The proposal for a structured eight-hour work shift in the Indian film industry, recently highlighted by actor Deepika Padukone, has sparked a significant debate. Prominent actor-producers Rana Daggubati and Dulquer Salmaan have now shared their perspectives, arguing that such fixed hours are largely unfeasible in the world of cinema.
The Core Argument: Cinema is Not a 9-to-5 Job
In a candid discussion with The Hollywood Reporter India, joined by filmmaker Vikramaditya Motwane and producer Archana Kalpathi, the artists delved into the realities of film production. Rana Daggubati emphasized the unpredictable and all-consuming nature of the craft. He stated that filmmaking is a lifestyle, not a conventional job, where each project presents unique demands. "This is not a factory," Daggubati explained, illustrating that creativity cannot be confined to a strict timetable. "We could sit for eight hours and the best scene comes out, or sit for fifty and nothing comes out."
Dulquer Salmaan, reflecting on the work ethic in the Malayalam film industry where he recently produced 'Lokah: Chapter 1', echoed this sentiment. He described a culture of perseverance where "you just keep going" because "nobody knows when it’s going to end." Interestingly, he noted that crew members are often the ones pushing to extend the day to finish a schedule, reluctant to take a break. "If I want to give them an off, they’re like, ‘No, let’s just finish and go home,'" Salmaan shared.
The Financial Imperative and Production Realities
The conversation swiftly turned to the economic pressures that make rigid shifts difficult. Dulquer Salmaan pointed out a crucial financial calculation: "Going extra on a day is cheaper than an additional day." This highlights the immense cost of prolonging a shoot, from location rentals to equipment and daily wages.
Producer Archana Kalpathi reinforced this view, stating plainly that "a nine-to-five is not possible in cinema." She reminded everyone that participants in a film, from actors to technicians, have willingly entered a world of erratic call sheets. While advocating against wasting anyone's time, she highlighted the financial urgency for large-scale productions. "Your interest cost is so high that you need to finish it," Kalpathi said, explaining why holiday shoots or long hours become necessary to control escalating budgets.
Rana Daggubati further elaborated on the economic dynamics, noting that cost is the primary controllable factor for a production. He acknowledged that while individuals seek comfort, the production covers basic necessities, and actors often bear additional personal expenses, a trade-off he finds acceptable.
Balancing Well-being with Practical Demands
While acknowledging the necessity of long hours, the panel also stressed the importance of respect and planning. Filmmaker Vikramaditya Motwane drew a clear line, stating, "What I don’t like is feeling exploited or exploiting the crew." He emphasized that with proper advance scheduling, cast and crew can mentally and physically prepare for demanding periods, making the process more manageable and ethical.
The discussion also touched on the evolving role of actors, many of whom, like Daggubati and Salmaan, are also producers. This dual perspective makes them acutely aware of both creative needs and budgetary constraints, influencing how they view scheduling and work hours.
The consensus from this industry dialogue suggests that while the intent behind regulating work hours for better well-being is recognized, the inherent unpredictability of creative work and stark financial realities make a standardized eight-hour shift a challenging proposition for Indian cinema.
