director after being an accomplished journalist/writer and someone who has seen Indian film industry first hand? Any challenges? There are only challenges in this job. Right now, it’s a blank slate and we are starting construction from the ground up. But MAMI has a great legacy and a 16 year-old foundation. I hope we will build something enduring that serves Mumbai and Indian cinema.
Anupama Chopra is a film critic, television anchor and author. She is also director of the Mumbai Film Festival. She has been writing about Bollywood since 1993. Her work has appeared in publications such as The New York Times, Hindustan Times, The Los Angeles Times and Vogue (India). She is founder and editor of the Film Companion channel on YouTube. Film Companion offers a curated look at cinema – Bollywood, Hollywood and beyond. Anupama has also worked extensively with Star World, Star Plus and NDTV 24/7. In 2001, Anupama won the National Award for Best Book on Cinema for Sholay: The Making of a Classic.
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29-01-2015 12:49:40
INDIA @ EUROPEAN FILM MARKET
CONTENT BUYS FROM INDIA
INTERNATIONAL SALES AVTAR PANESAR, VP, International Operations avtar@yashrajfilms.com
INTERNATIONAL SALES ROHIT SHARMA, Head –International Sales & Distribution rohits@in.foxstarstudios.com
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INTERNATIONAL SALES KUMAR AHUJA, President, Business Development kumar.ahuja@erosintl.com ALICE COELHO, VP Syndication Sales alice.coelho@erosintl.com
KANIKA VASUDEVA, Associate Vice President kanika.vasudeva@in.foxstarstudios.com
INTERNATIONAL SALES NEHA KAUL, Head - International Distribution - Studios, Sales neha.kaul@disney.com
INTERNATIONAL SALES GAYATRI GULATI, Head - Revenues & International Business Sales gayatri.gulati@viacom18.com
INTERNATIONAL SALES SHIBANI KAPUR, Head International Sales shibani.kapur@relianceada.com
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SHAMITABH The film Shamitabh according to director R Balki is an ode to the Amitabh Bachchan baritone, the voice of India. In the film, Amitabh Bachchan plays an alcoholic voiceover artiste who is employed by a mute aspiring actor (Dhanush). Together they form “Shamitabh” and become successful till ego creates a rift between the two. Shamitabh, starring Amitabh Bachchan, Dhanush and debutante Akshara Haasan, is an unconventional story of two egotistic individuals, who are at their most powerful when together. The film is produced by Eros International and Hope Productions, releases February 6.
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DETECTIVE BYOMKESH BAKSHY! is based on Saradindu Bandyopadhyay’s well-known and successful fictional detective, Byomkesh Bakshy and is a contemporary interpretation of Calcutta during the 1940’s. This first of its kind detective film is an adventure thriller mired in deep political intrigue. A young, astute and intelligent Byomkesh, fresh out of college, pits himself against a mega world villain, depending more on his intuition and instinct rather than concrete proof, to solve the case, sometimes overstepping the law if needed. Yash Raj Films is proud to present a Dibakar Banerjee Film, DETECTIVE BYOMKESH BAKSHY! which releases worldwide on April 3.
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BOMBAY VELVET Bombay Velvet directed by Anurag Kashyap is the most awaited film this year. Set against the jazz age of Mumbai, the story spans a period from the late 1940’s through to the 1970’s. Bombay Velvet is the story of the rise and fall of one boy Balraj who transforms into Karan, a gangster in Mumbai post Independence and on the verge of becoming a metropolis. Ranbir Kapoor plays a street fighter who turns into a tycoon in the movie. Anushka Sharma plays a nightclub jazz singer at a club. Bollywood film producer and director Karan Johar is making his acting debut with the film and is said to be playing a villain. The film is based on historian Gyan Prakash’s book Mumbai Fables. The film is scheduled to release May 15. The film is jointly produced by Phantom Films and Fox Star India. International Sales: Fox Star Studios India. LIKE PICKLE IN FACEBOOK www.picklemag.in 2 pickle entertainment biz guide
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Following are major 2015 Fox Star Studios India productions. Mr X - April 17 (Starring Emraan Hashmi, Director: Vikram Bhatt) Hamaari Adhuri Kahaani - June 12 (produced by Mahesh Bhatt’s Vishesh Films and presented by Fox Star Studios) Guddu Rangeela - July 3 (director Subhash Kapoor, Starring Arshad Warsi) MS Dhoni - The Untold Story - Oct 22 (Neeraj Pandey’s bio-pic starring Sushant Singh Rajput) Prem Ratan Dhan Payo - Nov 12 (Produced by Fox Star Studios and Rajshri Productions, Prem Ratan Dhan Payo stars Salmaan Khan, Neil Nitin Mukesh)
FAN Shahrukh Khan, the man unarguably with one of the greatest fan followings globally, will now play the role of being the biggest fan himself in the forthcoming YRF movie, FAN.
