Are Bollywood’s New Directors Turning Producers for Quick Bucks?

Bollywood’s new breed of young directors are turning film producers already!

Directors turning producers is not a new cult. It’s been prevalent for years in the Hindi film industry. But in earlier times, only those veteran directors, who had spent years in the industry, would take on the task of mentoring new directors.

From B.R.Chopra to Ram Gopal Varma, and now Sanjay Leela Bhansali, directors have donned the producer’s hat to give new talents a platform to showcase their merit. These days however, many directors, barely a few films old, are turning producers. While conventional wisdom would suggest otherwise, this new breed of directors is not willing to wait. Case in point, Anubhav Sinha, Neeraj Pandey, Bejoy Nambiar, and Shoojit Sircar etc among others. A few directors like Ajay Bahl and Anand Gandhi have even launched their own banner for their directorial ventures.

Girish Johar, film trade analyst, believes that it’s a positive symptom.

The more the merrier. Once directors become producers, they also come to understand the various costs which are involved in filmmaking. So when they are sitting on the producer’s chair, they tend to envisage their vision more economically. Also, the visions which they create, start giving them a sense of ownership as well. It’s definitely a good sign.
– Girish Johar (Film trade analyst)

In addition, directors who charge other producers a high fee, automatically reduce their rates once they turn producers themselves. Their only aim then, is to make a viable film. New techniques for cost saving are also keenly looked into while making a film.

The industry has always been an open market. But things have changed significantly in the past decade or so. I am quite happy with this trend because it’s increasing the directors’ commitment to their products, and it’s only a healthy indication for the industry.
– Kumar Taurani (MD, Tips)

The film business which has traditionally been dominated by individual producers, has gone through a drastic change since the arrival of studios in the market. While some may argue about studio interference, this move has also opened doors, wide and profitable, for newer talents, and newer possibilities.

In the past, directors had to depend on the whims and fancies of individual producers to get their films started. Now, they do deal with whims and fancies, but mostly of the creative producers at the studios, till the film has been green lit. With studios throwing ample money, funding is no longer an issue. So, new directors can take this opportunity to earn the extra money by being the producers themselves while pitching their films to the studios.

When you have to pitch it to a studio, why do you need producers as the middle men? Why not turn producers? If I want to pitch a film to a studio, I would rather pitch myself as the producer instead of having an individual producer between me and the studio.
– Luv Ranjan (Director of Pyaar Ka Punchnama 2)

Individual producers with enough conviction in their films to be able to see them through, are a rare breed now.

Good producers who understand the film business are rare. I hear great things about Sajid Nadiadwala as a producer, or Kumar Mangat who has been family to me. Most importantly, I feel producing is not given enough credit in India. It’s a specialised job. And good producers not only invest money in their films, they invest their creative interest as well. While studio money is good, we are in greater need of passion.
– Luv Ranjan (Director of Pyaar Ka Punchnama 2)

Directors attaching their names as co-producers have an interesting side too. Most of these directors hardly invest any money, but lending their media friendly names to a new film helps create a buzz around the film, which in turn helps the publicity and the consequent business of it. It’s more than just creative satisfaction.

For the business, it only has a positive impact. Film direction is a creative job with its pros and cons, but if the directors are partners in crime, the project becomes more practical, and this is the biggest advantage. I see the dynamics of the movie business changing rapidly, and optimistically.
– Devang Sampat, (Business head - Strategic Initiatives at Cinépolis)

(The writer is a journalist and a screenwriter who believes in the insanity of words, in print or otherwise. Follow him on Twitter: @RanjibMazumder)