Category Archives: Uncategorized

‘Roja Muthiah Research Library ‘ needs your help.. Please donate generously.. 🙏

Copy-pasting the message which I wrote and shared on WhatsApp. I hope this message reaches many people and this some how benefits the library and therefore, researchers and the general public. God bless.

Dear Sir/madam and my dear friends , at various points in our lives, millions of people in the world and organizations need support, but at some point in our lives, we may have made small financial help, if they connected with us in ‘some personal way’.

In my own life, I have made small contributions to Wikipedia, and small personal contributions to some people.

Many of you know that I am been involved in working with several Archival institutions and libraries for a few years now. I have also made my small contributions, where ever possible.

Today. I am making a personal request on behalf of the largest private archive which holds millions of primary source documents related to Tamil history, culture, political studies, art and cinema. Thousands of scholars have worked here and contributed to human knowledge, mainly because this institution provides free access of well preserved information, thanks to a few donors. God bless them.

I am not requesting you to make a contribution for this library, because I understand, that there may not be a ‘connect’ here for most of you. But let’s put it this way. If any of you and your family came over to my house, I will gladly host you and provide whatever hospitality I could. I believe that if I dropped in to your homes, I and my family would atleast get a cup of coffee and some snacks from each of you. If you feel the way, I am thinking, I request you to make a small donation to this library, no matter how small the amount. For me, this institution is as important as the Archival excavations of ‘Keezhadi’. Every small contribution goes a long way in contributing to the தமிழ் language, it’s history and culture and continues to make available resources for free, to researchers and the common public, like us. Please contribute generously. Thank you. 🙏- Sugeeth Krishnamoorthy.
The library is currently struggling financially, so i request you to contribute whatever you can and also share the message with your friends and family members. Bank details of the library can be seen in the blue poster. Thank you –


Challenges of researching /writing about the ‘Silent film era’ in South India

In the early 80’s S.Theodore Baskaran wrote and published ‘THE MESSAGE BEARERS’. Close to 40 years later, this book continues to possibly be the only thoroughly researched book that speaks of the cultural space that existed in Tamilnadu ( all regions and presidencies/individual princely states that encompasses Tamil speaking folk in the pre-Independence era). The two other books that are also generally referred to are the ones – ‘STAR LIGHT – STAR BRIGHT’ by Randor Guy, and ‘Thamizh Cinemavin Kathai’ written by Aranthai Narayanan (Narayanan touches the whole history of Tamil cinema, and also includes a chapter touching upon the Silent Film Era). These latter two books although largely informative and equally recommendable, however do not have much of ‘index based Footnotes/primary source reference’ to specific views claimed by the author and therefore the reliability of the printed text, is therefore questionable. Hundreds of books have probably been written on Thamizh cinema since then, but most, if not all – begin from the period of the Talkies, onward. Kalidas is the starting point, for most of these books.
With the debate of the 100th year of Tamil cinema continuing, very recently, Prof.Vel Murugan has written a book, focussing almost exclusively on the Silent Film Era. Titled ‘Tamil Thiraipada Nootrandu 2018’, Vel Murugan makes the claim that ‘Keechaka Vatham’ was not released in the year 2016. Murugan has also worked on ‘THE HINDU’ Archives (This author has also had the privilege of working with the same) , and picks out and reproduces several rare print articles that touch upon various films which include ‘Nataraja Mudaliar’s articles’, ‘Balan – The First Malayalam talkie Film’, JC Daniel’s Vigathakumaran, the copyright case surrounding the only surviving silent film made in South India – Raja Marthanda Varma etc. It is a truely commendable job, and most definitely warrants a read. ( I have now started reading this book, and it looks very interesting. I don’t seem to find any direct documents that support Vel Murugan’s claim of ‘Keechaka Vatham’ releasing in the year 1918. Maybe, by the time, I finish the book, I would have a better understanding.)
A few months ago, film maker – Ajayan Bala, also has told me, that he is also currently written a book on the ‘Silent Film Era’, which is due for release, quite soon.
Off course, the work of scholar – Stephen Hughes in this space is legendary, and unmatched. But then, who else? Film Producer G.Dhananjayan, winner of two national awards, and author of two books, too starts only from “Kalidas 1931”.

TIMES OF INDIA’ Database not available for Individual Researchers. Institutions can license it for 4,000 dollars to 25,000 dollars, onward.

