We have enough talent, creativity and stories here in India.” Suresh shed light on how Japan has developed its own style of animation, Manga, and pointed that this was an example worth emulating. “We have good folk stories to tell which are untapped. We should shift our focus on those stories apart from regular mythologicals.” He said that though India had great talent in music and design, it still lacked in story writers, research and voice actors, amongst others. Taking the broadcaster’s point of view, Nina spoke about the content which broadcasters look for and how the content creation process could be improved upon. “There has been enough mythological content in the market and we need to go beyond what already exists.” She opined that, “We need to have original concepts, think of new ideas, build strong characters and exceptional stories which can appeal to kids. The content also needs to have universal appeal as one should target not only Indian but worldwide broadcasters as well.” “The classic Hindi cinema idiom is not going to spread anymore” – Rahul Bose By Mrigank Dhaniwala Is adapting world cinema’s language the only way of going global? Actor and film maker Rahul Bose agrees. Speaking at FICCI Frames ’09, Rahul commented, “If we want a film to be truly global, it will have to sacrifice its linguistic identity. You can’t have songs and dances in a global film.
The classic Hindi cinema idiom is not going to spread any more that it already has.” He was addressing a session on ‘Globalization of Indian Cinema’ on day three of the media & entertainment summit. The session also had PNC Ltd’s Pritish Nandy, Fox Searchlight Pictures’ Jill Gwen and High Point Films’ Kerry Fitzgerald in participation. Rahul added, “You make what you want to make and it carries appeal across cultures and if it will make sense to somebody in Toronto or Berlin. One will either have to tell special stories or tell them specially.” He pointed out that besides the stumbling block of opting for English as the language, film makers aspiring to go global would also have make sure that a film, “shouldn’t be over a hundred minutes and should adapt the cultural nuances of the international audience.” Rahul cited Kallari Payattu (ancient martial art from Kerala) and children’s films and documentaries like Aamir as ways of making it to the global stage. Roping in international stars is another way of making the mark. Making a reference to Slumdog Millionaire, Jill Gwen said, “If you have a great quality product with content that is very provocative, endearing and intriguing, people will go to the movies.”