Pickle
India
The operations of the Film Facilitation Office, which acts as a single point of contact to obtain filming permissions and supports the filmmaker’s journey from script to screen, have been brought under the purview of Invest India as part of the government’s ease of doing business initiative, with the singular goal of bringing in more efficiency
India has Audio Visual co-production treaties with 15 countries. Recently, India also announced an incentive scheme for audio-visual co-production and shooting of foreign films in India to unleash the potential of the M&E Industry.
The Incentive Scheme will be executed through Film Facilitation Office (FFO) under the aegis of National Film Development Corporation (NFDC). Some of the salient features of the scheme are:
1. For all qualifying projects, the international film production company can claim a paya ble cash incentive of upto 30% on Qualify ing Expenditure in India subject to a maxi mum of INR 2 crore (USD 260,000).
2. In case of foreign films shootings in India, an additional 5% bonus upto a maximum of INR 50 lakhs (USD 65,000) as addi tional reimbursement would be granted for employing 15% or more manpower in India.
3. The incentives of the schemes can be claimed under either of the Schemes and not for both. To be eligible for the scheme the filmmakers need to ensure that the project must have been granted the “Co-Production” status by the Ministry of I&B and the participating country must fall under one of India’s official bi-lateral
co-production treaties on Audio-Visual Co-production.
4. Projects that have been granted official Co-production Status after May 1, 2022 are eligible for the incentive.
5. International productions that have been granted shooting permission by the Minis try of Information & Broadcasting and Min istry of External Affairs (for documentaries only) after May 1, 2022 are also eligible for the incentive.
6. As far as the disbursement mechanism is concerned, the Incentives will be disbursed in two stage—Interim and Final. The Final disbursement claim can be made only once the project is complete in India, as per the guidelines under the scheme. Incentives are provided on the recommendation of a Special Incentive Evaluation Committee.
With the global media and entertainment market entering a new age following the Covid-19 pandemic, India welcomes filmmakers and investors attending the American Film Market 2022 who wish to tap into the country’s constantly expanding Media and Entertainment scene.
The Government of India recently opted to further reform the Film Facilitation Office (FFO) by bringing it under Invest India, India’s national investment promotion agency that serves as an advisor, guide, and facilitator to every investor wishing to create a home in India.
Besides increasing FFO’s operational efficiency, the move allows filmmakers and investors to benefit from Invest India’s expertise in encouraging foreign investment into India’s film business. India also enables up to 100 per cent Foreign Direct Investment (FDI) in film and television projects through the automatic route. Invest India has already attracted more than $100 billion in FDI to India this year.
As part of the government’s ease of doing business programme, FFO has been functioning as a single point of contact since 2016 for acquiring filming approvals as a collaborator on the filmmaker’s journey from script to screen. It makes it simple for filmmakers to apply for permits for location reconnaissance, shooting in monuments under the jurisdiction of the Archaeological Survey of India, and shooting in locations under the jurisdiction of the Ministry of Railways via its online ecosystem, www.ffo.gov.in, which is both dynamic and user-friendly. FFO has helped 127 foreign film production firms shoot in India to date.
There is currently a system in place to manage filming concerns and track the receipt of incentives on behalf of filmmakers in order to support filming. FFO’s online system is linked with various states and federal ministries to accept and handle all applications, both domestic and foreign. A large network of FFO nodal officers exists within various state administrations.
Atthe recently announced 68th National Film Awards, Madhya Pradesh won the prize for the state with the best film-friendly environment in 2020. Madhya Pradesh previously got the honour in 2017. The “heart of India,” Madhya Pradesh, offers a vast array of settings, doing away with the need for a set designer.
The state offers numerous and varied options for filming, ranging from renowned forts to the verdant hills of Pachmarhi and the marble cliffs of Bhedaghat. UNESCO has designated the temples of Khajuraho as a world heritage site. Bhopal, the capital city of Madhya Pradesh, has been the backdrop of several feature films ranging from B.R. Chopra’s wellknown social thriller NayaDaur to PrakashJha’s political drama Rajniti, Anusha Rizvi Peepli Live, to the social drama Aarakshan starring Amitabh Bacchan.
The state has made significant efforts to facilitate filming in the state by developing a well-structured website, film-friendly infrastructure, offering incentives, maintaining databases, and launching marketing and promotional campaigns.
The appointment of Madhya Pradesh State Tourism Development Corporation (MPSTDC) as the nodal agency for film shooting clearance, incentives, and subsidies in the state is one of the state’s initiatives to simplify film production. The tourism department also works with other departments to obtain the necessary legal permits for producers.
