business
"LoveBeats” will be a full-length theatrical feature film, produced in both Hindi and English languages.
Principal photography is slated to begin in India, in the winter of 2023,
with ancillary locations around India and also in Mumbai, Peshawar, Istanbul, Cairo, Tangier, Marrakesh, and one of the Lakes of Human Origin: Lake Tanganyika.
The film and documentary's initial micro-niche market is dancers, dance students and drummers everywhere. To this end, we shall be securing the advisory help of several prominent associates of the Indian National Music & Dance Academy.
Our secondary target market is the general public, children included (perhaps not very young children because of the magical/supernatural
elements of the piece that might be scary for them).
Otherwise there’s no nudity, sex, physical violence or crude language,
and so "LoveBeats" should prove suitable for general release world-wide.
In particular, lovers of music and dance would be interested in the subject matter, but in general, because the underlying theme is the oldest movie story in history - love versus death - this film will appeal to female audiences around the world.
Which effectively means everybody, since we all know it’s the males who say “let’s go to the movies” but it’s the females who choose which ones to see.
BOOKS & GRAPHIC NOVELS
(note: “LoveBeats” the novel is already available as a stand-alone novel in English on Amazon)
CLICK ON THE IMAGE ABOVE to be taken to the Amazon book page
As can be seen in the DOCUMENTARY section above, there are many languages involved in this project.
Most of the dances have evolved in their own ways in different parts of India, each with their own language. In the unification of the dance styles into Zaheera’s one style, it is also envisaged to utilize “LoveBeats” the book to help unify the nation in another way: the use of the simple text of the book to aid in national translations. Here is an example:
The LEFT side is the KEY LANGUAGE (the one the reader understands) and the RIGHT SIDE is the TARGET LANGUAGE (the one the reader wants to learn).
So the key languages would be:
English
Tamil
Hindi
Urdu
Telugu
Odia
Malayalam
Bengali
And obviously any other language, going to
The TARGET LANGUAGE, which is any of the rest.
It is envisaged that LOVEBEATS the book would then prove to be a valuable tool wherein a speaker of one language could obtain a working knowledge of any other language, using the simple text of the book as a building block.
Similarly, a series of popularly-styled graphic novels would be produced, one for each desired target language, and the reader would simply compare the thought- and speech- bubbles between copies of the graphic novels to attain a less academically-oriented, but nevertheless still effective, basis for language-learning.
GRAPHIC NOVELS
documentary
“LoveBeats: the Journey” is envisaged as a 12-part, one-hour documentary about two subjects:
1) The series follows the lead cast and crew of the feature film “LoveBeats” as they go on a journey that’s set out in the film, from India (12 cities) to Pakistan then to Turkey, Egypt, Morocco, Chad and Tanzania.
In the feature film “LoveBeats”, our hero Jeet is tasked by his master, the Mad Master Baqir, to journey from India to those nations and interact with master drummers along the way, exchanging both handmade drums and drumming styles and rhythms with them so that the young apprentice might learn the true ways of the Master.
Later on in the feature film, our leading lady, Mahta, takes Jeet around the dance temples of her youth, revealing the mystery of her hidden past and showing us exactly how she was able to master so many different and disparate dance styles.
In “LoveBeats: The Journey”, the documentary series follows along with the film crew as the lead actors who play in the feature film “LoveBeats” take us behind the scenes to visit the actual masters and mistresses in their fields, and spend a little time with them to gain a little insight and knowledge into what makes a drummer or a dancer a true top exponent in their fields;
2) The documentary series follows, in real life, the hero’s path from the modern tabla he’s been building to previous incarnations – from aluminum shell to brass shell to steel shell to wood shell to wood and skin to just wood, to logs and then to beating on the chest – drumming from now back to the earliest and most basic form of rhythm;
3) Likewise, we not only visit all of the principal forms of Classical Indian Dance (Shastriya Nritya):
a. Bharatanatyam, from Tamil Nadu (S. India, language: Tamil)
b. Kathak, from Uttar Pradesh (N. India, languages: Hindi, Urdu)
c. Kuchipudi, from Andhra Predesh (S. India, languages: Telugu, Urdu)
d. Odissi. From Odisha, (E. India, language: Odia)
e. Kathakali, from Kerala (S. India, language: Malayalam)
f. Sattriya, originally from Assam (NE India, languages: Assamese, Boro, Bengali)
g. Manipuri, from Manipur (NE India, language: Meitei)
h. Mohiniyattam, from Kerala (S. India, language: Malayalam)
i. Chhau, from West Bengal, Jharkhand, Odisha (languages: Odia, Bengali, Hindi)
j. Yakshagana, from Kerala (S. India, language: Malayalam)
k. Bhagavata Mela, from Tamil Nadu (SE. India, language: Tamil)
We will interview, in their own native languages, the leading exponent(s) of each dance style to get a feel of the history and pedigree of each, but mainly:
4) We will ask a current professional-level dancer to permit us to MOTION CAPTURE into digital motion files each of their dance styles;
5) And we will then SYNTHESISE one coherent dance style from all of the above dance styles, to represent the one dance style that Zaheera/Mahta performs at the climax of “LoveBeats”;
6) this final, unified classical dance will be of special interest to our ADVISOR(S) from the SANGEET NATAK AKADEMI (India’s National Academy of Music and Dance) because it might well form the core of a single, unified national Indian dance style instead of the many disparate styles that each claim to be “the only original Indian dance style”;
7) the series will then be pre-sold and made available for viewing to our pre-sales patrons before the feature films themselves are released, and then released on cable and streaming platforms to a coordinated release schedule so that the final episode of the 12-part series, that unveils the national style, coincides with the premiere of the feature films (actually a single film, but made in dual languages, English and Hindi);
8) in like fashion, when the documentary crew journeys around the Mediterranean shore nations and Africa to arrive at the seat of humankind, Lake Tanganyika, so the history of our dances will also be traced, way back to the belly dance and the first fertility dances, to their very
origins.
9) On the dance side, the history can then be recapped and taken forwards into modern dance, hip hop, ballet, and all of the forms of today.