Indian places star in international films – Bhuvan Lall

Villagers in the village of Hal near Khopoli on the Mumbai – Pune highway had their close encounter with Hollywood on February 24, 1977. That day, a three-camera film crew led by Hollywood cameraman Douglas Slocombe arrived for shoot a short scene depicting Dharamsala. A thirty-one-year-old child prodigy named Steven Spielberg, on his first trip abroad, was making a film about aliens. He asked the thousands of extras, assembled by the Indian manager Baba Sheikh, to point in the air at the same time. Also appearing in the short scene, French New Wave director François Truffaut and actor Richard Dreyfuss as scientists who record a mystical musical note while being chased by hundreds of Indians. Although the shoot went smoothly, importing the expensive camera equipment initially encountered complications at the customs department at Mumbai Airport. The idea of ​​making international films in India was in its infancy. Nonetheless, the film “Close Encounters of the Third Kind” won a record US $ 300 million, and the Indian venue made a two-minute appearance.

This was not the first chance for Indian places to appear in Hollywood and international films. As much as Indian audiences love our stars singing and dancing in exotic foreign venues, so many international audiences wishing to travel to India have had the opportunity to regularly see our country on the big screen for years to come. Most recently, several films have been shot in India including Life of Pi, Zero Dark Thirty, The Darjeeling Limited, Exotic Marigold Hotel, Lion, Eat Pray Love, Jobs, Million Dollar Arm, The Viceroy’s House and Victoria and Abdul.

Inviting international film crews to tour in your country today is a huge deal on a global scale. The film industry‘s global box office revenues are expected to reach US $ 50 billion in 2020, and Canada, Eastern Europe, United Arab Emirates and New Zealand are hot spots for films big budget. At the Cannes Film Festival in May 2018, nearly 140 countries will offer their locations, talents and local cinematographic expertise to film producers. Each year, the various film commissions housed in the national pavilions set up along the Croisette and organize daily networking events to discuss tax incentive, screening and production services as well as to provide logistical information. regarding the team, talents, facilities, studios and equipment. Film commissioners from various countries are on hand to liaise with ministries and serve as a one-stop-shop for all the information required by a filmmaker. In the competitive world of film locations, modern film curators play many roles, including those of producer, director, photographer, writer, publicist, business development manager as well as the region’s ambassador to film festivals. In a popular enterprise, they build long-term relationships, demonstrate the value of their industry through economic exposure, administer financial incentive programs, and manage the demands of multi-million dollar production in a growing industry. more high-tech and high level.

In recent years, India has removed its archaic rules for filming in India and replaced it with a forward-thinking organization called the Film Facilitation Office (FFO). This department hosted by the National Film Development Corporation provides a one-stop-shop for filmmakers, promotes India as a filming destination and provides the platform for film tourism in the country. It helps international film production companies to obtain the required permits and also supports India as a location for postproduction, visual effects and sound recording. There is also the “Most Film Friendly State” award at the National Film Awards to encourage state governments to support the film industry.

At the 2018 Cannes Film Festival, the Indian government should once again give greater impetus to invite the world’s greatest filmmakers to shoot and produce films in India.

Disclaimer: The opinions expressed in the above article are those of the authors and do not necessarily represent or reflect the opinions of this publisher. Unless otherwise indicated, the author writes in a personal capacity. They are not intended and should not be taken to represent official ideas, attitudes or policies of any agency or institution.


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Darcy J. Skinner

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