So, what makes research around the ‘Silent Film Era’ in Tamilnadu so challenging? Considering that millions of copies of (100-200) Rupee books pour out each year on various facets of Tamil cinema along the ages, why is so little work done on this very interesting space of ‘The Silents’? Based on the little time that i have spent and been compiling information in this zone, here are some of my views.
  1. Lack of information – There is a sheer paucity of ‘film related information’ which was printed even then in that era (1900-1930), because it was not considered as a break through and socially balancing form of entertainment by the intelligentsia of its time. More over, it was considered a morally degradable form of entertainment at that time.
  2. Survivability : Most of the print institutions which issued advertisements or wrote articles in the early 1900’s to the 1930’s have shut down. Millions of articles printed back then, have not withstood the sands of time. A substantial amount of film advertisements were issued on disposable ‘paper pamphlets’, and since there is no centralized organization to store/tag these documents, they have been lost.
  3. Priorities: Most importantly, the concept of ‘Preservation/Archiving’ was never and allocation of resources to that goal, has never been given the priority by either the governments of the past, or the present.
  4. Lack of access –
    1. Even with whatever information of that period that has survived, it continues to be difficult to access. Digital copies of ‘The Madras Mail’/’The Times of India’ can be accessed by students of specific universities ( Universities buy subscriptions, which translate into money). Freelance writers are denied access to these Digital Databases, on the grounds that they are not university students, irrespective of their interests in this space. The ‘access fee’ to such databases is also obscenely expensive. For e.g. Access to ‘THE TIMES OF INDIA’ archives can be availed for 25,000 dollars.
    2. ‘THE HINDU’, Madras is much better in this regard. If you sent a formal email to the HINDU Library, and mail them, the requirement, researchers can avail some sort of ‘restricted access’, through Digital Technology and OCR. The library Staff at the Hindu, run your ‘search words’ through their computers, and pull out results that appears, and provide them to you, in a separate computer. But OCR can miss many searches which can be found through manual search. For eg. The O.C.R at The Hindu Archives did not pick up two advertisements of the ‘General Pictures Corporation’ (1930)  and M.U.A.C (1938 – Talkie Era) ads). Researchers if provided ‘direct access’, can manually scour through nook and corner of the paper, but direct access to the archives is currently denied. In the circumstances, this is a very useful bet for researchers.
  5. Cost of access – The cost of access is exorbitantly expensive. (Hindu Archives licensing cost / TOI online database etc). There is no mass scale market for writers that can justify such huge access costs and therfore this can only lead to substandard forms of research, because the researchers wishes to carefully use the funds allocated to them. In case for freelance writers / writers who wish to publish under Creative Commons etc, the chances of obtaining access to such info is virtually null.
  6. Naming terminology – Since Silent films were made in different languages, different names were used. Mapping the local name to the other language names and filtering them out is a very difficult task. For eg.
    1. There is an article of 1920, discovered by this author, which speaks of ‘India Film company’ of Madras showing a film called ‘Keechak Badh’. From our available information, we can understand that this was Tamil cinema’s first film ‘Keechaka Vatham’, which was retitled (possibly in Bengali / Hindi /English) and screened in Calcutta a few years later.
    2. Associated Films made a film called ‘Virgin Valley’, this can be easily translated into the popular colloquial story ‘Kanni Theevu’, which would likely have been the original Tamil name, for the film. It also made another film called ‘Untouchability’. Is this film ‘Nandhanaar’? We can’t ve sure, since there may have been some other colloquial social story based on a similar theme. More over, in the list provided by Theodore Baskaran in his book, Baskaran provided another English name for ‘Nandhanaar’ as (Nandanaar or elevation of the downtrodden). So how does one verify what the actual Tamil name of the film ‘Untouchability’ was?
  7. No sources to cross verify information – Unlike info of the talkie era, which can be cross verified, it is difficult to cross verify any new information, if any which is found on silent era, the reason being that even primary sources themselves make mistakes. For.
    1. Eg in 1921, the Hindu speaks of a film called ‘Mahabharatha’ which was banned in Madura, without mentioning the name of the film’s ‘Director’ or the ‘Studio/production company’ which made the film. However in reading the details of the article, discussions ( with Bhaskarendra Ramineni) and matching the dates, we realise that the film was not titled ‘Mahabharatha’, but the film ‘Bhaktha Vidur’ made by Kanji bhai rathod. (Or alternatively, ‘Bhaktha Vidur’ could have been renamed as ‘Mahabharatha’ when it was shown in Madura).
    2. If we found an image from the Silent film era  and someone claimed it was of a particular film, there is very little chance of cross verifying that information, because obtaining a secondary source article to match that primary article is indeed very difficult.

