filmmaking isn’t broken, it’s just jerry-rigged
The greatest irony of life as a filmmaker is that you’re never truly sure what genre your career falls into. Some of us will call it a tragedy while dressing it in the guise of a joke but there’s more to where that ticklish wound comes from. That’s not to say that we don’t love what we do. The act of making a film is its own reward and the glossy outcome usually reframes old ugly experiences on set into laughable anecdotes for the interviews, but the industry is just a little too uncertain, unorganised and unhinged for us to completely forgive the journey for the fruits of its destination.
At Dot we surveyed dozens of Indian filmmakers – from directors and producers to cinematographers and makeup artists – partially to feed our confirmation biases but mostly to try and figure out the secret to a normal, steady, well-paying and fulfilling career as an Indian filmmaker. With experience levels ranging from fresh faces to veterans with 34 years under their belt, their responses paint a fascinating and somewhat terrifying picture of the filmmaking landscape in India.
And if it just so happens that you too are a filmmaker reading this, feel free to make your own valuable contribution on this survey link. Because this isn’t a one-time activity.
Also, this isn’t a passionate rant or even a conclusive scientific industry report, only a small exercise in formalised introspection which can hopefully help us ask even more questions that might someday lead us to one of a million smaller solutions. So here’s what we learned based on some common threads and some standout insights:
there will most likely never be an “always-on”
If there’s one word that keeps popping up in the responses unlike its definition, it’s “erratic.” That’s 47% of respondents describing their work pattern. The people who termed their work as ‘seasonal’ levelled to about 26% while 21% said that they get regular work and are, in our opinion, God’s favourites. A whopping 42% people said that they handle only 1 to 4 projects annually while 31% people get to work on a decent 5 to 10 major projects. Just about 15% said that they get 11 or more major projects every year, which rounds off to almost one project each month.
What’s particularly interesting is how this irregularity affects different roles differently. While some executive producers report being “always busy,” because the nature of projects that land into pre-production are often higher than the ones that go from pre to production and therefore stuck in the loop before reaching the other HODs. This insight, of course, means that there is more than what meets the eye: the industry’s project-based nature has created a feast-or-famine cycle that affects creative roles more severely than technical or managerial ones.
you’re not as bad as you think, the world’s just not that hungry
One thing that stood out like a sore thumb is how dependent a filmmaker feels on ‘external factors’ beyond anyone’s control when it comes to assessing work volume. On a scale of 1-7 (where 7 indicates the highest external influence), the average score was 3.8 – suggesting a significant but not overwhelming external influence.
While many filmmakers believe they have some control over their careers, a significant portion feel at the mercy of external forces. As one director with 8 years of experience noted, “Without contacts or network, you can’t do sh**.” This dependency on external factors seems to increase with experience. Veterans (10+ years in the industry) were more likely to rate external factors higher, perhaps due to their deeper understanding of how the industry’s ecosystem works. As one seasoned producer pointed out, “Several unproductive days… it’s chaos out there.”
it's still quite savage out there
According to our survey, these are the three biggest challenges plaguing the industry:
1. burnout and bad schedules (68%):
The industry seems to run on chaos and watery chai. One respondent colourfully noted, “They don’t understand we can’t deliver good quality in a tight timeline.” Another added, “Corporate needs to enter the industry. Standardise some processes and make a workflow.” The irony here is palpable – an industry dedicated to storytelling can’t seem to write its own healthy narrative. The normalisation of burnout culture has become so ingrained that it’s treated as a signal that welcomes more of it rather than a systematic malaise.
2. lack of formal structure (63%):
The film industry appears to be as organized as a first-time AD’s first day on set. This lack of structure creates a peculiar paradox: while filmmaking requires intense collaboration and coordination, the industry itself operates on an almost anarchic level when it comes to business practices, human resources and talent development.
3. unhealthy industry practices (58%):
Double shifts have become so normalised that they’re practically part of the job description. As one makeup artist noted, “Be prepared for irregular shifts, extended periods away from home, sometimes lasting months, and repetitive tasks.”
ever heard of a gaffer girl?