MPSTDC provides discounts at stateowned hotels as well as free shooting at select locations. The state also provides capital investment subsidies ranging from Rs 3-5 crores for the construction of infrastructure as well as the installation of equipment to establish film studios, film production, museums, aquariums, and theme parks.
In terms of favourable film policies adopted by states, Madhya Pradesh has recently established a dedicated film facilitation cell to act as a nodal agency that would ease out shooting permissions through a single window clearance system.
The state provides incentives to all types of productions, whether they are films, documentaries, webseries, or OTT platforms. Then there are provisions for special incentives if the state is promoted in terms of tourism.
world
The capital of India, with its unique historical and cultural heritage, has formed the backdrop of many iconic films. Sprinkled with ruins that exist alongside modern infrastructure, Delhi is undoubtedly a cinematic delight embracing two contrasting worlds. The city is home to three World Heritage sites -- Qutub Minar, Red Fort and Humayun’s Tomb. Besides availability of new talent, lower production cost, international connectivity and better infrastructure, there are more than 200 locations to shoot at.
Contact Details : Maniksha Bakshi Dy. Manager (IT)
Tourism & Transportation Development Corporation Ltd. Email: maniksha.bakshi@gov.in
India Gate
hazrat nizamuddin dargah
red Fort
agrasen ki baoli
Chandni Chowk
humayun’s Tomb
Jama Masjid Complex
Connaught Place
Qutb Minar
hauz khas
Chandni Chowk
dilli haat
little state is a panacea for filmmakers exploring locales that offer the lethal combination of beaches and booze. The region with its colonial architecture is a feast for anyone with an eye for details. Goa, with its vibrant culture, is a theme waiting to be taken up by Western cinema.
Details :
Naik
Officer, Email- dipgoa@gmail.com
of Information & Publicity, Government of Goa.
beaches like Calangute beach, baga beach, Colva beach, etc
basilica of bom Jesus
aguada Fort
Mangeshi Temple
se Cathedral
reis Mogos Fort
hills to mountains, capped by snowy peaks; punctuated by passes and glaciers, Himachal Pradesh has an abundance of parks, rich with flora and fauna and regions that experience temperature extremes. Himachal Pradesh had always been a popular destination for film industry and had been attracting film makers for the last six decades. Himachal has several scenic locations which are ideal to the film makers especially in the remote belts and the government is making all-out efforts to develop these sites to facilitate the tourists and film makers.
and Kashmir has been a
for film shooting for its
natural beauty and unparalleled scenic landscapes. Despite political disturbances, the state has attracted film directors time and again over the years. The Dal Lake dotted with innumerable houseboats and the distant snow covered mountains along with Gulmarg, Sonmarg and Pahalgam at higher levels add unique colour to the surroundings.
with Jammu and Ladakh regions, the state is a film maker’s delight for new locales.
sonmarg
its unmatched natural beauty, this ‘God’s own Country’ is a Godsend for cinema. Be it the Athirapally or Paalaruvi Falls, or the backwaters at Kumarakom and misty tea gardens of Munnar, the state has enough to offer as the perfect backdrop for films that are high on romance.
kochi
others
ksfdcltd@gmail.com
of Indian government’s national award for the ‘Most filmfriendly state’ in 2017, the ‘heart of India’, Madhya Pradesh, offers a wide variety of locales, eliminating the role of a set designer. From famous forts, marble rocks of Bheraghat, to the green hills of Pachmarhi, the options are rich and many. The temples of Khajuraho are
sites.
right here. It boasts of a huge variety of
with
to be
is becoming an increasingly popular destination for ‘start, camera, action.’ The Puri Jagannath temple or the chariot-shaped Sun shrine can give modern architecture a run for its money. The Sambalpur waterfalls and the Paradip port mesmerise one, with the confluence of river Mahanadi and Bay of Bengal, at its backdrop.
hirakud
bhitarkanika,
picturisque locations
Valley, Lachung, Gnathang Valley, numerous Buddhist monasteries and pristine glacial lakes
for a perfect place to shoot a film. The state has planned concrete steps to ease out the process of planning
shooting films in the state and is committed to offer an investor-friendly policy to make the work of filmmakers
lake
Park
among many others
Nadu has a lot on its platter
offer. While the green fields of Pollachi, heavenly falls of Hogenakkal or the misty magic of Ooty and Kodaikanal offer a visual treat to the eyes, the temples of Madurai, or the beaches of Rameshwaram and Kanyakumari take one to a different world altogether.
grove
Telangana is going all out to woo international filmmakers to shoot in the state, especially in various beautiful locations like Jodeghat, Gandhari Killa (fort), Mitta waterfall (Satha Gundu), Manikguda caves, Kerameri Ghat Road and Shivaram, all in Adilabad district, which is over 300 km away from the state capital Hyderabad. The state capital is a world-class film production centre offering award winning talent both in front and behind the camera. The state offers leading edge post-production, animation and special effects capabilities, stunning filming locations, state of the art studio facilities, along with comprehensive support services that deliver a seamless production experience from start to finish.
