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TW e-media is the online version of the TheatreWorld magazineTRANSCRIPT
MMindscapeTM EDITORIAL
Bhavanashi Ramakrishna
Editor, Theatre Magic
contentsTMTheatreMagic
DIGITAL (S)TAKES!
This issue of TW has two sets of page numbers - International
pages TW-1 to TW-64 for TW, and India pages TM-1 to
TM-36 for TM. TM is inserted between pages TW-50 and
TW-51 of TW.
TM-6Urvashi Dons a 3D Beauty
PVR Buys DTS, Strengthens Hold
SP
EC
IAL
FE
AT
UR
E
TM-24
'Reel'ing Under Reality!
TM-32
Being on the Cutting Edge (of)Technology, Cinematically
TM-18
TM-28
A Different Stroke ofCinema Design
IND
IAP
LE
XIN
G
As I sat down conjuring up my ‘mindscape’ to fillout this brief space, two things struck my mind andbegan to pull it on either direction: digital cinema,and digital piracy. While one projected India’sgrowing cinematic brilliance through 2k colours, theother showed the anti-vibes through an evenly magnified lens.
Just as the cinematic world began reckoning India as a growingdigital major, with the hitherto diehard-conservative,standalone cinemas joining the multiplexes in the DCI-compliant digital journey, the recently busted lab-based piracyserved a notice- the digital stakes are in jeopardy, probably inbigger danger than ever, with cross-border attachments!
With all the digital claims, India still happens to be a majorly‘standalone’ market, and there had been some trulycommendable efforts to digitise this potential market so thatthe unified digital stakes would bring a bigger, common good.The film-loyal, average exhibitor was slowly changing hisnotion that the ‘digital high-funda’ was being thrust on his
community just because theWest ran out of its film-
business ideas and wanted tomake new business – in the name of piracy spectre –
which was bought by the modern ‘big brothers’ ofIndian cinema. Now, if piracy happens in the digital lab itself,‘what’s your (s)take?’ is his question!
That the digital cinema helps thwart piracy goes withoutsaying, at least notionally! Making it practically possible isan undeniable responsibility on the champions of digitalcinema. Any little dilution in this realisation would onlydilute the whole cause, and India would have to stake notdigital fame, instead digital shame!
New Cinematic Treat in Bengaluru
Urvashi Dons a 3D Beauty
Roughly two-and -half-years ago,
when TM visited Urvashi Theatre in
Bengaluru, the wonderment that took
over initially soon turned into
reassurance of a bold and grand
statement, both in art and architecture
of the cinema: art- for the illustrious
genre it symbolised, and architecture- it
was made to express itself.
Urvashi - a name that connotes a
celestial damsel - played true to its
name with beauty and bold elegance
characterising its existence. Topping all
the periodical beautifications to keep it
enticing, the cinema did a major
renovation at the time by
incorporating state-of-the-art sound
and projection system (that comprised
Strong Ultra Xenon projection, Tanoi
speakers and JBL amps) a complete
overhaul of seating and screen, and
computerized ticketing, in addition to
a swanky recreation area within the
theatre premises. (Read Theatre World
September 2007: 'Urvashi appeals in
New Glamour')
That was to make the theatre
Breaking News...
Even as the most vehement and biggest advocatesof technology cinema continue to weigh theiroptions, a conventional, standalone cinema did thevery unconventional, in the parley of the industrytalkers. More, this happening in a very conventionalbackdrop, without the ado that is usually associatedwith today's fancied multiplexing.
Urvashi Theatre - the iconic symbol of Bengaluru'scinematic pride - became India's first standalone, andSouth India's second cinema to have done a DCI-compliant 3D digital, elevating the city's cinemascape to the global 3D domain. On the occasionof 11 Anniversary, TM celebrates the glory with a snapshot tribute to the bold, pathbreakinginitiative.
By Bhavanashi Ramakrishna
January-March 2010TM-6
adequately competitive with the
aggressive multiplexes, as also in tune
with demand of the time.
For a second time in two years, again
responding to the same demand,
Urvashi did what most cash-rich cinemas
hesitate. It has incorporated a DCI-
compliant, 3D digital projection system,
becoming India's first standalone
conventional theatre to do so. However,
it is next to Sathyam Cinemas of
Chennai who took the honours of
being India's first to have 3D digital, but
with Sathyam being a multiplex in its
own right - with a cluster of five screens
- Urvashi takes the laurels of being the
first 3D digital standalone with a large
capacity of 1100-plus seating, including
a balcony of 464 seats, and 56 x 28 feet
screen. That sets up for a truly awesome
setting, more for a 3D digital viewing.
As for the tech-specs, the system
comprises
• Christie's new Solaria Series 2k
digital projector CP2220 that is also
rendered ready for the 4k
projection as and when content is
made available
• Server solution by Qube Cinema
XPD
• 3D systems by XpanD X101
Interestingly though, Urvashi's install of
XpanD studio-grade 3D system is India's
first, and reportedly Asia's third, after
HongKong's Golden Harvest cinema,
and Japan's Shochiku cinema.
While the Christie projection and Qube
XPD server systems were supplied and
installed by Mumbai-based Scrabble
missed out
in the
mega
action,"
immediately
comes the quip from Amit R Gowda, the
young and dynamic heir-apparent of
Urvashi. "The blockbuster movies are
increasingly happening in 3D digital,"
says Amit. "Not having a screening
system for those movies means not only
we are missing all that action and
excitement, but also we are denying our
patrons the opportunity to live the
entertainment," he says, adding, "this
also means potential loss of business."
"Three D digital blockbusters like 'Up','
Ice Age,' 'Transformers: Revenge of the
Fallen' and 'Monsters Vs Aliens' have all
come and gone. They were not released
in Bengaluru because no theatre in the
Entertainment (as part of the latter's
joint-initiative with Christie), the
XpanD 3D system was sourced directly
from the USA. Though Scrabble is also
now a partner of XpanD for India,
Urvashi management struck the deal
directly with the manufacturer,
understandably for a better bargain.
Now, Urvashi is rearing for the
December 4 release of Jim Carrey's
`Christmas Carol,' and the all the much-
hyped December 18 release of James
Cameron's animated magnum opus
`Avatar.'
And, many more later- some 30 titles
that are promised, if not lined up to
come in 3D over the next 12-18
months.
Now the big question why?
"Simply because we didn't want to be
Amit R Gowda
What Makes Urvashi Alluring?If getting a good movie is one
thing, and presenting the same is
the other, the next thing in line is
getting the patrons to set the cash
registers ringing. Urvashi has been
able to do this as a regular practice.
Reason? The common human
psyche: price and ease.
Despite investing a whopping Rs.
1.4 crore, Urvashi cautiously kept its
admission price just the same as its
film-based screening
which means the patrons
get to enjoy higher thrills
at low price. Since the
ticketing can be done
online, it is considered far
more easier.
What's more, Amit is
seriously contemplating linking
Urvashi's ticketing system to Facebook
and Twitter.
With so much sophistication added
to its unique ambience, isn't
Urvashi alluring?
January-March 2010TM-8
city was equipped with digital- let alone
3D," explains Amit, "this only meant we
have been denying our supportive
patrons the best entertainment option.
This is exactly where we wanted to
move ahead, come what may the cost."
Obviously, the system install costed over
Rs. 1.4 crore but the Urvashi operator is
undeterred. More, he is doubly
exuberant. "With movies like Avatar
round the corner, we cannot afford to
miss the action anymore," Amit declares.
"Giving the best form of entertainment
has been, and will be our forte."
Urvashi had actually begun screening
Bollywood, and South Indian movies
on its 2k digital format for over three
weeks now. "It's been incredible," says
the operator. "The digital
presentation, particularly in 2k, has a
clear edge over the film-based
screening," he explains. "Once the
audience have experienced and learnt
what the movie watching experience
can be with 2K digital, the word
spreads and bringing more and more
audiences, most of them repeatedly."
Ajab Prem ki Ghazab Kahani movie
gave a box office collection of over Rs.
16 lakh in the first week of running
itself at Urvashi. That's 75 per cent
occupancy, and too good for any
cinema. The theatre had ran 2012 for
two weeks to almost a packed house.
"We ran four shows a day in the first
week," informs Amit, "21 out of 28
shows went houseful." The theatre
reduced the number of shows by half
in the second week, and had half of
them running to full house.
