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Tag: Entrepreneurial

  • Conviction comes from the society & your country, says Star India’s Uday Shankar, E&Y’s ‘Entrepreneurial CEO’ award-winner

    MUMBAI: “The conviction comes from the society, the world and the country you live in,” Star India chairman and CEO Uday Shankar said to a question on the conviction of taking billion-dollar bets on various major steps in the industry after winning the “Entrepreneurial CEO’ award of the year 2016 by EY, the consulting firm formerly known as Ernst & Young.

    The citation for the “Entrepreneirial CEO” stated: With a background in journalism, he seemed to be an unconventional choice to be a CEO of a global media corporation. But, his deep curiosity, disruptive thinking, and restless sense of pace sparked off a series of bold moves across digital platforms, regional entertainment, sports leagues and differentiated content which resonates with a varied audience, and all this has helped his organisation become an undisputed leader in India’s media and entertainment sector.

    On convincing STAR’s global shareholders, he said, “I have to do just one thing — to convince them about the possibilities and potential in India. The rest followed. I am very lucky to work for an entrepreneurial company where the promoters’ genes itself is about (the promoters believe) taking risks in a democracy with a billion people.” “It all boils down to the potential that my company sees in India, which we have been able to harness,” Shankar said.

    A distinguished independent jury led by Sun Pharmaceuticals MD Dilip Shanghvi had selected the finalists. Other members included Tata Communications chairman Subodh Bhargava, Info Edge (India) executive vice-chairman Sanjeev Bikhchandani, Max Financial Services chairman Naina Lal Kidwai, Kotak Mahindra Bank MD Uday Kotak, and JP Morgan Chase CEO – south Asia and India Kalpana Morparia.

    Motherson Sumi Systems chairman Vivek Chaand Sehgal has been named Indian entrepreneur. Sehgal will also be in the running for the EY World Entrepreneur of the Year award in Monte Carlo in June where he will contest with world business leaders.

    Infosys Ltd co-founder Nandan Nilekani was honoured with a lifetime achievement award for spearheading India’s Aadhaar project as head of the Unique Identification Authority of India (UIDAI).

    Force Motors chairman Abhay Firodia bagged EY’s business transformation award and Balaji Wafers whole-time director Chandubhai Virani won the award in the consumer products and retail category.

    Also Read: TED Talks to get Hindi version on Star with SRK as host

    Media distribution infra needs to change: Star India CEO Uday Shankar

  • Publicis celebrates 90th anniversary by mentoring & funding 90 digital start-ups

    Publicis celebrates 90th anniversary by mentoring & funding 90 digital start-ups

    MUMBAI: Publicis Groupe, which was founded by Marcel Bleustein-Blanchet in 1926, is celebrating its 90th anniversary this year. When it all started in a little Parisian apartment on Rue Montmartre, the founder’s only staff was his secretary. He would never have thought that, 90 years later, his Groupe would be one of the three largest in the world, with close to 80,000 employees.

    Back then, Publicis Groupe began just like many of today’s start-ups. It is with its founder in mind, as well as the entrepreneurial spirit of so many of its employees around the world, that Publicis Groupe has chosen to celebrate its 90th anniversary by providing mentoring, support and funding to 90 entrepreneurial projects in the digital field.

    To take part, projects can be submitted via the Publicis90 platform (www.publicis90.com), which will be available online as of 18 January.

    The platform will fund students, new start-ups, successful entrepreneurs or even a Publicis Groupe employee anywhere in the world, who can put forward their idea and apply for support from the Groupe. The goal is to provide entrepreneurs with the support they need to bring their projects to life, or to take it to the next level.

    The Publicis90 platform will be open for submissions until 28 February. Projects will be pre-selected by region (the Americas, Asia-Pacific, and Europe-Middle-East & Africa), with a first round of votes open to all Publicis Groupe employees (all projects submitted remain anonymous). A regional jury will then draw up a short-list from the pre-selected projects, before the final selection is made by a prestigious global jury that will pick the 90 most promising projects or start-ups.

    The selected projects will be mentored by Publicis Groupe experts in marketing, communications, management and technology. They will also receive funding in the form of an investment ranging from 10,000 euros for projects about to be launched to 500,000 euros for start-ups that are already ramping up. As for selected projects submitted by Publicis Groupe employees, they will have the benefit of a special internal incubation scheme.

