Beverly Hills, CA — Thursday, October 1, is the deadline to submit entries in the Live Action Short Film, Animated Short Film and Foreign Language Film categories to be considered for the 82nd Academy Awards®. Complete entries must arrive at the Academy of Motion Picture Arts and Sciences by 5 p.m. PT that day.In the short film categories, filmmakers must submit an entry form, one film print or copy in an approved digital format, and all other required materials by the deadline.

In the Foreign Language Film category, filmmakers must submit entry forms, one English-subtitled film print or copy in an approved digital format, and all other required materials by the deadline. Only one motion picture will be accepted from each country.

Complete 82nd Academy Awards rules are available at http://www.oscars.org/rules. Additional information may be obtained by contacting Awards Coordinator Torene Svitil via phone at (310) 247-3000, ext. 190, by fax at (310) 247-2600, or by e-mail at tsvitil@oscars.org.

Academy Awards for outstanding film achievements of 2009 will be presented on Sunday, March 7, 2010, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.

ABOUT THE ACADEMY

The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards – in which the members vote to select the nominees and winners – the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

Generalizations about professions are “generally” highly exaggerated. To the black and white world, all “suits” are out to ruin creativity, all “arthouse artists” are just a step below Mother Theresa in humanity, etc, etc. Agents of Hollywood, are also in that “suit” category. However, as we all know, nothing could be further from the truth. Most of these folks are hardworking people doing whatever it is that their profession demands and striving to do it very well. Also while the South Asian American is making their presence felt in front of the camera, in Hollywood, the behind the scenes area of agents, managers, executives, is also beginning to get their South Asian representation.

One of the most respected and professional talent agent and manager, in Hollywood, is Jai Khanna. Jai has been a manager for 8 years at Brillstein Entertainment Partners
(BEP). BEP is one of the leading management and production companies, which represents A-list clients such as Brad Pitt, Jennifer Aniston, Natalie Portman, Adam Sandler and Orlando Bloom. They have produced hit shows including Just Shoot Me, News Radio, Bill Maher and The Sopranos. Their film producing credits include Troy, The Departed, Time Travelers Wife and the upcoming Julia Robert’s film Eat, Pray, Love. But like our webzine, it is not only about A-list and the film world. Some of the non A- list folks that Jai represents, in television and film, are the following (credit listed):

Larenz Tate – on RESCUE ME (FX)
Tiffani Thiessen – on WHITE COLLAR (USA)
Esai Morales – on CAPRICA (SyFy)
Sean Astin – on LORD OF THE RINGS (New Line Trilogy)- Film
Christina Cox – on DEFYVING GRAVITY (ABC)
Navi Rawat – on NUMBERS (CBS)
Stephen Root – on TRUE BLOOD (HBO)
Josh Holloway – on LOST (ABC)

Over and above, being a manager, Jai is also a credited executive producer.

Jai came across as a straight shooter, who gave some very thoughtful insights into Hollywood and how it impacts the South Asians. Read on:

What got you into the Entertainment industry?
I’ve always had a passion for Film and TV. I’m intrigued with these mediums as a creative form of communication. It translates and reaches all over the world. I wanted to be involved with cultural influence. I started in an entry level position at a talent agency and worked my way up the ranks.

How does it feel to be one of the flag bearers as a South Asian American, in Hollywood, in the corporate side of the Entertainment Industry?
I’m very proud to be in Indian. I was raised with strong ties to my culture and that has played a major influence in all facets of my life and career. In regards to the Hollywood industry, I’m fortunate to be working during a time that a number of talented Indians are excelling and their commercial appeal cannot be ignored. Some executives and artists have paved the way to make my path a little easier. I’ve always been treated with respect and been given every opportunity available to succeed. That’s all I can expect. In addition, I’ll always be a champion of fellow Indians making their way thru this business, all the while remembering and reminding those that this is still a business, and decisions are formed in that manner.

What are the opportunities and challenges for South Asian talent in Hollywood, both the film and television world?
Opportunities and challenges for Indian talent are the same as others. People of Indian ethnicity are excelling, in all facets, and, now even in Entertainment. If that was not the case, then one might focus on the cultural or ethnic aspect of being Indian and South Asian, but this is not an excuse any more. I can point to a number of individuals who are leading by example. As with anyone, the main challenge is the ongoing level of high competition. Talent, with perseverance, rises to the top.

