I am a master in India

Chapter 349 Favor
The film itself cannot contain any scenes that challenge the government's position on the Ksunmir issue, nor can it contain any plots that provoke or vilify militants.

They'll retaliate. If they get so angry that they come and blow up the director's house, that would be hilarious.

This is no joke, because there are countless cases of people being dissatisfied with the plot of a movie and then going to the production company to complain.

The most obvious example is the gangsters; the director being kidnapped is not an isolated incident.

Indian moviegoers are also very emotional; if the ending doesn't satisfy them, they might rebel.

They would overturn the seats and set the movie theater on fire.

In Chopra's words, Indians treat movies with the same dedication Italians have for opera.

Indian audiences become violent when they feel the protagonist deviates from their expectations.

A prime example is the newspaper on Chopra's desk, which reported that audiences in Ludillana were so disappointed at the premiere of "Redemption" that the main character, their idol and hero, was portrayed as an armed militant that they smashed the entire theater in anger.

Typically, after a Bollywood film is completed, the creative team doesn't dare go to the cinema to watch it. They have to be constantly on guard, wondering what the rickshaw driver sitting in the front row, possibly holding a gasoline canister, might do.

Chopra also dared not ignore the reactions of various parties in the film. He wanted to make this movie, but he did not intend to risk his life or fortune.

The extreme complexity of the Ksunmir problem, the oppression and exclusion felt by the local people, and the helplessness of the people rising up in resistance due to the collapse of its economic and political system are all things that cannot be mentioned in the film.

Vinod repeatedly emphasized to several screenwriters: "I don't want this film to be controversial, I don't want to receive death threats from the opposition, and I don't want my film to be banned. The censors are all hypocrites; they will praise a good film to my face, but they may turn around and classify it as restricted."

Ron and Urmira sat in the Vinode family’s study, which had a great view, drinking tea and watching the commotion.

They weren't in a hurry; they considered it a chance to relax. Ron had been busy for the past six months, and this was a rare moment of leisure.

Urmila wished this leisurely time could last longer, so she canceled all her plans for the day.

As a director, Chopra shouldn't have been involved in the scriptwriting process; ideally, he would have received a ready-made script and started directing immediately.

The screenwriter offered suggestions from time to time, but often received two fatal comments in return: "Too commercial" (which violated his aesthetic as an artist) and "The audience won't buy it" (which added to his concerns about the film's box office failure).

He is the director; whether or not to adopt his ideas, and how to adopt them, is entirely up to him. He has the ability to draw on the strengths of many different sources.

Chopra was obsessed with the film, often arguing heatedly with the screenwriters.

When discussing what kind of music to use for a particular scene, they hummed Kisshor Kumar's "Dear, Come With Me".

They then opened their mouths and sang, stretching their arms, until the end of the song, until their faces were filled with joy and radiance.

This had nothing to do with their work; it was a little escapade for a few filmmakers to enjoy a moment of pleasure.

Chopra was completely immersed in the film, and when showing a violent scene, he couldn't help but become violent himself.

He'll bring his face close to yours, grab your shirt collar, and yell lines like, "I'm going to fucking kill you!" This kind of ferocity is incredibly contagious.

Ron witnessed firsthand how a film director gradually determines the theme and plot of a movie.

He would occasionally chime in, explaining what was acceptable in the political climate and what wasn't.

As mentioned in the newspaper, films must be made with great care to avoid "hurting the feelings of a particular group".

For example, what kind of religious background should the female lead have? What might offend the audience? What would be popular with the market?

Having gone through a Uttar Pradesh general election, Ron is now extremely politically astute.

"That's it, Ron! I knew I'd come to the right place."

"So you've made up your mind?"

"It's still a little short. When I'm considering the ending, I'm figuring out how to express the metaphor."

“Then let’s use the fade-out technique,” ​​Ron said casually.

He had also worked on Bollywood films and knew what "fade-out" meant. It's a editing technique where the screen gradually dims, often used to end a story or segment.

However, Chopra shook his head without hesitation, "No!"

"why?"

"When making films in India, it's best to avoid using fade-out techniques; it's considered taboo."

Chopra explained that when he had just graduated from film school, he used a fade-out five times in one of his films, but the puzzled audience thought the theater had suddenly lost power and booed.

In rural areas, projectionists would cut out fade-out portions from the film to prevent audiences from causing a disturbance.

He also believes that metaphors should not appear too late, because the theater lights will come back on and the doors to the screening room will be open near the end of the film.

In India, audiences have a knack for predicting when a movie will end, further evidenced by the overhead lights turning on five minutes before the finale and the theater doors opening wide.

Audience members with children need to leave early and hail a taxi or tricycle outside the cinema.

