It is a double joy for actor Krishna, who starred and produced Disney+ Hotstar’s latest Parachute, which has the perfect balance of being a show for both children and adults. What is more of a common topic between the two age groups than parenting and the series very much throws light on it.

Parachute actor and producer Krishna Interview

Krishna's production banner Tribal Horse Entertainment backed Parachute, and on being asked if it is different producing an OTT project as opposed to films, he says, “It is not different, because the process is the same. What is different is the writing, and the platform we pitch to. I have heard that for OTT people shoot like serials. I shoot my projects like films.”

He goes on to say that, however, it is very different to mount a project theatrically and on an OTT. “Taking to theatres has a risk element, you have to bet on the audience and now, everybody wants to touch your product after it comes on screens. So, the investment is completely a risk. But when it comes to OTT, you narrate to them in advance, get their approval and then produce. So the element of risk is lesser,” he adds.

Krishna gives the example of how after getting the approval for the project from an OTT, a budget is decided and whatever more is that for the production house and the lesser amount is theirs. “If I exceed the budget, I should pool in the money, while if we shoot under the budget, the platform takes the difference. I have spent sometimes more, and the risk quotient is still present. I do OTTs because I can tell stories pan-India and the projects will be dubbed in seven languages,” Krishna continues.

‘Parachute is on parenting’

The actor says Parachute is a series for parents. He explains the major reason why he connected with the series. “When I was a child, I saw in Parachute what my father was doing, and wish some things could have changed. I saw myself for the brat that I am. It has got a beautiful message about parenting. It is not about beating or scolding a child, but respecting a human being irrespective of the age.”

Revealing that Parachute came to him as a film first, and what we see now is a different format and narrative. “I was sceptical to do this as a film now because I don’t think our audiences are prepared to spend that kind of money to watch a children’s story. They are so taken aback by spectacle now, but they wouldn’t mind watching it on TV. So, this is purely a producer’s perspective.” One thing that changed during this conversion from film to series, is the narrative from being a linear to a non-linear screenplay. Two, there are multiple characters with back stories which were touched upon superficially as a film. But coming to series, it had chance and space to dive into the depth in backstories.

Krishna says that when it comes to the episodic nature of a series, every part should have a beginning, middle and end, and should almost feel like a short film. “Otherwise, you cannot entertain your audience. Every part should have a bang, meet a high, and have an end hook so the audience watches the next part.

Shooting with children

As a producer, Krishna also throws light on how his production works which involves projects with children. “When the kids are tired, we would give them that space. We could have shot this series in 30 days, but we shot for 53 days. We have a lot of night shoots happening in this series and we made it a point that we will not use the kids beyond a certain time. So, we prioritise the children, and when they are sleepy, we send them home, and shoot the other sequences. We also cannot make them take-offs from school,” says Krishna, who had been a child artiste himself.

A lot has changed since then says the actor. “I did not go to school for six months (laughs). But now, we have to be conscious. A lot has changed, from caravans to pick-ups. Our times, we had about 7-8 of us picked up together, and now each kid gets individual attention. It was crazy then, but now there is a lot more luxury.”

Asked what he enjoys the most, production or acting, Krishna without batting an eyelid says it’s the latter. “But I also love telling stories that I am unable to do. If you see my production ventures like Jhansi, High Priestess, and Locked came with Satyadev were stories I could not do. But I am super involved in the writing process.”

Krishna signs off by making some revelations about what is cooking in Tribal Horse Entertainment. With a third season for Jhansi in the making, an all-women prison drama series, and a docu-series in Tamil.

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