Recalling that Monsters Vs Aliens
collected as much as Rs. 75 lakh from a
few 2k digital theatres in Mumbai
circuit, Amit says it wouldn't have
collected more than Rs. 15 lakh, had it
been shown on film medium.
According to him, over and above the
quality of the moviemaking, it is the
presentation that makes it more
appealing. "This appeal comes with 2k
digital which is what we are doing," he
declares.
That almost 30 titles are lined up for
the next 18 months or so, Amit is not at
all worried about regular content flow.
"The content is there and coming, we
need to be geared up to grab it," he
says. "Avatar is anyway the most
anticipated movie in recent years. We
are eagerly waiting for IceAge too."
Animated movies with themes like
Monsters Vs. Aliens, Avatar and Ice Age
go very well with Indian audiences, the
operator says, adding since there are
more of such genres coming from
Hollywood, and sometimes from India
too, 2k digital and 3D digital are the
best way to go about presenting them.
So, digital and 3D is fast catching up
Indian cinemas, at least in urban
markets, no?
January-March 2010TM-10
PVR Buys DTC, Strengthens Hold
Putting all the long-held speculations
to rest, PVR Cinemas has finally
announced its buyout deal with the
ailing DT Cinemas. The interesting part
of the otherwise expected story is that
the realty behemoth DLF Group has
given away its non-core business unit
on a slump sale basis, with a bonus
attached- an exclusive multiplex
partnership for the cinematically
strong-rooted PVR.
Further, this acquisition news came
close on the heels of PVR's sale of 10
per cent of equity - amounting to Rs.
42 crore - to the Thai exhibition
company Major Cineplex Group, with
whom it set up the joint-venture PVR-
Blu O bowling alley business.
In what is said to be the the best
buyout deal in the country after the
Reliance ADAG's buyout of Adlabs,
the PVR-DT Cinemas buyout deal is
estimated at Rs. 56 crore, in cash and
stock. As part of this, PVR will issue
2.55 million shares, worth
approximately Rs. 36 crore to DT
Cinemas - which is said to be 10 per
cent of the fully diluted paid-up share
capital - and pay Rs. 20 crore in cash.
Further, PVR will have exclusive rights
to operate as a multiplex partner in all
the mall developments that the DLF
Group would create in the country.
That the DLF group has mega malls
planned at Delhi (Chanakaya Puri),
Mumbai, Chennai, Hyderabad, Noida,
Jalandar and Lucknow amongst other
cities, the DT Cinemas buyout deal will
give PVR an enviable operating
ground and significantly contributes
to consolidating its business strengths.
This is significant from the point of
view that PVR has plans to create as
many as 100 more screens over the
next 18 months time.
According to the market observers, the
only consolation for the losing DLF, if
it can be viewed as such, is that PVR
would operate the accruing 26 screens
from DT brand on a revenue-sharing
basis by sharing 15 per cent of the
revenues with the DLF, rather than a
fixed rental for the real estate.
"The acquisition of DT Cinemas and
long-term strategic partnership with
the prestigious DLF Group is part of
our expansion strategy," said PVR
Chairman and Managing Director
Ajjay Bijli commenting on the
acquisition. "It will further enhance
PVR's position as a leading multiplex
operator in the country," he said,
adding, "the industry is undergoing a
paradigm shift. We foresee an
opportunity for growth in the film
and exhibition space, and we want to
be prepared to meet the challenges
and provide innovative solutions in
entertainment."
PVR is now stronger by as many as 26
screens from six locations in New
Delhi, Gurgaon and Chandigarh,
taking the total tally to 134 screens,
from the current 108 from its own
stable. Another three-screen cinema
has been slated for launch shortly.
According to industry experts, the deal
would give PVR around 60-70 per cent
of the market share in the national
capital region, and will further
strengthen its position in the multiplex
industry.
The company's current market cap is
estimated at Rs. 321.73 crore. It has
reported a consolidated net profit of
Rs 6.44 crore and consolidated
revenue of Rs 92.22 crore for the
quarter ended September 30, 2009.
The expected has happened finally. The ailing Delhi-based multiplex chain DT Cinemas - afterprolonged dilly-dallying - has come under the fold of the eying PVR Cinemas, another Delhi-based multiplex chain. The former's changing hands wasn't something sensational. What thebuyer got in the bargain is interesting- a very critical operating space and more strength to theregional hold, besides the best monitory deal. A TM perspective:
The buyout of DT Cienmas by PVR
means the end of an ambitious brand
that was created with lot of promises
and corporate wherewithal. Though a
non-core business for the realty giant,
it infused every skill and energy
required to make it a competing
business and an attractive brand.
Futuristically named Digital Talkies, the
DT brand did make some aggressive
moves in the initial stages like hosting
special film festivals - including what
was referred to as reverse digital,
meaning movies that were made in
digital format and converted to film
medium - and making strategic
partnerships with friendly circuits for
sharing domain skills and strengths. It
Disappearance of A ‘Digital Talkies’ Promisecreated a triangular alliance with
Fame Cinemas of Mumbai and
Sathyam Cinemas of Chennai towards
this goal. As part of the alliance, the
company had also contemplated
creating a consortium for ushering in
digital cinema.
The objective of the proposed
consortium was to shoot, distribute
January-March 2010TM-12
and exhibit movies in digital format.
The company, on its own, had in turn
mooted roping in tech-brains such as
Shekhar Kapur for making digital
movies of the popular genre.
When the DLF IPO created
unprecedented ripples in the market,
everyone was given to understand
that the DT cinema brand will be
rejuvenated and explode across the
cinematic grounds in the country.
However, somewhere in the middle, it
appeared to be losing track from
where it never really managed to
come back. Compounding the tough
times was the rude upheaval in the
realty industry that shook the feet of
the brand's mighty parent that
suddenly appeared 'not in a mood' to
spend its beaten strengths to energise
its entertainment business.
The dicey journey thus began, ended
in landing under the PVR banner.
The 'Magadheera' of Cinema!In an age where movies
disappear in the second, if
not the first, week of their
release, and bite the dust
doubly faster than their
making time, here is a reel
Magadheera. Produced and
released by Geetha Arts - that
created the mega Bollywood
blockbuster Ghajini - and
directed by S S Rajamouli,
the Magadheera has re-
written most filmy records of
India. Consider this:
" It ran to houseful shows for
over 100 days in as many as 223
centres
" It ran to houseful shows for
over 50 days in as many as 302
centres
" It emerged to be the biggest
ever hit and highest grosser in
South India
" It surpassed the hitherto biggest
hit (Shivaji's Rs 62 crore
collection) by netting Rs 104
crore, excluding the satellite
and audio rights
" It collected Rs 28 crore in the
first week itself- 16 centres
collected Rs one crore each,
which is an all-time record in
the south
The movie starring Chiranjeevi's son
Ram Charan Teja and Kajal Agarwal in
the lead roles is claimed to be second
only to Ghajini which is from the
same production house and collected
Rs. 200 crore.
Set in two periods - 600 AD and
contemporary times - the movie
revolves around a reincarnation theme
that has apparently enticed the movie
audiences into multiple visits.
The extraordinary success of the movie is
attributed not only to the fact that no
expenses were spared to make the film
come good, but also to the genius of the
director who is hailed to have unleashed
the best of the story telling skills on the
big screen. Though the industry pundits
predicted good returns for the movie,
considering the way it was
made, no one really expected
it would turn out to be such a
mega hit to challenge the
mighty Ghajini.
"I told Rajamouli, 'there are
no budget limits for this
movie. Spend whatever you
want, make whatever you
like but it should be lavish
and should re-write the
history'," Allu Arvind, chief
of Geetha Arts, was quoted
as saying. "Rajamouli is a
great director with excellent vision.
He made it."
Probably, a more modest statement
from the producer-distributor, who is
also the maternal uncle of the movie's
here, is that "this success belongs to
entire Telugu cinema. Magadheera is
the pride of Telugu cinema…this credit
goes to all Telugu people who made
this movie bigger. "
The reality check is that Indian movie
audiences - who are largely oriented
to popular entertainment - have
always welcomed a story that is told
grippingly, irrespective of the
production extravaganza and
effusing glamour. Are the believers of
outlandish moviemaking and oozing
oomph factor paying an eye or ear?
