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Hombale Movies’ Karthik Gowda offers the inside track on Fahadh Faasil’s Dhoomam, Sudha Kongara’s movie | solely

Karthik Gowda is the Artistic Producer of Hombale Movies, the banner behind KGF and Kantara. In an interview with India At the moment. in, he says that Fahadh’s Dhoomam will stir round a race towards time.

Hombale Movies’ Karthik Gowda.

By Latha Srinivasan: Hombale Movies – this manufacturing firm has change into a family title in India, because of the stupendous success of two of its latest movies – KGF: Chapter 2 and Kantara. Hombale Movies bought into movie manufacturing within the Sandalwood in 2014 and has now ventured into the Telugu, Malayalam, and Tamil movie industries as nicely. Artistic producer Karthik Gowda of Hombale Movies talks to solely in regards to the success of Kantara, what’s subsequent of their movie kitty, and extra.

Q: Kantara, made on a finances of Rs 15 to twenty crore, grossed greater than Rs 400 crore on the field workplace and has now been launched on Amazon Prime Video even whereas nonetheless in theaters. What has this success been like for Hombale Movies?

A: It is surreal. The best way the film was projected was small, however it was overwhelming to see the best way it was acquired by the viewers the world over. We’re actually overwhelmed. Our instinct after watching the movie advised us that it will do nicely however to see it attain this stage of success was one thing that none of us dreamed of. When it will get such a response and breaks all of the information when it comes to footfalls, and so on, we’re more than pleased. We’re simply soaking within the success.

Q: 2022 has seen many Kannada movies do nicely on the field workplace. Do you assume the Kannada movie trade is lastly getting its due?

A: I believe the rise of OTT has proven that language isn’t any bar for good cinema content material. And due to subtitles, it helps individuals who do not know the language recognize good content material. There have been many gems from Kannada cinema which weren’t getting acknowledged, in all probability due to the best way we have been positioning our movies. Kannada cinema did undergo a nasty patch, however when it got here to movies like Lucia, U-Flip or Ulidavaru Kandante, Sa.Hello.Pra.Shaale or Kirik Social gathering, we now have been delivering gems.

Kannada movies weren’t getting the popularity that Tamil and Telugu cinema used to get. I blame us for this as a result of we did not place our movies correctly. We have been following the trail that had been set earlier. We wanted to vary that and we now have. Now, each good movie in any language is being seen.

Q: Do you assume advertising and marketing is essential to cinema as we speak?

A: 100 per cent!! I’ve been very vocal about this on my social media. Advertising and marketing is like writing a script and it differs from movie to movie – you possibly can’t use outdated templates like advertisements and posters. That is solely part of advertising and marketing. With a lot content material on digital media, you might want to make your movie noticeable to lots of people. Once I say lots of people, I do not imply the common film buffs however those that do not enterprise a lot into the theaters. How can we try this? That is what advertising and marketing is all about.

Q: What do you search for in a script as a Artistic Producer?

A: Our crew, together with my brother Vijay [Kiragandur], goes by instinct. I imagine a script must be near actuality the place you have seen the characters in your every day life or the place you possibly can relate to them simply. Such movies curiosity the viewers. You may’t churn out a number of tales – you could have a framework and inside that, you might want to innovate and current a narrative in another way. You want to perceive the heartbeat of the viewers as nicely and know what excites them.

Q: From Kannada cinema, you have branched out into Telugu cinema with Prabhas’ Salaar, Malayalam cinema with Prithviraj’s Tyson and Fahadh Faasil’s Dhoomam and in Tamil with director Sudha Kongara. What was the thought course of behind this?

A: Cinema would not have a language and simply because we’re Kannada movie producers doesn’t suggest we have to stick solely to the Kannada movie trade. There are some tales which could be advised in that area – we checked out Kantara as a Kannada movie as a result of the story was true to the beliefs of the individuals in Karnataka. The Malayalam movies we’re doing or Sudha’s movies need to be advised of their respective languages. The scripts demand that. As a movie manufacturing firm and with the success we now have had this yr, we really feel extra accountable in giving good cinema to the viewers.

Q: It is fascinating – and a superb crossover – that Pawan Kumar, a Kannada movie director, is directing your Malayalam movie, Dhoomam with Fahadh Faasil.

A: That is true. From a enterprise angle additionally, Pawan has a superb title in Kannada cinema and Fahadh is a giant title in Malayalam cinema. A crossover is sweet since you develop your trade and the viewers too. We have been imagined to do a movie with the late Puneeth Rajkumar and Pawan Kumar. We did not need to contact that topic once more for sentimental causes, proper now. Pawan had one other script and Fahadh favored it and issues occurred immediately. Dhoomam is a time thriller – a race towards time.

Q: What about director Sudha’s Kongara’s challenge?

A: We’re taking a look at two scripts together with her and they are going to be Tamil movies. They don’t seem to be biopics, however impressed by real-life incidents.

Q: Amazon Prime Video has eliminated the Varaha Roopam tune. Do you assume it’s going to have an effect on the movie in any manner?

A: I can not remark a lot on this because the matter is sub-judice, however I do not assume this can have an effect on the movie in any manner. The tune has nonetheless been retained within the theatrical launch.


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