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Ajit Andhare (AA): Let me begin with introducing you to my team – Rudro (Rudrarup Dutta) heads marketing, Pradeep (Pradeep Prabhu) heads finance, Jyothi (Jyothi Kapur Das) is in charge of creative, Ramesh (Ramesh Mundra) is part of the business finance team, Shivaji (Shivaji Dasgupta) heads the creative and production aspects as well, Neeraj (Neeraj Goswamy) heads distribution for both India and overseas, and Jayesh (Jayesh Muzumdar) leads the regional business and commercial operations for us.
BOI: Let’s start by understanding how Viacom18 works.
AA: The work flow is extremely collaborative here. This is very important because, when making decisions in this business, it is tough to be correct every single time. However, I must add that our strike rate is great and I have to give credit to the collaborative nature of our team. So, if one person is overseeing something that the others are not, we tend to follow up with a third person. The freedom to do things plays a very important role. One is never sidelined or bracketed for having a mind of one’s own. Thoughts and ideas that stem from professional experiences are always welcome.
The work flow has to be led by the creative team, which is the prerogative of Jyoti and Shivaji. It is their initial assessment that sets the ball rolling for the next step. If they believe a project merits a second look, then a second assessment is lined up with all the HODs. This provides a holistic view of the project, which is then not limited to creativity. Thus, the distribution team assesses the reach of the project and the marketing team figures out the marketability of the film.
Instead of taking a spot decision, we sleep over it because there are many competing ideas. Sometimes, there’s more than one script in the same space. In such a scenario, we would typically bring about a contest to assess which one stands out the best.
BOI: When you have these extended meetings, are there polarised views or does everyone tend to be on the same page?
AA: Let’s just say that love-at first sight happens more in films and less in filmmaking. Collective love-at-first-sight is rare! (Laughs)
Rudrarup Dutta (RD): Usually, there is plenty of debate and we encourage that because it always helps to have different viewpoints. But when we finally agree, we work together on it as a team. Rarely does everyone agree on something in the first instance.
BOI: Rudro, as marketing head, what do you look for in a script?Image may be NSFW.
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RD: The first thing the marketing team analyses is – fundamentally, is this a good script and does it keep you engrossed? Does it have that audience traction? Once that is cleared by Jyoti and Shivaji, and we have a range in which the film must fit, we try and figure out the story that can be built around it. So a really good script that doesn’t have a pitch or hook will not do the business we want it to do. This is where Ramesh and I come in, to determine the scope of the film.
We know we can craft the story and make it larger than its potential. Some films have big stories and some have big names. So we work on the content and its commercial viability. After that, it’s about negotiating with brands and tie-ups.
BOI: Neeraj, what issues do you consider in the initial story sittings?
Neeraj Goswamy (NG): What I generally look for is the amalgamation of all the things that add up after 15 months, when the film is due for release. The dynamics of the film distribution business have changed drastically over the last few years. We have to keep in mind that there is a whole flood of releases every weekend.
Also, now-a-days, filmmakers and talent are involved. It’s annoying sometimes but it’s also good because everyone can share their viewpoints on what we can do. It’s even better now thanks to digitisation of cinema halls across the country. Now a same day-date release is possible. So in terms of distribution, we have no pressure.
As a studio, we have a steady flow of films every year. We have about 15 films in Hindi, some Hollywood films and now also some regional films. Hence we try and maximise this strength. I look at making a release as tactical as possible. Since there is a flood of content these days, we zero in on the right release date, followed by how many screens the film should go to and how many prints should be circulated.
In India, we also have the concept of E-cinema. So it is the right permutations and combinations to envision how a film will pan out 15 to 18 months down the line.
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BOI: Ajit, when green-lighting a film, do you bear in mind that you may already have three stories of the same genre in your portfolio? Alternatively, if a film is really good, do you go ahead with it anyway, even if you have tried that genre before?
AA: If a good script comes our way, I don’t worry about slotting it. But, typically, a portfolio approach for a studio means you mathematically minimise your standard deviation. Fundamentally, that will only happen when you’re picking up concepts that are different from each other. It’s important to maintain a balance although the most powerful deciding factor is the script itself. Does it excite you? Is it a story that Viacom18 should tell? These are the questions I keep asking myself. And then, of course, the second part is balancing your portfolio when there is only one kind of cinema, which is reflected in our slate.