Adlabs is Reliance MediaWorksAdlabs Films has changed the
company's name to Reliance
MediaWorks Limited with effect from 5
October, 2009. The company has
received the certificate from the
Registrar of Companies, Maharashtra
registering the aforesaid change in
name. The company's Board of Directors
had decided to change the name as the
original name Adlabs Films, was
reflective of the company's initial
business as a film processing laboratory.
Pursuant to the Reliance ADA Group
acquiring the controlling stake in the
company in 2005, the company
witnessed growth in the canvas and
scale of its operations as Reliance ADA
Group's financial strength and
management expertise acted as a
catalyst in its expansion across
businesses like exhibition, film and
media services, and television software.
Reliance ADA Group's financial
strength and management expertise
have acted as a catalyst in expanding
the company across various inter-
related businesses of exhibition, film
and media services, and television
software.
The company today has a presence in
the film exhibition business in India
and internationally; and has entered
new segments of the film production
value chain including digital post-
production,digital cinema mastering,
studios/shooting floors, film and TV
equipment rentals, visual effects and
image enhancement, film restoration
BPO and other value added services
The company's operations include a 100
per cent owned facility in Los Angeles,
California - Lowry Digital - which is a
premier digital restoration facility. The
company also houses a television
production house, the BIG Synergy.
Reliance MediaWorks CEO Anil Arjun
said, "the name Reliance MediaWorks
Limited more accurately reflects our
identity as a diversified film and media
services company with a global presence
and enables us to draw upon the
international recognition of the Reliance
Anil Dhirubhai Ambani Group brand."
January-March 2010TM-14
Inox Opens in RajarhatMovie buffs in Kolkata now had a
brand new reason to cheer about the
Diwali this year. They were presented
with a new four-screen cinema at the
City Centre New Town Mall in Rajarhat
locality of the Eastern metropolis.
Taking the honours with their latest
cinema launch, Inox Leisure Ltd.
became the only multiplex chain to
have seven multiplexes in West
Bengal, including four in Kolkata.
The new multiplex has four screens for
a total of 1190 seats, including 34
luxurious recliner seats. Created in line
with what is boasted as Inoxian
standards, the cinema is characterised
by state-of-the-art sound and
projection, edge-to-edge screen, plush
seating with ample legroom and
professional services all presented in
an attractive ambience.
INOX Rajarhat which has 4 screens &
1190 seats including 34
luxurious recliner seats will
be open to patrons from
16th Oct'09. Nationally INOX
operates 29 multiplexes and
105 screens in 20 cities across
India.
Luxury is the
corner stone of
all INOX
multiplexes;
plush seats with
ample leg space,
lush carpeting in
the auditoriums,
a spacious
lobby; all
backed by world class hospitality will
take the movie viewing experience at
INOX Rajarhat to a different level
altogether.
Mr. Alok Tandon-CEO, INOX Leisure
Ltd. said, "We have been at the
forefront of the multiplex revolution
in West Bengal with the highest
number of properties in a single state.
The people of Bengal are true
connoisseurs of cinema and their
continued patronage to our existing
multiplexes has been very
encouraging. We hope that patrons
will similarly continue to enjoy their
experience at our latest offering INOX
Rajarhat with its convenient location,
easy accessibility, state-of-the-art
facilities and high-end technology.
"With 7 multiplexes & 26 screens in
our stable, East is topmost on INOX's
expansion map. We aim to have 17
multiplexes & 66 screens in this part of
the country by the end of 2011."
added Mr. Tandon.
INOX presently operates 4
multiplexes in Kolkata
(INOX Forum, INOX City
Centre, INOX Swabhumi
and INOX Rajarhat), 1
each in Darjeeling,
Durgapur and Burdwan.
January-March 2010TM-16
Scrabble in Pact with XpanDScrabble Entertainment Pvt. Ltd.,
India's leading provider of solutions
for digital conversion, already
working in a partnership with
Christie, broke yet another ground
recently by making non-exclusive
alliance with XpanD, the USA-based
3D cinema and technology platform.
The partners have an ambitious plan
to roll-out a total of 100 3D digital
screens in the first phase that is
intended to commence in
November-December 2009.
The partnership endorses XpanD's
reputation as the dominant 3D
leader in the Asian continent, and
validates the progressive vision of
Scrabble Entertainment towards
digital conversion of Indian cinema
exhibition industry. Having already
developed the critical space in the
digital conversion business through a
strong business model of VPF,
Scrabble is positioned to set off to
the next level of digitisation with 3D
digital roll out.
Mukta Movies to FeedCinepolis India
Cinepolis India has entered into an
agreement with Mukta Movies
Distributors - the distribution concern
of Mukta Arts - for sourcing movie
content for its upcoming rollout of
multiplex theatres across India. Under
the terms of the three-year agreement,
Mukta Movies Distribution will source
all domestic movie content for
Cinepolis.
The Mukta-Cinepolis tie-up opens a
big opportunity for Indian movies
going overseas for international
distribution to the Latin and South
American markets where Cinepolis has
a strong presence. Cinepolis has been
instrumental in developing Mexico to
become the fourth largest market for
Hollywood movies over the past
decade.
Cinepolis Mexico tops the movie charts
with over 60 per cent market share in
the country. In India, Cinepolis had
announced plans to rollout 500
screens in the next seven years, most
of which will be in the megaplex
format. Large format megaplexes
allow for more titles to be played and
for titles to stay in theatre for a longer
first run. This, in turn, offers consumers
with more movie choices and
producers with a superior financial
payback on their film investment.
All Cinepolis theatres have been
claimed to feature digital projection
technology. The first Cinepolis
multiplex is scheduled to open in
Amritsar in November 2009.
"We are pleased to associate with a
renowned global brand like
Cinepolis," said Mukta Arts chairman
and managing director Subhash Ghai.
"With their aggressive pan-India
rollout plan and their large format
megaplex designs, we stand ready to
support Cinepolis India for all their
film programming needs with high
quality and timely service."
"Cinepolis is pleased to partner with
Mukta Arts which is a premier brand
in the Indian film industry," said
Cinepolis India country head Milan
Saini. "With its long standing and
strong associations with all banners
and production houses in India,
Mukta Arts can provide us with a key
advantage in securing the wide and
diverse content that we require for
our national foot-print of cinemas."
By financing the exhibitors'
transition to the digital format,
Scrabble had already secured the
studios' commitments to provide
both 2D/3D content, and its forecasts
to install over 200 systems annually is
expected to provide a natural
succession into 3D digital domain.
XpanD, in its turn, has been making
strong strides in the North American
market endorsing the Hollywood
movement of the 3D experience.
"The XpanD system provides
complete flexibility for the
exhibitors," said Scrabble
Entertainment CEO Ranjit Thakur.
"It's the best value for money system
out there considering that the
exhibitors can maximize their
revenue potential every time," he
said, adding, "we are proud to
partner with a company like XpanD."
According to Maria Costeira, XpanD's
CEO, this, by far, has been one of
their most exciting announcements
as the first 3D company to penetrate
India's digital marketplace. "We
intend to demonstrate and maximize
the XpanD 3D brand by introducing
India to our advanced, cutting-edge
active technologies while providing
an entirely new concept and, for
many movie patrons, delivering the
3D experience for the very first
time."
Says Mohammad Ahmadi, President
of Technology & Operations for Asia:
"Our goal of partnering with a very
capable, prominent and aggressive
regional deployment entity was met
when XpanD and Scrabble
Entertainment entered into this
partnership. I am very pleased to add
Scrabble Entertainment to a list of
great partners we have on this
continent."
Though India has about four 3D
digital cinema installs till now, the
market buzz is that the industry had
been rearing to explode. That now
an attractive business case is in place,
the industry is expected to see
multiples of 3D digital rollout in the
coming months which XpanD is
targeting.
January-March 2010 TM-17
Indian genius has always made waves on foreign shores in various domains, including cinematicentertainment. It's been more in the reckoning particularly in the recent past- thanks to theemergence of a new genre and generation of entertainment entrepreneurs. Here is a snapshotof Indian genius getting accolades in overseas domain in the recent months (It consciouslyavoided the laurels achieved more than three months ago lest it sound stale):
NFDC Movie Lauded at Toronto FetePaltadacho Munis (The ManBeyond the Bridge), a Konkanilanguage movie produced byNational Film DevelopmentCorporation of India (NFDC) anddirected by debutant filmmakerLaxmikant Shetgaonkar, won thecritics' awards at the TorontoInternational Film Festival.
