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“I hope to God that theaters don’t all close. Nair says he hopes and expects that the theatrical film business will revive after the impact of the COVID-19 pandemic. It enjoyed recent success with one of the first, Aparna Sen’s “The Rapist,” which shared the Kim Ji-seok prize at the Busan Film Festival where it debuted last month. “We are doing quite a few where we are making more higher concept, more ensemble cast films where the bigger focus on story, not the big, swashbuckling kind of thing,” said Nair. The Applause slate also currently includes nearly a dozen movies intended to go straight to streaming. These have included a “Guilt” adaptation, Indian versions of “The Office” and “Criminal Justice,” as well as “Luther” adaptation “Rudra – The Edge of Darkness starring Ajay Devgan in the works. Stories that travel, have universal appeal, which can find resonance in India,” said Nair. We should do some, very carefully selected international adaptations. “The thought was to gain some speed to market.
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Many of Applause’s early shows were adaptations of international formats, series and literary adaptations, a strategy that it shaped with the U.K.’s BBC Studios and which continues today. Eventually it is going to be the quality of your content and the scale of it.” “The key differentiator from one platform to the other becomes the content. And all platforms, he reckons, are hungry for good content. Nair reckons that by working with multiple, rival platforms Applause gets to learn about both local market conditions and international best-practices. They’ve just got to make a buying decision.” “And they realized that they have a need gap. In the beginning (buyers at streaming companies) were a little unsure as to who we are and what exactly we are doing,” said Nair, distancing Applause from producers that need production finance or await a commission.
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“In India, I think we were a bit like the first of our kind, somebody who’s going out there, creating series and then coming and showing you the finished tape, ready to license it to you. We do films, series, factual entertainment and documentaries and animation.” “The approach is that we are a content studio.
We have to work with many different people in a collaborative manner: creative people, business people and be able to put these parts together,” said Nair. And, two, you’ve got to be able to work with all kinds of partners. One is you’ve got to create all types of content, because any one type is not going to take you there. “If you’re going to make a billion-dollar company, there are two or three moving parts. Speaking Tuesday at the APOS India conference, Nair described the strategy as a akin to being an alchemist. Rather it is positioning itself as a gun for hire, and a creative studio that will work with everyone.
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Built with the backing of the Aditya Birla conglomerate, Applause shows no interest in becoming a streamer or venturing into India’s still large broadcast TV market. Talk to the older generation and the mere mention of Chandamama takes them to a world where information and entertainment were bundled in a comic format.In the space of five years, TV veteran Sameer Nair has built Applause Entertainment into a powerhouse supplier of Indian content that is being hungrily consumed by the sub-continent’s streaming platforms.
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Today, the old editions of this magazine is back for the audience in digital format in English, Telugu and Hindi, and are available for free on the official website. The magazine continued to allure its readers till July, 2013 enjoying a mass readership base of over 2,00,000 people. Veera Raghavan, who signed her work as Chithra among many others. Acharya whose painting brought the Mysore Dasara Exhibition alive in canvas it fostered the seeds of gender equality and empowerment with T. It also became a launchpad for artists like M.T.V. The famous Vikram-Betal stories, too, were launched through this magazine.Īdapted from the ancient Sanskrit work Baital Pachisi, the never-ending story of King Vikramāditya and Vetala (Vampire), brought wide repute to this magazine. Packaging the stories and folklores with illustrations, Chandamama brought back grandparents tales in fashion.
Before the advent of Tinkle, Amar Chitra Katha, Chacha Chowdhary, or even The Adventures of Tintin and Archie Comics- one comic book captured the imagination of India even before the nation got freedom.