Deconstruc*on

of an Image

Compara*ve Analysis of Budget

and Business of
Big Bollywood Budget Movies and
Low Budget Movies

Big-budget Bollywood Films

1) Ra.One (2011)
Budget 1.25 billion (US$20 million)
Box oce 2.4 billion (US$39 million)

2) Dabangg (2010)
Budget 420 million (US$6.8 million)
Box oce 2.15 billion (US$35 million)

3) Krrish (2006)
Budget 450 million (US$7.3 million)
Box oce 1.17 billion (US$19 million)

Low-budget Bollywood Films

1) Lunchbox (2013)
Budget 1 crore
(US$160,000)
Box oce 67.47 crore (US$11 million)

2) Kahaani (2012)
Budget 80 million (US$1.3 million)
Box oce 1.04 billion (US$17 million)
(worldwide gross)


3) Vicky Donor (2012)
Budget 50 million (US$810,000)
Box oce 645.0 million (US$10 million)

4) Pyaar Ka Punchnama (2011)
Budget 70 million (US$1.1 million)
Box oce 120 million (US$1.9 million)
(domes@c neA. Gross)

5) No one killed Jessica (2011)
Budget 90 million (US$1.5 million)
Box oce 580 million (US$9.4 million)


6) Dhobi Ghat (2011)
Budget 100 million (US$1.6 million)[3]
Box oce 140 million (US$2.3 million)
(2 Week NeA Gross)

7) Tere Bin Laden (2010)
Budget 58 million (US$940,000)[1]
Box oce 150 million (US$2.4 million)

8) Paan Singh Tomar (2010)
Budget 80 million (US$1.3 million)
Box oce 384 million (US$6.2 million)

9) Peepli Live (2010)
Budget

100 million (US$1.6 million)[1]
Box oce 402.5 million (US$6.5 million)
(domes@c gross)

10) Taare Zameen par (2007)
Budget 120 million (US$1.9 million)
Box oce 881 million (US$14 million)

11) Monsoon Wedding (2001)
Budget US$1,200,000
Box oce US$30,787,356

Pakistani Movies Budget

and Business

Pakistani Movies Budget and Business

1) Waar (2013)
Budget Rs 17 crore (US$1.6 million)
Box oce Rs 23 crore (US$2.2 million)

2) Chambaili (2013)
Budget
Rs 12 million (US$110,000)
Box oce Rs 20 million (US$190,000)

3) Zinda Bhaag (2013)
Box oce Rs 7.5 million (US$70,000) rst week from Pakistan
Rs 20 million (US$190,000) total gross from Pakistan

4) B ol (2011)
Budget PKR 200,000,00
Box oce PKR 940,000,00

5) Khuda Ke Liye (2007)
Budget Rs 3.8 million
Box oce Rs 20 million (US$0.2 million)

6) Chooriyan (1998)
Budget Rs 3.8 million
Box oce Rs 20 million (US $0.2 million)

Overview of Hollywood
Big & Low Budget Movies

Overview of Hollywood Big & Low Budget Movies

3 ACT LECTURE

1- pre. Collabora@on with writers. Producers. Financing. Story. And

how to survive the new post waar scenario. What is a hit. The
pressure comes from the exhibitor to the story writer.

The irony game. End ppl tell the star@ng ppl what to make so they
make good money as they keep 50% of the chunk.

Item number is inserted in prep. Stories r molded for end chunk.
Even if u dont want to it might send shock waves from end to the


front.

Indian top lms r copied stories. HNY bang bang. This year all copy.

Easy come and loaded go.

2- Produc@on: irony works here too. Basically they end up dicta@ng

the story he shots. The bang bang image we must get so they make
money. The women angle. The sleaze the low end is the new top
end.

India is stuck in sleaze. Item numbers everyone is doing. Gang rape is
increasing. Why cuz item number preps it.

3- post real game starts here. The end game where we loose it all


and it goes to someone else and they molest it or not. Destroy it or
do wonders with it.