Vijay, Manager
Telangana State Film Development Corporation Email- vijaymd1965@gmail.com
Jodeghat valley
laknavaram
bridge
Golconda Fort
sapthaGundalu
Falls
ramoji Film City
Faluknama Palace
Uttar Pradesh is the rainbow land where the multi-hued Indian culture has blossomed from times immemorial. Taj Mahal in Agra, the symbol of love, has attracted filmmakers to Uttar Pradesh since the black and white era. The temple town of Varanasi offers a never-seen-before cultural experience for the international viewer, while the Buddhist relics at Sarnath and Lucknow are other places that could double up as props for a film catering to a wide audience.
British are long gone but the colonial influence still remains, in the look of its buildings and monuments. Interiors and mindsets that haven’t morphed with the time yet co-exist happily with the present. West Bengal offers a remarkable range of destinations and experiences within a single state.
is a land of contrasts- in climate,
scenery and landscape and has a rich diversity of ethnicity, culture, languages and religion. It is a truly unique state because it stretches all the way from the seas to the Himalayas.
India now provides a high-quality, turnkey solution to foreign productions. Because of proactive measures taken by the Government of India’s Ministry of Information and Broadcasting, an entire ecosystem awaits foreign productions in India, say leading producers of India who have made India proud by undertaking and successfully implementing some of the most prestigious co-production projects in India
Indianow offers a high quality, end to end solution to foreign productions. An entire ecosystem awaits foreign productions in India, thanks to proactive measures by the Ministry of Information & Broadcasting, Government of India. India’s diversity allows a filmmaker to tell both India focused and global stories from here. A rural South African exterior or urban London office interior can be recreated right here with equal expertise and ease. As India prepares to bounce
back after the COVID-19 pandemic lockdown, renowned film producers who have successfully implemented many international projects in thecountry are hopeful that things would get better in India with production activities attaining the pre-COVID levels aided by enabling film policies, safety protocols being strictly implemented and norms for filming in India further eased to transform foreign producers’ vision to reality.
Sahni, Co-founder of 25-yearold ITOP Film Productions Pvt Ltd, has executed production services for Oscar winners like Slumdog Millionaire, Life of Pi, Zero Dark Thirty and Lion in India. ITOP also did production services in India for Netflix’s action thriller Extraction.
Here is what Pravesh shares with us about his experiences of filming in India:
Experience of shooting of Netflix’s Extraction in India
Extraction was one of our first international films which was full of action and stunt sequences. The Gujarat Government helped us to a great extent in cordoning off the roads during shoot to make the entire process for our Director Sam Hargrave and Netflix US a dream come true. We are thankful to Netflix US in trusting us with their first project in India. It is only because we could deliver and make things happen that they trusted us for facilitating the production of their next film called White Tiger, which is due for release in December 2020.
Visible changes after the formation of Film Facilitation Office
Things have really changed a lot. The NFDC is a big support and backs the Indian producers. Now we have a government organization that understands the problems we face. We have solved many problems, but honestly a lot still needs to be done to achieve the goal we want to.
We have amazing locations in India, with professional technical crew able to match the highest international standards. The cost of shooting is far cheaper here than other countries like the US, UK and Europe. If we have an incentive program in place, we would be even more competitive.
We have been waiting for the incentive scheme for very long. I have been a key member of the film fraternity who is helping draft this policy with the government. I hope it comes out soon as we will need the incentives to get productions rolling smoothly. It is also needed to compete with other countries.
With diverse experience in film production, Alan McAlex formed Jar Pictures in 2011 with Ajay G Rai. Together they have been producing commercial and arthouse films. Killa, that opened at the 64th Berlinale in 2015, winning the Crystal Bear; Liar’s Dice, that opened at Sundance and was India’s official submission to the 87th Academy Awards in 2015; and Moothon that opened at TIFF in 2019, are a few titles from their oeuvre.
As a part of Alan’s several individual projects as an Executive Producer, he has worked on Dangal, which was the highest grossing Indian film, as well as the Amazon series Made in Heaven.
