Otherwise, apart from affordable extras such as fruit, everybody is offered the same non-fancy food.
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If a star wants, say, special food, the actor is free to arrange for his own food. Indulgences and debauchery do happen, but generally find expression post work. The shared sense of responsibility and respectable conduct in Southern crews might be because their work culture is relatively grounded. Apart from the obviously visible patchwork, common consequences are over-budgeting and extended deadlines. They might observe that the typical Bollywood starrer is rife with unplanned shooting and “spontaneous” on-floor direction, leaving much to be corrected in post-production, where supervision could easily be sub-standard. Readers can study the publicly available clips in promotional behind-the-scenes footage on YouTube, and compare the shooting techniques. Mentally, the cast and crew are prepared well before the shoot, the idea being to minimize stress during shooting and ensure the productive use of the available finances. For big-budget Southern productions, a combination of 2D-3D animated storyboards is fairly common, with a few things elements for last-minute improvisations. Time, money, and creative effort are invested in story boards for every scene.
For him, a pre-shoot recce of the location is meant to achieve a purpose it is not an excuse for leisure.
A common trait among Southern directors is to plan every shot in advance, and get an idea of the shooting flow. Pre-production is the phase where the planning happens before the cameras roll.
The widening gap manifests itself in every phase of film-making: pre-production, production, and post-production. Yet, for all the advantage Bollywood possesses, it has been trailing and falling behind the South at a foundational level-in content, production and, more importantly, discipline. Anyone who has worked on both sides of the Bollywood-South divide–one of the authors of this article indeed has–would have long anticipated this inevitability.īollywood has always had a lot going for it-its cosmopolitan ethos attracts the best of creative talent from all over the country and even overseas its heritage stretches back several decades it remains India’s entrepreneurial capital. “Hopefully” because the success of the Southern film industry is not an overnight flash-in-the-pan. If the success of the simultaneously produced Telugu-Tamil Baahubalis-the first was released in December 2015 and the sequel in April 2017-was noted with admiration and envy in Bollywood, the blockbuster collections of the Tamil RRR and Kannada KGF: Chapter 2, has forced Bollywood to take note and, hopefully, introspect. It began as a Twitter “debate” between a Bollywood actor-director and a Kannada actor over Hindi’s alleged status as India’s national language, but then bubbled into an all-out transmedia brawl where scorns and emojis flew thick and fast among Bollywooders and the (mainly) Telugu-Kannada-Tamil film fraternity, with the odd politician adding hot spice to the mix.Īny analysis of banality serves little practical purpose, but this public outpouring of emotion and emoticon has brought into sharp focus a reality that Bollywood has been finding difficult to countenance and counter in recent years-that non-Hindi productions are consistently besting their Bollywood counterparts by a long mile.
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