With Globalization and Slum Dog Millionaire upon us, what initiatives are you undertaking from an Indian film industry perspective, specifically with regard to talent from India to the US and vice versa?
I work with a number of actors from India. The process is still very unclear and the motivation is lacking from the India side. However, I completely understand it. Assuming we are talking about A-list stars from India, their motivation is limited to work here and engage in our process. They are big stars in India and treated like royalty. Hollywood doesn’t work the same way. It’s a longer and humbling process to get the roles you want. Indians actors won’t get treated in a special way, and I don’t blame them. They work in their industry and have earned a level of respect. I have yet to see it, but it will take a special person, either someone somewhat aging, or one with a limited ego, to work in our system. In the meantime, there is no rush. Both industries are thriving and a need to globalize may be a bit premature.

What are the challenges that you feel when dealing with the Bollywood film industry and where do you see the future of collaboration between the two “woods” Hollywood and Bollywood?
The infrastructure of both industries is vastly different. Just because some films have crossed over, and a few actors are experimenting, the mentality and work ethic is much different. Motivation for an American to work in India, either a script writer or actor, is challenging because the pay will be a lot less than one earns in the US, and there is no union jurisdiction that protects them from any wrong doings. Having negotiated with Indian producers, the process is frustrating due to their rigidness and lack of compromise. The long drawn out process is discouraging enough for us to pass on these opportunities. Most dealings have to be based of good faith, which is a difficult philosophy for us to comprehend, especially when we are very contract oriented.

You have also worn the cap of an executive producer (“EP”), how did that come about?
Our company has a number of resources, which include representing financiers, producers, writers, directors and actors. When we develop a script, we are able to package it with strong elements, thus playing the role of an EP. Our track record is extensive and our name alone in the EP capacity gives productions much needed credibility. It’s a fun process as well, and one that exercises my creative juices. I’ll continue down this path, since I’ve built strong relationships in town to help package exciting projects.

Beverly Hills, CA — Oscar fans will soon have a chance to be a part of the “Biggest Movie Event of the Year.”

Beginning on Monday, September 14, at noon ET/9 a.m. PT, and continuing for only one week, fans from throughout the world may apply on www.oscars.org/bleachers to take part in a random drawing for seats on the 82nd Academy Awards® red carpet.

There are only 700 seats available along the 500-foot-long walkway that leads into the Kodak Theatre at Hollywood & Highland Center®. Those who are selected will watch and cheer Oscar nominees, presenters and other ceremony guests as they arrive at the 82nd Academy Awards on Sunday, March 7, 2010. Following the red carpet arrivals, everyone seated in the bleachers will be invited to watch the Academy Awards telecast at a nearby location.

The application form will be available at

www.oscars.org/bleachers. The online-only application process will close on Sunday, September 20, at midnight ET/9 p.m. PT.

To be eligible for the random drawing, an individual must complete the application form in its entirety. Applications may only be submitted online. Forms may not be returned via U.S. mail, fax or private delivery service such as UPS or FedEx.

Applicants may register up to four persons; however, only one form will be accepted per person or group.

Those whose names are selected in the random drawing will be notified in early October. They will then be required to submit additional information for security purposes prior to final approval. Eligible attendees will receive a confirmation letter in early December with information pertinent to the event.

Only those individuals who have been pre-approved by the Academy will have access to the bleachers. Those who wait overnight to attempt admittance will not be granted entry.

The Academy will not be responsible for securing travel and/or hotel accommodations for bleacher fans.

In previous years, as many as 20,000 fans have applied online for the limited number of red carpet seats.

Academy Awards for outstanding film achievements of 2009 will be presented on Sunday, March 7, 2010, at the Kodak Theatre at Hollywood & Highland Center, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide

Beverly Hills, CA — Tuesday, September 1, is the deadline for documentary filmmakers to submit their short subject and feature documentaries to the Academy of Motion Picture Arts and Sciences for consideration for the 82nd Academy Awards®.

Each completed entry form must be accompanied by supporting materials, including an English-language synopsis of the film, a list of film credits, filmographies of the director(s) and/or producer(s), 30 DVD copies of the film, and proof of seven-day qualifying exhibitions.