BOI: When you finally green-light a script, what do you factor into the pricing and budgeting of the film?
AA: As a studio, our goal is to deliver profits, like any other business. So I think the question you should ask is, how do we make a profitable film? As far as profits go, you need to figure out the various ways you can monetise in terms of revenue streams. Our primary concern is the right costing of the film. Most films struggle in this aspect because they are not budgeted right. If the crew or director costs too much, you might rethink the economics.
That is something Shivaji cares about deeply and something I ask myself all the time. If we don’t get that right, two things will happen. One, the film gets made but it feels like a mistake. Second, your film will be watched without any appreciation and your mistake cannot be rectified. Getting the budget just right is very vital, both while acquiring or producing a film.
BOI: Jyothi, creatively, what do you look at while selecting a script?
Jyothi Kapur Das (JKD): If I were to watch the film, would I be intrigued enough to buy a ticket and then recommend the movie to five friends? That’s engagement and that decides whether I am interested in listening to a story or a line that someone is pitching. Stars and technicians are values that add fluff to the core story.
Things have changed so much in the last few years. The audience is heterogeneous and cinema is so varied. We’ve watched A-listers deliver more unconventional roles last year than during any other year. Filmmakers can no longer think, ‘I have a big star in my film, so I am sorted.’ The content has to be awesome and engaging. It’s only after many criteria are met that we let the film go through the first filter. Next, we bring in our colleagues. We do not let them engage if we feel a film is not up to the mark.
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BOI: Shivaji, do you have anything to add?
Shivaji Dasgupta (SD): Yes, I reiterate what Ajit has said. After the selection of the script, we need to cost the film in terms of stars and other aspects. The film has to appeal to the audience but we also have to recover the budget.
AA: The moment of truth is when the audience walks out of the cinema hall. That’s when it’s make or break. What is the feeling among the audience? Would they recommend the film? If they leave the cinema hall with a good feeling, you have won.
BOI: Filmmaking is a collaborative process. You have to get actors, a director, and technicians involved. There is a delicate balance that has to be maintained. How involved is the studio?
JKD: Shivaji, do you want to answer that? (Laughs)
SD: We monitor every single step, from the script, to pre-production, recce and casting. We are very involved in the casting process and with technicians. We are totally hands-on during pre-production. While shooting, there is at least one person from Viacom18 on the sets, who reports on the nitty-gritty of the shoot. So if there is any deviation, creatively or budget-wise, we are in the loop. We monitor everything!
BOI: Typically, how smooth is the process?
SD: Oh, very smooth because we work hand-in-hand with the direction team, with the actors and the technicians.
AA: This ensures clarity about two things. One, we are very clear that we are not making the film; second, the person making the film, the director or the creative partner, is essentially the one with the vision for the film. Our vision remains what it was when they sold us the script during the narration. Films are a passion for directors; that’s how we look at them. That’s why there are no clashes, as such, because everyone is clear about their respective roles. On the other hand, we know how to build the desire to see a film and that is where we step in.
JKD: Many of us have worked behind the scenes in the industry and most of us have been on the sets as professionals, as technicians. So we already have a relationship and knowledge of how both sides function. We bring this experience to the table in the very first few meetings with our partner. We are not like a typical studio, which simply believes in investing money and leaves the co-producer to make the film and release it. We are there, holding their hand and assisting them any way we can.
BOI: What happens after the first product is delivered to you? What happensImage may be NSFW.
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after you receive the first copy?
RD: Fundamentally, once the film is signed, our marketing team starts researching our target audience. After finding the right audience for that film, our job is to make it appealing to them so that they connect with it. What does the film have going for it? What is the kind of response we are getting for the film? These are some of the questions that the marketing team debates very intensely.
Then there’s the central marketing strategy that is discussed with the co-producer and actors to find a consensus. Everything is in line with the common strategy. I believe we have brought in a campaign feel to marketing a movie. It’s not about one poster, one promo, one trailer but a very progressive and consolidated campaign.
That is why every communication of ours has a multi-plan flavour. So we look at media planning, creative work and how we push the audience to watch the film on the first weekend. But our job doesn’t end with the opening weekend. There are many other things we do that are path-breaking. We also have to condition the audience and create a certain kind of expectation. That’s the approach to any film we do.