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Category: Production House

  • Eros International inks co-production pact with Drishyam Films

    Eros International inks co-production pact with Drishyam Films

    Mumbai: Eros International Media Ltd (Eros International) has signed a four-film co-production deal with leading production house, Drishyam Films.

    According to Eros International’s release to the BSE, the first of the four projects, titled Kaamyaab starring Sanjay Mishra along with Deepak Dobriyal and directed by National-Award winning filmmaker Hardik Mehta, has already gone on the floor and commenced shooting on November 25.

    In 2018, Eros and Drishyam will jointly produce four films “to pave the way for presenting a new wave of cinema that the companies have come to stand for.”

    Speaking on the alliance, Jyoti Deshpande, Group CEO, Eros International said, “We feel the kind of cinema Drishyam makes and the agenda we have for the next five years at Eros perfectly match. At Eros, we believe that our future slate should have a mix of blockbusters such as Bajrangi Bhaijaan and Bajirao Mastani as well as beautiful stories made on smaller budgets like Aligarh, Nil Battey Sannata, and Newton. We’ve already started our relationship with Drishyam by distributing Newton, Rukh, and Kadvi Hawa and with this new co-production slate, we are hoping to present some very compelling stories to our audiences worldwide.”

    Manish Mundra, founder of Drishyam Films added, “We are very excited to associate with a leading studio like Eros who are backing our kind of content-driven cinema, and happy that our stories have found a home here. It’s heartening that they have come forward to not only distribute our films but also create a vision to tell stories together. We at Drishyam have built a brand of cinema that we are very proud of and we hope the association with Eros will take our films to a much wider audience.”

  • Green Gold’s golden Mumbai launch

    Green Gold’s golden Mumbai launch

    MUMBAI: Green Gold Animation is all set to hit the green running with its new offshoot Golden Robot. The Rajiv Chilaka-run animation outfit has been wowing everyone with its deals for animation series with both Netflix and Amazon Prime. 

    But the occasion this time was the celebration of the launch of Golden Robot’s new Mumbai studio in Mumbai’s Goregaon West area’s DLH Park (which also has the presence of Red Chillies’ VFX facilities) earlier this week.

    Spread over some 10,000 sq feet, Golden Robot is Chilaka’s third animation initiative. Its purpose: to capture more outsourced work from international studios. While Green Gold will house the original IP creating arm – churning out episodes of Chhota Bheem, Mighty Raju, and many others, Golden Robot will be producing episodes for large American and European studios.

     The whos who of the animation industry made it a point to attend the launch party which was cheered on by Golden Robot’s 250 or more employees. Among those who came to congratulate Rajiv, Srinivas, and Samir Jain included Nick boss Anu Sikka, Sony Pictures Networks India vice-president programming Ronojoy Chakraborty, Amazon Prime’s Manish Menghani and Abhishek Goradia, Bioscopewalla Pictures’ Nishit Takia and AnimationXpress.com’s Anil Wanvari.

    They all came in to wish the team luck, and of course a golden pot for Golden Robot.

    Also Read:

    Green Gold, Amazon Prime put Kerala martial art on the map

    Chhota Bheem-makers launch Golden Robot Animation

    Chhota Bheem becomes Mighty with Netflix

  • Increased revenue from traditional media boosts Shemaroo numbers

    Increased revenue from traditional media boosts Shemaroo numbers

    BENGALURU: Integrated media content house Shemaroo Entertainment Limited (Shemaroo) reported 18.3 percent higher year-on-year (y-o-y) consolidated total revenue for the quarter ended 30 September 2017 (Q2 FY 2017-18, the quarter under review) stood at Rs 1,345.7 million as compared with Rs 1,138.6 million in Q2 FY 2016-17. The company’s consolidated profit after tax for the quarter under review improved to 29.9 percent y-o-y to Rs 188.2 million (14 percent margin) as against Rs 144.90 million (12.8 percent margin) in the corresponding quarter a year ago.