A documentary feature must complete a seven-day commercial run in both Los Angeles County and in the Borough of Manhattan in New York, between September 1, 2008, and August 31, 2009. An extension of the eligibility period to September 30, 2009, may be granted only if the film has legal contracts with exhibitors guaranteeing that it will complete both qualifying commercial runs before the extension deadline. In those instances, all other required materials must still meet the September 1 deadline.

To be eligible in the Documentary Short Subject category, a film must complete a seven-day commercial run in a theater in either Los Angeles County or in the Borough of Manhattan in New York, between September 1, 2008, and August 31, 2009.

At the 81st Academy Awards this past February, “Smile Pinki” and “Man on Wire” won in the Documentary Short Subject and Documentary Feature categories, respectively.
Additional information about the documentary awards categories may be obtained by contacting assistant awards coordinator:
Michelle Ayala at (310) 247-3000, ext. 117
via e-mail at mayala@oscars.org, or
by visiting http://www.oscars.org/awards/academyawards/rules/rule12.html

The 82nd Academy Awards nominations will be announced on Tuesday, February 2, 2010, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2009 will be presented on Sunday, March 7, 2010, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar® presentation also will be televised live in more than 200 countries worldwide.

-Interviewed By Vivek Kumar

An Interview With CEO Uday Singh

PVR was one of the first off the block when the Multiplex revolution hit India. Their chain in Saket, New Delhi, became not only about going to the movies but also about making it a lifestyle choice. The pundits who had predicted that the cinema would die, were proved very wrong. Suddenly all of India were rsuhing to Multiplexes and certainly PVR was one of the tops amongst those.

Now PVR looks to take the same thought process of offerring to it’s viewers, under it’s umbrella company, PVR Pictures, film products that will take movie production to a different level. Here is what the CEO of PVR Pictures, Uday Singh, has to say:

PVR has changed for the better, the kind of cinema being made via it’s multiplex audience, more independent and different kinds of films are being made, will this thought process also reflect in it’s production?
Over the years, we have witnessed a growing trend in the cinema viewing patterns of our audience and as a result of which today movies are embracing this change. Our content both on the production & distribution front, will offer a wide variety of new genres of movies to the cinema lovers worldwide.

From what I recall PVR started in Saket in Delhi, whereas the film production business is more Mumbai centric, so does that mean PVR might start to do something viewers have always wanted, Delhi centric locals in their films?
Though PVR Ltd is based out of Delhi, the operations of PVR Pictures is managed out of Mumbai. We believe in being a platform to provide entertainment to our audience not bound by any geographical boundaries but purely governed by quality story concepts. If casting Delhi centric locals falls into our story requirements, we will surely look into it.

What prompted PVR to get into the production of films?
India in the past few years has seen entertainment companies like Viacom vertically extend its business in the country to widen its scope of work. After carving a niche with its pioneering efforts through PVR Cinemas in the movie exhibition business, it was only natural that through PVR Pictures which is the movie production & distribution arm of PVR Ltd, we extend our movie business further.

Will the production/distribution be a combined offering for their portfolio of films, or will it be piece meal?
We are currently working on building up a slate of Hindi releases on the production front and once we have a concrete line-up, we shall announce the same shortly. While our distribution is going strong with the increasing quality slate of English and Hindi films,we would like to be known as a quality movie production and distribution house in the country.

What kind of films can we expect from the PVR production team? What are the films that are coming out from the PVR production roster, big budget, star laden, independent, pushing the envelope, or a mix and match?
It is too early for us to confirm any news on this front. Since the past 5-6 months, we have set up a new senior management team at PVR Pictures which is currently busy putting together a slate of films in new genres. We shall announce this slate as soon as we are ready.

What got you into the entertainment business?

I’ve been in this business for more than a decade, so for you to say what got me into the business, is now history. From Sales and Marketing in a traditional corporate set up in 1996 I moved to HMV and was heading that unit for a while and eventually made it here.

So your company Moser Baer, is spearheading the home video and cable movement in India. This has been around in the West, but why the decision to implement this model in India now?

See this is rather simple, we are the second largest blank disc maker in the world, so the economies of scale are always there and a disc can be made by us at a price that not too many people in the world can match. Therefore it has the capacity on one hand and the economies of scale on the other hand. Hence it was a forward integration for us, in a rather obvious way. And forward integration for a product like this in India, there is nothing like Bollywood. We entered the entertainment market a couple of years ago and so far the journey has been quite exciting.

What has been the impact of the global meltdown ?

