Anand Pandit on Labour Day: Cinema is brought to life by the toil of unsung crew members

On the occasion of Labour Day, filmmaker Anand Pandit, known for backing films like Total Dhamaal, The Big Bull, and Chehre, reflects on the often-overlooked workforce that brings cinema to life. For him, the magic of movies lies as much in the unseen labour behind the scenes as in what unfolds on screen.

Tracing the roots of this perspective, he says, “In the seventies, when I watched Guddi, it irrevocably changed my understanding of cinematic glamour. The film showed with great honesty how lightmen and stunt doubles often work in unsafe conditions, and how the glittering world of cinema is built on the sweat, blood and tears of countless crew members whose names we never learn.”





He also acknowledges filmmakers who have made an effort to spotlight these contributors. “When Farah Khan showed the faces of her crew at the end of Main Hoon Na and Om Shanti Om, she acknowledged the unsung artistes behind the scenes in a witty and respectful way. It is the technicians, spot boys, dancers, craftspeople, and wardrobe, hair and makeup assistants who bring stories alive on screen.”

Speaking about his own approach as a producer, Pandit emphasises responsibility towards crew welfare. “I have always tried to ensure that everyone working on my sets is well taken care of. During the COVID-19 pandemic, a few colleagues and I came together to support daily wage workers, who remain the backbone of our industry.”
Highlighting the irreplaceable human element in filmmaking, even in an age of technology, he says, “No matter how much we rely on Artificial Intelligence in pre- and post-production, we cannot replace the warmth and passion that workers bring to filmmaking. For instance, the grand sets of Mughal-e-Azam, directed by K. Asif, were entirely handcrafted. The Sheesh Mahal was built over two years using thousands of pieces of Belgian glass, with craftsmen dedicating immense time and skill.”

He cites other cinematic landmarks that stand as testimony to collective labour. “The rural world of Sholay, directed by Ramesh Sippy, was created from scratch in Ramanagaram, while Lagaan’s fictional Champaner was brought to life by hundreds of workers under production designer Nitin Chandrakant Desai.”

Reinforcing how every department contributes to the final vision, Pandit adds, “Without those working in sound, editing, cinematography, lighting, action and costumes, our cinematic vision would remain incomplete. This is not to undermine the contribution of stars, but we must not lose sight of those who support them with their invisible artistry. Films like Luck by Chance beautifully capture this ecosystem. When we admire Vijay Anand’s song picturisations, the cinematography of ‘Waqt Ne Kiya’, the music of R. D. Burman, or the grandeur of films like Umrao Jaan, Pakeezah and Amrapali, we must also acknowledge the countless individuals whose labour made these moments possible.”

Calling filmmaking a deeply collaborative process, he concludes, “Film-making is an orchestral effort where hundreds work together to create something meaningful. The labour involved is not just physical but emotional. When every individual on a set feels valued, it translates into magic on screen. We must also ensure better systems for safety, fair working conditions, and social security. After all, a chain is only as strong as its weakest link.”


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