| |
Interview with Far
Video Films director Jeet Surendranath |
| |
|
| |
 |
"Finally
scripts are being written with potential for entertaining
a discerning, bored and fidgety audience"
|
|
| |
|
| |
Posted
on 18 November 2003 |
| |
|
| |
His
demeanour and profession are poles apart. For Jeet Surendranath,
director of Mumbai-based advertising film production house Far Video
Films, the hectic scheduling and deadlines of working on commercials
is combated by his composed and calm nature.
Far Video's recent work includes commercials for Kinetic Velocity,
Hamdard Joshina and JP burgers and jelly for the Middle East. Besides
this, the production house has worked on major campaigns for Samsung,
Yamaha Libero, Coke, Limca, Anchor, BSNL and Rasna among others
this year.
The production house is not only busy in shooting commercials for
leading brands but it is also venturing out of the country to expand
its operations. Far Video, which had tied up with Australian production
house Renegade Films to form Renegade East, has such arrangements
on several counts in European and Asian countries.
Surendranath, who worked on his first commercial for Liril soap
in late 70's, was involved in more than 1900 commercials before
he and his brother Kailash Surendranath decided to expand their
operations through individual efforts. "We didn't get separated
but decided to expand our work in 1996."
Surendranath spoke in detail about Far's operations to Indiantelevision.com's
Ritesh Gupta.
Excerpts:
|
| |
|
| |
Far Video has been consistently working with leading clients such
as Coca-Cola India and Samsung India in the recent past. What would
you attribute this turnaround to?
This has not exactly been a turn around in terms of quantum of films.
We have always been managing two-three TVC's a month with various
directors. The difference is that we have now managed more of the
upper-end films, which have greater visibility and impact. I do feel
the need for my director and my team to dwell on projects, one project
at a time - total commitment. If there are two simultaneous projects
then I do organise two teams for the directors and their projects.
These clients and agency teams have appreciated our commitment, integrity
and passion as a production house, and also appreciated the fact that
Rohini Pinto (my partner) and I have managed to work out projects
at rock bottom, transparent budgets without any compromise. |
| |
|
| |
Why
do you think there was a lean phase? Take us through the operations
of Far Video. How have you evolved as production house?
Once again I would like to reiterate that there was no real 'lean
phase'. It's just that we were managing some fairly low visibility
(non-mainstream) projects. With the high end/high profile TVC's
we got more noticeability and hence our folio/showreel holds more
weight. I would however like to point out, that whether it's a high-end
theme film or a promo, we hold all projects in the same esteem and
treat the project and the director with the same passion and commitment.
All projects deserve our best.
|
| |
|
| |
How
do you think working with Shantanu Sheorey has helped? Why do you
think you gel so well with him?
Working with Shantanu has definitely helped put Far Video back on
the map. In the post Kailash (Surendranath) days, we did not get
enough high-end theme films/mainstream work, though we did manage
quite well with our promo's and low-end work. Shantanu's work and
name brought in the mainstream work which was noticeably executed
well. We worked on transparent budgets and there was great compatibility
between the producer and the director.
Rohini and I handled all these various aspects and left the director
free to work with the creative team - unhassled. We also have a
clear-cut and specific project wise relationship with Shantanu.
That's the way I'd like to work with any director on any project
to keep a lasting healthy relationship.
|
| |
|
| |
|
"The
stakes are very high. An advertising film must fulfill its
objective"
|
 |
|
| |
|
| |
What
do you think are the emerging trends in TVC production?
Finally scripts are being written with potential for entertaining
a discerning and bored and fidgety audience. There is more of quality
production values, and technical excellence are taken for granted
by the audiences. They need to be entertained by a commercial and
that too, repeatedly!
|
| |
|
| |
How
have the clients' needs changed? Do you think there is more usage
of visual effects and animation than in the past?
The stakes are very high. An advertising film must fulfill its objective.
Clients and agency teams work on carefully developed strategies,
and creatives. They definitely expect added value and excellent
results from the production house and the director. The use of visual
effects and animation is script specific. High end post facilities
are easily available and there are lots more projects conceived
with (or spruced with) animated, graphically generated and other
high-tech effects.
|
| |
|
| |
What
are the budgets with which you work on (let's say with leading clients)?
Does budget hamper work in a big way?
All budgets are transparent. Directors/production house fees are
clearly indicated. The magnitude of the budget depends on the demands
of the script, production design and the project logistics. The
producers and directors fee component depends on various factors
and is also totally transparent. It varies with celebrity status,
nature and magnitude of the project etc.
Everyone
- clients, agency teams etc - is savvy on budgetting. If they aren't,
then all they need is a production design note, and a cost break
down. If the budget does not work one can always try and figure
out a new route or production design, uncompromised, to make it
work.
|
| |
|
| |
|
|
"Production
house and directorial creativity is challenged with the simpler
scripts. We really need to dwell on every department to add
values - to make a difference"
|
|
| |
|
| |
Where
do you think production house creativity comes into play?
Production house and directorial creativity is challenged with the
simpler scripts. We really need to dwell on every department to
add values - to make a difference. Great ideas/scripts also demand
production house creativity and added value. However, great script
ideas are inherently successful.
|
| |
|
| |
Which
has been your most memorable work till date and why?
Some of our most memorable works, ironically, have been public service
films from the past. A Story of Hope (which managed to get
into the Clio 'hall of fame') with Kailash and Alyque Padamsee,
the Mera Bhaarat Mahaan trilogy with Suresh Mallik and Piyush
Pandey to name some.
|
| |
|
| |
Do
you think producers get enough credit for their work?
It's
the production team that deserve the credit - each and every team
member. The producer's work is to provide the director and the project
with a really effective team.
|
| |
|
| |
Which
foreign locations do you shoot occasionally? Do you have any tie-ups
with international production houses?
Thailand
and Malaysia are filming-friendly and cost-effective. They are more
cost-effective than outstation filming in India.
We also have tie ups with line producers, production houses, technicians,
talent coordinators etc, in Mauritius, UAE, Greece, Prague, Moscow,
Australia, South Africa and New Zealand. The idea is to facilitate
cost effective facilities at these venues.
We
have worked on projects for the international campaigns with international
directors. Campaigns for Nesfit, Dirol, Diesel Jeans, New York Lotto,
Mylanta, GEC, Mentos and ETC - filmed over the years have had award
winning directors like Johann, Peter Flinth and Ken Naoum.
We offer various kinds of services. Besides fulfilling our own needs
(in terms of production), through these tie-ups we also facilitate
prospective clients' plans to shoot in either in India or other
countries. We also offer consultancy on creative process, production
and other related inputs.
We had the privilege to execute a television commercial for Toyota
Qualis for Indian exhibition, Dentsu Tokyo, with the famous Antonio
Saraceno from Sydney.
|
| |
|
| |
How
do you find the new crop of creative directors and copy writers?
The
search is on. I have some amazing friends doing amazing work. |
| |
|
| |
What
are your plans for the future?
To
keep on making commercials with our regular directors, both Indian
and international. The search is on for fresh, young talented directors
and writers with the right sensibilities. |
| |
|
| |
Click
for more MAM interviews |
| |
|
| |
|
