Role of an Actor in Film Making

An Actor is an artist; the most vital tool in the visual medium of Films, via whom the story and the journey of a Film is articulated. A fitting analogy for an Actor could be a race car driver. While many people and talents come together to create the racing team, like the engineers, the sponsors and the pit-stop crew, it is ultimately the driver’s performance that wins or loses a race, no matter how well-prepared the team may have been.

It’s the same when it comes to a Film. There could be great direction, compelling story and visuals, soulful music; but all this can be a let down if the Actors do not do justice to their characters and to the story. So what is the role of an Actor then? At the most basic level, it is to translate an engaging and believable portrayal of the written character onto screen.

But in doing so, an Actor needs many tools too. And this is one skill set that is limitless. Even if someone is a born Actor, his talent needs to be harnessed in a manner where either the Actor himself or the Director can draw on that talent and manifest it in a winning performance.

Therefore an Actor needs to be a good listener observer, be able to take directions, be intuitive and must possess a tangible acting range. It’s a skill set that eludes most and not everyone can learn it by themselves. Which is why in order to bring out the best in you as an Actor, it is advisable to formally learn Acting. With an institution like Digital Academy – The Film School, there is a truly world class education in Acting that awaits all young and aspiring students who are eager to become Actors.

Learn the craft from the best in the business and train using the most renowned methods to fast track your way to stardom. Not only will you learn the history and theory of acting at DA, you could also become the actual Actor in Films the students shoot, where you can experience the real process involved in translating a character onto screen while using your craft & learning. Act now, if you want to be a great Actor!

Role of a Screenwriter in Film Making

To take either a pre-written story, or even a native story idea, and translate it into an effective screenplay is the primary role of a Screenwriter in the Film industry. Having said that, there is much more to this process than meets the eye. It is not as straightforward as writing a normal story, for the simple reason that the communication is audio-visual, and not literary.

There are some very important aspects that need to be carefully observed. Some of these aspects may be generic to good story-writing such as character development, believable characters, story and engaging plot points, regardless of the story-telling medium.

But besides these elements, there are aspects specific to Film medium that need to be kept in mind. Things such as minimal dialogues, visually communicating a certain emotion, a sound sense of the visual medium itself, are vital elements in the screenwriter’s repertoire.

And therefore, a Screenwriter’s role in the overall Film-making process is absolutely vital. Because it is in the screenplay that the Film is first born. And once the screenplay is ready, it is the single most important document that forms the basis on which everyone else (the Director, Actors etc.) builds the Film.

This extremely sensitive and complex function can only be executed by someone who is creative, has a complete understanding of the Film-making process and whose sense of aesthetic is firmly placed in the visual medium. It is a discipline that can be self-taught. But it could take years before one learns the skill set effectively and gets a real opportunity to write a screenplay that is Produced and made into a Film. In essence, how to plant a story from the germ of an idea, or a piece of news, to capture the audience in a total way is a skill that can be learnt from mentors, and practice sessions.

The best solution to all aspiring Film writers is to train themselves thoroughly in the best manner possible. India too has a world-class Film school where creative young minds, who have a burning desire to make it in Films, can learn & receive a superb education. Digital Academy – The Film School is the ideal place to take a Screenwriter’s program and hone one’s writing skills. Not only will there be an opportunity to learn all the nuances of effective Film-writing from leading industry writers, but also a chance of subsequently working in the industry and making Films on the stories you write.

Script is the first part of your Films’ success and by enrolling for a program at DA and see where the world of writing can really take you.

The Life and Times of Anand Bakshi

Digital Academy – The Film School recently organized an interactive session to discuss the Life and Times of the late Anand Bakshi , one of India’s greatest lyricists where his son Rakesh Bakshi and the noted historian and lyricst Vijay “Akela” gave the students insights on Anand Bakshi’s life.

Anand Bakshi achieved fame with the song from Brij Mohan’s film titled, ‘Bhala Aadmi’, 1958. He became a star in 1965 (Jab Jab Phool Khile) and went on to work as a lyricist of over 3500 songs and 650 films in the course of his life. His hits touched the cords of the masses – right from ‘Sawan Ka Mahina’ (Milan – 1968) to ‘Taal Se Taal Mila’ (Taal – 2000). Some of his other noted work in the later part of his career included songs of ‘Dilwale Dulhaniya Le Jayenge’, ‘Dil Toh Pagal Hai’ & ‘Pardes’.