Roja Muthiah Research Library – ‘The Cultural Temple’ of our times.

Roja Muthiah is truly a cultural temple of our times. It has seen and blessed countless historians, researchers, archivists, film activists and the public, in their quest for knowledge. But what makes Roja Muthiah library, different from other libraries? Unlike other static libraries which can be encountered over the state, Roja Muthiah is one of the few libraries, that have attempted to stay relevant to the times. In a ‘time-tight’ era, where every second is gold, Roja Muthiah offers an ‘online catalogue search’ of its entire book and periodical index, that can help Researchers and knowledge seekers, gain access to the content on offer, and plan their research schedules accordingly.

An ever helpful staff, help researchers and the public access the local catalogue, within the premises of the library. The reading rooms are also quite spacious, with well maintained water drinking facilities and clean toilets. There are also administrative rooms and Library stacks, where entry is restricted only to the staff. There are not many refreshments/eateries surrounding Roja Muthiah Library, but In the first floor of the library, is an open terrace lunch room, where researchers may also take their lunch. The catalogue of Roja Muthiah Library is clearly the big differentiator. No private library that i know off, has such a large database of books and periodicals, well indexed and searchable on computer, thereby saving time for both researchers and the staff who help bring out the books. The material is also very well preserved, and every bit of energy is spent to continue to preserve the quality of the books, for future users.


(RMRL Banner Link –

Users are generally not allowed to take photographs within the premises, but to the best of my knowledge, there are no restrictions for users to read any book on the catalogue. There are also a few huge stacks of books of general interest, on display in the main hall, although the bulk of the materials, periodicals especially, are restricted to public use and are brought out by the staff, on request of the user. Another aspect of what is truly appreciable is that, Roja Muthiah library has also started digitizing some of the material in its collection with the help of a few generous donors. Priceless material like the ‘Cinema Ulagam’ series of the 30’s by the legendary P.S.Chettiar have been digitized and users can access them from the on-room digital computer. Also, other digitized material, include a few volumes of Director Sridhar’s Chitralaya magazine. The entire list of digitized magazines can be found out from RMRL.

Roja Muthiah Library has availed funds from British Library to scan and upload several rare magazines of its collection. These digitized books can be viewed online courtesy the British Library’s ‘Endangered Archives Program’ and these digitized periodicals are now accessible to the general public, from anywhere. The digitized magazines can be viewed in the designated ‘Roja Muthiah Research Library’ collection, in the British Library website. It is an effort that truly needs to be appreciated, because this effort allows researchers savings of ‘precious time to travel’, and can now access the material at any time, at a place of their choosing.

(Link to RMRL collection at British Endangered Archives –

I have worked in several archival institutions/libraries, including the National Film Archives of India, Pune, but few institutions are genuinely modern by nature. Either, they are very restrictive in sharing information, or the information is not properly catalogued/maintained/indexed and therefore becomes a mess, leading to misplaced material, and disappointment for the reader. In that sense, RMRL does a phenomenal job. Sure, there may be some shortcomings, but when seen holistically, and from a financial point of view especially, RMRL does a very fine job, indeed.

I had the opportunity to interact with Sundar Ganesan Sir at Roja Muthiah library yesterday and appreciated him wholeheartedly for the efforts of RMRL. A substantial portion of the research for my documentary film – ‘THE MISSING FILM REELS OF TAMIL CINEMA’, came from RMRL, and i had gone to thank him, for that. I appreciated his works, and he reciprocated, in kind. I expressed my desire that the scale of activities in the digital and internet space of RMRL needs to be raised, which led to two pertinent questions from him – If everything goes digital, what happens to the physical need of an institution?’ It is an important question, of which time may give the answer. But institutions that don’t choose to go digital, in the fear of losing the ‘physical presence’ of their readers, are going to decay. Virtualization and institutions like the ‘Internet Archive’ are clearly the future. We can already see this happening, and the conveniences that they bring like ‘Digital Interaction with other Note taking/Research Applications’, ‘speed of search’, ‘OCR’ etc, cannot be done by a physical library. Sure, Books have a fine smell and texture – all that is fine, but Digital does not decay or become brittle.

