Riteish Deshmukh, known for his roles in various OTT films like Kakuda (2024), Pill (2024), and Plan A Plan B (2022), shares his thoughts on the current state of OTT platforms. While he acknowledges that these platforms offer actors a chance to explore diverse roles, he notes that they’ve become increasingly selective.
Riteish Deshmukh, who has been active in the OTT space, says, “OTT platforms do provide more variety in the kinds of roles actors can take on. However, as actors, our ability to showcase our skills is limited by the opportunities we receive.” He explains that the digital space is not as open as it once was. “Platforms are now very particular about the content they choose. They need films that will be successful, and understandably so. They can’t accept every film that comes their way.”
Riteish Deshmukh Emphasizes The Economic Realities of Film Production
Deshmukh further emphasizes the economic aspects of film production, whether it’s for OTT or traditional theaters. “Making a film involves significant costs, and there’s always a platform paying for it. If a film doesn’t attract viewers or performs poorly, platforms will have data to help them decide on future projects,” he explains. This financial pressure means that actors like him might be overlooked if their previous work hasn’t been a hit on specific platforms. “Platforms might decide not to cast me based on past performance, opting instead for actors who align better with their content strategy,” he adds.
Deshmukh distinguishes between two types of filmmakers. “The first type writes scripts with specific actors in mind, like creating a role for Salman Khan. The second type writes a script first and then finds the right actor for the role.” He believes that the latter approach often results in films that have a greater chance of enduring over time. “Films made with a focus on the script tend to be more thoughtful and lasting because there’s more effort put into getting it right.”
Post-Pandemic Changes
The pandemic brought uncertainty to the film industry, and Deshmukh points out that the success of films became less predictable. “We initially thought only big-budget, mass-appeal films would succeed. But we’ve seen that films with strong content can also do well, even with minimal promotion. A recent example is Munjya,” he says.
When it comes to choosing projects, Deshmukh is not afraid to take risks. “Sometimes, we come across unique opportunities that might seem uncertain. In such cases, taking a leap of faith is necessary,” he explains. This approach is applicable to both OTT and theatrical releases. Deshmukh admits that he has embraced this mindset for his OTT projects, trusting directors like Aditya Sarpotdar and Raj Kumar Gupta despite the risks involved. “I haven’t questioned my filmmakers or their vision. I’ve been willing to step out of my comfort zone and try something new,” he concludes.
While OTT platforms provide valuable opportunities for actors, they have become more selective and financially driven. Deshmukh’s insights highlight the evolving landscape of digital content and the importance of taking creative risks in a competitive environment.