The movie was selected by thefestival for its Discovery Section thatdiscovers new and emergingfilmmakers from around the world,and showcases their debutingworks. As many as 30 such movieswere selected for screening, thatincluded Shetgaonkar's work. Of allthe 30 entries, Paltadacho Muniswas selected as the winner ofthe International Federation ofFilm Critics (FIPRESCI) Prize. Thehonour, besides its class, is alsovalid from the point of view ofthe recognition that it gets. TheFestival is considered one of the
largest and most prestigiousinternational film festivals of the worldand generates a business of over $135million CAD annually.
The jury citation for Shetgaonkar'sfilm read, "far from the sensoryoverload of India's big cities, this filmexplores smaller but enduringdilemmas, drawing together keenenvironmental sensitivity with anuanced view of village dynamics."Director Shetgaonkar, immersed in theculture of the region, tells his tale withgrace and attentiveness, taking thevillage traditions and beliefs seriously,while casting a jaundiced eye on thosewho exploit them," the citation added.
Expressing happiness at thehonour, NFDC chairman Om Purisaid, "the Toronto InternationalFilm Festival is a major globalplatform for all kinds of cinemafrom around the world and this isan honor for India and for thefirst-time filmmaker. We hope tosee more NFDC films making amark and winning internationalawards for artistic excellence."Obviously exulted over the honour,the awardee LaxmikantShetgaonkar said, "I am excitedwith this honour. The idea is to raisean issue, try to reflect differentperspectives and make people
think. Though my film is inKonkani, it being showcased atthe Toronto festival reinforcesmy faith that it is all aboutmaking a good film,irrespective of which languageyou make it in."
Badshah Gets a Black Belt Honour
Bollywood Badshah is truly going
places- from one honour after the
other across the international
entertainment horizon- the latest
being a 'Black Belt' in Taekwondo
from the Government of Korea.
Delegates from the Korean Embassy
in New Delhi have especially flown
down to Mumbai to confer the
award on king Khan.
The title actually comprised two
honours. Besides the Black Belt
Honourary in Taekwondo - a 5th
degree in Taekwondo levels - it also
regards Shah Rukh
as the Honourary
Ambassador for
Culture and
Tourism.
"It is wonderful to
wear this. I feel like
I know Taekwondo
but a special thank to the Consulate
General," said an exulted Khan on the
occasion.
This is second international accolade
for the 43-year-old Bollywood
Badshah, coming on close heels of the
honourary doctorate in arts
and culture by Bedfordshire
University in London for his
contribution to culture. The
award was based on the
nomination made by the
reputed NGO Routes to Roots.
Earlier, roughly a year ago,
Khan was honoured as Datuk by
the Malaysian government,
making him the first Indian movie
star to be conferred a prestigious
Malaysian title.
January-March 2010TM-18
Cairo Feather inMadhur's CapNoted movie director
Madhur Bhandarkar has
added more feathers to
his cap. The 33rd Cairo
International Film Festival
held in the Egyptian capital of Cairo from 10-20
November had a special section called Tribute to
Madhur Bhandarkar, and has also screened five select
movies from the renowned Bhandarakar staple.
The movies screened included Chandni Bar, Page3,
Corporate, Traffic Signal and Fashion.
The Festival which was held under the presidency of
actor Dr Ezzat Abou Ouf and honorary president Omar
Sharif was attended by such celebrity figures as Salma
Hayek, Lucy, Liu, Samuel L.Jackson, and Tom Berenger.
That this tribute came close on the heels of the
Bhandarkar retrospective at the recently concluded
Moscow International Film Festival, it added further
aura around the fame that the Mumai-based movie
maestro has carved for himself.
An exulted Madhur said, "my movies are not exposive,
maybe they just hold up a mirror to society. My movies
are not judgmental, I just show what happens in our
society, sometimes there could be a solution and
sometimes there may be none. Life goes on."
Known for his socially relevant and hard hitting films
Madhur has been felicitated with the highest honor in
the Hindi Film Industry by winning the prestigious
National Award thrice for his films Chandani Bar, Page-3
and Traffic Signal.
Cinefan's Lifetime AchievementAward for GulzarEminent movie personalityGulzar has been conferredupon with The Osian'sCinefan Film FestivalLifetime AchievementAward for 2009 for hiscontribution to Indiancinema. The award waspresented to the writer-poetrecently at a glitteringprogramme organised at the Siri Fort in New Delhi.The Lifetime Achievement Award for CinematicContribution is the most prestigious Award presentedby Osian's Cinefan and the tribute focuses on Gulzar'screativity and contribution to entertainment that goesbeyond cultural, linguistic and other boundaries.Noted film director Mrinal Sen was the winner of theAward last year.
Gulzar's work has served as an inspiration forgenerations of audiences right down to thecontemporary times. His films, dialogues and songshave swung from the romantic lyricism of a mora goraang layi le in 'Bandini' to that of the 1970s with'Aandhi,' 'Parichay' and 'Kinara,' to the youthfulmoods of 'Bunty Aur Babli' (2005), 'Omkara' (2006)and 'Slumdog Millionaire' (2008).
Gulzar's contribution to the history of Indian cinemahas also been to infuse a sense of poetry and wistfulcontemplation about the complexities of human life -as a writer of films, as a director and as a writer ofsongs. His movie Machis, and his songs from the movieAastha still haunt millions of movie lovers in India andabroad.
Show Man on the Emmy Awards Jury
Mukta Arts chairman and noted film producer-director
Subhash Ghai - popularly referred to as Show Man for his
brilliance of moviemaking - has been invited by the
International Academy of Television Arts & Sciences as a
Juror in the final round of judging for the 2009
International Emmy Awards.
Ghai has also been invited as a Juror to attend the 37th
International Emmy Awards Gala, which will take place
on 23 November in New York City.
An elated Ghai said: "I am honoured to be a part of the
International Emmy awards 2009 and feel humbled
representing my
country on this
International stage.
It is my dream to
see India too being
nominated for
these awards and I
hope my dream
comes true soon," said Ghai.
The nominees for the awards come from the regional
semi-finalists from each of the four Emmy judging regions
i.e. Europe, Latin America, Asia, Africa & Middle-East.
January-March 2010 TM-19
Tahaan Nominated to Gold Coast Fete
Santosh Sivan's Tahaan, a fable about a little
boy's journey to find meaning and purpose in
his world, has been nominated for Best
Children's Feature Film in the 2009 Asia Pacific
Screen Awards (APSA). The award ceremony
will be held on 26 November, on Australia's
Gold Coast.
Established in 2007, APSA is an international
cultural initiative of the Queensland State
Government, Australia. It brings together, in a
unique collaboration, Atlanta-based CNN
International, and Paris-based UNESCO and
FIAPF-International Federation of Film
Producers Associations.
Tahaan has been nominated from over 210
movies submitted from 43 countries in the
Asia-Pacific region. It will compete for the
coveted prize against Indonesia's 3 Wishes 3
Lovers, New
Zealand's The
Strength of
Water, Korea's A
Brand New Life
and Turkey's The
Bogeyman.
Tahaan was
premiered at the Cannes Film Festival
2008, after which it has been
showcased in over 25 festivals across
the globe including, Rome, London,
Pusan, Seattle, Hong Kong,
Stockholm, Cairo, New York and
Cinekid to name just a few.
Tahaan features actors such as
Anupam Kher, Sarika, Rahul Bose,
Rahul Khanna and Victor Banerjee.
The film has been produced
by IDream Production and
Santosh Sivan Films.
IDream Independent Pictures,
who took the worldwide
rights for the movie, sold it to
territories across the globe- like
South Africa, the Netherlands,
Spain, Turkey, Greece Sweden,
Japan and the USA.
After Rehman, It's Rasul
at the Academy
Following the footsteps
of music virtuoso A R
Rehman, sound
technician Resul Pookutty
is joining as a voting
member of the Academy
of Motion Pictures.
Pookutty who made
global waves of accolades
a few months ago winning an Oscar for
his work in Slumdog Millionaire, now
made another- to be the voting member
of the prestigious Academy of Motion
Pictures.
He is one among the 134 artistes who
have received an invitation to join the
Oscar ballot. Some of the other names
who are part of this group include
Hollywood actors Jack Nicholson,
Quentin Tarantino, Will Smith and
Indian celebrities like A.R.Rahman and
Mira Nair.