    Revenue from operations increased by 18.3 percent y-o-y to Rs 1,343.7 from Rs 1135.5 million. In its earnings release, revenue from traditional media rose by 11.8 percent y-o-y during the quarter under review to Rs 1002 million as compared with Rs 896 million in the corresponding year ago quarter. Revenue from new media increased by 42.5 percent y-o-y in Q2 FY 2017-18 to Rs 342 million from Rs 240 million.

    Shemaroo’s EBIDTA, including other income, during the quarter was Rs 363.2 million (27 percent margin on total income of operating revenue) increased by 13.7 percent y-o-y from Rs 319.4 million (28.1 percent margin on total income of operating revenue).

    A look at the other numbers

    Total expenditure (TE) in Q2 FY 2017-18 at Rs 1,079.6 million (80 percent of operating revenue) grew by 19.5 percent y-o-y from Rs 903.5 million (79.6 percent of operating revenue). The company’s cost of raw materials consumed declined by 19.9 percent y-o-y to Rs 692.5 million (51.5 percent of operating revenue) as compared with Rs 864.3 million (76.1 percent of operating revenue).

    Employee benefits expense during the quarter under review grew by 35.7 percent y-o-y to Rs 98.5 million (7.3 percent of operating revenue) from Rs 72.6 million (6.4 percent of operating revenue). Other expenses declined by 7.7 percent y-o-y in Q2 FY 2017-18 to Rs 50 million (3.7 percent of operating revenue) from Rs 54.2 million (4.8 percent of operating revenue).

    Also read:

    Shemaroo makes key hires to boost business

    Backed by new media, Shemaroo reports improved numbers for first quarter

    Rahul Mishra Shemaroo’s new general manager marketing

  • India-UK co-produce ‘The Far Pavillions’ for $150 mn

    India-UK co-produce ‘The Far Pavillions’ for $150 mn

    MUMBAI: MM Kaye’s novel The Far Pavillions, which speaks of an Englishman being raised as a Hindu during the British Raj and falls in love with an Indian princess, is being remade for TV by a UK-India duo at a budget of $150 million.

    Beautiful Bay Productions, run by India-based Michael Ward and Britain’s Collin Burrows, is targetting 30 episodes of one hour each. The cast and crew will prominently be from the two countries while post-production will take place in London and the shooting will be in India.

    Thirty years ago, the novel was made into a three-episode mini TV series by HBO starring Ben Cross, Amy Irving, Omar Sharif, and Christopher Lee. Ward has condensed the novel into a play. He said, “It’s the perfect time to take my stage adaptation of Mollie Kaye’s masterpiece much further and deeper into its Indian cultural landscape, and to invite the best of Indian and British talent to contribute towards turning it into a high-end television series authentically written and cast for a global audience,” he said.

    London mayor Sadiq Khan is touring Mumbai as part of the UK-India Year of Culture. “It represents the best of British and Indian talent and sends a clear message to the rest of the world that London is open to partnerships, to collaboration, to creativity and for business,” said Khan.

    British Film Commission Film London chair Adrian Wootton added,“This adaptation promises to be a sumptuous spectacle in its own right but it’s also indicative of how our above- and below-the-line talent can come together to create a production that harnesses everything from Indian locations to London’s world-famous post-production expertise.”

  • Keshav Kaul new Fremantle business head

    Keshav Kaul new Fremantle business head

    MUMBAI: Fremantle India Television Productions (Fremantle) has been buzzing this whole year for various reasons. Whether it is Shah Rukh Khan’s Ted Talks or Farah Khan’s Lip Sing Battle or Rithvik Dhanjani’s Rasoi Ki Jung, the production house has been in the news for launching a few big shows.

    While it is foraying into a variety of shows, there are some major changes happening at the company. Keshav Kaul has been appointed as the new business head of Fremantle.

    Kaul, a media professional, joined the company in September. Prior to Kaul, Vidyuth Bhandary headed the business department of the company for more than six years.