YENNAI ARINDHAL This has brought together Ajith and filmmaker Gautham Vasudev Menon for the first time. Touted to be a gripping action thriller, ‘Yennai Arindhal’ has two lead ladies- Trisha and Anushka Shetty. Music is by Harris Jayaraj.
UTTAMA VILLAIN This film by Kamal Haasan features him in a dual role, and one among them, interestingly, is an ageing superstar. Directed by Ramesh Aravind, the movie has music by Ghibran. Pooja Kumar and Andrea Jeremiah are the heroines.
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THAARAI THAPPATTAI Maestro Ilayaraja’s 1,000th movie is being directed by Bala, one of the much acclaimed filmmakers of Tamil cinema. Sasikumar and Varalaxmi play key roles in this flick, which tracks the lives of folk artistes.
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The world’s top market for the animation film industry 2,450 delegates ■ 513 exhibitors ■ 334 buyers ■ 60 countries
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Your Gateway To Indian Entertainment Biz INDIA AT NAB S HO W, L A S V EG A S , A P RI L 2014
INDIAN ENTERTAINMENT BIZ GUIDE
C a nne s F i l m M a r ke t Is s u e
I NDI A @ KI DSCREEN SUM M I T NEW YORK February 2012
FILM BUYS FROM INDIA @ AMERICAN FILM MARKET NOVEMBER 2010
May 2014
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PRIME FOCUS TECHNOLOGIES & DAX AT NAB Our vision is to build the best enterprise platform for virtualizing the content production supply chain and with DAX acquisition we are taking a giant step in that direction Ramki Sankaranarayanan Founder and CEO, Prime Focus Technologies
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FROM THE EDITOR’S DESK
W
e are happy to present the February edition of Pickle on the occasion of Berlinale and European Film Market 2015. Nagesh Kukunoor’s Dhanak (Rainbow) in the Generation KPlus Section is the only film selected this year at Berlinale from India. Ten Indian films were screened in the 64th Berlin International Film Festival. It is very interesting to note that nine from India are part of Berlinale Talents. Ritesh Batra and Avinash Arun’s works are selected in the Berlinale CoProduction Projects. All this would not have been possible without Dorothee Wenner, delegate for Indian film selection for Berlinale. Along with Meenakshi Shede, Dorothee has been vigorously scouting for talented filmmakers’ work to reach to the Berlinale board. Over 40 Indian film companies are at EFM including major studios. India has representation from across the country. Major chunk of Indian delegates at Berlinanle include young filmmakers. Saibal Chatterjee’s article on the new emerging Indian filmmakers reflects the changing grammar of Indian cinema. We also have a special feature on the Global Exhibition on Services, to be organised by the Ministry of Commerce
and Industry, in partnership with CII and SEPC in New Delhi (April 23-25, 2015). The Indian media ecosystem is changing fast. There are 800 TV channels, 500,000 hours of TV content output, 250 million Internet users (set to cross 500 million in next 18 to 24 months), 900 million mobile phones (of which 100 million top-end smart phone users), 80,000 newspapers published daily, 1,200 feature films. And, Hollywood studios are making movies for domestic consumption. Indian startup ecosystem is beginning to mature specially in the digital media and e-commerce space. Indian government under Prime Minister Narendra Modi has launched the new ‘Make in India’ initiative to promote India as a global manufacturing and services hub nationally and abroad to boost the country’s economic prospect. Media & Entertainment is one of the sectors in the `Make in India’ campaign. We request every Berlinale and EFM delegate to engage and look at engaging with an Indian counterpart and do at least one project out of India. Be it service or creative output, only you have to imagine what you want, and you can get that done in India. Feel free to email your thoughts and suggestions.
n vidyasagar pickle media nvidyasagar@picklemag.in, www.picklemag.com
Pickle Volume VIII 6th edition Published by Pickle Media Private Limited Email: natvid@gmail.com ● Mumbai ● Chennai No.2, Habib Complex Dr Durgabhai Deshmukh Road RA Puram CHENNAI 600 028
Printed by Bon Graphics New #7, Arumugam Nagar, Dayalan Garden, Chinna Porur, Chennai – 600 116 Mobile: +91 9884816263 Email: bon_graphics@yahoo.co.in
Editorial Coordinators : M Sai Email: natvid@gmail.com
For advertising: natvid@gmail.com
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Pickle Handbook 2015 Copyright 2015 by Pickle Media Pvt Ltd. All Rights Reserved. Pickle is an ad supported business guide tracking the filmed entertainment business in India.
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