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Vijay ‘Akela’ who’s written a book on Anand ji, called ‘Main Shayar Badnam’ comprising 151 greatest lyrics of Anand Bakshi, spent a long time with the great lyricist and got to know him very closely. He and Rakesh Bakshi shared many interesting incidents from Anandji’s life. He said that once Anandji sat with a Producer to narrate the lyrics but before starting he asked the Producer to make the Actor wear a hat and only then did he start the narration. Once the Actor did that, Anandji started narrating the firstt stanza, “Tirchi Topiwale”. Anandji used to insist on listening to the whole story, because he used to make lyrics out of common everyday situations. Many times it so happened that Producers used to like Anandji’s creation to such an extent, that they would create situations and modify their movies especially to accommodate his songs.

Rakesh Bakshi nostalgically narrated “When Anandji used to write, he used to whistle. That whistle used to be the tune that he’d prepare in his mind for the song that he was writing,” Another incident that he shared was that during the India-Pakistan partition, Anand Bakshi had to flee Pakistan overnight and come to India. The only thing he brought with him was his mother’s photograph. Looking at that, his father got angry and asked him, why he didn’t carry any clothes, food or money. Anandji replied, “We can earn money, gather food, buy clothes, but from where will we get mother’s last photograph, once lost?” Anandji used to miss his mother and motherland when he moved to Mumbai, which is why he wrote a number of songs about his mother and his native land.

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Vijay Akela perfectly captured the extent of Anandji’s great work spanning generations in the following lines: “Anandji wrote songs for Rajesh Khanna, his wife Dimple Khanna, his daughter Twinkle Khanna, his son-in-law Akshay Kumar. He wrote songs for Raj Kapoor, Shashi Kapoor, Shammi Kapoor, Rishi Kapoor, Randhir Kapoor, he even wrote songs for Raj Kapoor’s grand daughter Kareena Kapoor for the movie Yaadein.”

Rakesh once asked his father as to when he realized for the first time that he had made it big. To this, Anandji replied, “I was once travelling by train. The train stopped in the middle of the night at some small town. I looked out of the window and it was pitch dark. In that darkness, I saw a beggar singing a song and begging for alms. He came close to me and I realized he is singing a song that’s written by me. When I heard my song being sung by a beggar who doesn’t even own a radio, in a village that doesn’t even have electricity, I realized my songs are now famous. The beggar didn’t know me, but he knew my songs.”

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Anandji’s brilliance doesn’t lie in what we say or think about him, but in his words, his lyrics and his songs which speak for his genius . Such is the greatness of this man, that even after his passing away, his words will always be with us in our hearts and on our lips, for generations to come.

Comedians and their pathetic childhood

It is an urban myth that successful comedians have a pathetic childhood. What makes this connection between comedy and wretchedness is not known. If we go through history of Cinema from around the world, we see it first caught on to the audience from circus and magic. Some of the famous early filmmakers, like Meliès, or Dadasaheb Phalke, were magicians. And one major attraction in magic and circus is the clown.

If on the other hand, we consider folk theatre, the other grand daddy of cinema, we can easily notice the role played by the vidūṣak on the Indian stage. (vidūṣak, in Sanskrit, has two different but close meanings; a Court Jester, a fool) The Roman comedian shared some of his vital traits too. If we forget about the comic relief they offered during moments of peak tension in plays, we see something very understandable. They were the commentators, just like the audience sitting outside the stage. The comedians were always involved and uninvolved in the act, at the same time. They were the eye of the conscience. Only they seemed to know what was going on in the make-believe world on stage.

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Our modern day comedians are an amalgamation of these two – the Clown and the vidūṣak. But why were they needed in the first place? This leads us to an obvious question with an even more obvious answer – why do we go to movies?

We go because we are crushed under pressure of the mundane world. We want to get back to the freedom of childhood, when dream and reality were the same. And isn’t cinema an extension of dreams?

A lot of psychoanalytical studies have been carried out about the relation between comedy, childhood and identity, including Freud’s early investigations on this phenomena. It may not be totally true that some adults, who had a wretched childhood, want to go back to the dreamland of fairy tales more than others, because they never had it in reality. And they find an accomplice on the silver screen, the comedian, for that journey. However, this may not be totally false either.