Now, Pookutty will be among the other
6000 members of the Academy, to
choose the Oscar winners.
Krishna Shah Honouredwith Raj Kapur AwardEminent Indian film personality overseasKrishna Shah has been honoured withthe prestigious Raj Kapur Award forLifetime Achievement by the UnitedStates Asia Business Forum (USABF). He was honoured for being
first Indian to have made a mark in Hollywood as a writer anddirector on Broadway, Hollywood and Indian Film Industry.The award was presented at a glittering programme held aspart of the Forum Convention recently in Los Angeles. Theprogramme which was attended by the Mayor of the city,Antonio Villraigosa as the event's chief guest, had severalIndian dignitaries, including Union Cabinet Ministers. Theconvention had attracted hundreds of entrepreneurs anddelegates from about 45 countries.The USABF convention primarily focuses on 20 high-growthcategories across its operationa domain, includingentertainment and media. "Raj Kapoor has been one of mymentors during my college days in the USA. He inspired me to
come back to India to make movies. That became Shalimar,"said an exulted Shah on the occasion.Shah has been fascinated by the transformation of the Indianfilm industry, particularly the rise of young filmmakers withtheir innovative cinema, which would have made Raj Kapoorvery proud from wherever he is. I accept this award in thename of The New Indian Cinema, a future that is alreadyhappening," Shah added.
January-March 2010TM-20
Rahman Scores Another LaurelIndian music virtuoso A Rahmanscored another global laurel. CouplesRetreat, Rehman's first venture intomainstream Hollywood, hasreportedly crossed the 100 milliondollar mark at North American boxoffice. The 113-minute comedy wasreleased worldwide on October 8 inAustralia and New Zealand andOctober 9 in the USA. It hasreportedly grossed over $ 102 milliondomestically, besides over $20 millionoverseas.
Rahman provided original music forCouples Retreat, besides writing andperforming two songs: Na Na andSajna. Rahman's son A. R. Ameen
also sang in Na Na.Shot in Tahiti(French Polynesia)and the USA, itrevolves aroundfour couples whogo to a tropical-island resort for vacationing. It is yet tobe released in many countries.Looking at the success of the movie, theindustry pundits feel Hollywood-Bollywood marriage could bring betterresults at the box office. AcclaimedIndo-American statesman Rajan Zedwho is also the chairperson of Indo-American Leadership Confederation,hoped that the tremendous success
Couples Retreat wouldpave way for morecreative-technical-financial alliancesbetween Hollywoodand Bollywood in thecoming years.
Written by Jon Favreau, anddirected by Emmy-nominated PeterBillingsley (Dinner for Five), themovie stars MTV winner VinceVaughn of Wedding Crashers fame,Golden Globe winner JasonBateman of Arrested Developmentfame, Golden Globe nominatedKristin Davis, known for the Sex andthe City programme, etc.
Inox Makes 100 pc Revenue GrowthBenefiting from the sudden outburst of
cinematic enthusiasm of the post-Q1
scenario, Inox Leisure Ltd. reported
impressive growth rate for the second
quarter of the financial year 2009-10,
ending September 30. The multiplex
chain saw 105 per cent growth in
revenues for Q2 with Rs. 70.68 crore
versus Rs. 34.51 crore in Q1. The
company profits grew to Rs. 5.30 crore
from a PAT loss of Rs. 4.01 crore in Q1
and EBITDA grew to Rs. 12.22 crore from
an EBITDA loss of Rs. 1.74 crore in the
first quarter.
During the quarter, Inox opened one
new multiplex, comprising of four
screens at Central Mall in Indore, taking
the total tally of properties under
operation to 28 multiplexes, with an
aggregate of 101 screens, across 20 cities
in India. After the addition of its Rajarhat
near Kolkata the company now has a
total of 29 multiplexes and 105 screens.
The company's profits have apparently
come from the increased footfalls- from
19,77,829 in first quarter to 39,25,880 in
the second quarter.
Looking segment-wise, the company's
multiplex division accounted for major
share with a gross revenue of Rs. 66.67
crore in Q2, growing from Rs. 59.86
crore in Q1, and film production
accounted for Rs. 4 crore against nil in
the last quarter.
Inox Leisure Ltd. Director Deepak Asher
said, "our strong performance is
reflective of the stringent cost control
measures adopted by us and the good
film releases we have seen in this
quarter."
However, for the half-year ending 30
September 2009, the company's
revenues showed.
Inox Makes 100 pc Revenue Growth
Fame SuffersRS. 90 Lakh Loss
Fame (I) Limited, formerly Shringar
Cinemas Limited has reported a loss of
Rs. 90 lakh for the three-month period
ending 30 September 2009. This, against
a net profit of Rs. 2.82 crore earned for
the same period during last financial
year. However, the company reported
increase in its operations from Rs. 32.95
crore during the second quarter of last
year to Rs. 37.05 crore for the second
quarter of the current fiscal.
For the half-year ending 30 September
2009, the company revenues declined
marginally to Rs.53.31 crore from Rs.
65.83 crore earned for the same period
last fiscal. The company also reported
higher net losses at Rs. 10.43 crore as
against Rs. 84 lakh for the same period
last financial year.
The company, in its results
announcement noted that the half-
yearly figures are not strictly comparable
with the period ended 30 September
2008 on account of the business
interruption caused due to the strike
called by the United Producers and
Distributors Forum in the quarter ended
30 June 2009.
Segment-wise, the company's revenues
from theatrical operations increased from
Rs. 30.68 crore for the second quarter of
2008-09 to Rs. 35.38 crore for the same
period this year. However, the profits
from theatrical operations have fallen
from Rs. 4.75 crore to Rs. 1.86 crore.
During the quarter under review, the
Fame further consolidated its multiplex
expansion with the launch of two new
facilities- a five-screen multiplex at Value
Mall in Bengaluru and, four-screen
multiplex at Seven Seas Mall in
Vadodara.
Reliance MediaWorks's Strong Q2Reliance MediaWorks Ltd. - formerly
Adlabs - and a member of the Reliance
ADA Group announced a strong second
quarter results for 2009. Sharply
reducing its net losses to Rs. 11 crore
from Rs. 64 crore accounted during the
last quarter, the company bounced back
with an EBIDTA of Rs. 34 crore as against
a loss of Rs 9 crore dented during the
trailing quarter.
The company reported a total
operational income of Rs. 189 crore,
posting an increase of 80 per cent over
the preceding quarter. Taking the
major share in the rise, the exhibition
division revenues accounted for Rs.
115 crore, with an increase of 62 per
cent over the last quarter. Revenues
from film and media services are
reported to be Rs. 48 crore with a rise
of 64 per cent.
Most important development for the
company during the quarter has been
that the it changed its name to
Reliance MediaWorks Ltd, to reflect
the company's transformational
evolution pursuant to Reliance ADA
Group acquiring controlling stake in
2005. The company today has a
leading presence in domestic and
international movie theatres,
comprehensive range of film and
media production services and
television software.
BIG Cinemas, the company's cinema
exhibition division added 16 screens in
the second quarter and currently has a
network of 480 screens spread across
India, US, Malaysia and Netherlands. BIG
Cinemas also entered New Delhi with
the reopening of Connaught Place's
landmark Odeon theatre as Odeon BIG
Cinemas. The company also opened
Mumbai's first megaplex with nine
screens.
Reliance MediaWorks Motion Picture
Processing and DI Lab continued to
maintain market leadership. The
processing laboratory has won the
prestigious National Award for the 4th
consecutive year. The company also
launched film cameras and equipment
rentals service, making it India's largest
camera and equipment rentals
company.
"Reliance MediaWorks has shown
strong performance in all its business
segments in this quarter," said the
company Chief Executive Officer Anil
Arjun. "The company's strategic
investments and scaled business
operations have resulted in the
creation of a robust business model
which makes us a significant player
across the entire film and media
services value chain and enables us to
be a leading beneficiary of the
continuing upswing that the industry
has seen since July this year."
January-March 2010TM-22
PVR Nets 27 pc ProfitPVR Limited reported a net profit of
Rs. 6.44 crore for the three-month
period ending 30 September 2009, as
against Rs. 5.05 crore earned during
the same quarter of previous
financial year- thereby showing a rise
of 27 per cent. The EBIDTA for this
quarter is reported to be at Rs. 19.25
crore as against Rs.16.23 crore from
the corresponding quarter last fiscal,
with an a 19 per cent jump.