The other important aspect that Sundar Sir spoke about was funds. This is but a natural need, for such an organization. Surely, the cash rich film industry of Kollywood won’t help. They will brow beat and lavishly spend for over-hyped personalities with a cult following, but a genuine culture should be focussed more on the ‘society’ than the ‘individual’. So, i make a small appeal to film researchers, historians, students and all those who have benefitted from a genuinely important cultural organization like RMRL, to do their bit, and contribute what they can.

On signing off, i asked Sundar Sir, a question. ‘If books (in-copyright) are digitized and shown online, won’t there be a copyright problem?’, to which he replied ‘There won’t be a problem, if a rotational loaning mechanism is setup’. ( also offers a similar service for select titles). Clearly, Roja Muthiah is in sync with the times. Older institutions like the ‘National Film Archives of India’, need to learn a lot from RMRL. – Sugeeth Krishnamoorthy.

TFPC and its relentless Pursuit of ‘TamilRockers’

When Vishal fought his way to power, few years ago at the TFPC, few people expected him to generate serious results in the ‘antipiracy’ front, beyond seeking momentary PR for his upcoming films. But that might soon change.

Under his leadership, a special young AntiPiracy team was setup, which has been relentlessly pursuing Tamilrockers, and various other Piracy web domains. Hundreds of domains have been blocked ( with Pirate Websites forced to hop to the next domain) and revenue streams have been cut off. While tangible alternatives have been found at the moment for the Piracy websites, invariably, the noose is invariably tightening, and that might just be a game changer here – a serious one that could solve a problem of over 2 decades for the film and entertainment industry.

The consistent persistence and determination of the TFPC’s Antipiracy council has helped it earn a special reputation over the years. Last week, the TFPC announced that it had obtained ‘admin-deletion’ rights for a couple of cyber locker websites, giving them the power to delete content immediately. But the latest news of the council’s work being recognized by the Central Government creates an opportunity for them to directly ‘lobby’ for their interests and provide tools for instant ‘take-down’, by passing traditional take down steps, distributed across multiple online agencies could be a serious game changer, and if the TFPC has come so far, then it is very much possible that this will happen.


, if this happens, it will be a serious precedent, in a sense that rights groups are going to oppose the passing of take down rights ( which are very legitimate in this case, when seen from the case of Anti Piracy agencies and the film makers), but copyright holders have also been known to abuse take-down rights for perfectly legitimate cases, to cover up some of their own deficiencies.


But that power in the hands of an agency like the TFPC, could change the piracy eco system totally. It may not eradicate piracy totally, but the flagship Piracy Mascot ‘TamilRockers’ which up and until now has proved to be a serious pain the neck for the film makers, is known to rely only a centralized URL based system, could be gone for ever.

And that itself, would be a mega mega success for the film industry. If that happens, Producer Gnanavel Raja would have the last laugh.

TFPC Antipiracy – Harnessing fan support for Kaala..

Since yesterday, TFPC claims that around 6000 links have been removed, which itself is a tremendous effort. 👏👏👏

It also appears to be taking the help of Copyright media, which has been an independent antipiracy management organization for quite some time and also

Harnessing the power of die hard fans/fan organizations so far is unique, and it is a good step ahead. (But apart from Rajini/Kamal, is something like this possible in today’s world, i wonder?)

The scale of this gargantuan effort is unthinkable for any other actor / movie, but sadly just searching 🔎 around for just 2 minutes with big ‘G’ baba and a working link is appearing.

If this scale of effort has been done for some other film, I guess it would have a substantial effort in removing illegal links, but for a film of Rajini’s scale, links will simply keep appearing. Some of yesterday’s links will be gone today, and today’s new links will be gone tomorrow, but they will keep coming.

Interestingly most of the new films are tying up with providers like Amazon prime and start appearing in less than a month, legally. Several films are broadcast on TV in less than 2 or 3 months, yet the Internet has created a situation where millions of users don’t want to pay for such services or wait so long. Beyond this, what can the film industry do?

Instant Arrest – Wishes for Vishal and TFPC – But ‘Kaala’ is still out there..

As the world and millions of Super Star Rajini fans gear out to celebrate the release of his latest film Kaala, a small story is playing out in the background.