In 2019, Alan initiated Production Scope, a company focusing only on production services that started off with A Suitable Boy, a BBC mini-series adapted from author Vikram Seth’s eponymous book, directed by Mira Nair, for which Alan was the co-producer.
Here is what Alan has to say about his experiences of filming in India:
Every single shot was filmed in India on location. We didn’t create any period sets in studios. That was Mira’s visionshe wanted the look to be as authentic as possible, depicting post-independence India in the series. As a co-producer, I strive to ensure that the Director’s vision is implemented on screen. For A Suitable Boy, we scouted every nook and corner of the historic cities of Lucknow, Kanpur and Maheshwar. We also shot in smaller towns and villages in and around these cities such as Kakori, Mahmudabad etc.
It was amazing to experience the rich heritage of India while shooting at these locations. We shot in several interesting places -tanneries in Kanpur, palaces in Lucknow, forts in Maheshwar. I was
quite mesmerized by the beauty of these locations. Every location we shot in had such an interesting history and story attached to it.
Lucknow also had a rich collection of vintage cars that were an extremely important part of creating the 1950s’ visual experience on screen. We didn’t realize it at first, but these cars were very popular. On days when we shot with the cars, we had huge crowds gather just to see these cars. Our crew also enjoyed posing with these cars when they weren’t filming. How has India’s outlook changed vis-avis foreign productions
India,
more than a
country where they shoot one offs such as a Gandhi or a Slumdog Millionaire, in which the script requires a film to be shot here.
India now offers an entire ecosystem for foreign productions. India’s diversity allows a filmmaker to tell both India focused and global stories from here. We are able to recreate say a rural South African exterior, or urban London office interior right here.
Productions are also more attracted to India because the overall risk of filming here has gone down significantly. With the formation of the FFO, we have a one-stop-shop to obtain clearances and support. We’ve always been a costeffective destination for production and now there’s an abundance of talent and skilled professionals in our industry as well. We also have superb post-production and VFX capabilities. India now offers a high quality, end to end solution to foreign productions.
Advantage India for filming in the aftermath of pandemic
Efforts of the government and vigilance of the people have helped keep fatality rate relatively low. Things will slowly but surely get back to pre-pandemic levels. As long as we’re vigilant and keep flattening the curve, filmmakers will be more confident about shooting in India. We have a cost advantage which definitely gives us an upper hand in these difficult financial times. In the long term, India will certainly be back as one of the top destinations of choice for filmmakers.
We’re already planning several projects. These are a mix of international and domestic projects. There are several companies that offer COVID safety protocols that are at par or even exceed global practices. It’s quite amazing to see
the market react such quickly to offer these solutions.
When it comes to international productions helmed by companies here in India, the onus to deliver all expectations smoothly is on us and that includes visas for the foreign crew, shoot permissions, initial project clearance formalities with Ministry of Information & Broadcasting to name a few. FFO has been the singular point for all these crucial parts and speed up the process, right from liaising with the visa office to sanctioning permissions for filming in desired regions of the country. Once we have these clearances we can seek local authorities’ permissions for the respective locations.
Co-production treaties are extremely helpful in creating the right incentives for filmmakers to shoot in India. Having foreign films made in India helps promote the local economy and tourism in the country. It’s a win-win situation.
We already have treaties with 15 countries, but it would be nicer to have more, because nowadays, film making is an exceedingly global endeavor.
In addition to co-productions, production services is also an area that the government can look at for incentivization. In my experience, sometimes the incentives, especially the State/local ones, are limited to feature films. With the advent of digital platforms, there is an opportunity to expand those incentives to web series as well.
All in all, we’re on the right track and I am confident we’ll get better and it will definitely be advantage India!
Bornand raised in Rajasthan, Dileep Singh Rahtore is highly regarded as a production expert in the Indian and South Asian region with over 20 years of experience facilitating international feature projects, award winning documentaries, commercials and high-end photography projects for American, European and Asian studios and production companies.
Dileep’s experience as Producer/Line Producer extends throughout South Asia and has filmed in Russia, France and USA. Some of his feature credits include Batman: The Dark Knight Rises, The Way Back, Blood Diamond, Hexe Lilli, Eight Miles High among others.
Here is what Dileep has to say about his experiences of filming in India:
The Dark Knight was shot in Jodhpur and the film required a very different kind of location. So we had to prepare the backdrop of Mehrangarh because of the filming requirements. To shoot the film, we had to completely shut down the entry to the Fort for tourist visits for the whole day. We had to make a special arrangement with the royal family of Jodhpur. We would shoot the film during day and open the fort for the public during night. We shot there for 6 to 7 days and then achieved what Mr Nolan wanted to.