However, the total consolidated
revenues for the quarter is shown to
be Rs. 92.22 crore as compared to
Rs.108.63 crore during the
corresponding quarter ended
September 2008 showing a decline
by 15 per cent. However, the
company's earnings look impressive
with a 105 per cent rise from its first
quarter of the current fiscal during
which it earned only R. 43.6 crore.
This was due to the eight-week shut
down of multiplexes following the
stand-off with the producers, as also
due to the factors like Swine Flu etc.
The exhibition business revenues
increased from Rs. 82.98 crore in Q2
2008-09 to Rs 86.87 crore during the
quarter under review, with a growth
of 5 per cent. EBIDTA margins grew
from 19 per cent in Q2 2008-09 to 22
per cent in Q2 2009-10 on the back
of sustainable revenues generated
from operations and various cost
rationalization measures initiated by
the company.
The PVR Pictures business was slow
during this quarter and there were
no major movies distributed/released
by the company. The other
subsidiary PVR Blu-O has been
performing exceptionally well and
delivering EBITDA margin of 33 per
cent.
The occupancies at PVR Cinemas in
this quarter averaged at around 33
per cent as compared to a dismal 20
per cent in the first quarter of the
current year. The ATP also increased
from Rs 132 in the previous quarter
to Rs. 145 in this quarter showing a
strong growth of 10 per cent. PVR
currently operates 26 theatres with a
total of 108 screens and 27,890 seats
across 14 cities in the country.
"On the back of various operating
initiatives taken by the management
to improve revenues and rationalize
costs, we have been able to achieve
an EBITDA margin of 21 per cent
during the quarter as compared to
15 per cent in corresponding period
of last year," said Ajjay Bijli,
Chairman & Managing Director, PVR
LTD. "Overall we see the consumer
sentiments really buoyant towards
movie going," he said, and added
"we remain highly positive about
the long-term prospects of the
leisure and entertainment Industry."
'Reel'ing Under Reality!In what can be an intriguing case of inspiration for Bollywood scriptwriters, the movie piracy
racket that shook the Tinsel Town out of its blissful slumber, exposed the spectre that hadlong been lurking from behind it. In the process, it brought the hitherto make-believeindustry to a grim reality. More, even after the big shake, the spectre is still at large.
TM tries to do a retro and a reality check.
Sometime in the second week of
September 2009...
Wee hours of the morning near Guru
Kripa Hotel at Kherewadi Junction in
Mumbai…
Two youth arrived on a motorcycle
from one side and while one came on
another bike from the other side. The
threesome quickly confabulated and
'exchanged' what they were ought to.
Then happened what was not
happening for some unknown
number of years. The cops, arriving
from nowhere, took the youths by
surprise and apprehended them, and
the material they were transporting: a
DVD print of the yet-to-be-released
Ashutosh Gowarikar movie What's
Your Rashee!
The men in mufti from the Mumbai
Police Crime Branch obviously did not
know that the apparent small link they
'caught' hold of would lead to
unearthing an ugly face of a massive
piracy racket that is hidden behind the
fancied corporate profiles; more, it is
being remote-controlled from across
India's North-Western border.
Bollywood, as also the rest of Indian
cinema entertainment industry, came
in for a rude shock when Afsar alias
Ashraf Haider Hussain, Firoz alias
Sameer Irfan Khanand Aman alias
Tanzeem Ali Hameed Ali - the three
youths nabbed from Kherewadi
Junction - reportedly pointed towards
top executives from very high-profile
corporate entities, three of them
commanding highest respect for
security, in the Indian entertainment
industry.
Acting on the leads taken during the
interrogation, the police moved
swiftly to zero in on one Durgadas
Shriramswami Bhakta, a business
development manager at the erstwhile
the Adlabs in Goregaon Filmcity, and
another Rajesh Harkishan Chaudhary,
associate vice- president of UFO Digital
Mastering office in Andheri, Reliance
Big Cinemas manager of overseas
distribution Neerav Shah, and
Shemaroo Entertainment head of
overseas distribution Kalapi Nagda.
According to Mumbai Joint
Commissioner of Police (Crime) Rakesh
Maria, Rajesh Chaudhary, would get
master prints of yet-to-be-released
Video Piracy
S P E C I A L F E AT U R E
January-March 2010TM-24
movies. UFO processes the prints
digitally. Chaudhary would save the
movies on his laptop, put it onto a
DVD, and hand it over to Bhakta.
Bhakta then, passes the print on to
Afsar, who in turn passes it on to
Tanzeem, a computer expert. Tanzeem
uploads the movie to his computer,
and then sends it via Internet to the
kingpin of the racket, Asif, who is in
Karachi, Pakistan. Asif then sends the
movie prints to various countries that
include Bangladesh, Indonesia, The
Netherlands, Germany, France, and
Australia.
The youths have reportedly paid Rs.
two lakh to Bhakta for getting the
movie copy. Police have eventually
arrested Bhakta, his accomplice Ajal
Udayansingh Pal from the same lab,
and Rajesh. The fact that the police
have not only seized as many as 11
pirated titles from the accused, but
also touched upon the depths of cross-
border piracy that had apparently
made inroads into the echelons of
high-security set-ups in the country
exposed the grim reality. That the
cinematic India continues to 'reel'
under piracy, even with boastfully
digitised set-ups.
This major breakthrough, though, did
not come off just like that. The Crime
Branch had set up a few months ago a
special team that also had officers of
the police Social Service Branch to
keep a tab on piracy cases and rackets.
This happened building on the
strengths given to the department by
the Maharastra Prevention of
Dangerous Activities (MPDA) Act when
the Maharashtra Government brought
audio and video piracy under the
purview of MPDA. The new legislation
empowers police to book people
involved in piracy under the MPDA
wherein an offender can be detained
and sent to jail for a period of one
year.
According to police, they had actually
received a tip-off that the print of Dil
Bole Hadippa that was released on
September 18 was already available in
the market. Despite making their
efforts, police could not nab them.
They were, however, successful on the
second occasion, and with a bang.
On the face of it, respective companies
of the accused were said to have been
instantly disowned them by instant
termination, and strong
condemnation of the act that brought
then indignation.
Reliance Big Pictures said in a
statement: "Anybody found guilty of
any wrongdoing as far as the law of
the country is concerned, will be
strictly dealt with."
Welcoming the Mumbai police action,
Reliance Big Entertainment Chairman
Make a Difference: MPA India Appeal to CinemasThe Motion Picture Association of
America (MPAA) recently initiated a
massive campaign in association
with Indian film industry and
leading Indian multiplexes to curb
camcord-based movie piracy in the
country.
Named the 'Make a Difference'
campaign, the initiative was
launched at the Big Cinemas
Odeon in India's national capital
under the aegis of MPAA CEO and
Chairman Dan Glickman, PVR
Cinemas CEO Amitabh Vardhan,
and Adlabs COO Tushar Dhingra.
Glickman, who had apparently
come down specifically for the
programme, besides ramping up
the India operations, noted in a
statement: "As we continue to
release more Hollywood titles in
India, the number of camcords
coming out of the country is likely
to rise. However, we are sure that
the 'Make A Difference' training
package for cinema staff will go a long
way in helping them prevent
camcording, identify camcorders as
well as assist enforcement authorities
when they are caught making these
recordings."
Other multiplex chains in the country
such as Fame Adlabs and Fun Republic
have also been made part of the
nationwide training.
That MPAA has a wholly-owned local
office Motion Picture Dist. Association
(India) Pvt. Ltd., it hopes that the
Indian arm would address its concerns
more effectively by working closely
with local industry, government, law
enforcement authorities and
educational institutions.
According to the US India Business
Council - Ernst and amp; Young 2008
report on 'The Effects of
Counterfeiting and Piracy on India's
Entertainment Industry,' the Indian
film industry lost $ 959 million and
571,896 jobs due to piracy.
"Piracy is a global menace. Over 90
per cent of newly released movies
that end up appearing on the
streets and on Internet sites
originate from illegal copies made
in cinemas," noted Adlabs COO
Tushar Dhingra. "Indeed, with the
advancement of technology, piracy
is getting a boost but the same
technology can also be used in
order to curb the spread," he said
and added, "BIG Cinemas firmly
stands behind this MPAA initiative,
which takes proactive action to
curb camcord piracy. We hope that
the antipiracy laws are more
steadfastly enforced in India."