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Comedians on the screen are essentially flawed characters. Some gross imperfections in them lead us to laugh at their activities. Consider the tramp played by Chaplin from his early shorts to the later blockbusters, like The Circus and Modern Times. He is gross, unsuccessful and an insignificant character who is trampled and humiliated by the society. That itself is a flaw. However, the bigger flaw that makes him a laughing stock is his knack of getting involved in situations that always go out of his hands. In The Kid, he gets a child by accident and has to bring him up. We break into laughter when we see how a marginal figure in the society, who could not create a place of his own, teaches a kid how to succeed and gain respect.

However, when the same character solves pinning problems in his weird way, we cannot but empathetically identify with him. The same tramp actually takes us back to our roots when he takes up the role of a comedian in one of his films, Limelight. There too he tries to conquer humiliation, poverty and death by escaping into laughter.

Talking about Indian comedians, like Johnny Walker, Mehmood and Johnny Lever, we see these common traits running in their character’s blood. Johnny Walker, specially in the films made by Guru Dutt, helped alleviate the hero’s pain. He was not merely a comic relief, but a very active agent in the plot to solve the hero’s dilemma. He’s the one to bring the hero out of the mental hospital in the film Pyasaa.

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As a matter of fact, the comedian is an active comment on all forms of abusive power and guardianship, such as the school, the police and the mental hospital. So, it is enlightening when the tramp takes up the role of a Dictator Hinkel. At the end of The Great Dictator he talks about parity and peace from a platform which we all want to reach.

Considering the fact Chaplin credited humiliation in his childhood to be a major inspiration for laughter in his movies, there should be a deep connection between a disturbed childhood and the later adult days of comedy.

However, if we consider many other comedians, like Buster Keaton or Rowan Atkinson, we see it isn’t necessary for a comedian to have a bad childhood. There are different types of comedies, ranging from burlesque and slapstick to social satires. Can we divide the comedians into two sharp lines, with or without a disturbed childhood, so they can fit one genre or the other as a rule? However, that’s another story in itself.

Dominance of a few Rasas in Tamil Cinema

Tamil cinema, from its earliest days of silent films, maintained a ‘Cinema of the Other’ stance in the Indian film scenario. The industry started in 1917, with the silent film Keechaka Badham (The Slaying of Keechaka), Produced and Directed by R Nataraja Mudaliar. He made another film, Draupadi Vastrapaharanam (Unrobing of Draupadi), in the same year. It is significant to note the first two films made in South India concentrated on particular portions of Mahabharata that dealt with the obnoxious, producing an emotion with Bibhatsa rasa in the audience’s mind. However, the ventures met with applause and were financially successful.

In the other two hubs of Indian Film making, Bombay and Calcutta (as they were called then), the stress was on the mythological and sometimes historical, but never so much on the portrayal of the grotesque and the abhorred. Does this point to a particular tendency of Tamil Cinema, and in general to Tamil cultural psyche?

Tamil people, even under the British, were keen to keep their identity separate from the people of the North. And any part of India, northern to Madras in the east, Hyderabad in the Central and Mysore in the Western side, was considered as North India, except some southern portion of Bengal (modern day Orissa) and Southern portions of Konkan and Bombay. During the British period, specially before World War II, modern Tamil Nadu became pro-British and actually helped in motivating Indians to join the War by making propaganda features favouring the rulers. Films like Manasamrakshanam (1944) or Burma Rani (1945), represented a common trend in Tamil film industry those days.

The politics of we and they was always a part of Tamil civilization, that raised its head in a big way immediately after independence. In 1949, the germ of Tamil independence took a bigger form in Periyar Ramsami’s pro-Dravidian (and anti-Aryan) identity movement, culminating the formation of DMK (Dravida Munnetra Kazhakam). A new batch of filmmakers joined the industry then, who would appropriate the pro-Dravidian sentiment in their own ways for political gains. Among them, the most notable ones were the charismatic scriptwriter and playwright C N Annnadurai, story and scriptwriter M Karunanidhi, Matinee Idol M G Ramachandran and his protégé, Screen Goddess J Jayalalitha.

