KATHMANDU: Business is all about profit, and films are no exception. Renowned artist and producer Deepak Raj Giri says that an entrepreneur, whether an industrialist or a small-scale investor, always looks for sectors where minimal investment can yield maximum returns.
Nevertheless, Deepak cautions investors to first study the returns that the sector may offer before venturing in, and, more importantly, to understand how it works.
Deepak emphasizes the importance of understanding how and to what extent returns will occur.
“Nobody knows, for instance, what the profit is from products like Binod Chaudhary’s noodles, while everybody knows how much a movie like “Purna Bahadur’s Sarangi” collects.”
He explains that our film industry thrives on publicity. “Whatever numbers are released about our collections are often inaccurate,” he says. “We exaggerate the figures to attract audiences.”
For Deepak, the Nepali film industry is far from fully professional. “It’s a beautiful house from the outside, but very little inside reflects professionalism.”
While films like ‘Sarangi’, ’12 Gaon’, and ‘Chhakka Panja 5’ have achieved immense success, other movies fail to recover even the cost of their posters.
He adds that the film industry is still considered high-risk, and Nepali filmmakers face even greater challenges in securing loans from banks due to the risk factor associated with filmmaking.
Deepak’s perspective on the industry is also shaped by his belief that the entry of corporate houses into Nepali cinema has slowed down other sectors.
He feels that many other genres have stagnated, and there is much exaggeration about films earning colossal sums of money, which often misleads the public.
“News reports boast of a film earning 50 crores, but the reality is that a film made with just 2 crores is unlikely to make that kind of money. Such astronomical profits do not come easily,” he adds.
These inflated earnings may attract investors, but Deepak argues that the long-term sustainability of the industry is more important than immediate gains.
Rather than merely seeking profit, he believes the protection and nurturing of the industry are key to strengthening Nepali cinema.
If corporate houses continue to invest in Nepali cinema for long-term growth, the industry will emerge stronger and more professional, Deepak argues.
He insists that a collective mindset should be built so that corporate houses do not disengage from the industry.
According to Deepak, one of the major problems he has identified in Nepali cinema is the lack of financial discipline.
“Entering any new field brings a level of uncertainty, but it’s crucial to assess the financial discipline and credibility of the people involved. It’s also important to ensure there is no exploitative mentality,” he says.
Deepak advises investors to approach the sector with a solid plan and confidence in the proficiency of the operators. He suggests that those who enter with professionalism will not back out in the early stages of their involvement.
Regarding ‘Chhakka Panja’ and its franchises, Deepak explains that while IME continues to support the industry, they did not come in as investors with shares.
“They are committed to Nepali cinema, but they have not taken a percentage of shares in these films.”
Deepak holds a cautiously optimistic view, believing that once the industry matures, it will attract sustained investment, helping make Nepali films more professional and economically stable.