PVR Cinemas CEO Amitabh Vardhan
added: "movie piracy results in
fewer movies being financed,
which means jobs are not created
and local goods and services - such
as cinema tickets - are not
purchased."
S P E C I A L F E AT U R E
January-March 2010 TM-25
Amit Khanna was quoted as saying
"Reliance Big Entertainment and
Adlabs are committed to root out this
evil. We, being a part of this film
industry will continue to support all
efforts by the government and the
industry in this regard."
Recalling that the company's
processing lab is the only such entity
in India to have been recognized by
Federation Against Copy Right Theft
of UK, Khanna sought to reassure the
industry and the enforcement
agencies that they have the most
stringent security measures in place.
"We shall take all appropriate legal
actions against any individual(s) in the
organization found guilty of any lapse
or misconduct," he was quoted as
saying.
UFO Moviez, recalling the police
version, sought to clarify that 'its
executive was acting independently
without the knowledge of the
company.' It assured the industry that
the latter's business interests and
intellectual property were of paramount
importance to the company.
Shemaroo also gave its take on the
disgrace allegedly brought by its
executive. The company director Hiren
Gada was quoted as saying that the
company had nothing to do with the
incident and strongly condemned all
such illegal activities. He hoped that
those found guilty would be dealt
very strictly, and the company will be
cooperating with the authorities in the
matter.
Even as these corporates were
hastening to atone themselves, UTV
Motion Pictures - whose movie What's
Your Rashee formed the epicentre of
the disgraceful ripples - was reported
to have sent legal notices to the
companies in question demanding a
compensation of Rs 50 crore each
towards the damage that might have
been incurred due to piracy.
A Sheer Systemic Lapse!
"The problem is neither with the
technology, nor with the system," says
a pacifist. "It's the problem of the
mindset; of falling values; and greed
for quick bucks." According to him,
Indian industry doesn't have
aggressive anti-piracy campaigns that
primarily begin with educating the
stakeholders. The system, by itself had
been supportive with its loopholes on
most occasions, and the industry has
never seriously geared up to educate
people before pressing for stringent
measures.
Observers of the whole development,
point out that the Motion Picture
Association (MPA) - the assumed
global apex body for fighting piracy -
had actually long ago recognised the
"lab-stage-theft" of the movies as an
equally potential threat as that of the
"in-theatre-camcording." The very fact
that most Hollywood titles appear on
the American street corners as also on
the US-centric portals even before the
movie's theatrical release proves the
vulnerability of the post-production
and process phases of a movie- which
was why the MPA devised
programmes to eliminate such security
loopholes.
Interestingly, just two weeks before
the shocking revelations in Mumbai,
the MPAA India - the India-centric
outfit of the global agency - had
began conducting an extensive
exercise in association with the top-
notch multiplexes in the country on
curbing the 'in-theatre-camcording.'
MPA's global head, as well as the India
chief stressed the need figuratively to
curb camcording! (Read a separate
story: 'Make a Difference')
Perhaps, they all missed, or failed to
suspect the things that had been
brewing right under their feet!
Pirates' Own Lab!
If the involvement of corporate
executives in piracy was not adequate,
the pirates setting up an conversion
lab and a 'national' godown will serve
as fitting statement on the strengths of
the pirates.
Close on the heels of the first incident,
the Mumbai Crime Branch Police have
unearthed a what was claimed as a
national godown, and a processing
lab that had been used for copying
and storing movies. The existence of
these facilities came to light when the
police busted another major video
piracy racked for the second time in
the same week by arresting five
operatives from Mumbai and
Ahmedabad.
Three operatives from Ahmedabad -
Chirgag Rawal, Mois Roopwala, and
Resham Mehta - and two from
Mumbai - Imran Sheikh and Ashfaq
Beig have been nabbed. They were
arrested during a joint operation
conducted by the Social Service
Branch and Unit X of the Crime
Branch.
According to police, Rawal was the
kingpin of the video piracy syndicate
in Gujarat. Five DVD writer machines
Contd on page TM-34...
S P E C I A L F E AT U R E
January-March 2010TM-26
INDIAPLEXING
A Different Stroke of
Cinema DesignIndia had been experiencing fascinating multiplexing for some time now, with its cinema
exhibition industry regularly coming up with marvels of cinema design. There are a few
multiplexes that are classified truly international for their path-breaking design
innovation. However, here is one that, probably, tops them all- the newest cinematic
expression of HDIL– the Mumbai-based promoter of Broadway brand multiplex chain.
Coming up at Bhandup suburb of Mumbai, the new ‘Broadway’ cinema promises to set
a new benchmark in cinema design and the celebration of cinematic experience.
The newest cinematic statement that
is just about to express itself to the
residents of Bhandup as also the
movie lovers of the Mumbai is a
veritable statement of design
ingenuity. For, it explores the
unseen, if not unimagined, frontiers
of design expression, and exploits
the space intelligently to create a
spatial experience that is bold and
radically different from the
common.
Created as part of the
extraordinarily spread, 13.5 lakh
square feet Dreams Mall – a fondly
chosen name to symbolise a fancied
retail entertainment destination –
the new 6-screen cinema from the
Mumbai-based Broadway multiplex
January-March 2010TM-28
INDIAPLEXING
chain is a fancy space of make-belief
living. The moment one steps into
cinema entrance, one is set to be
taken over a magical spell of
randomly combined geometrical
triangular forms done in various
shades and sizes.
The entrance, lobby and concession
areas are characterised by a blue
immanence of this triangular design
geometry that appears sober and
pleasant, while an adjacent
children’s recreation area – said to
be the ‘kids zone’ – strikes a
radically different note with
resplendently red triangles
intercepting lighter shade triangles.
The theme form is carried forward
from the lobby to expand into the
two large concession areas, as if to
continue the impact.
The combination of geometrical
triangular forms is central to the
visibly bold design theme of the
multiplex. The apparent attempt to
impart the ambience with the glow
of a crystalline lustre in a radically
different yet fanciful and mood-
setting fashion is carried forward
into the auditoriums. Different
from one another in their own
right, each of the auditoriums
characterise a unison of interior
walls and ceiling done in a uniform
crystalline format- treated by a
polypropelene fabric covering the
acoustical panels and tiles beneath.
Further, the geometrical forms are
characterized by protruding ridges
running from end to end, and
January-March 2010 TM-29
INDIAPLEXING
blending the walls and ceiling as
one single large form.
Five of the six auditoriums feature
this design scheme done in pink,
purple, red, green and blue. The
catchline is “the crystalline glow”
form is everywhere, permeating
every element of the design. While
these five auditoriums are uniform
in their structural design, the sixth
one stands apart both in its design
and cinematic offering. Created as
VIP Class, the auditorium has its
interior surfaces in a uniform black,
done in alternating big and small
rectangular forms and surface-
finished in polypropeline fabric. The
56-seat luxury auditorium features
extra-stretch recliners done in
supersoft leather. The auditorium is
also unique in that it is attached
with a distinctly designed VIP
lounge that offers speciality services.
As for the technicals, two of the
auditoriums feature 2K digital
projection systems supplied and
installed by MRH Digital Systems
while the other four feature 35-mm
film projection systems done again
by MRH Digital. The system
comprises Christie projection, QSC 4-
way speakers and amps, Dolby-
digital audio, and screens by
Harkness Hall. The acoustical panels
have been supplied by Anutone while
the technical design is done by Neville
Daruwala.
The interior lighting and
steplighting in the auditoria, done
in tune with the architectural forms
created, has been done by
Shrikrishnashray. The seating has
January-March 2010TM-30
INDIAPLEXING
been supplied and installed by
Penworkers – sourced from China.
“It’s our flagship property,” says
Mukesh Gupta, CEO of HDIL
(Cinema Division). “We tried to
make it the way a flagship venture
should be,” Mukhesh asserts, “we
believe we did.” That the group’s
last venture at Khandivli has been
giving them good returns in that it’s
been getting an average occupancy
of 56 per cent, the group is buoyant
on its latest statement. That
multiplex chain has now increased
its footprint in Mumbai to a total of
17 screens.
The industry till now has seen Silver,
Gold and Platinum Classes. It hasn’t
yet seen a ‘Diamond Class.’ Perhaps,
the latest 1346-seat Broadway
multiplex at Dreams Mall is one.