It’s a general tendency among humans to search for a leader. Once begotten, the leader is unquestionably followed till the individual is a part of the mass-hysteria. Organized religions work on this principle. So do magic and politics. South Indians rarely came under any foreign ruler before the British. Even the Maurya or the Gupta Empire never directly influenced them. And everyone knows how the the Mughal Emperors’ attempts at capturing South India kept failing for over six hundred years. So it wasn’t surprising that the Tamil would want an autonomy after their sole conqueror in history, the British, left. When that did not happen as per their choice, they revolted. Part of the revolution centered on creating a strong cultural identity in the name of Tamilalakam (Tamil land) which upheld Dravidian culture using stage drama, poetry, literature, myth, history, musicals, dance and, most importantly, cinema.

Tamil society, an ideal example of an unchanged patriarchal one, maintained a very strong identity of the male, almost opposite to the one maintained in the rest of the Indian movies. Who is the ideal Tamil hero? He must have moustache, physical prowess, authority, sexual virility and the capacity to control women. It must be noted that except for the moustache, the other character traits are not very different from the rest of the heroes in India. However, the portrayal and the political purpose were very different.

Tamil hero of the pro-Dravidian camp rejects all finesse that he considers to be part of the Aryan culture, and hugs the grotesque instead. In that way, Tamil heroes can be equated with the villains of the North-Indian myths and epics. An obsession with the denial of the other and embracing the grotesque and violent uprooting of all non-Dravidian values from culture led to a cinema of sophisticated violence and other basal instincts in Tamil Nadu.

While in films like Velaikari (1949) and Ratha Kanneer (1954), both penned by Annadurai, showed the hero’s faults as the result of his encounter with other cultures, especially North Indian culture (the vamp had to die in the second film, as she was trying to get into a relationship with a Hindi-speaking character from Bombay). It was Parashakti (1952) which was made to show the superiority of Tamil culture over others. In this film women were given an unambiguous role of being the knowledgeable, spirited and intelligent support to their male counterparts. That never meant women were independent. They were just supports, like obedient servants, who should find their place inside the home.

This made a great difference between the progressive heroine from North India and the Tamil heroine. While the former wanted equality and freedom with education and free will, the latter accepted the choice of her family. In effect, this made the outside world a jungle for man-hunting for the Tamil hero.

And the heroines, unlike their North Indian counterparts, went through literal purification, punishment or death if they chose liberation. In Rudraiah’s 1978 film Aval Appadithan (That’s the Way She Is), the heroine ends up homeless in the end and her journey throughout the film is portrayed as obnoxious. So we see a very strange concoction of Shringara and Bibhatsa rasas at work even, sixty years after it started.

In modern Tamil Cinema, the trend continues through a different guise. In a celebrated film like Veyil (2006) or the Kamal Hassan starrer Vettaiyadu Vilaiyadu (2006), the hero achieves his target through extreme violence. But is it not violence and grief that lead to the purification of the soul? Maybe future Tamil Cinema will answer this question more directly.

Career in Film Making

It is now common knowledge that the audio-visual medium is the fastest growing medium of communication in the world. Films are made not only in the fiction format but also as documentaries, training films, corporate films, advertisements and video art. The world of films is like a mushroom cloud that keeps getting bigger and bigger.

Every Film must have a Director with a complete knowledge of Film Making. It stands to reason therefore that higher the number of films, higher will be the demand for directors. A Film Maker is an artist-technician who is also an expert manager, logistics person, coordinator and chief executive officer- all rolled into one. A Film Maker is like a master puppeteer who holds all the strings and makes illusions look like reality. It is a difficult job that requires tremendous creative energy, enthusiasm along with loads of patience and humility. A career in Film Direction is one of extreme creative satisfaction, apart from side benefits of fame and money. But only those who are ready to go through the grind and put in hard labour as well as application can succeed.

Most students of Digital Academy join the industry initially as Assistant Directors and work their way up towards the Directors post. But there is no hard and fast rule about this and if you have the capability you might well straightaway become a Director as soon as you pass out from Digital Academy-The Film School.

While careers of Film Makers are the same as Film Directors it is our analysis that Film Makers who have a complete knowledge of Film Making are generally more in-demand and sought after.

Shine Bright in Tinsel Town

Just like there is no sureshot formula to making a box-office hit, there is none real formula to making it big in the film industry. The path can be, and usually is, unclear, difficult, competitive and unpredictable. At the same time, there are plenty of opportunities, and a place for many. If you have talent and the sheer grit to stick out, stardom may just be yours. Here are a few tips to steer your spectacular journey to tinsel town:


Have clear goals: Decide right at the start what is it that you want. Whether your aim is to direct, to act, to choreograph, to edit, or to script. It takes time to understand the workings of the industry, and hence, it’s best to identify what you want to do, and start early.