It’s clear from a continuously observed subtle pattern through the survey that women have observed lack of gender inclusiveness in the film making world. One production designer pointedly mentioned the need to “understand women washroom need[s]” on sets – a basic requirement that somehow still needs to be spelled out in 2024. Female respondents consistently highlighted issues of recognition and respect, suggesting that the industry’s structural problems might have an added layer of complexity for women professionals and gender inclusivity in general.
the creative-commercial tug of war
Perhaps one of the most relatable aspects of the responses is the eternal battle between artistic vision and commercial viability. As one director with 9 years of experience noted: “People are moving away from storytelling and concentrating more on how a shot/visual looks which is forgettable as an art form.”
This observation points to an unhealthy degree of bending for the trend: the prioritisation of spectacle over substance. Several respondents also mentioned how social media following often trumps talent in hiring decisions, making the famous even more famous shoving the talented into oblivion.
long live the admen
With 45% of respondents picking this as source of a regular work and income, advertising emerges as the unanimous winner, though not without its critics. As one director with 9 years of experience put it: “Advertising still remains the best despite its ups and downs. The worst seems to be artistically inclined films which seem to have no way for investors to recoup their money.”
Here comes a juxtaposition of the value system that many of us stepped into the world of filmmaking as bubbling newbies – the most reliable source of income (advertising) is not necessarily the most fulfilling, while the most creatively satisfying projects (independent films) are the least financially viable.
the season for OTT continues
Several respondents mentioned OTT platforms as a potential middle ground – offering both creative freedom and reasonable compensation. 25% of respondents picked this format as the best source of regular income after advertising.
However, as one respondent cautioned: “OTT will take up 6 months to one year of your life. With cheap salaries. And nobody will even watch that shit in the end.” While OTTs have their definite pros, without a considerable budget, even a great film can get lost in the wave of content that could qualify easily as a tsunami of the digital world right about now.
few wise old men to go around
A response that saw many picks is a lack of steady guidance and relevant mentorship that would prepare you to face the wonky industry realities. As one respondent noted, “I don’t think a film school can necessarily provide that [skills to thrive, not just survive].”
This suggests a crucial gap between education, exposure and industry requirements – something that’s particularly problematic in an industry where a degree isn’t always necessary.
the way forward
So what’s the fix? The responses suggest several key areas for improvement, oversimplified here for you:
1. standardization:
- regulated working hours
- structured payment systems
- clear contractual obligations
2. professionalization:
- industry-wide best practices
- better HR policies
- professional development opportunities
3. unionization:
- stronger labour protection
- collective bargaining power
- standardized rates
4. education reform:
- better industry-education connection
- practical skills development
- ongoing professional development
despite all the challenges, there's a resilient spirit among filmmakers. when asked for advice for newcomers, responses ranged from practical wisdom to subtle warnings:
- “don’t complain. Put that time and effort to do the best you can do with what you have.” – a director with 8 years of experience
- “be professionally capable of doing MORE THAN ONE THING.” – a director/screenwriter with 10 years of experience
- “don’t 😂” – A brutally honest cinematographer on the advice he’d give newcomers considering filmmaking as a career.
the final cut
So, is filmmaking broken? The answer seems to be: yes, but not beyond repair. For its myriad complexities and dead ends, it has the capacity to be an even bigger and wiser employer that celebrates and pushes the envelopes of 4K art. A massive push in regulation, stronger dialogue among industry peers and better talent discovery are some easily visible fixes that can be gleaned out of this survey or just a 15-minute conversation with an industry veteran. Perhaps the most poetic response came from a cinematographer who said, “We need some rules to keep breaking the rules.”
For those still determined to enter the industry, one veteran producer offered this gem: “Film making is great if you find a team that shares your values and shows faith in your creative pursuits.”
And maybe that’s the key, or a part of – not fixing what’s broken, but finding your tribe to navigate this beautiful mess. After all, as one director philosophically noted, “Don’t do it for the money. Only do it if you can’t live without it.”
Let’s face it, we are all here – despite. If that doesn’t qualify as ‘hope’, we don’t know what does.
If you happened to miss the survey link before but would like to contribute, here it is again.
note: all quotes are from real Indian filmmakers surveyed in October 2024. some responses have been lightly edited for clarity while preserving their original meaning.
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