Wednesday August 21, 2019

Actress Daisy Shah Overwhelmed With Bollywood’s Support

Daisy Shah Is completely opposite in real life

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Actress Daisy Shah Overwhelmed With Bollywood's Support
Actress Daisy Shah Overwhelmed With Bollywood's Support, Flickr

Actress Daisy Shah says that having started as a humble assistant dancer, she feels overwhelmed to be one of the leading ladies of a commercially successful franchise like “Race 3”.

Daisy told IANS: “When I look at the film’s poster, I feel so surreal thinking about my journey. I was one of the assistant dancers of ‘Race’ 10 years ago, and now I am one of the lead actors of ‘Race 3’, where I have got a chance to share screen space with some of the legends of our country like Anil Kapoor and Salman Khan. I am overwhelmed.”

She began her tryst with showbiz as an assistant dancer under ace choreographer Ganesh Acharya. Daisy first worked with Salman in the film “Tere Naam” as a dancer.

Emphasising on the importance of luck to grow in the entertainment industry, Daisy said: “Luck plays an important role in Bollywood. We all work really hard to earn success but our luck has to be on the right side, especially from where I come from.

“I started from zero, really. It is about meeting the right people at the right time that makes you go where you do. And I know that in our industry, everyone works hard but not everyone gets recognition. Perhaps that is why I am quite compassionate towards people on a film set, including technicians…because I know I was one of them a while ago,” said the actress.

In “Race 3”, Daisy essays Sanjana, a strong-headed extrovert woman. In real life, Daisy is quite the opposite.

“I am more of an introvert person who is a little shy to get into random chat. I would rather observe people silently. My character is a quite ‘out there’ person,” she said.

For the movie, releasing on Friday, she went through extensive training in kickboxing.

Daisy Shah
Daisy Shah. flickr

“The film has action sequences and my training in kickboxing really helped to gain good reflex. I started my training in kickboxing a year ago because I wanted to learn it. Eventually, it helped me to get things right in the film,” she said.

As “Race 3” is helmed by Remo D’souza — also a well-known choreographer — asked if she wishes to work on a dance movie with him considering her love for the dance form, she said: “I had a brief chat with Remo sir, but of course we need a right script to collaborate in a film.

Also read: Bollywood welcomes Salman after blackbuck verdict

“I so wish to dance with Varun Dhawan in a dance film. Hopefully, someday the wish will be fulfilled.” (IANS)

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A New Mindset: Need of Bollywood

Till the 1980s it was usually traders, merchants and traditional money lenders

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Every generation since the beginning of the Indian film Industry has seen a fresh set of people finance it. PIxabay

If the Industry has survived (thrived?) so many decades it is because of the influx of fresh capital from new, glamour struck players. Every generation since the beginning of the Indian film Industry has seen a fresh set of people finance it. Till the 1980s it was usually traders, merchants and traditional money lenders. Then the exhibitors and distributors started advancing money and a lot more of glamour struck venture capital came in. Of course, sine the 1930s the top stars of the time always set up their own production companies and the trend continues to this day. Every decade technology delivers a bonanza to the perpetually cash-strapped film industry.

The popularity of radio and records and cassettes saw music royalty bring in extra cash in the 70s and 80s. This was pattern was replicated by the coming of TV and home video in the 80s and 90s and now streaming rights. However, the big break was the spread of Multiplexes. Suddenly, box office exploded as these modern hangout cinemas pulled the young urban youth and families back to the cinemas. The overseas market, largely driven by large South Asian diaspora, changed another market dynamic. Some younger filmmakers realized this and tailored their films for this well-paying market segment.

A paradigm shift happened in the mid-90s when some young media professionals-turned-entrepreneurs set up the first fledgling studios (after the demise of the earlier lot in the early 50s). A few of the old timers reimagined themselves and stayed in the new sweepstakes. Some music companies too became quasi studios venturing into film production and distribution. By the turn of the millennium, Bollywood had become not only a global brand but a billion-dollar Industry. Entertainment was recognized as Industry making institutional finance available to film producers. Import of equipment was liberalized and foreign shooting became convenient. Slowly the disorganized mom and pop business moved towards professionalism and eventually corporatization. Bank finance, insurance, contracts, copyright came into play.

Mindset, Bollywood, New
If the Industry has survived (thrived?) so many decades it is because of the influx of fresh capital from new, glamour struck players. Pixabay

However, more change was to come in the decade that followed. The rise of the Internet following the mobile revolution changed the game altogether. Rising income and aspirations and changing lifestyles altered the media and entertainment landscape. Digitalization of cinema from pre and post production to distribution and exhibition has also contributed to a dramatic change in Indian cinema. Today you can make a film on your smartphone and commercially release it. Now there are film makers who are making films only for the digital space.

By 2010, major studios — Fox, Disney, Reliance ,Viacom and Zee had arrived and further changed the market dynamics. In the last decade, video-on-demand and Over-the-Top (OTT) platforms together with broadcast TV not only brought additional revenue but newer niche markets. Audience is consuming filmed entertainment differently across different screens. Now Amazon, Jio, Netflix, Hotstar, Zee 5, Alt, Apple, Facebook, Google et al are commissioning films and are the new financiers of the movie industry. Thousands of new and old members of this large fraternity are getting back into the creative mainstream. There are at least a 100 production companies all over India. There are more trained professionals than ever before and encouragingly a lot more women in power in Bollywood. Every year at least twenty first timers make a mark and many of them from small towns with no family connection. For a change the big potboilers compete with small, new age films.

There are many young, often first-time film makers who are making path breaking cinema which a substantial enough audience is loving it. Today’s top actors are also a lot more adventurous. In any case, even the most commercial of films are much more rooted in reality than before. Production design, cinematography and sound are now of international standard. Unfortunately, marketing costs have spiraled up but without the adequate research and media planning resulting a lot of wasteful expenditure. Star prices still remain abnormally high, often being 40 per cent to 50 per cent of the entire budget. Interestingly, after a gap of many decades, talent from smaller towns and even villages are coming to Bollywood and many are making it to the top. Also, a lot more films are set in smaller towns reflecting concerns of a new class of film lovers.

The most heartening development, though, is the influx of streaming services. Not only do they bring a lot of money into the system but also offer a far, far wider variety of films: shorts, documentaries, animated, real-life dramas but also all genres of features films. They are not hung up on stars or big names. Besides, in another welcome development, a number of big producers and directors and even top stars have ventured into producing content for these digital giants. Thankfully, all of them are also giving breaks to new writers and film makers and some exceptionally talented actors.

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There are some endemic problems which still linger. Paucity of screens and over production make it unviable for smaller, especially independent films to get a release. The obsession with big screen in an age where 80 per cent of all content is watched on TV and increasingly online is rather an archaic approach. It is estimated that half the world will watch content on handheld devices by 2025. With a multitude of leisure alternatives films, including those made by Bollywood, have to compete with texting, social media, gaming, sport, live events, streaming audio and video, adventure and even travel and dining out.

Writing largely still remains a weak link and is invariably derivative and mediocre. We need a more energetic and creative fraternity which is willing to experiment and is willing to move to newer platforms. This obsession with the big screen has to end. A few hundred cineastes and critics hung over on purity of cinema cannot let opportunities drift away. Film making is ultimately about storytelling and an audience. Why should screen size be a limitation? A new mindset is what is most required in the Indian film industry, particularly Bollywood. We can, in the next five years, double the size of the filmed entertainment Industry to $6 billion per year. (IANS)