Wednesday, 25 November 2015

Auditions From Upcoming Hindi Serials

Auditions From Upcoming Hindi Serials

Requierment to New male and female Artist Hindi Serials " chalte chalte "

Life ok Colors zee tv star plus & Sony tv

Big Roll New show on sony Age limit  : 18 To 32 Years Male

Female  : 21 To 28 Years

child :8 To 11 years

Auditions Loctions Mumbai / Surat / Delhi



Email : owlfilmsproduction@gmail.com
Contact :- Mo.9662118956

www.owlfilmsproduction.blogspot.com
Owl Films is an independent film production company.We have entered into the world of entertainment industry with a positive approach to make a mark. We specialize in the creation of corporate films and TV series.
1) gujarati movie " mara malak ma"
2) hindi serial " aandhi "
3) hindi movie " rangeeley "
4) hindi movie " dangerias raz "
5) short films " apana pan "

Saturday, 17 October 2015

Here's how you can get into Bollywood
Here's how you can get into Bollywood So you haven't been born a Kapoor, Khan or Sippy, but you still want to get into Bollywood?
If you're determined of being in the movie you're watching, don't give up on your cinematic dreams. While there's no guaranteed method for making it big in Bollywood, talent, persistence, connections, and a very thick skin usually pay off. "Have patience and believe in yourself. If you are talented and true to your work, you will get that big break," says actor Rajat Barmecha, who made his Bollywood debut with the 2010 sleeper hit Udaan. He joins a panel of outsiders-turned-Bollywood successes who share their advice about getting your name rolling in the credits - whether it's as an actor, director, choreographer, dancer, or in any one of those critical behind-the-scenes jobs. Ignore the naysayers. When 22-year-old Rajat Barmecha signed on for Udaan, he had only a few modelling assignments under his belt. He had no filmi background, no 'godfather' in the industry, no training, no manager, and his first audition for the role was not a success. While everybody agrees there's no formula to get into Bollywood, you would think it would be hard to do without at least one of the above. But Barmecha did, and is now a successful and critically acclaimed actor. Others have blazed their own trails as well. Vishal Bhardwaj composed music before he became a Bollywood director with Makdee; Kunal Kohli was a film critic pre-Mujhse Dosti Karoge, and Madhur Bhandarkar worked in a video library... and that's just a small range of the jobs people did before becoming directors. Learn from auditions and meet the right people: It's easy learning even if you haven't got your big breakthrough as an actor. "There is no shortcut to success, but do as many auditions as you can - they were my biggest learning process," Barmecha says. Barmecha also believes that acting or other film schools aren't necessarily the right way to get into the business, but it's much more important to network and make the right connections. Beyond that, his advice is to work hard, stay focused, not get jealous of others' success, and to stay grounded. Training is good... Film school is obviously not a requirement to becoming a director, but it's the one recommendation director Prakash Jha makes. "Get some formal training," he says, suggesting institutes such as Film and Television Institute of India or Whistling Woods. The training doesn't have to be in directing. Any film-related field - editing, cinematography, critiquing - that gives you an introduction and some practical instruction will do. But experience is better: Training on the job is what will actually teach you the nitty-gritty of being a director. To become the man calling the shots, the most valuable learning role is that of an assistant director. It's the job that forms the basis of most of Bollywood's current crop of successful directors - because it gave them hands-on experience in the craft. Explore the options: Being an actor or director might be the big Bollywood aspiration, but a movie requires any number of crew members - editors, storywriters, lyricists, cinematographers, set designers, costume designers, sound recorder - jobs with a higher rate of success in breaching Bollywood's barriers. One of the most desirable jobs in Indian movies is, obviously, dance and choreography. To get a break as a dancer, choreographer Ganesh Hegde advises circulating a demo of your work. Put together a demo tape with different sequences that showcase the breadth of your talent. If you want to be a choreographer, first assist a good Bollywood choreographer. "It's the only way to understand camera angles and stage sets," says Hegde. Perfect your craft and be open to everything: To get a break as a dancer, Hegde says you should send around a demo tape to bag an audition. Once you are picked to be part of a troupe, you will spend at least three months training learning that choreographer's style. "Being a dancer is simple," says Hegde. "Stay updated with all the different forms of dancing - right now it's western - be the best at your job, stay disciplined about weight, look, grooming, and you'll come to the front row." Perfecting your skills is crucial, because you have to be good at what you do. "Bollywood is a lot of hard work," says set designer Sugandha Leekha, who bagged her first job in set design over a conversation with friends. "It's not glamorous, it's crazy. To be part of it you have to be really passionate about what you do. You can't have set notions about what you will do and what is beneath you - you have to be open to anything and everything."