    To read more, go to Tellychakkar.com:

     

  • FremantleMedia wins rights for Japanese show Vs Kids

    FremantleMedia wins rights for Japanese show Vs Kids

    MUMBAI: FremantleMedia has acquired the format rights to entertainment series Vs Kids from TV Asahi in Japan. Vs Kids pits former professionals against new generation stars, both champions in their respective categories, as they compete to see who will be the ultimate champion.

    When an ex-pro is pitted against a current young star of the same field in a serious match, real international competition rules apply. There are no advantages given to the kid champions nor handicaps to the pros, as professional commentators give live play by play commentaries of the competition.

    Vs Kids originally launched in a late evening slot in October 2016. The series was then immediately promoted to primetime in the autumn and continues to attract huge ratings, while expanding into both academic and game categories.

    Global Acquisitions and Development EVP Vasha Wallace said: “It’s an exciting and timely for a show like Vs Kids. The series has done incredibly well in Japan on TV Asahi, both in terms of ratings and reception.”

    TV Asahi format development and sales head Yuka Kakui, said: “The show has received much acclaim and continues to be a stellar and unique program in our primetime. As Japan prepares for the next summer’s Olympic Games, we are thrilled that many young and uprising champions will be given a stage and look forward to many countries seeing the talent and enthusiasm of former champions.”

  • FremantleMedia enters into creative partnership with 87 Films

    FremantleMedia enters into creative partnership with 87 Films

    Mumbai: FremantleMedia continues to build its roster of creative scripted partnerships with a new development deal with 87 Films. 87 Films was formed by Dudi Appleton and Jim Keeble, one of the leading writing teams in the UK drama industry, with executive producer Patrick Irwin joining the company. 

    Under the new agreement, the companies will collaborate on ambitious scripted projects for the international market alongside FremantleMedia’s global in-house producers. 87 Films is currently developing dramas with the FremantleMedia’s Wildside in Italy, Kwai in France, Miso across Scandinavia, and FremantleMedia North America in the US.

    FremantleMedia director of global drama Sarah Doole said, “Jim and Dudi are a creative force that will be a tremendous addition to FremantleMedia. They have an exceptional vision for stories that tie perfectly into our ambitions for our drama business. This key relationship will bring their talents to our global network of producers.”

    Appleton added, “Christian Vesper and Sarah Doole are hugely inspiring collaborators for us. We speak the same language. In an international television business that can seem increasingly corporate, they are passionate about great dramatic stories wherever they come from, wherever they lead. And telling those stories is what we do. Collaborating with FremantleMedia’s global producers, we are creating authentic new drama that breaks through traditional borders of culture, language, and place.”

    The agreement with 87 Films is the latest in FremantleMedia’s creative partnerships. Over the past few years, the company has invested in talented scripted creators, including Miso Film, Abot Hameiri, Dancing Ledge, Fontaram, Kwai, Wildside, Bend It TV and Easy Tiger, and has completed development deals with SLAM Films and Neil Gaiman.

  • Can’t force film & TV producers to hire people from trade unions: CCI

    Can’t force film & TV producers to hire people from trade unions: CCI

    NEW DELHI: The Competition Commission of India (CCI) has struck down relevant sections in the agreements that various workers’ associations have with producers to only engage their members for projects. It called such a demand as anti-competitive and a violation of the Competition Act 2002.

    This allows producers to freely hire workers, technicians, dancers, junior artists, from within or outside associations.

    CCI chairperson Devendra Kumar Sikri and members S L Bunker, U C Nahta and Justice G P Mittal said: “The associations have used their position to disrupt competition and fair-play in the market through their anti-competitive conduct. Through the provisions of clause 6 and 18 of the MOU, the opposite parties (OPs) have indulged in anti-competitive conduct such as issuing non-cooperative directives, prohibiting hiring of specialised non-member, artists, conducting vigilance checks, stalling shoots for hiring non-members and levying of penalty. All this amounts to limiting and controlling the services in the western Indian film and television industry. Even after the expiry of the said MOU on 28 February 2015, the OPs have continued to enforce the anti-competitive clauses.”