The problem with the film industry in India, has less to do with the global meltdown or recession, it is more to do with a cost structure that has gone haywire in the last one and a half years. So while the global meltdown and recession have been a contributing factor, it is not the main factor, in the correction that is actually happening in the industry. The other problem is piracy, when you have a product available on Friday morning or Sat morning of the theatrical release then you are losing out on a lot of legitimate revenue. This large scale piracy is also enhancing the suffering of the industry. Hence we need strong enforcement and also we need to explore if the window between a film release and it’s DVD/Cable availability can be shortened. Currently due to the 6 to 8 week window of legitimate disc release, the pirates make use of the window and almost all the revenue is lost. It would be a lot better from a revenue perspective if the legitimate dvd is released within a shorter window of time.

Do you see enforcement increase in the near future against piracy?

The industry has to come together and understand and realize that too much of the revenue is being lost. Revenue upward of Rs 2000 crores is being lost to piracy, currently in the industry. If that revenue is captured you will find this whole business becoming extremely viable.

So let’s talk about your production business. Shaurya was a film which was a “content” film as opposed to a star laden film, is that going to be the future of films coming out of your production house?

I don’t know if I ‘m going to put everything in a compartment. The way I see the business I will make a film in the cost structure that the film deserves. And therefore whether it is small, medium or big is something that is irrelevant. If a big film has a certain capital potential and can get a captive consumer, then we will accept that as our business model and accept that the film will be made in that cost structure. But if the big film is at an unacceptable cost structure then I’d rather not go that route.

Is RoI more important to you than gross revenue?

We are in the business of making money, and if it makes no money for us we have no business being in this business. The cost structure is important, whether a film is small, medium or big, if the cost structure gets me a return, then I will make it. A small film can also loose money like a big film and contrary also earn money, more than a big film, hence I will not compartmentalize my film making process but will be driven by effective cost structures and then it can be any size of film.

Can you talk about the upcoming films from the Moser Baer banner?

We have a film which is releasing in two weeks time, it is called Sankat City, it is the complete opposite of what Shaurya was, which was more content driven and sensible, this one is full of nonsical humor and full of fun and we are not apologetic about it at all. Again going with our philosophy of all kinds of films coming from our company. Another film that is coming out is a political satire and also a humor laden is called Rajdhani Express, followed by a horror genre called Hide N Seek, which will be releasing probably in Dec and in between two more films in Hindi are going to be launched, one is going to be directed by Priyadarshan and the other is going to be directed by Samad Khan, who directed Shaurya. Then we have four film in Tamil, two in Malyalam amongst others.

Any plans for Moser Baer to enter the television industry?

Operationally we are just a 24 month old company, but an entertainment one, so we will look in the future at all the various forms of the entertainment business. Although we would like to stabilize one business and then look at the other one’s.

Moser Baer is already a fairly well known name in Silicon Valley, are there plans for any collaboration between Hollywood and your company?

Of course I would love to. One the one hand we are India’s largest home video company and we would love to collaborate with all the Hollywood studios to have their videos released in India under the Moser Baer label. Then we also have the production business and if any studio wants to have a foothold in India, we would be only to willing to collaborate with them.

What’s your take as far as the Indian audience is concerned, on Video on Demand?

Video on Demand at this stage is relatively small as far as the revenue size is concerned. A lot of the content is available free and no matter where you live, if content is available free, you will not pay to download it. Then we also have the same piracy issue. Why would anyone pay a dollar for a Video on Demand, when the same pirated DVD can be obtained for forty cents, so piracy is hurting everyone.

Interviewed by Arjun Shekri

A little bit about yourself and what got you into UTV and the film business?

Grew up in Mumbai, got my B.Com from Sydenham college, went to Jamnalal Bajaj for my MBA, did a stint with Proctor and Gamble in Brand Management. Moved to Star TV at an interesting time when they were moving from a half Hindi, half English to a full Hindi channel. Worked in Kaun Banega Carorepati at that time, which was the show that really turned the fortunes of Star Plus. Moved to Hong Kong, then Dubai where I looked after the sales and marketing for Star, moved back to Hong Kong, looking after the marketing for Southeast Asia, including China, Taiwan, India. Around 2005 began talking with Ronnie of UTV, was looking to come back to India since I had been out of the country for five years, since I really wanted to be where the action is, also at that time UTV was setting up a central marketing division to look after the movies, television, the entire gamut. I figured that would be a great opportunity with UTV, also having done a summer training stint in UTV I really believed in the vision of UTV. So I figured it would be great to return to India with an organization such as this, came back in 2005 and since then have been with UTV, started off working as a central Marketing Head across the various divisions, moved to the Movies division where I was looking after the revenue as well as the marketing and two years ago came in this position of the CEO for Motion Pictures in UTV.

