By Pradnya Gaonkar

On the day the Goa Scheme for Financial Assistance was announced, filmmakers complained that only a select few will benefit.

THE GOA Scheme for Financial Assistance for films, which was only just re-launched on April 28, 2010, is already under controversy due to the lack of co-ordination between the Directorate of Information and the Entertainment Society of Goa. Many did not attend the function as the organisers ‘forgot’ to invite some of the members, including those in the scheme drafting committee. Even after the long wait and revision of the scheme, filmmakers don’t seem too happy. While speaking to the filmmakers on the occasion, they told GO that the scheme appears to be drafted keeping in mind only a handful of filmmakers, who are already on the ‘favourite list’ of officials in the Entertainment Society of Goa. These are the same filmmakers who have not made any technically rich and quality films, but have been able to establish their monopoly over the developing film culture in the state thanks to the political patronage they enjoy.

In the eligibility criteria, it has been made clear that directors and producers who apply for the scheme should be born in Goa or have 15 years domicile in the state. “There are hardly two to three directors who have been able to create moderate films without much technical quality. Also the newcomers are not exposed to a film culture in Goa. In such a situation, if one puts such clauses of origin, then it will be difficult to create quality films on par with the competitive film industry,” opines line producer Shiva Naik, who has been playing a key role in bringing in national and international filmmakers to the state in search of locations and technical assistance. His film Ringa Ringa was screened at the recent International Film Festival of India 2009. He believes that the clause for the producer to be of Goan origin is fine as it has to predominantly look into financial affairs. But the director, who is the captain of the ship, has to be experienced and technically well versed with filmmaking to create a quality product.

EXPERIENCE MUST

IN Goa, we are still in the initial stage where experience is a must and is possible to gain when exposed to the actual process involved in filmmaking. We don’t get to see it much in Goa. Pramod Salgaonkar, one of the committee members to draft the Goa Scheme for Financial Assistance for Films, agreed that there is a need to create technically good films. “I myself did a Marathi film and felt the need of an assistant director to help me. But, at the same time, we should also consider that when we make Goan films we need a native to depict the local culture in the true sense,” says Salgaonkar.

“I agree that there is a lack of cinema exposure in Goa. But the high point is that when we think of making local films, we need to make sure that local issues are highlighted to make the film rooted to the soil. Only a local guy can give you a local perspective. With regard to the scheme, one has to make sure that it is critically implemented the way it is designed. There cannot be a full proof finance scheme. Its implementation is important and the concerned authorities should make sure that the benefit is availed by the right people,” says Laxmikant Shetgaonkar, the filmmaker who received the jury award at the Toronto Film Festival for his film Poltodcho Munis.

But considering the present scenario of filmmaking in the state, it would difficult for ‘freshers’ to find a place in filmmaking, except if one has the political patronage or comes up with the idea of making a film in partnership with one of the few filmmakers very closely associated with the ESG. It is obvious that they are the only ones who get financial benefits or immediate approvals to shoot or stage any event with the support of the ESG or the Directorate of Art and Culture. There are many upcoming artists who have tried to put up their proposals to the ESG during IFFI or any other cultural events in the state, but are hindered by the so called senior filmmakers who do not allow upcoming filmmakers to survive for too long. The Chief Minister has already sensed this and has advised filmmakers to get rid of their ‘crab mentality’. The ‘crab mentality’ came to the fore when the script of Laxmikant Shetgaonkar’s film Poltodcho Munis was rejected by the Goa government, which was to be included in the competition section of the International Film Festival. The officials who rejected the script went to the Chief Minister when the same script received the Jury’s award at the Toronto Film Festival. They somehow managed to distract from their connivance by felicitating the award winning filmmaker. However, the media did not let the issue die down and exposed the monopoly of the existing filmmakers.

RAJENDRA TALAK

A filmmaker who has come under serious scrutiny is Rajendra Talak, who is supposed to be at the top of the ‘favourites’ list of the ESG. He has been on the committee for the cultural programmes during the International Film Festival of India as well as the committee formed to revise the Financial Assistance Scheme for Films. His films have received national awards and the music institute Kalangan - Centre for Performing Arts, that he has been running in his home town has gained much popularity amongst artists. But recently fingers are being pointed at the music institute as the proposed project to construct proper infrastructure for the institute is yet to take shape. Apparently in 2004, during Manohar Parrikar’s regime as chief minister, Talak managed to get a grant of Rs.25 lakh to build this institution but the complex has not taken any form as yet. The Centre has the status of an educational institute and is also affiliated to the Gandharva Mahavidhyalaya - a prime institute engaged in Indian classical music.

People have questioned where the grants have disappeared to as the plot allotted at Gogol to construct the building has been fenced with barbed wires. People have demanded audit reports as three years have already elapsed since the grants were allotted to the institute to construct the building. Meanwhile, classes are taken in two flats on the ground floor of a building owned by Rajendra Talak. When asked, Bhaskar Nayak, Director, Board of Secondary and Higher Secondary education, said that there is no rule for any institute to submit an audit report. He further added that there are twelve other institutes who have received grants. Those who have not delayed the project for various reasons have been paying the fine and Talak has been regularly paying the same but there has been no sign of any construction, except for a small hut without any inhabitants. The main question here is about the money that has been left unused for the last five years. Meanwhile, appeals are being made Kalangan’s website for donations to build the complex. Talak occupied centrestage during the International Film Festival of India 2009 where he was given charge of the Red Carpet, which was chaotic and mismanaged as many renowned artists were refused Red Carpet privileges, including Laxmikant Shetgaonkar.

Pramod Salgaonkar also mentioned another clause where a film producer producing any film shall have to undertake at least 50% of the shooting within the state of Goa and will have to submit a written undertaking of the same and at least 15% of screen time should be allotted to Goan artists who are born in Goa or have 15 years of domicile in the state. Another important highlight of the scheme is that the disbursement of funds will be done in three instalments: pre-production, post production and on production of the censor certificate. “It becomes important as the producer has to arrange for the camera and other raw stock. One needs to arrange for it as early as possible and have the amount in hand,” says Salgaonkar.

LOCATION COSTS

“THE location cost has been increasing to such an extent that, at times, one wonders whether the authorities are really into promoting a film culture in the state. The private as well as the government location costs have increased exorbitantly. The old GMC building is now rented out at Rs.1 lakh per day. Private locations which were rented at Rs.5000 per day has now gone up to Rs.25,000-30,000 per day. In addition to this, the filmmaker also has to pay the ESG for seeking permission in the state,” informs line producer Shiva Naik. Despite spending so much, many times filmmakers have to face local grievances in the middle of shoots. Recently, in Agonda a local panchayat stopped the shoot and the crew was forced to wind up. In capital city Panaji, the police inspector stopped a shoot with Sanjay Dutt and other artistes near the market as the shooting wreaked havoc on the traffic. The matter was later resolved when ESG officials intervened as they had not informed the police about the shoot.

To shoot a film in any locality, a filmmaker has to send an application to the ESG and if it’s at a beach, they have to get a No Objection Certificate from the Tourism Department as well as the police. In addition to this, the municipality as well as the panchayats have to be given their share. There is no individual body or authority that facilitates and simplifies the procedure giving space for more hands accepting money, even at the local level. “The location cost is uniform and the same procedure is followed in other states as well. When one is intending to come out with a film, he or she has to consider location cost also which is not at all exorbitant, “opines Laxmikant Shetgaonkar.

Although the government has promised assistance to filmmakers, it is left to various bodies that have been handed over the task of implementing the schemes. Whether young, inspiring filmmakers are allowed to come up remains to be seen.