Kiss Films

Kiss Films The official Face Book Page of Kiss Films. An ad film production company.

27/08/2026

HOW TO GET IN A CREATIVE’S GOOD BOOKS.

Just some totally unsolicited wisdom from a producer who has seen it all.

Want a creative to love you? Easy. Praise them.

Praise the creative in front of the client.

On a client call.

In a call with their team when they’re not even there.

Because, obviously, someone will tell them later. 😉

Never bitch about the creative to the client.

Not even “off the record.” There is no off the record.

The words will travel faster than your invoice.

Never contradict the creative just for the sake of it.

If you genuinely disagree, disagree logically. And, ideally, without making it sound like you’re challenging their entire existence.

But here’s the important part: DON'T overdo the ass-kissing.

You don’t need to write a LinkedIn post every week about how “Ms.NCD is one of the most visionary, genius, inspiring creatives of our generation.”

Nobody believes you. Least of all Ms. NCD.

Keep it subtle. Give credit. Have their back.

Make them look good when it matters.

Be nice without becoming a fanboy.

Because the goal is to get in a creative’s good books, not get your name engraved on the inside cover.

AI FILMS IN 2 HOURS. SURE. 😂There’s this whole narrative floating around, mostly pushed by AI artists themselves, that A...
26/08/2026

AI FILMS IN 2 HOURS. SURE. 😂

There’s this whole narrative floating around, mostly pushed by AI artists themselves, that AI films can be made in 2 hours flat. And yeah, clients are buying it.

Sure, I can make an AI film from story to animation in 30 minutes.

The catch? You gotta take whatever the AI spits out. No tweaks. No feedback. No “yo, can we fix that logo?” Just vibes.

But that’s not how it actually works.

First, you need a director who’ll stick with the project. When the fee is low, good luck finding the right one with the bandwidth.

Then the AI artist gets stuck. The producer or EP jumps in, helping with prompts, references and creative problem-solving because, well, the director may be busy on another gig.

Then comes the feedback loop.

“Give me an hour.”

Twelve hours later, that shot is still fighting for its life.

So you bring in another AI team, often on your own dime. Credits are burning, the deadline is closing in, and the film still isn’t what the client imagined.

Eventually, it takes the whole crew: producer, EP, director, AI artists, Photoshop artist, music director, VO artist, post supervisor, editor... plus a couple of all-nighters.

Sure, everyone loves the final film.

We’ve made countless films. And honestly, we don’t look back at old films and go, “Damn, what a masterpiece.” 😂We go, “O...
24/08/2026

We’ve made countless films.

And honestly, we don’t look back at old films and go, “Damn, what a masterpiece.” 😂

We go, “OMG, remember that shoot?”

“What a crazy time.”

“Such a sweet crew.” ❤️

“Bro, that experience was WILD.”

“Never working with that person again.” 💀

All of us obsess over directors, locations, crew, casting, the perfect frame… and yes, good people absolutely help make good films.

But once the film is out? The world moves on.

The film gets dated.

People forget it.

And sometimes… it becomes straight-up cringe.

So maybe the real flex isn’t just making a great film.

Maybe it’s choosing people you’ll still remember fondly long after the film is forgotten.

Film might have a shelf life.

The memories don’t. ✨

(Post inspired by this post and Image from )

REAL FILM vs AI FILM | A PRODUCER’S POV 🎬🤖You can’t beat real films.They’re fun. They’re messy. They’re a straight-up ni...
22/08/2026

REAL FILM vs AI FILM | A PRODUCER’S POV 🎬🤖

You can’t beat real films.

They’re fun. They’re messy. They’re a straight-up nightmare sometimes. But being on a real set? That s**t hits different.

And business-wise, real films can actually make you good money. Sure, sometimes you barely make a margin. Sometimes the money comes in six months later and your cash flow is out here fighting for its life.

But if you know what you’re doing, there’s money to be made.

And if you’re a well-organized producer like us, you build the right team, let everybody cook, sit back and count the bag. 💰

AI films? Whole different ball game.

Now the whole damn thing is sitting on your head.

“The images ain’t looking right.”

“Director’s busy.”

“Everybody’s waiting.”

“AI guy said one hour.”

Eight hours later…

Now your agency relationship that you spent years building is looking real shaky because somebody still can’t get the damn hand right.

And the wild part?

Ain’t none of this in your hands.

On a real film, you’ve got a whole squad. Director, DOP, art, production, VFX, editor. You know the players. You know the process. You can pretty much see where this thing is headed.

AI?

We’re still out here in the Wild West. 🤠

So instead of being the producer, you become:

Producer. Project manager. Creative director. Traffic cop. Babysitter. Therapist. And full-time WhatsApp admin.

You’re on calls from 6 AM to midnight, every damn day, till that film finally gets delivered.

And then someone hits you with:

“Bro, AI is gonna make filmmaking so much faster.”

Yeah.

😂

21/08/2026

Directors. Which producer do you pick? 😌

A) Promises everything. Pays nothing.

B) Negotiates everything. Pays 100%.

Apparently, A is still a surprisingly popular choice.

A director once told me a producer owed him ₹10 lakh. When he asked for it, the producer simply blocked him.

Another producer still owed him ₹7 lakh.