January-March 2010 TM-31
Being on the Cutting Edge (of) Technology,
Cinematically
Sathyam Cinemas, Chennai - the iconic symbol of South Indian Cinema activism - has been thesynonym of bold cinematic initiatives in the country- right from super size giant movie posterson the theatre exteriors to doing the country's first 2K digital, 3D digital, more Imax theatrecommitments than most in Asia, and playing instrumental in alternative digital content. Arguably,it is one cinema enterprise that is undeterred by the market upheavals, and diligently seekingits pursuits of ushering in the technology cinema- which is why the exhibitor is being awardedthe DLP Market Achievement Award at CineAsia 2009, Asia's coveted industry platform. TM speaksto its First Person Tan Ngaronga(TN), Chief Operating Officer, Sathyam Cinemas, on its directionsand dimensions.
TM - Congratulations on the
CineAsia recognition. How does it
feel like?
TN - We are very pleased and honored
to receive the DLP Marketing
Achievement Award. Digital cinema is
something that we are passionate
about and has been something that
Sathyam Chairman Kiran Reddy
specifically pushing from many fronts
for a long time. It is fantastic that there
had been such a significant shift in the
last couple of years from print to
digital. There are many contributors
that have made this possible, from
producers to post production houses
ensuring that we have a significant
amount of content to play out in
digital.
TM - What brand or value addition
you think it brings to Sathyam
Cinemas?
TN - I am not sure how much brand
value this brings to Sathyam Cinemas,
but we have been committed to be an
'all-digital' exhibitor. We are
committed to bring the best picture
and sound quality available to our
customers. Hopefully this says
something about the brand and what
we are trying to do.
TM - Sathyam had
been full of
promises, since an
year or so, with
ambitions plans, but
yet to see one on
stream- What
reasons?
TN - We understand
that things have not
moved as quickly as we
would have liked them
too, however, last year
was a very tough year for the
exhibition industry with the recessions
and a range of other challenges so
things were definitely slow to progress.
As our primary strategy is completely
contingent on Retail projects we
restricted by these developments. As I
am sure it has been seen through the
The ‘landmark’ move: Sathyam COO Tan Ngaronga(right) andExpress Infrastructure Pvt. Ltd. COO Kim Kully (middle)
January-March 2010TM-32
down turn, it is imperative to be in the
right locations with the right retail
partners to ensure that each site is
sustainable.
TM - We have been told about
Sathyam's two Imax theatres by
2010, and two more in the next two
years. At what stage are these
projects?
TN - The projects are well into the
planning stage and will start
construction in the very near future.
TM - Sathyam showed the way for
DCI-compliant Digital Cinema India
by deploying the country's first 2K
digital, and 3D digital. Would also
do the 4K?
TN - 4 K is definitely in the pipeline. For
all of our new projects that have
immediate projector requirements we
are ensuring that the projectors we buy
are 4K ready, and will want to ensure
that all of our sites are 4K in the
immediate future.
TM - If so, when and where? on the
existing Royapetah location ? or
elsewhere?
TN - Sathyam will be upgraded as the
older projectors can be either moved or
replaced.
TM - Not withstanding the brand
identity of doing the country's first
3D digital, how has been the
experience so far? How about the
regular supply of content?
TN - The stream of content has
improved and we are seeing more films
available in digital 3D being released in
India. Most of these titles have been
children's focused product, but we are
anxiously preparing for the release of
James Cameron's Avatar. We are
equipping more of our screens to be
ready for this release.
TM - What drives Sathyam Cinemas
for its bold initiates?
TN - We want to be on the cutting
edge of technology. Kiran Reddy is
obviously an advocate of being at the
cutting edge and pushing the
boundaries on improving the cinema
experience.
TM - Sathyam also made a bold
initiative with alternative content.
We, haven't, however, heard about
it again. Why? Are there any such
plans (on the anvil?)
TN - This never came to fruition.
Unfortunately, we were not able to
find content that would work for our
market. In terms of alternative content,
we want to find something that we can
establish a regular programme for,
something that can be shown in an off-
peak period and be promoted as a
regular event.
TM - In contrast to the movie
producing activism, the spread of
multiplexing has comparatively
been conservative in the south.
What reasons you see for this?
TN - This is predominantly due to the
slow rate of retail developments
coming on line. The lion's share of
multiplexes is in major retail
developments, but we will see a few
open in 2010.
TM - Judging from today's standing,
where do you see Indian cinema
exhibition industry in the next
three to five years time?
January-March 2010 TM-33
TN - We will see some multiplexes
open, but the rate will continue to be
behind expectations. Many people will
go down the path of either renovating
older screens with premium city
locations, or even attempt to do stand
alone projects due to the slow pace of
major retail developments.
TM - Most reputed research firms
have been awfully going wrong in
predicting the industry dynamics-
what reasons you see for this
fallacy?
TN - I am not sure why this is, but I
think it might have something to do
with the fact that many of the
demographic rates are off the mark. In
a recent McKinsey report, only 1 per
cent of people in India earn more the
10 lakh per annum. Therefore size of
the middle class is much smaller than
the 300,000 million that is claimed.
Thus, the disposable income of many is
more limited than people are
forecasting. So there isn't the money
for retail and recreation that is being
suggested.
TM - Indian cinema market is often
criticised for video piracy. How
menacing you see the challenge?
TN - Piracy is a huge issue that has no
foreseeable solution. As exhibitors, all
we can do is make sure that the cinema
experience is good enough to compel
people to get out of their homes to be
entertained. People are social animals
and have innate need to be in social
situations. Hopefully this and a great
experience offering will keep them
coming to the cinemas.
TM - Now Sathyam is getting a
high-profile tech honour from an
international platform. What
business responsibilities you think
would come attached with it?
TN - With our promise of being ahead
of the curve in technology, this means
that we need to keep up with the
improvements in technology. This will
mean that we will have to start looking
at the 4K digital technology that will
be available shortly from Texas
Instruments as well as other
improvements in the technology
sphere. We are committed to bring
the best possible experience to our
customers and sometimes that does
come at a price considering the speed
at which technological changes are
taking place.
(capable of printing hundreds of
copies per hour) along with 15,000
inlay cards had been recovered from
him. On ther other hand, 19 DVD
machines, a television set and 1,000
duplicate copies of Hindi movies were
recovered from Roopwala. Resham
Mehta, brother of the alleged Delhi-
based pirate Jitendra Mehta was
arrested with a laptop and 15
duplicate prints of some latest
Bollywood movies.
The modus operandi of the racket is
such that Sheikh and Beig approach
loaders engaged by distributors in
transporting the prints and offer them
anywhere between Rs 20,000 and
25,000 to sneak a print out for three
hours. The print would be taken to a
lab set up in Andheri, to be converted
to a digital format before being finally
burnt on a DVD. These prints were
stored in a godown in Mahim, before
being sent to Pakistani piracy kingpin
Asif, from where they would be
distributed all over the world.
A Shocked Industry
Though most people in the industry
do not want to recall what and why
happened, it is understandably sent
shock waves across the rank and file of
the film industry. There is a generic
sense of shattering of a mythical
belief. "We all believed 35-mm film
was very easy to copy and digital
version will safeguard against it- given
the 'foolproof' technology it came
with," an executive of a multiplex
firm, said, adding, "now the belief
stands shattered. It is now proven that
even the digital prints are not safe."
"People invest crores of rupees in
each movie, and in these days of
fancied film making, it runs into
few dozens of crores," says another
top executive of an exhibition-
production enterprise, "with acts
such as these, the fate of their
investment and professional
fortunes are sealed before they
open up."
Fumes an exhibitor: "most people
wouldn't spare a minute in blaming
cinema operators for piracy, they
say in-theatre-piracy is the main
cause of the menace. They say
digital cinema is the only and
effective solution. But what is the
solution when even the digital
prints are stolen and sold for
tainted money?"
The Tailpiece : Almost two months
after the police busted two of the
biggest video piracy rackets, the
multi-million dollar piracy market
seems to have hardly been affected.
Pirated copies of most film releases
like Blue, All the Best, and Main aur
Mrs Khanna were easily available at
stalls outside the suburban railway
stations and at shopping areas.
...contd from page TM-26
'Reel'ing Under Reality!
January-March 2010TM-34