    The CCI has ordered the associations, which are the opposing parties, to cease and desist from continuing any unlawful practice such as visiting producer sets for vigilance. During inquiry by the director general of CCI, it was found that the shooting of various films and television serials had been stalled or delayed because of the ruckus created by the associations.

    This long-awaited order arose from a complaint filed by film producer Vipul A Shah in 2014 against Federation of Western India Cine Employees and 24 other associations representing different categories of workers such as musicians, singers, cinematographers, lyricists, etc. He was supported by several film bodies such as the Film and Television Producers Guild of India, the Indian Motion Pictures Producers Association, and Indian Film and TV Producers Council, Eastern India Motion Pictures Association, South India Film Chamber of Commerce, and Northern India Motion Pictures Association.

    Shah is an independent film producer and director. As a director, he has directed various films like Aankhen (2002), Waqt (2005), Namastey London (2007) and London Dreams (2009), and as a film producer, he has produced several films like Singh is King (2008), Force (2011), Commando (2013) and Holiday (2014).

  • Prime Focus reports flat results for first quarter

    BENGALURU: After the sale of certain investments and restructuring and integration costs in the previous fiscal (FY-17), including in the quarter ended 30 June 2016 (Q1-17), Prime Focus Limited (PFL) had reported healthy numbers for FY-17. The company has now reported almost flat revenue and EBIDTA numbers for the quarter ended 30 June 2017 (Q1-18, current quarter) as compared to Q1-17. Revenue Income from operations was 2.41 percent lower in the current quarter at Rs 5,135.22 million as compared to Rs 5,262.13 million in Q1-17. Total Income in Q1-18 was 0.82 percent lower year-over-year (y-o-y) at Rs 5,241.89 million as compared to Rs 5,285.09 million in Q1-17.

    EBIDTA including other income in the current quarter was flat (down 0.01 percent) at Rs 1,033.16 million (19.71 percent of Total Income) as compared to Rs 1,033.30 million (19.55 percent of Total Income) in Q1-17. The company says that adjusted EBIDTA was up 9 percent at Rs. 1,118mn (Q1-17: Rs. 1,023 million), with margin at 21.4 percent (Q1-17: 19.4 percent), with significant work being delivered on projects from India. The company reported foreign exchange gain for the period at Rs. 22 million.

    Total Expenditure in Q1-18 declined fractionally by 0.11 percent to Rs 5,239.58 million from Rs 5,245.19 million in Q1-17. Employee benefits expense in Q1-18 reduced 6.18 percent to Rs 2,966.46 million from Rs 3,161.77 million in the corresponding quarter of the previous year. Technician fees in Q1-18 reduced 1.30 percent to Rs 90.51 million from Rs 91.70 million in Q1-17. Technical Services cost in the current quarter fell by 18.86 percent to Rs 134.35 million from Rs 165.59 million in Q1-17. Finance cost in Q1-18 increased 24.08 percent to Rs 376.38 million from Rs 303.32 million in Q1-17. PFL says that Finance costs in the current quarter includes non-operating charges of Rs. 85 millon on account of amortizations of debt like items Other Expenditure in the current quarter increased 9.41 percent to Rs 911.06 million as compared to Rs 832.73 million in corresponding quarter of fiscal 2017.

