You have been in the entertainment industry for 30 years. How have streaming video platforms changed the industry?
Doordarshan’s early years included shows such as Tamas (1988) and Khandaan (1985). They are like modern day dramas.On satellite TV, we made some good show But it never reached that level. Then came Saasbuff Shaw and Kaun Banega Chlorepati (2000-). Streamers have given us the opportunity to produce quality drama for multiple seasons. This is what HBO and American television have been doing since his 90s, with shows like The Sopranos (1999-2007) and The Wire (2002-08). This is the change that streamers have brought to India, especially since the internet has become ubiquitous.
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What does it take to create great OTT content?
A character is created when you make soap every day, and it comes out every day. Plot progression remains slow, but they have a huge impact on the characters. Treat drama series on streaming video platforms as extended movies. They are much richer and have more engaging characters. We he started making shows like that six years ago. We learned the art of writing long, multi-layered, multi-layered series very quickly.
In five years, Applause Entertainment has had several successful shows. What is the selection process?
This is very diverse and big marketA streaming business can tell its own story without being stuck in a one-size-fits-all format. We started with the idea of commissioning original writing and adapting an international program in India and literary for the screen. In August 2017, we discussed making a series for Sucheta Dalal’s book The Scam. We also acquired the adaptation rights to the British series Criminal Justice (2019) and the Israeli series Hostage (2018-19). At the same time, I developed Hasmukh (2020) and Rasbhari (2020). It follows a hub and spoke model. We make shows, we license them.
How is this model working for you?
This is how movie studios have traditionally operated. We’re the only ones doing it right now. This means we think of an idea, get the talent to work on it, raise the money and produce it. The difference is that it will be released on streaming platforms instead of theaters. We are like his traditional 20th century content studio reimagined for his 21st century. The basic rules of business still apply.
What are your plans for the next five years?
The market is in an exciting space. From 20 million he has 30 million streaming subscribers. Over the next five years, the number of consumers will explode. Quality standards are raised.ever since streaming You can watch any show, anytime, anywhere. We also plan to create more projects based in South India. The next five to ten years will be a great time for the industry if we stay focused and disciplined.
How often do you do a postmortem for your show?
everytime. We are constantly reviewing our work. If I like the work of the director, cinematographer and screenwriter, I will work with them again. I also want to repeat the cast. The show’s journey is very different for us. We are aware of all the drama that happens before release. We may perform patchwork and reshoots three months before the show’s release. You can also receive feedback from our platform and hear different perspectives.
Why do you like working on adaptations of literary works?
It’s a good book, and if you have structure, you can build on it. A product is more likely to be good if it is well written.the severity write in — working on getting the memorable moments, the right lines, and the emotions right. Once it’s done with care, shooting and post-production can be a pretty straightforward process.