Over the years, some of the most consequential interactions between India and Hollywood have unfolded not on stage, but backstage. As a member of the International Emmy Awards board and the first Indian on the board of New York’s Fashion Institute of Technology, Kavita Gupta has quietly built a reputation as one of the entertainment industry’s most influential connectors. Whether supporting Vir Das in front of international Emmy decision makers, introducing emerging Indian actors to global creators, or bringing together filmmakers and investors, Kavita has spent years creating opportunities that often start with a single conversation. Excerpts from the conversation with him:
You often work behind the scenes rather than in the spotlight. Can you share a moment where an introduction or conversation unexpectedly led to a major collaboration or breakthrough?
One of the things I’m most proud of is being a bridge between industries, cultures and creative communities. There have been many such moments over the years, and they have often led to collaborations that have created far more value than anyone could have initially imagined.
A great example of this is Vir Das and the International Emmys. As a member of the International Emmy Board, I spent a lot of time advocating for Weir’s comedy special to be understood in its cultural context. When he became the first Indian comedian to win an International Emmy for Best Comedy, I felt the next milestone should be even bigger. I wanted him to host the International Emmy Awards, something no Indian comedian had ever done before.
To help do this, I invited Camille Biros, CEO of the International Emmy Awards, to attend Weir’s sold-out performance at Carnegie Hall with me. Seeing him perform live, seeing the audience reaction and then meeting him backstage convinced the executive team that he was the right person for the role. Within a week, Veer was invited to host the International Emmy Awards, becoming the first Indian-origin comedian to do so. I like to do it both ways. I enjoy bringing Indian talent to Hollywood and I also enjoy helping Hollywood discover incredible talent coming from India.
For example, when Hasan Minhaj was putting together the cast for his upcoming Netflix film, he reached out because he wanted help identifying the next generation of Indian actors.
We talked through a short list of extraordinary talents, and I introduced other actors including Vedang Raina and Agastya Nanda. While scheduling conflicts and visa issues ultimately changed the casting direction, those relationships were established and continued to create opportunities. Haasan was really impressed with Vedang’s talent, and I wouldn’t be surprised if they work together in the future.
Similarly, when Vijay Sethupathi visited New York, I hosted intimate conversations with Academy Award-winning writer Alexander Dinelaris and filmmaker Marco Perego. These were not networking events. They were fruitful constructive discussions about how Vijay could be deployed for global projects beyond traditional expectations. Those conversations have already evolved into several potential collaborations.
There are many such stories. Over the years, I have realized that when eminent artists, filmmakers, entrepreneurs and producers from India come to New York, there is often a quiet recommendation that says, ‘You should meet Kavita’.
Having worked with both creators and investors, what is the biggest misconception each side has about the other, and how do you help bridge that gap?
I think the answer really depends on what type of financing you’re doing.
If you’re working with a traditional studio or institutional investor, the relationship is very different from working with independent investors or family offices. My experience has largely been with the latter, where investors are often entrepreneurs who have built successful businesses in technology, finance or other industries, and are investing in films because they really love the storytelling.
Most of them are not investing because they think film is the best financial asset class. Quite the opposite. This is one of the riskiest businesses. They’re investing because they want to be a part of building something meaningful.
Where I think our industry sometimes misses an opportunity is how we engage those investors after the financing is closed. I’m a big believer that the creative vision belongs to the creators. Ninety-nine percent of the time, writers and directors must protect that vision. Investors should not make casting decisions or rewrite the script. But participation does not mean creative control. Sometimes it’s as simple as inviting investors on a trip. You don’t have to implement every suggestion they make. In fact, most experienced investors don’t expect this. What they appreciate is being included in the conversation. They value transparency, respect, and feeling like they are part of the journey.
I’ve seen too many situations where creators spend months building relationships with investors to secure financing, and then, once the deal is signed, communication focuses almost entirely on lawyers and business matters. This could lead investors to feel that they were only valuable until the check cleared. I think this is one reason why we lose independent investors in our industry again and again.
Indian storytelling is on a global scale. What do you think still prevents more Indian filmmakers, writers, showrunners from becoming mainstream players in Hollywood and international television?