    In its investor presentation, PFL says that its creative services revenue in Q1-18 was Rs 4,042 million, while in Q1-17 it was Rs 4,052 million. Adjusted EBIDTA for creative services increased in Q1-18 to Rs 804 million (19.9 percent margin) from Rs 682 million (16.8 percent margin) in Q1-17. The company says that EBITDA margin increased as India integration proceeded at a steady pace; significant work continued to be delivered on projects from India, and steps were being taken to upsize and upskill the Indian workforce. PFL launched PFAMES (Prime Focus Academy of Media & Entertainment Studies) for training entry level personnel in India. It claims that it has delivered movies like Transformers: The Last Knight, Wonder Woman, The Mummy, Pirates of the Caribbean: Dead Men Tell No Tales and King Arthur: Legend of the Sword among others. PFL says that it has an order book at in excess of $250 million with projects like M:I 6 – Mission Impossible, Godzilla Sequel, Pacific Rim: Uprising, American Assassin, Justice League, Geostorm, Avengers, Alpha, Blade Runner 2049, Thor Ragnarok and other major unannounced projects.

    PFL’s Tech/Tech Enabled services revenue in Q1-18 was slightly lower at Rs 822 million as compared to Rs 841 million in the corresponding year ago quarter. EBIDTA for Tech/Tech Enabled services increased to Rs 223 million (27.1 percent margin) from Rs 220 million (26.1 percent margin). Its order book for Tech/Tech Enabled services was at $200 million to be executed over next 3 to 5 years.

    ALSO READ :

    Prime Focus reports profit for third quarter of 2017

    Q2-2016: Prime Focus revenue up 47% ;EBIDTA doubles

    Reliance MediaWorks acquires 30 per cent stake in Prime Focus

  • FremantleMedia expands into scripted content, partners bestselling author Heather Lende

    MUMBAI: FremantleMedia is further expanding its push into scripted content by teaming up with bestselling author Heather Lende to develop Find The Good, an uplifting drama series inspired by Lende’s memoir of the same name and her earlier memoir, If You Lived Here, I’d Know Your Name.

    FremantleMedia’s global drama director Sarah Doole and EVP – creative director, global drama Christian Vesper (Top Of The Lake and The Honourable Woman) have acquired the rights and will oversee the rollout of the adaptation.
     
    The books will serve as the inspiration for a TV drama about Heather, a small-town Alaska obituary writer who investigates the lives of her recently deceased neighbours. Her hometown of Haines (pop. 2,400) is as beautiful as it is perilous, and as a result, residents are just as likely to die from natural causes as they are from an avalanche, small plane crash or boat sinking.

    For Heather, each assignment begins a new investigation. Like a detective, she uncovers everything from past glory to family secrets, from intimate community connections to love, loss, and regret. Each journey not only informs how Heather navigates her own life – she is married with five children and six grandchildren – but also encourages us to understand our own.

    “Find The Good offers an honest, clear-eyed, optimistic worldview that today’s audiences are yearning for,” Vesper said. “Heather’s books are packed with authentic characters living real lives in this gorgeous yet sometimes harsh environment. Her writing reinforces our need for deep human connection and we’re looking forward to adapting the stories into a drama that the whole family can enjoy. Life. Death. Humanity. Heather’s stories have all of the elements of a successful, feel-good, multi-generational and multi-cultural drama with universal appeal.”

    “I’m excited to partner with Sarah, Christian, and a company like FremantleMedia,” author Lende said of the acquisition. “Some people may think that what I do is morbid, but compared to front-page news these days, obituaries are downright inspirational. I don’t write about death, I write about life—one person at a time, and I do it while living in community that is like a family. If I have learned anything, it is that what matters in the end are relationships. Did he do a little good? Was she kind? Was he brave? Will someone miss her? I think that matters, and mostly, the answer to those questions is yes.”

    Brian Pines of Hypomania Content and Ellie Altshuler of Nixon Peabody LLP brokered the deal. Lende is represented by Elizabeth Wales of the Wales Literary Agency. Find The Good and If You Lived Here, I’d Know Your Name were originally published by Algonquin Books of Chapel Hill, a division of Workman Publishing Co.

    Heather Lende grew up on Long Island’s North Shore and attended private school and college before moving to Alaska 35 years ago. Lende has contributed to NPR, The Christian Science Monitor, The New York Times, The Washington Post, National Geographic Traveler, and others. She’s also a former contributing editor to Woman’s Day Magazine.

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