Capri bambino shit. They have the ul@mate power? HNY didnt go to
Capri. They not the ul@mate power.

Vimeo. Self distribu@on. Is the new game. Big game.

Sam Mendess 25 Rules for Directors

1. Always choose good collaborators. It seems so obvious, but the best

collaborators are the ones who disagree with you. It means theyre passionate,
they have opinions, and theyll only ever say yes if they mean it.

2. Try to learn how to make the familiar strange, and the strange familiar. Direct
Shakespeare like its a new play, and treat every new play as if its Shakespeare.

3. If you have the chance, please work with Dame Judi Dench.

4. Learn to say, I dont know the answer. It could be the beginning of a very good
days rehearsal.



5. Go to the ancient amphitheater at Epidaurus, in Greece. It makes you realize
what you are a part of, and it will change the way you look at the world. If youre
an ar@st, you will feel central, and you will never feel peripheral again.

6. Avoid, please, all metaphors of plays or lms as pinnacles or peaks; treat
with absolute scorn the word deni@ve; and if anyone uses the word
masterpiece, they dont know what theyre doing. The pursuit of perfec@on is a
mugs game.

7. If you are doing a play or a lm, you have to have a secret way in if you are
direc@ng it. Some@mes its big things. American Beauty, for me, was about my
adolescence. Road to Perdi@on was about my childhood. Skyfall was about middle-
age and mortality. Some@mes its small things. Maybe its just a simple idea. What if
we do the whole thing in the nightclub, for example. But its not enough just to
admire a script, you have to have a way in that is yours, and yours alone.

8. Condence is essen@al, but ego is not.

9. Theater is the writers medium and the actors medium; the director comes a
distant third. If you want a proper ego trip, direct movies.



10. Buy a good set of blinkers. Do not read reviews. Its enough to know whether
theyre good or theyre bad. When I started, ar@sts vastly outnumbered
commentators, and now, there are a thousand published public opinions for every
work of art. However strong you are, condence is essen@al to what you do, and
condence is a fragile thing. Protect it. As T.S. Eliot says, teach us to care, and not to
care.

11. Run a theater. A play is temporary, a building is permanent. So try to create
something that stays behind and will be used and loved by others.

12. You are never too old to learn something new, as I was reminded when I learned
to ski with my 10-year-old son. He, of course, did it in about 10 minutes, and I spent
four days slaloming up and down, looking like a complete @t. But, dont be scared of
feeling like a complete @t. Its an essen@al part of the learning process.

13. There is no right and wrong, there is only interes@ng, and less interes@ng.

14. Pain@ngs, novels, poetry, music are all superior art forms. But theater and lm
can steal from all of them.

15. There are no such things as previews on Broadway.



16. Peter Brook said, The journey is the des@na@on. Do not think of product, or,
god forbid, audience response. Think only of discovery and process. One of my
favorite quotes from HamletPolonius: By indirec@ons nd the direc@ons out.

17. Learn when to shut up. Im s@ll working on this one.

18. When you have a cast of 20, this means you have 20 other imagina@ons in the
room with you. Use them.

19. Please remember the Oscars are a TV show.

20. Get on with it. Robert Frost said, Tell everything a liAle faster. He wasnt wrong.

21. The second produc@on of a musical is always beAer than the rst.

22. Learn to accept the blame for everything. If the script was poor, you didnt work
hard enough with the writer. If the actors failed, you failed them. If the sets, the
ligh@ng, the poster, the costumes are wrong, you gave them the thumbs-up. So build
up your shoulders, they need to be broad.

23. On screen, your hero can blow away 500 bad guys, but if he smokes one fucking
cigareAe, youre in deep shit.



24. Always have an alterna@ve career planned out. Mine is a cricket commentator.
You will never do this career, but it might help you get to sleep at night.

25. Never, ever, ever forget how lucky you are to do something that you love.