Therefore, even if you stay in the theater, you won't be able to see the last five minutes of the movie, as the audience in the front row has already stood up and started moving around.

Therefore, most Indian movies end with a song or a flashback in the last five minutes. This kind of purely time-delaying ending is often not the real ending, just like a dying person seeing scenes from their previous life flash before their eyes.

After finalizing the ending, Chopra handed the tattered script back to Ron.

"I think this movie has good market prospects, but you know, the subject matter is too sensitive, especially since things haven't been peaceful in Northeast China lately."

"So what are your plans?" Ron asked.

“I want to film it!” Chopra said with great certainty.

Are you worried about the film censorship committee?

“No, that’s the last thing. I want to go to Kershenmir to film.” “Dude, you’ve got guts. You’re willing to risk your life for art?”

Without a doubt, there are almost daily firefights in Ksemmir, and sometimes both sides even send people to carry out assassinations.

Filming in that location could easily lead to a sudden gunfight, and you might even get kidnapped.

It's too dangerous. Ron would never set foot in that area.

"I know it will be troublesome, that's why I'm asking you for help."

"How to say?"

"I want to contact the military there to designate an area for the film crew. This would ensure both the authenticity of the background and their safety. Ideally, the military could also provide consulting services to strive for the most realistic worldview possible."

"Wow, that's quite a high requirement."

To be precise, very few people can do it, firstly because this type of film is not popular with the military.

Secondly, Ksemmel is essentially the front line, and out of caution, the authorities are not keen for film crews to go to such places.

“I knew you would have a way, Ron, you are Mr. Sue.”

Mr. Suer today is completely different from what he was four years ago; simply put, he has become much more substantial.

“Don’t flatter me, this is no joke,” Ron reminded him.

“Yes, I’ve decided that I will personally direct the scenes there. We even rewrote the script to get the military to accept it,” Chopra insisted.

Ron looked down and flipped through the script in his hand; the story had indeed changed somewhat from the beginning.

The current "Kersinmir Mission" is more like a movie about family.

Indian epics have a profound influence on Indian films, and like other Bollywood films, "Kesumir Mission" also celebrates maternal love.

This is an emotion that Indian art cannot criticize; family reunion is an eternal theme in Bollywood.

Almost every film spends two and a half hours describing how traditional multigenerational families transform into urban nuclear families, single-parent families, or divorced families, and how family members overcome various conflicts and difficulties to come together again.

According to this classification, "Kesumier's Mission" should be categorized as a social film, the kind of film that would make housewives wipe away tears with embroidered handkerchiefs while watching it during a daytime screening.

Chopra himself, like the good sons in all Indian movies, was very filial to his mother. He would even change his dinner plans with friends at the last minute because his mother said that one must fast on the day of the eclipse.

The war scenes in the script were significantly cut, weakening the tense atmosphere of confrontation.

This change will indeed reduce the trouble with the review process.

“I will help you contact New Delhi, but as for how to arrange it, that’s beyond my control.”

“Great! That’s enough! Ron, if you’re interested, just name your budget for this movie.”

"Contact Sun Entertainment." He waved his hand, leaving this kind of thing to his subordinates.

Ron didn't know the military in Kershammir, but he had connections in New Delhi. At the beginning of the year, he visited every department.

Don't overestimate the integrity of the military in New Delhi; they are just as enslaved to money, and perhaps even more audacious.

It's just a matter of having Ksenmir arrange a film crew; it's not a big problem, and he doesn't need to contribute anything.

It was purely to help Chopra; given Ron's current status, some things are just a matter of lifting a finger.

He didn't expect anything in return; he didn't need it. He just wanted them to owe him a favor.

This is beneficial to Sun Entertainment, and those who have received his favors will naturally provide convenience to Sun Entertainment as well.

"By the way, have the main characters been decided yet?"

"I'm planning to cast Amit Bachchan as the male lead, and Shah Rukh Khan as a reformed former militant," Chopra declared confidently.

"You certainly have big ambitions, but isn't Amit Bachchan getting too old?"

“I think it’s fine; it won’t affect the story.” Chopra looked at him.

"What mischief are you up to now?"

"Well, these two people are hard to invite."

"Ok?"

"I was wondering if you could help me make a phone call so I can talk to them."

“Dude, you really have a lot of expectations of me,” Ron said helplessly.

"Your TV shows have taken their careers to the next level, especially 'Got Talent,' which gave Amit Bachchan a second wind. Of course, like I said, you can get involved in this movie anytime."

"Contact them first, you can mention my name, and contact me again if you have any questions. By the way, if you have some free time in a couple of days, could you help me shoot a promotional video?"

What promotional video?

"About public welfare."

Ron has been making a lot of big moves lately, such as giving back to the community.

Of course, this is all for the sake of reputation.

(End of this chapter)