Classes Vs Masses

Dubbed as “The New Voice of Indian Cinema”, Abhay Deol is bucking the Bollywood trend with his offbeat movies that he claims demonstrate Hindi cinema with “A ‘real’ element”.

Famous for his roles in Dev.D, Oye Lucky! Lucky Oye!, Shanghai and Six Feet Under, among others, Deol is part of a new generation of Bollywood actors and actresses who are keen to portray a true message within a contemporary style that doesn’t fit the traditional Bollywood mold, often tackling edgy subjects that others tend to avoid.

photoThe Nephew of Hindi Cinema legend Dharmendra, Abhay has this week been in Birmingham to take in the Bollywood 100, a month-long festival that is celebrating 100 years of Indian Cinema. We were lucky enough to catch up with him at a screening of Dev.D at Millennium Point.

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”Media was a part of life, I was exposed to it younger but it wasn’t until later in my life where I decided upon to make it a career.”

 

 

 

The offbeat nature of Deol’s films can sometimes be of detriment to their overall commercial success. He was keen to speak of the importance of distribution and marketing of films in order for them to be enjoyed and appreciated by the target market, whether it be for the classes or for the masses, terminology Deol was eager to explain.

“You need to work with the right people, one that knows if they are making a film for the classes or for the masses. You should be clear as to who your audience is, in India you classify it as ‘is it a mass movie or a class movie?’ that’s the lingo I hear back at home, if it has songs, dances and is happy it’s for the masses, in a movie for the classes the actors and actresses are unlikely to sing.”

Deol stressed the importance of working with the right directors and producers when taking on a role and feels that it is important for the film to have a clear direction.

“An important part of the game is to know how to distribute and market your film, when producers cannot distribute nor market it right, then it doesn’t matter how good your film is, it really kills it.”

An important rule before making a film is to have an understanding of who the audience is. Sometimes it takes years after the film is completed to realise who the real audience is and therefore the wrong kind of target audience means the marketing and distribution lack direction.

Deol also spoke of the difficulties new unproven producers face when selling their film to a studio and the problems they can face with regards to control and freedom. When they do not yet have a proven track record in the industry, they are open to being exploited and dominated by studios who are reluctant to give up control of a film.

“When you are new producer working on a new subject, I’m not sure if you can have any control or say in what the studio wishes to do with your film. Sometimes a studio can bully a producer because the producer is new. You don’t want to be stuck with that.”

The Bollywood 100 in Birmingham continues throughout June and will capture the glitz, glamour, music, dance, drama and style of one of the biggest film industries in the world through screenings, events and workshops.

 

Words, pictures and video by Film Futures student Yossuana Aguilar

Making Your Film Successful: Distribution & Exhibition

So you’ve made your film, and unlike most of the stuff on the internet, it’s not 11 minutes of beautiful HD footage of your cat sleeping on the sofa which film distributors don’t really want. How do you go about finding an audience for your film and raising your profile?

Will Massa, Tom Vaughan, and Philip Ilson give the lowdown at the Virgin Media Shorts Sessions.

Ideally you should know before you go into production if your film is going to go online or if it’s doing the festival route. As discussed our earlier blog post, Putting Your Short Online, let content decide which way your film is going.

If you’re aiming for festivals, there are some things you need to do before you start pushing it. It’s very important to have an online presence during production – good to drum up some hype, interest, or excitement about your project while it’s happening. Remember to take lots of good stills, behind-the-scene shots as well as production stills for promotional material like posters and press packs. Start thinking about which festivals you want to submit your film. There are way too many festivals around nowadays, and since some of them are quite expensive, not all of them will be useful for you. Do your research and see which ones cater to your genre and style and see what kind of films they’ve screened in the past. What is important for your film? Do you want exposure or are you just after an award so you can write ‘award winning…’ on the back of the DVD?

Knowing your festival can be just as important as knowing your audience, says Philip Ilson. The London Short Film Festival gets up to 3000 submissions and selects 30, only 6 or 7 of which are from the U.K. Sending to multiple film festivals without doing your homework will put a huge dent in your budget since most festivals in the U.K and U.S charge for submissions. Festivals in Europe tend to be a bit forgiving, and you will find lots that are free. Be involved in the distribution of your film from the start and figure out who you are targeting. Here’s quite an exhaustive list of festivals if you have lots of time.

If you don’t have time to mine the internet for suitable festivals, deciding which festivals to submit to can be a daunting task. The British Council Short Film Scheme has 40 BAFTA recognized festivals on their list, though all of these probably won’t be suitable for your particular project, but it’s a good place to start. Don’t just go for the big names like Cannes and Berlin Film Festival, some of the smaller festivals also get a lot of film agents and distributors. The general consensus at the session was that it’s rare to see a short film at more than four or five festivals, which makes sense because you typically get around €500 / minute, less in the U.K, if you sell your film, and travel, accommodation, and submission fees can really add up. The British Council has recently re-launched its international support for UK filmmakers; if your short is accepted at any of the world’s key film festivals then you might be eligible for travel and accommodation support.

Don’t despair if your film doesn’t get selected for screening at the festival though, it’s never the end of the road for a short. Other than the popular competitions like Virgin Media Shorts and Reed, there are other options like Shorts TV and Channel 4’s Random Acts. Also try Dazzle, Atom, and Bombay Sapphire’s Imagination Series.

As long as you have an internet connection, you can always find channels for your content – good luck.

By Vasi Hasan