Having seen some of the earlier films of UTV, at least the one’s that released in the US, like Parineeta and Swades, one got that very positive perception that here was a company that was looking to build a brand for the long term, as opposed to the “let’s get that big hit right now,” approach?

For a new player to come into the market and create some sort of a mark, it was essential to pick the right products, projects and scripts, to ensure that the branding was right, of course with commercial considerations too. Hence it was a joint call between the pedigree of the filmmaker and the commercial aspect.

Long before foreign tie up’s became a norm, UTV had already made the leap of faith with Hollywood. Talk to us about the thought process that brought this about and also how are you coping with the current global economic meltdown?

Yes that is true that we were the first to get into Hollywood. We had a good relationship with Fox and Fox Searchlight and when it came to the Namesake, which was our first co production, Mira Nair and Ronnie Screwalla had a great personal equation and they had wanted to work together for a long time. When we learned that she was going to be making a film out of Namesake, which is a fabulous book, that’s something we went after from the get go before she approached the studio and then we sort of approached the studio together , that is Searchlight since they fitted the profile of the film, so really it started from the filmmaker as opposed to the studio. Once the relationship was established with Searchlight with films like The Namesake and I love My Wife, then in the case of Happening again, it was the relationship with the filmmaker, M. Night, that got the project going, we had wanted to work with him for a long time, went with him to the studios and that is how that project took off. So it has been a combination of the strong relationship we have with the studios and the strong relationship we have established with the filmmaker. At this time, though, we are really focusing on the local language slate, the Hindi language that is, of course while looking from time to time, with movies from the West.

As far as the global meltdown is concerned, sure, liquidity has been hit. In the last couple of the years of the industry, India was going through a bit of a bubble phase. The global meltdown as you are calling it, actually has resulted in things getting a little more sane now. The industry has been forced to get it’s act together, become more lean, bring down the costs and become more discerning about the number of movies that come out in the industry

What’s upcoming from UTV?

A whole lot of films, different genres, established directors, rank newcomers. The movies include, Kaminey, Main Aur Mrs Khanna, Agyaat, Aage Se Right, Yahoo, Paan Singh Tomar, Hook Ya Crook, Season’s Greeting, What’s Your Raashee, Peter Gaya Kaam Se, Alibaba Aur 41 Chor, Film City, Shoebite, Delhi Belly, Arjun the Warrior Prince amongst others.

UTV Spotboy has been like a breadth of fresh air with movies like Aamir, which were more R o I driven as opposed to Gross Revenue, and they did commercially very well too. It was almost like a Fox Searchlight for the Indian cinema?

As far as the UTV Spotboy brand is concerned we have been considering it for a long time. We want to focus on movies that are on the cutting edge. Movies that might not have been screened in the past, but today you have an audience for them and therefore deserved to be made and also deserved to be marketed and distributed in the right manner, as well. In UTV Spotboy that really is the formula that we are working towards and with which we have found some success with, in the last year. To focus on new directors, new scripts, new ways of telling stories and also be able to promote those movies in such a way as to get a mass audience to come and watch them and therefore make it a commercially viable proposition.

In India we have had the studio model, with Mehboob, etc, then we went independent, now the studios seem to be back. What’s your take on where the future is headed, more studio, more independent, or somewhere in between?

I feel as far as production is concerned, you are always going to have independents out there. Studios will be into production, but will also depend on the creative individuals, who have a track record and a pulse of the audience and there are a lot of individual producers in that category, who I don’t think are going anywhere. As far as the distribution is concerned I do believe, there will be a consolidation that will happen, actually has already occurred. The larger distributors are going to be the one’s with the global releases and the bulk of the revenue is going to be coming out of them. Already you have Eros, Yashraj, Studio 18, UTV, and these four studios account for quite a large percentage of the revenue. So you will still have a lot of individual producers making movies, who will probably go to one of the larger distributors, to distribute their movies.