Create a niche: Once you decide where your passion lies, move ahead and decide the genre of filmmaking that you would like to be associated with. Some actors or directors make comedy films, while others action, and still others, documentaries.

Build a portfolio: No matter what resources or opportunities are available, start doing what you love, and keep building on it. If you like to act, do college plays, theatre, even home videos. If you wish to direct films, use any camera available, and start filming.

Participate in film festivals/film groups: Every city has film clubs that watch movies and discuss them. And if you are adventurous enough, you can also participate and screen your films in regional, national, or international film festivals.

Take care of all audiences: It is essential as an artist to not get slotted in one kind of role/films. You should not do only low budget films, or stick solely to big budget films. You must strive for a combination, so that you can reach out to all audiences.

Network with people from the trade: Business is about networking – go out there, actively talk to people about yourself and your work. Approach all your ‘filmy’ contacts, and see if anyone can help you in your rise to the top.

  1. Improve your skills: Take up a course for the skills that need working, whether acting, speech delivery, writing, editing, dance, etc. Many film schools and academies offer these courses.
  2. Assist a good director: While you are still waiting for your big break, it is a good idea to get some work experience interning with a good production house, or under a good director.
  3. Watch, read, absorb: Watch as many movies as you can spanning genres and nationalities. Read film trade magazines, and follow industry trends. Moreover, keep absorbing the life around you, as films are nothing but an interpretation of life.
  4. Embrace the media: The media is both a friend and a foe to the film industry, but the sooner you accept and embrace it, the sooner it’ll become your strength. Woo the media, and half your battle to stardom is won.

Saurabh Shukla speaks to students of Mumbai University

Speaking on the topic of ” Careers in Cinema “, Mr Shukla said that to be a Film Maker, one should obviously know the art of Direction but should acquire knowledge of all aspects of Cinema or at least have the working knowledge in areas of Cinematography, Writing, Editing, Acting and Production Design. He recalled his own days as a student in Delhi when he was studying for his M.Com when he was trying to be a ” Nobody ” He said that that was the time when he sensed a certain calling towards theatre and dramatics.He said that he was never formally educated in anything that is part of his profession.Those days, he said, when I look back, I worked very very hard but it was not work….everything that I did gave me a lot of joy…Every morning , after waking up, I felt the eagerness to go to the theatre for rehearsals, I read and analysed a lot of literature..and tried to analyse great works to the best of my ability….but had I been formally trained, I would have gone further and at a much quicker pace.Mr Shukla said ” The greatest thing that formal education gives you is a way, a much richer scientific and methodical path. I never had an opportunity that you people are getting now.

He said that the if a person is talented and works sincerely, he is bound to be successful in the world of Film and television which could not only pay very well, but also give enormous satisfaction and recognition. As a parting note, he said that in the journey that the students were about embark upon, he suggested to make the best use of all that they will get and wished the students all the very best .

Filmmaker of ” Harishchandrachi factory ” (The Factory of Harishchandra) visits Digital Academy – The Film School


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Paresh Mokashi , Writer, Director of the Marathi film ” Harishchandrachi factory ” or ” The factory of Harishchandra’, India’s entry to the Oscars, while on a visit to Digital Academy – The Film School, surprised the students when he said that he had never assisted any Film maker before he started making this film and also revealed that the first time that he ever visited a Film set was for this debut film of his. He had been part of Marathi theatre for a long time as an actor, writer and Director . He said that the greatest two qualities that any Film Maker should have apart from the know how of the technique of Film Making is clarity of mind and stubbornness. He said that most of what he learnt about Film making was by seeing films, many made by the masters of Cinema. He said that he did spend a lot time watching the treasures of world cinema in the National Film Archives in Pune and it is by watching these films that he enhanced his visual sense and knowledge. He said that this is what helped him have clarity of mind as to what he wanted the film to look like and this was most of the battle won. If a Director is confused, then the crew will take over the decision making and ultimately the look of the film will reflect that. Once a director knows what he wants, stubbornness helps in sticking to his decisions.


