Meet Kavita Gupta, the first Indian to be appointed on FIT's board: How she is opening global doors for Indian talent

FOr years, some of the to the highest degree eventful conversations betwixt republic of india and Hollywood haven't unfolded on present, 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 championing Vir Das before 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 begin with a single conversation. Excerpts from a chat with her:You often work behind the scenes rather than in front of the spotlight. Can you share a moment where a single introduction or conversation unexpectedly led to a major collaboration or breakthrough?One of the things I am most proud of is being a bridge between industries, cultures and creative communities. There have been many such moments over the years, and they've often led to collaborations that created value far beyond what anyone initially imagined.A great example is Vir Das and the International Emmys. As a member of the International Emmy Board, I spent considerable time advocating for Vir's comedy special to be understood within its cultural context. When he became the first Indian comedian to win the 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.To help make that happen, I invited Camille Biros, CEO of the International Emmy Awards, to attend Vir's sold-out performance at Carnegie Hall with me. Watching him perform live, seeing how the audience responded, and then meeting him backstage gave the executive team the confidence that he was the right person for the role. Within a week, Vir was invited to host the International Emmy Awards, becoming the first Indian-born comedian to do so. I love doing this in both directions. I enjoy bringing Indian talent to Hollywood while also helping Hollywood discover the incredible talent coming out of 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 spoke through a shortlist of exceptional talent, and I facilitated introductions to actors including Vedang Raina and Agastya Nanda, among others. While scheduling conflicts and visa issues eventually changed the casting direction, those relationships were established and continue to create opportunities. Hasan was genuinely impressed by 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 weren't networking events. They were meaningful creative discussions about how Vijay could be positioned for global projects beyond traditional expectations. Those conversations have already developed into multiple potential collaborations.There are many stories like these. Over the years, I have realised that when iconic artists, filmmakers, entrepreneurs and creators from India come to New York, there's 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 kind of financing you're pursuing.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 genuinely love storytelling. Most of them aren't investing because they think film is the best financial asset class. Quite the opposite. It's one of the riskiest businesses. They're investing because they want to be part of creating something meaningful.Where I think our industry sometimes misses an opportunity is in how we engage those investors after the financing closes. I'm a huge believer that the creative vision belongs to the creators. Ninety-nine percent of the time, writers and directors should protect that vision. Investors shouldn't be dictating casting decisions or rewriting scripts. But involvement doesn't have to mean creative control. Sometimes it's as simple as inviting investors into the journey. You don't have to implement every suggestion they make. In fact, most experienced investors don't expect that. What they appreciate is being included in the conversation. They value transparency, respect and the feeling that they're 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 shifts almost entirely to lawyers and business affairs. That can leave investors feeling like they were only valuable until the cheque cleared. I think that's one of the reasons we lose repeat independent investors in our industry.Indian storytelling is having a global moment. 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 many of us have been working toward for years. We're seeing more actors, writers and filmmakers represented by major U.S. Agencies. More Indian talent is finding opportunities in Hollywood, and Hollywood is becoming increasingly comfortable looking beyond traditional talent pools. That's all incredibly exciting. But I think we're still making one fundamental mistake. We continue to position people as “Indian talent” entering Hollywood, instead of simply recognising them as exceptional global talent who happen to come from India and who have already built a significant global audience across South Asia and the diaspora. That distinction matters. The other piece we don't talk about enough is the global South Asian audience. India has over 1.4 billion people, but the diaspora itself is enormous and deeply engaged with culture, film and streaming. These artists don't arrive with zero audience. They already have passionate fans across North America, Europe, the Middle East, Africa, Australia and Asia.That's an incredible advantage that I don't think Hollywood fully appreciates yet. I remember hosting one of my closed-door pre-Oscar members' dinners, where a leading Indian superstar had to introduce herself to some of the biggest names in Hollywood. A few moments later, the chef walked out of the kitchen, visibly excited, simply to take a photograph with her. Suddenly, the energy in the room shifted. She became the celebrity everyone wanted to meet. It was a powerful reminder that while Hollywood may not always recognise the scale of South Asian stardom, audiences around the world certainly do. Finally, I think we also need to celebrate the people working behind the camera.You have had a front row seat to the evolution of entertainment, from traditional filmmaking to today's creator economy and AI driven content. What excites you most, and what concerns you the most about the future of storytelling?I think the future of storytelling is going to be defined by two major forces. The first is globalisation. We are moving toward a world where stories aren’t categorised as American stories, Indian stories, or Korean stories- they’re simply great stories with global relevance. At the same time, audiences are more curious than ever about authentic local stories. The second force 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 built- but it’s still a tool. What AI can’t replace is human taste, lived experience, emotional insight, and creative judgment. Where I think AI will have the biggest impact is in democratising 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 just 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 financing.We’re already seeing some of the most accomplished writers and directors embrace AI in thoughtful ways. One example is one of my close friends, Shakun Batra, who has been exploring AI not as a replacement for creativity but as a creative partnership tool. He’s 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 creators remain at the center and the helm of the creative process.As the first Indian on FIT's board and a member of the International Emmy Awards board, you influence conversations across fashion and entertainment. What is one change you would like to see in how South Asian talent is represented and perceived globally over the next decade?One area I’m particularly excited about is the intersection of film and fashion. As a new board member at FIT, I’ve been spending a great deal of time with designers and creative leaders, and it’s reinforced something 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 out of India with the global film industry. I’m not talking about creating films that are only about India or South Asian culture. I’m talking about bringing extraordinary craftsmanship, textiles, tailoring, silhouettes, embroidery, color, and design language into every kind of story. Indian designers have developed techniques and aesthetics that have influenced global fashion for decades, often long before they are copied by another top brand to be global. I’d love to see more of those designers leading costume departments on major international productions and, ultimately, being recognized at the highest levels—including the Academy Awards.For me, this isn’t about representation for its own sake. It’s about bringing the best creative talent into the room, regardless of where they come from. That’s one of the reasons I’m excited to work with organizations like the Motion Picture Television Fund, LACMA, and FIT. Together, I think there’s an opportunity to create stronger connections between film, fashion, art, and design, and to help global creative talent collaborate in ways that haven’t happened before.At the end of the day, I see my role as an advocate, a connector, and, in many ways, a quiet champion for creative talent. The work I do often happens behind the scenes. It’s bringing the right people into the same room, creating conversations that wouldn’t have happened otherwise, and helping extraordinary talent find opportunities on a global stage. The reason those relationships work is because people know I’m doing it for my passion and not as a manager or agent or with some unknown self interest For me, this has never been about making money. It’s about creating lasting impact.