Yesterday, the PR agency for Vishal, the Antipiracy cell of the TFPC proudly announced the instant capture of an individual who was illegally live streaming Kaala on Facebook. Following this, as usual, there have been a few publicity activities, built on Vishal’s efficiency in capturing pirates etc.

But a peep into the TR website still shows that Kaala is available, even before the first formal show release in India. So, what’s the point of all this, totally baffles me? Are people even bothered about the ‘odd’ individual who gets caught? Beyond a few URL seizures/blocks and the arrest of a few individuals has there been any meaningful progress to the initiative ve ? The film is out there, and that’s what should really matter, and not that the TFPC got an individual arrested. The day, the TFPC ensures that a new film release does not get uploaded online in any website /torrent for one full day atleast with ‘zero’ , is when it can hold its head high and say that Vishal and his team have truly succeeded. But is this even meaningfully possibly in a world where every one has recording devices and instant access to the Internet? Technology is several stacked against the film industry which for decades has enjoyed the benefits of the centralised top-down copyright industry. But now things are different.

All of these activities from the TFPC in my opinion are possibly geared to only raising the profile of its leader, Vishal.

With regard to the arrest, forget the ‘odd’ guy. There have been several such instances in the past. Do the public even remember all that? How long will media sustain this news? Few hours, 1-2 days at most. Has the TFPC addressed/audited the loopholes in its own legitimate chain, right from the point of censorship to the storage of films, to the point where they are transmitted through a DSP to theatres? The Vox article on Tamilrockers made several stark allegations, of moles and purposeful leaks from within the industry itself.

In a decentralised internet world, TR could very well be directly and indirectly, supported by millions of individuals. Mere URL blocking can never serve as a permanent solution to this problem. More importantly, with the emergence of small budgeted ‘web series’ and the thriving rise of social media as a preferred engagement medium of choice, the film industry as a whole needs to assess its own future, if it can even survive in traditional forms, going into the future.

TR and piracy may have a strong role in the industry’s downfall, a few decades from now, but legitimate entertainment forms will have a much larger role.

Audio Interview – Venkatesh Kumar.G

Venkatesh Kumar.G is a film maker, who primarily makes films, by focussing on ‘social’ issues. Apart from his feature films Unakkul Naan, Lightman, and Neelam, he has also made several short films. He is also involved in the creation and functioning of a new administrative body, which he believes will cater to the needs of small film makers, especially with regard to sorting out challenges with regard to the tedious Censor Certificate and the ‘Film Name Registration Processes’.

A victim of ‘pre-release’ piracy himself, a topic that we deal quite frequently on this blog  – Venkatesh was kind enough to provide me with audio responses to several questions which i had put forward to him over email, questions that involved his own work and also to several issues surrounding the film industry. Thank you, Venkatesh Sir.

Additional Reading :

Questions :

