Today, making films feels less like creativity and more like a craze. Stories are narrated with confidence, and dreams are sold very easily.
“Trust me, this will work,” an aspiring storyteller says—and someone believes him. Investors come from different backgrounds. Software engineers, government employees, and retired people invest anywhere between â¹5 lakh and â¹50 lakh, often without fully understanding how the film industry works.
Sometimes it is just one producer who is unaware of the risks. In other cases, it is crowdfunding, where people are told, “Your principal is safe. Profits are not guaranteed, but if the film works, you will earn.”
The film gets made—but that is only half the journey. The real challenge begins after that. Promotion needs money. Releasing in theatres requires planning and strong networks. Many filmmakers assume OTT platforms will solve everything.
“We will sell it to OTT and recover,” they think. But that belief often turns out to be wrong.
Recently, a director approached an OTT platform with his film, quoting â¹2 crore and saying he had spent â¹3 crore. He expected a deal. The OTT team simply said, “Sorry.”
After a pause, he asked, “Then what can you offer?”
The reply shocked him: “We do not need this, even if you give it for free.”
The big question remains—how will he repay his investors?
In another case, a director who had delivered good films in the past returned with a new project. The film released quietly in theatres and went unnoticed. OTT platforms initially rejected it.
Finally, one platform agreed on a revenue-sharing basis. After one year, the producer received just â¹4 lakh, that too in three instalments over four months, against an investment of â¹4 crore.
There is also a film made on a â¹1 crore budget with a village backdrop. The makers asked an OTT platform for â¹50 lakh just to recover half their investment. The deal was eventually closed at â¹25 lakh, and after deductions, the producer reportedly got only â¹18 lakh. The film never released in theatres, as exhibitors felt there would be no audience.
The situation is no better with audio rights. For films with new faces, audio companies first ask, “Who is the hero?” If the answer doesn’t impress them, they say they cannot pay. If there is a known actor, they shift the question—“Who is the music director?” If that too fails, they ask about singers.
This back-and-forth continues, with one condition after another. In the end, it only weakens the filmmaker’s confidence and attachment to the project.
Most audio companies either refuse to invest or quote just a fraction of the expected price. Some even say, “It is a privilege for your film to release songs on our label. Do not expect money.”
The reality is clear. OTT platforms and audio companies are no longer easy buyers. Films planned in collaboration with OTT platforms have better chances of recovery.
Making a film independently and then trying to sell it has become extremely risky. Still, every filmmaker believes, “My film will be special.” They move forward with hope—but real understanding comes only after facing the market.