I think Indian storytelling is having an incredible moment globally, and we’re finally seeing the kind of crossover that many of us have been working for for years. We are seeing more actors, writers and filmmakers being represented by major US agencies. More Indian talent is exploring opportunities in Hollywood, and Hollywood is becoming more comfortable looking beyond the traditional talent pool. It’s all incredibly exciting. But I think we’re still making a fundamental mistake. We continue to position Hollywood entrants as “Indian talent” rather than simply recognizing those who come from India and have already built a significant global audience in South Asia and the diaspora. That distinction matters. The other aspect that we don’t talk about enough is the global South Asian audience. India has more than 1.4 billion people, but the diaspora itself is vast and deeply connected to culture, film and streaming. These artists don’t come with zero audiences. He already has ardent fans in North America, Europe, the Middle East, Africa, Australia and Asia.
This is an incredible advantage that I don’t think Hollywood fully appreciates yet. I remember hosting a closed-door members’ dinner before the Oscars, where a major Indian superstar had to introduce himself to some of the biggest names in Hollywood. A few moments later, the chef walked out of the kitchen, clearly excited, to take a photo with her. Suddenly, the energy in the room changed. She became a celebrity everyone wanted to meet. It was a powerful reminder that Hollywood may not always recognize the scale of South Asian stardom, but audiences around the world certainly do. Finally, I think we also need to celebrate the people working behind the camera.
From traditional filmmaking to today’s creator economy and AI-powered content, you’ve got a seat at the front row of the evolution of entertainment. What excites you most, and what worries you most about the future of storytelling?
I think the future of storytelling is going to be defined by two major forces. The first is globalization. We are moving towards a world where stories are not categorized as American stories, Indian stories or Korean stories – they are simply great stories with global relevance. At the same time, audiences are more curious than ever about authentic local stories. The second power is AI. I think there’s been a lot of unnecessary fear that AI will replace creativity. I don’t see it that way at all. To me, AI is one of the most powerful creative tools we’ve ever created—but it’s still a tool. What AI cannot replace is human taste, lived experience, emotional insight and creative judgment. Where I think AI will have the biggest impact will be in democratizing filmmaking. A young filmmaker with a brilliant idea but a limited budget can now create an extraordinary proof of concept that would have been impossible a few years ago. Students, first-time directors, independent writers and creators from anywhere in the world can showcase their vision without waiting for millions of dollars in funding.
We’re already seeing some of the most accomplished writers and directors consciously adopting AI. An example is Shakun Batra, one of my close friends, who is exploring AI not as a replacement for creativity but as a creative partnership tool. He is experimenting with AI-generated content for advertising and developing new storytelling formats, while being very intentional about respecting intellectual property and ensuring that writers, actors and producers remain at the center and top of the creative process.
As the first Indian and International Emmy Awards board member on the board of FIT, you influence the conversation in the field of fashion and entertainment. What change would you like to see in how South Asian talent is represented and understood globally in the next decade?
One area I am particularly excited about is the intersection of film and fashion. As a new board member at FIT, I’ve been spending a lot of time with designers and creative leaders, and it reinforces what I’ve believed for years – that costume design is one of the most powerful storytelling tools in cinema.
One of the bridges I would love to build is between the incredible costume designers and fashion designers coming from India with the global film industry. I am not talking about making films that are only about India or South Asian culture. I’m talking about bringing exceptional craftsmanship, textiles, tailoring, silhouette, embroidery, color and design language to every kind of story. Indian designers have developed techniques and aesthetics that have influenced global fashion for decades, often long before they were copied by any other top brand to go global. I would love to see those designers leading costume departments at major international productions and, ultimately, be recognized at the highest levels, including the Academy Awards.
For me, it’s not about representation for myself. It’s about bringing the best creative talent into the room, no matter where they come from. That’s one reason I’m excited to work with organizations like the Motion Picture Television Fund, LACMA, and FIT. Together, I think there is an opportunity to build stronger connections between film, fashion, art and design and help global creative talents collaborate in ways that haven’t happened before.
At the end of the day, I see my role as an advocate, a convener, and, in many ways, a quiet champion for creative talent. The work I do is often behind the scenes. It’s bringing the right people into the same room, having conversations that wouldn’t otherwise happen, and helping exceptional talent find opportunities on the global stage. The reason those relationships work is because people know I’m doing it for my passion, not as a manager or agent or for some unknown self-interest. For me, it has never been about making money. It’s about creating a lasting impact.