Similarly, for Tenet it was very challenging to shoot here in Mumbai. Without the support of the Maharashtra government we could not have achieved what we did. The government got us all the permits for shooting at a landmark location like Gateway of India. We had a huge crew of over 1,500 people and a part of the Gateway of India was frozen.
We cordoned off the area with the help of the transport department that diverted the traffic and we finished the shooting without any issue. The building where we were shooting was a high rise building and to light around 40 buildings around for a fortnight to shoot an action sequence was a mammoth task that was accomplished with the help of the state government, local crew and our international technicians. Mr Nolan left India on a very positive note.
Some of the major changes include the ways the government supports the industry. There has been a significant change in the government mindset and now they are more forthcoming in inviting international filmmakers to come and shoot in India. Earlier, government officials were quiet skeptical and used to be very critical about
film productions. Even the Information and Broadcasting Ministry permissions used to take anywhere between 6 to 14 weeks and we had to make many rounds to Delhi. But now the production process has really eased off with the government taking it very positively.
Also, earlier we used to bring a lot of crew from abroad as the local crew was not very efficient. But now any international company brings only the key members while the rest of the crew is sourced from India itself. Also, they used to come with a lot of equipment. There used to be a ‘J-Visa’ for filmakers and crew that was complicated and confusing because the J-Visa was mainly for journalistic work in India. Also, the visa process was time consuming. Now the government has introduced a new category of visa called Film Visa which is very easy to get and the process is quite transparent.
The government set up the Film Facilitation Office as an example to give foreign filmmakers confidence that they can come and shoot in India. The role of Film Facilitation Office has been very important as they did all the heavy lifting and worked as hard as us when we were shooting for Tenet. The FFO helped us get all the permissions, whether it was from the Aviation Ministry, Defense Ministry or Information and Broadcasting Ministry. They were working very closely with us shoulder to shoulder. They also played a key role in making all the right introductions and coordinated with the state government to get all the clearances.
The first is story, the second is locations and the third most important thing is the dollar value, as shooting as also the skill set in India is a lot cheaper than many other countries. We can build a lot of sets at cheaper, rates. The day India becomes as expensive as any other place, fewer people would come to shoot here. They will only come if the story is related with India or for an interesting location.
The incentive plan is not there yet but talks are going on. Almost two years back in Goa, a lot of states like like Uttar Pradesh and Gujarat talked about incentives. They have incentives for local filmmakers but I don’t think there is any significant incentive for international filmmakers. We are in talks with the Rajasthan Government and Uttar Pradesh Government but I don’t think there is anything in place as of now.
Every state now is connected to the FFO office in Delhi, which has placed nodal a officer in every state. I think they are all coordinating. Recently, I got in shooting in their respective states? touch with the FFO office for scouting filming locations and they were very happy to help me in connecting with a lot of people. They are making a coordinated effort to ensure that everybody is together on the same page.
Afterworking as the audiovisual attache for the French Embassy in India from 2010 to 2013 in Mumbai, Déborah Benattar founded La Fabrique Films in 2013, a Production company based in Mumbai, India. La Fabrique Films manages and executes projects all over India & Sri Lanka with a team of strong & experienced professionals working on feature films, TV series, documentaries & commercials. Her international projects include feature films like “And tomorrow you will be dead” directed by Michael Steiner; “The best is yet to come” directed by Alexandre de la Patelliere et Matthieu Delaporte; “Fahim” directed by PierreFrancois Martin-Laval; Maya directed by Mia Hansen-Love. Her Documentary Film “Animal”, directed by Cyril Dion, was selected for the Cinema for the Climate
Section at Cannes Film Festival 2021.
Here is what Déborah has to say about her experiences of filming in India:
India is fascinating as it has an incredible variety of landscapes to offer. And apart from the variety of locations, one of the main advantages India has compared to several foreign countries, is that the technical crews are very skilled and experienced. It is always a great collaboration between the foreign and the Indian crew.
The Film Facilitation Office (FFO) has tremendously improved and speeded the permission process for international projects as well as the delivery of film visas for the cast and crew. We are hoping to see similar improvements in terms of permissions with other institutions: Indian Railways, ASI, DGCA, etc.
Once the government introduces incentives like other foreign countries, India will definitely become one of the best shooting destinations in the world. Also, we would really appreciate it if the government took care of a few hiccups like streamlining the taxation processes to make it a win-win for all.
The lockdown time has allowed us to become more creative and work more digitally. But we are very thrilled to go back to shoot and allow foreign and Indian crew to collaborate as they share the same passion for cinema.