Another director told me the producer stopped taking his calls and removed him from the WhatsApp group after the shoot.

Of course, the balance payment was also removed from the group. 😂

And these aren’t isolated stories. There are countless directors with versions of the same story.

Yet, when you go pitching with some of these very same directors, suddenly the conversation is:

“We need the best DOP.”

“We need this crew.”

“We need this location.”

“We need this much time.”

“We need this budget.”

Basically, NASA has to be involved.

But then the shady producer wins the job by promising everything and underquoting everyone.

And why can they underquote?

Because somewhere down the line, someone won’t get paid.

As a veteran producer once told me:

“Dude, no producer ever loses money. They just don’t pay others.”

(ofcourse exception exists, not everyone is same)

18/08/2026

Good Suit. 😎

Suits are important for producers. They know the budgets, they know which production house or director the agency is leaning towards, and sometimes they can give you a very accurate direction when you’re pitching a script. Or a beautifully misleading one. 😂

So there’s this Suit. Totally honest.

When her team asked for a treatment note, I called her and asked her point blank:

“I’m about to spend ₹50K on this. Do you honestly think we have a shot?”

She said, “No. Don’t waste your money.”

I asked, “Who’s the film going to?”

She answered that too.

“A better director.” 😄

Now that was a relief. She just saved me ₹50K.

If every pitch came with this kind of clarity, I’d probably be driving a Lamborghini by now… 😂

Not by winning films.

By saving ₹50K on treatment notes. 😂

Respect to the honest Suits. You’re rare. 🙏

Producers don’t believe we’ll ever unite. Every producer privately say, “Kuch nahi hoga.” 😂And honestly, nothing’s reall...
14/08/2026

Producers don’t believe we’ll ever unite. Every producer privately say, “Kuch nahi hoga.” 😂

And honestly, nothing’s really wrong with the system. We’re at the bottom of the food chain, and yet somehow a surprising number of us are driving luxury SUVs.

We’ll happily work with the same client who hasn’t paid us in six months.

We’ll happily work with the same director who has already burned our fingers.

We’ll say “never again” on Monday and send them a quote on Tuesday.

So maybe instead of talking about producer unity, let’s just accept our fate and discuss which SUV we should buy next. 🚙

13/08/2026

Fast & Fusious 🏎️💨
We get a script from an agency.
It has a Car.
So naturally, step one: find the cheapest director who has worked with the Car.
I thought, let me at least finish lunch before entering this Hunger Games.
Five minutes later, I call the director.
“Hey, we have a script...”
“Sorry, Producer X just called me 5 minutes ago.”
💀
Okay. Cool.
So I move to Option B.
This time, a big name. Easy to work with. Great with Cars. Hard to beat.
But WAIT.
Agency calls.
“Here’s a list of director recommendations from the client.”
Ah. Plot twist unlocked.
I call the first name on their list.
All good. We’re talking.
Meanwhile, Producer X is apparently running Director Tinder Premium and calling EVERYONE.
Including the director I had just pitched.
And the second director calls me, furious:
“Wait… you’re pitching with TWO directors?”
“Who told you that?”
“Producer X.”
Ah yes.
Turns out X has been calling every director in town.
Including the ones I’m pitching.
At this point, I’m not sure if he’s producing the film or conducting a census.
So I tell the director:
“Please go with X. I’m not fighting over a director.”
Because honestly, even if X wins the job, he’ll make so little money that fighting over it feels like two people wrestling over a coupon.
No thanks. 😴

12/08/2026

Procurement’s Predicament.
A procurement dude calls me:
“Hey, wanna bid for a film?”
Me: “Sure. But don’t you guys give literally every film to the same production house?”
Him: “Yes. Last 100 films went to the same guy (fact). We’re trying to break this nexus.”
😭 Okay bro. I know this movie.
Procurement needs 3 quotes. So for every pitch, he has to find two producers willing to spend days pitching, knowing damn well the job is going to the same dude anyway.
And the easiest line to get them onboard?
“I’m trying to break the nexus.”
Honestly, put yourself in procurement’s shoes. Why would you risk your own job fighting some very powerful nexus? If I were him, I’d simply collect the quotes, tick the boxes, submit the file and protect my monthly salary like my life depends on it.
But hey, where to find those willing producers?
We got caught once because, being the nice peep that we are, we were extra polite and gave the first quote. Then we gave the second.
And now?
No third quote. No thanks.
We’re officially retiring from the “please help me break the nexus” cinematic universe.
Now the procurement dude will simply move on to the next gullible producer.
“Hey bro, wanna bid for a film? We’re trying to break a nexus…” 💀

Newbie directors/producers, Just a little navigation help. 😌✨If you’re already in your big league era, keep scrolling, t...
10/08/2026

Newbie directors/producers, Just a little navigation help. 😌✨

If you’re already in your big league era, keep scrolling, this ain’t for you.

But for other directors/producers out here stuck in low-budget purgatory, completely detached from where the actual motion is. You gotta route yourself to the main stage.

Big agencies/networks = big clients = big bags. Simple math.

Is breaking in tough? Absolutely. But if you can’t bypass the final boss right away, start taking side quests:

* Independent agencies
* Solo creatives some of whom hold massive client accounts
* Direct brand deals

Stop waiting for an invite and start doing your homework. Lock in.

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