Sunday, 29 June 2014

Funding for Bollywood films

Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 1 billion rupees (roughly USD 20 million). The latest Science fiction movie Ra.One was made at an immense budget of 135 crores (roughly USD 27 million), making it the most expensive movie ever produced in Bollywood.[Sets, costumes, special effects, and cinematography were less than world-class up until the mid-to-late 1990s, although with some notable exceptions. As Western films and television gain wider distribution in India itself, there is an increasing pressure for Bollywood films to attain the same production levels, particularly in areas such as action and special effects. Recent Bollywood films have employed international technicians to improve in these areas, such as Krrish (2006) which has action choreographed by Hong Kong based Tony Ching. The increasing accessibility to professional action and special effects, coupled with rising film budgets, has seen an explosion in the action and sci-fi genres.
Sequences shot overseas have proved a real box office draw, so Mumbai film crews are increasingly filming in Australia, Canada, New Zealand, the United Kingdom, the United States, continental Europe and elsewhere. Nowadays, Indian producers are winning more and more funding for big-budget films shot within India as well, such as LagaanDevdas and other recent films.
Funding for Bollywood films often comes from private distributors and a few large studios. Indian banks and financial institutions were forbidden from lending money to movie studios. However, this ban has now been lifted.[71] As finances are not regulated, some funding also comes from illegitimate sources, such as the Mumbai underworld. The Mumbai underworld has been known to be involved in the production of several films, and are notorious for patronising several prominent film personalities. On occasion, they have been known to use money and muscle power to get their way in cinematic deals. In January 2000, Mumbai mafia hitmen shotRakesh Roshan, a film director and father of star Hrithik Roshan. In 2001, the Central Bureau of Investigation seized all prints of the movie Chori Chori Chupke Chupke after the movie was found to be funded by members of the Mumbai underworld.[72]
Another problem facing Bollywood is widespread copyright infringement of its films. Often, bootleg DVD copies of movies are available before the prints are officially released in cinemas. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is a well established 'small scale industry' in parts of South Asia and South East Asia. The Federation of Indian Chambers of Commerce and Industry (FICCI) estimates that the Bollywood industry loses $100 million annually in loss of revenue from pirated home videos and DVDs. Besides catering to the homegrown market, demand for these copies is large amongst some sections of the Indian diaspora, too. (In fact, bootleg copies are the only way people in Pakistan can watch Bollywood movies, since the Government of Pakistan has banned their sale, distribution and telecast). Films are frequently broadcast without compensation by countless small cable TV companies in India and other parts of South Asia. Small convenience stores run by members of the Indian diaspora in the US and the UK regularly stock tapes and DVDs of dubious provenance, while consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to the piracy problem.
Satellite TV, television and imported foreign films are making huge inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now fewer tend to do so. However, most Bollywood producers make money, recouping their investments from many sources of revenue, including selling ancillary rights. There are also increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States, where Bollywood is slowly getting noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films.
For a comparison of Hollywood and Bollywood financial figures, see chart. it shows  tickets sold in 2002 and total revenue estimates. Bollywood sold 3.6 billion tickets and had total revenues (theatre tickets, DVDs, television and so on.) of US$1.3 billion, whereas Hollywood films sold 2.6 billion tickets and generated total revenues (again from all formats) of US$51 billion.

Cast and Crew of Bollywood

Bollywood employs people from all parts of India. It attracts thousands of aspiring actors and actresses, all hoping for a break in the industry. Models and beauty contestants, television actors, theatre actors and even common people come to Mumbai with the hope and dream of becoming a star. Just as in Hollywood, very few succeed. Since many Bollywood films are shot abroad, many foreign extras are employed too.
Very few non-Indian actors are able to make a mark in Bollywood, though many have tried from time to time. There have been some exceptions, of which one recent example is the hit film Rang De Basanti, where the lead actress is Alice Patten, an Englishwoman.KisnaLagaan, and The Rising: Ballad of Mangal Pandey also featured foreign actors. Of late, Emma Brown Garett, an Australian born actress, has starred in a few Indian films.
Bollywood can be very clannish, and the relatives of film-industry insiders have an edge in getting coveted roles in films or being part of a film's crew. However, industry connections are no guarantee of a long career: competition is fierce and if film industry scions do not succeed at the box office, their careers will falter. Some of the biggest stars, such as Rajesh Khanna, Dharmendra, Amitabh Bachchan, Shahrukh Khan and Akshay Kumar have succeeded despite a lack of any show business connections. For film clans, seeList of Hindi film clans.