Speaking about the film’s journey, he said that patience is a necessary quality in this business. He said the the budget of this period film was about 3.5 crores , an unusually high figure for an Indian regional film whose recovery in the box office is very difficult. He said the when he selected his crew, all of them ie the cinematographer, costume designer etc had never done a single film independently before.After the wait for finance of almost three years, he was the only person in the crew who was making his debut…all of the other technicians were experienced by a few films…


Paresh then spoke about research he had to do for a period subject such as this. The film concentrates about a period in the life of Dadasaheb Phalke, the father of Indian cinema, when he made his first film ” Raja ( King) Harishhandra”. The entire story deliberately was chosen not to be a biographic but about the time when Phalke was Directing and producing his first film. It was also given a humorous touch because Mr Phalke, according to many sources did have a good sense of humor. Research was an exciting part of the process because not only the city and costumes looked different, also the sound of the rickshaws operating then had to be sourced and or produced to get as close as possible to the original.

Speaking on the Oscars, he said that I am not surprised the my film did not make it to the final list of the Oscars as the final five were much better than my own film.He was happy to inform that the next film revolves around an archaeological treasure hunt and is linked to the journey of the Pandavas in the Mahabharata .

The students were very enlightened by the visit of Mr Mokashi and after being given a tour of the Film School, Mr Mokashi was delighted with the facilities of the school, its vision and objectives of creating visionary Film makers of tomorrow.

Dale Bhagwagar, renowned Bollywood publicist and PR, holds a guest lecture, at Digital Academy – The Film School

Dale Bhagwagar began his journey as a journalist twenty-three years ago, when he was just 14 years old. He contributed articles, poems to local newspapers and magazines in his hometown, Nagpur. Six years later, he joined a local newspaper as a trainee Sub-Editor and Reporter. After completing his graduation in English Literature he moved to Mumbai and was soon hired as the Chief Sub-Editor cum Reporter for the Bollywood gossip magazine “Cine Blitz”, which dealt with yellow journalism. That was the turning point in his life where he learnt the trick and trade of manipulating “Star images”. He is instrumental in shaping the careers of many celebrities. He has handled the PR for the likes of Hrithik Roshan, Shilpa Shetty, Priyanka Chopra, Esha Deol, Shiney Ahuja, Randeep Hooda and Vivek Oberoi, among 50 others.
 
 
He informed the students that the transition phase from the learning world as students to the real world as filmmakers in the “Big Bad Bollywood” would involve lot of effort, patience and an ability to adapt to situations and people. Commenting on this, he said, “When you are in the real world, when you are going to get out in the so called big bad Bollywood, the first thing one needs to do is unlearn certain things you learnt in schools and colleges. Schools and colleges teach you the basics but people work according to their experiences along with their team and it is very important to adapt to that team, their culture and their style of working”
 
He strongly believes that media has an upper hand in creating a perception in the minds of people and that is exactly when a publicist steps in. Elaborating on this, he said, “Publicists need to spin a very strong web of protection otherwise the media goes ahead to massacre brands and images the way it likes. That is why a publicist needs to be very firm and cautious while handling the Media sensibilities.
 
Throughout the session he emphasized on the line “We are living in a world where perception is reality” and that is exactly what PR does, it creates a perception in the minds of people propelling the image of a celebrity from downright negative to acceptable. His suggestions to the students about the benefits of PR and Media were, “Understand how the media functions, because ultimately you all are going to be made by your talent and then by media. How much ever talented a person is, if not projected properly, the career may not take that pace, and it could have taken”. 
 
Talking further on PR skills, he said, “Good news is Good, but Bad news is even better…. Ugly publicity is the best as it travels faster and hits the hardest… The worst of all is no publicity, as you need to generate the buzz because without which it becomes difficult to grow faster in today’s world. You will grow with your talent but with a PR marketing mind, luck comes faster”.
 
His advice to the beginners was to change their mindsets about the way he or she thinks of PR. It’s very important to project yourself the way you want others to perceive you.
 
Mr. Bhagwagar also advised the students to have dreams and then create roads to reach for those dreams. He said that you must be sure of your goals and then set a basic pattern and time frame to achieve those goals and carve a niche in the field you are interested in. He cited that “You have to stick to your roots, think of the sky and grow”. He also said that PR is just 10%, the remaining 90% is the talent you possess, you should be better filmmakers and the rest follows.
 
In his parting lines to the students, he said that “Start thinking of yourselves as brands. Subtle branding plays a huge role in the anticipation of your films. Though talent is what really matters, good support in PR skills takes any budding filmmaker to higher levels of success.
 
 
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