1. There are people who make commercial films, artistic ones and some even neo-realistic ones? But do you set out consciously to make ‘socially’ relavant films in a docu-drama style? Are you comfortable with this sort of presentation or is this just my impression? Do you bring this thought process of ‘social equality’ and ‘sustenance’ etc to actions in your real life?
2. Your pulling together some of the issues of the marginalized in society? Fishermen’s problems, alcoholism, Manual scavenging, Begging etc? As part of being in society, we are all aware and even consciously choose to ignore these issues, sadly. However, while seeing some of your short films, (barring the neurons), i could not get a sense of seeing anything new or to linger in my heart. I really get the feeling that if you wanted to do make a film ( although it is a short and may have budget issues), in depth issue in research was lacking, and there was nothing new . How do you react to this?
3. Bharathi – Jayakanthan – How important are these names in the times that we live in today?
4. Typically, the people who are involved in making art films have sheer contempt for main stream commercial films. ( I am trying to extrapolate this to your belief through a dialogue in one of your films – LightMan, although i am not sure of your own views here). Barring the state of Bengal and to some extent Kerala, the situation remains near same through out the nation. It could have a political logic in both of them being states with leftist rule, but how do you read into this? Your views?
5. How important are short films to an aspiring film maker’s resume these days? Millions of videos are being uploaded each second – so how do you weigh in the ‘visibility’ and ‘revenue earning’ factor for short films? Apart from Youtube, there are solutions like Karthik Subbaraj’s business model. Can you tell us a bit about how you see the situation?
6. You leave lots of space for music in your films. This is a good thought, but sometimes, lack of drama and placing music over it for too long can become over kill. I think the theatre scene in Lightman has a score for over 10 minutes. I really felt that even if you had the music running, the boy should have been doing something else, but the idea keeps recurring that he is glued to the screen in awe, but beyond that, somehow, i felt it a bit of a drag. Your views?
7. NFDC – Lightman relationship? can you tell us a bit?
8. If my memory goes right, one of your films was to be made by Jayakanthan’s works. – Your views on his work and the film to be made?
9. Have you seen past works of Jayakanthan’s which were adapted into film? It is so hard to get a copy of these films. Barring ‘Sila Nerangalil Sila Manithargal’ and ‘Oru Nadigai Nadagam Parkiral’? Several other titles made by JK himself and even Lenin are hard to find? – Your views?
10. I understand that you have made 2 main stream films and the third one is yet to release. Please correct me if i am wrong. Your first film Lightman – Was this film operationally profitable? What were the current revenue streams available to a film maker and which were the ones you chose to invest?
11. I empathise that your film ‘LightMan’ was a victim of pre-release piracy. It is indeed a very sensitive subject and the likes of such people are hardly shown. My question is – the kind of films that you make are typically off-beat ones, which in a sense are not expected to really bring public in masses. This has been the same, right from the days when JK made Unnaipol Oruvan. Several leftist neo-real films made in the 70’s also were not operationally proftable. So, in that sense, does pre-release piracy have a serious financial impact in this case? What were the immediate outcomes of the pre-release piracy to your film? Also, what is the state of the light men given. That the film. Industry has shut down for over a month now?
12. Unlike the case of post-release piracy, in which almost happens for every film, pre-release piracy has been happening on and off. Accusations have come that prints were leaked from the Censors, from the Theatres, manufacturing and transit, some even the DSP’s – This is supposed to be a legal system. The recent article on Tamilrockers by Vox also makes dramatic claims that rats and ‘jealous competition’  are very much part of the system and they have been source beds and direct agents for pirate sites. Isn’t there any legal protection in these channels for film makers? Has anyone exercised this right by going to court and getting damages? ( I know it is rather far fetched in the Indian system, but atleast to be symbolic).
13. Your views on the functioning of the TFPC under Vishal? Does this functioning help the small film maker? How was it under the previous group? In the political controversy, Did the alternate group under Cheran communicate with you regarding your branch off? Do you see this as a political stunt or do you think there is a genuineness in Cherans opposing Vishal?
14. Does a small budget film’s success weigh strongly based on its producer/ distributor like – Is there a possibility of Kaaka Muttai ( Dhanush/Vetrimaaran) or Aruvi ( Produced S.R.Prabu) doing much better and getting better visibility than say a film like Kuttram Kadithal, which lay in the cans for 1.5 years before a release? ( Incidentally both Kaaka Muttai and Kuttram Kadithal won National Awards that year). Does this go very much against small budget films without big banner backup names? Or alternatively does ‘Nature of Content’ determine ‘commercial success’? ( Films which pack entertaining elements Vs film makers who don’t compromise for commercial add-ons?)
15. I see piracy as a short term threat. In my view, cinema as we see it, itself cannot remain for long. We are entering times, where newer engagement forms are coming up. Shorter films with no songs. Several films are being choreographed without fights. We are also seeing a lot of web series being made exclusively for the VOD market. In such circuyumstances, what happens to the light men and other technicians as these film makers dont have the luxury of big budgets. Unionism will protect them only so far, but when technology and the medium itself changes, how will they adapt themselves, are they aware of what is coming? Or maybe, you think that i am incorrect? your views?
16. You have been associated with a Russian collaboration for making your film? Can you tell us a bit about this? Is this in any way connected to your own personal political views?
17. Please correct me if i am wrong, You were trying to build a smaller kind of ‘Producers rights body’, for smaller producers, and those that did not have their grievenaces addressed could get in touch with this body. I hope i am right. If that be true, how would get other business partners in the ecosystem to communicate with you and establish your authority. Would a small body be able to handle the kind of chaos that’s been happening in the last one month.
Your views on the TFPC – DSP – Theatre issue which has been simmering for a month.
18. Apparently, one tweet from a reputed producer said that he would restrict his films to 100 screens to support smaller films. I don’t know if it was an official resilution passed by the TFPC. Do you have any idea of this? If this is true, do you think this would be complied or would rules be bent for the bigger films?