Golden Age of Bollywood

Following India's independence, the period from the late 1940s to the 1960s is regarded by film historians as the "Golden Age" of Hindi cinema. Some of the most critically acclaimed Hindi films of all time were produced during this period. Examples include the Guru Dutt filmsPyaasa (1957) and Kaagaz Ke Phool (1959) and the Raj Kapoor films Awaara (1951) and Shree 420 (1955). These films expressed social themes mainly dealing with working-class urban life in India; Awaara presented the city as both a nightmare and a dream, whilePyaasa critiqued the unreality of city life. Some of the most famous epic films of Hindi cinema were also produced at the time, includingMehboob Khan's Mother India (1957), which was nominated for the Academy Award for Best Foreign Language Film, and K. Asif'sMughal-e-Azam (1960). Madhumati (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularised the theme ofreincarnation in Western popular culture. Other acclaimed mainstream Hindi filmmakers at the time included Kamal Amrohi and Vijay Bhatt. Successful actors at the time included Dev Anand, Dilip Kumar, Raj Kapoor and Guru Dutt, while successful actresses includedNargis, Vyjayanthimala, Meena Kumari, Nutan, Madhubala, Waheeda Rehman and Mala Sinha.
While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a new Parallel Cinema movement. Though the movement was mainly led by Bengali cinema, it also began gaining prominence in Hindi cinema. Early examples of Hindi films in this movement include Chetan Anand's Neecha Nagar (1946) and Bimal Roy's Do Bigha Zamin (1953). Their critical acclaim, as well as the latter's commercial success, paved the way for Indian neorealism and the Indian New Wave. Some of the internationally acclaimed Hindi filmmakers involved in the movement included Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal and Vijaya Mehta.
Ever since the social realist film Neecha Nagar won the Grand Prize at the first Cannes Film Festival, Hindi films were frequently in competition for the Palme d'Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival. Guru Dutt, while overlooked in his own lifetime, had belatedly generated international recognition much later in the 1980s. Dutt is now regarded as one of the greatest Asian filmmakers of all time, alongside the more famous Indian Bengali filmmaker Satyajit Ray. The 2002 Sight & Sound critics' and directors' poll of greatest filmmakers ranked Dutt at No. 73 on the list. Some of his films are now included among the greatest films of all time, with Pyaasa (1957) being featured in Time magazine's "All-TIME" 100 best movies list, and with both Pyaasa and Kaagaz Ke Phool (1959) tied at #160 in the 2002 Sight & Sound critics' and directors' poll of all-time greatest films. Several other Hindi films from this era were also ranked in the Sight & Sound poll, including Raj Kapoor's Awaara (1951), Vijay Bhatt's Baiju Bawra (1952), Mehboob Khan's Mother India (1957) and K. Asif's Mughal-e-Azam (1960) all tied at #346 on the list.

Etymology of Bollywood

The name "Bollywood" is a portmanteau derived from Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it has its own entry in the Oxford English Dictionary.
The naming scheme for "Bollywood" was inspired by "Tollywood", the name that was used to refer to the cinema of West Bengal. Dating back to 1932, "Tollywood" was the earliest Hollywood-inspired name, referring to the Bengali film industry based in Tollygunge, Calcutta, whose name is reminiscent of "Hollywood" and was the center of the cinema of India at the time. It was this "chance juxtaposition of two pairs of rhyming syllables," Holly and Tolly, that led to the portmanteau name "Tollywood" being coined. The name "Tollywood" went on to be used as a nickname for the Bengali film industry by the popular Kolkata-based Junior Statesmanyouth magazine, establishing a precedent for other film industries to use similar-sounding names, eventually leading to the term "Bollywood" being coined.[10]However, more popularly, Tollywood is now used to refer to the Telugu Film Industry in Andhra Pradesh. The term "Bollywood" itself has origins in the 1970s, when India overtook America as the world's largest film producer. Credit for the term has been claimed by several different people, including the lyricist, filmmaker and scholar Amit Khanna, and the journalist Bevinda Collaco.

Tuesday, 17 June 2014

It's Entertainment movie of akshay kumar & Tamannaah Bhatia


it's Entertainment movie director is sajid-farhad, It's Entertainment is an upcoming Bollywood Slapstick comedy film.
the film is produced by Ramesh S. Taurani of Tips Industries Ltd

It's Entertainment
Its Entertainment.jpg
Directed bySajid-Farhad
Produced byRamesh S. Taurani
Jayantilal Gada
Screenplay bySajid-Farhad
Story byK. Subhash
StarringAkshay Kumar
Tamannaah Bhatia
Prakash Raj
Mithun Chakraborty
Music bySachin - Jigar
StudioTips Industries Limited
Distributed byPen Movies
Release dates
  • August 8, 2014
CountryIndia
LanguageHindi

It's Entertainment is expected to release on 8 August 2014. The logo of the movie unveiled on 14 May 2014, whilst the theatrical trailer was released on 19 May 2014. The First video song Johnny Johnny was released on 9 June 2014 you can see on youtube https://www.youtube.com/watch?v=4-Joa2I7fVg   which depicted a desi version of the nursery rhyme 'Johny Johny Yes Papa'.

Cast


Filming

Shooting started on 3 June 2013 in Mumbai where the mahurat shot was filmed. On 1 July shooting started in Bangkokfor a 3-months-long schedule where 90% of the film was shot, remaining 10% of the film was shot in Mumbai with one song in Goa during late 2013. Only one song left was shot in April 2014 for 3 days and the filming was complete. William Anthony was later approached for this movie in NIBM ( National Institute of Business Management),Pune

Soundtrack

The soundtrack is composed by Sachin - Jigar. It will be the first time that Sachin - Jigar has worked with Akshay Kumar. The first song released is "Johnny Johnny". It is sung by Jigar Saraiya, Priya Panchaal & Madhav Krishnan and Lyrics penned by Mayur Puri.