    The holders of the 90 selected projects will be invited to participate to Viva Technology Paris, the first forum in France to bring together the people who matter most in digital throughout the world with over 5,000 start-ups. This event – created by Publicis Groupe and Groupe Les Echos – will be held from 30 June to 2 July, 2016 at the Paris Expo Exhibition Centre at Porte de Versailles. The 90 selected projects will be honoured at an awards ceremony held during Viva Technology Paris.

    Publicis Groupe chairman and CEO Maurice Levy said, “Publicis90 is very much in line with the philosophy of Publicis Groupe and its founder, Marcel Bleustein-Blanchet. The idea is to help young entrepreneurs achieve their goals. Not just through investment but also by putting Groupe resources at their disposal for a year. Rather than look back and pat ourselves on the back for 90 years of history, we have taken the forward-looking approach of extending a helping hand to young entrepreneurs.”

  • Aegis Media appoints Alex Crowther to head General Motors’ biz

    Aegis Media appoints Alex Crowther to head General Motors’ biz

    BENGALURU: Aegis-owned media agency, Carat — a media communications specialist and a player in digital and diversified media solutions, has appointed Alex Crowther, former CEO of MediaCom Asia Pacific as Global Client President, effective immediately.

    Crowther, in this role, will be responsible for leading the General Motors business and continuing Carat’s track record of global success in managing the USD 300 crores global account.

    “Alex is the perfect person to lead the continued momentum and growth of General Motors’ global business for us,” said Aegis Media Americas & EMEA CEO Nigel Morris. “He’s a rare talent who brings extensive global experience and a proven track record working with major global brands across categories, but specifically with automotive. He has the entrepreneurial spirit and drive to find innovative ways to drive GM’s business forward in today’s convergent media landscape.”

    Crowther returns to Carat, where he once worked at Carat International, after a 19-year hiatus, and brings 26 years of global experience in the media industry. Prior to Carat, Alex was CEO Asia Pacific for the global media network MediaCom, part of WPP’s GroupM, sitting on the Asia Pacific board of GroupM and global board of MediaCom. During his first three years at MediaCom, Alex helped to double to size and scale of the business in Asia Pacific by winning multiple Proctor & Gamble country assignments, Coca-Cola in several territories and many other globally recognised brands.

    Morris continued, “Steven has been part of the Carat GM leadership team since the onset of our relationship, helping to open Carat’s office and global hub for the GM partnership in Detroit. He led the successful transition of Carat’s GM business across more than 70 markets and will move on to do more great things for other global and U.S. clients across our network.”

    Prior to MediaCom, Alex served as President/CEO Americas and Asia Pacific of integrated communications network Davinci, a part of Omnicom. Based in the US — much of it in Detroit, he was President/CEO Americas and Asia Pacific and as co-founder was instrumental in the company’s rapid growth from a standing start to a presence in more than 60 markets in seven years. During his time at Davinci, the agency managed the global media for Chrysler and Mercedes Benz as well as Mitsubishi Motors in North America.

    “Automotive has always been a passion of mine and a cornerstone in my career, so it only makes sense that I return to Detroit, especially to work at a global-leading media agency that is consistently ranked as the number 1 network by RECMA. Carat is the only network that truly understands convergence and is redefining the value of media to create better business value. I can’t wait to get started,” said Crowther.

    Crowther replaces Steven Feuling, who will be relocating to San Francisco and assuming a new role at Carat. During Feuling’s tenure as Global Client President for GM, Carat helped GM achieve significant gains from both a consumer and business perspective, including Interbrand naming Chevrolet as one the Top 100 Global Brands in 2013.

  • ‘As content creators, we have to be more entrepreneurial in our approach’ : Castle creator and executive producer Andrew Marlowe

    ‘As content creators, we have to be more entrepreneurial in our approach’ : Castle creator and executive producer Andrew Marlowe

    With the television landscape having to work under a struggling global economy, it is becoming more of a challenge for content creators to stay creative under financial constraints.

     

    Fiscal responsibility has become a part of the creative process, says Castle creator and executive producer Andrew Marlowe.

     

    In an interview with Indiantelevision.com‘s Ashwin Pinto, Marlowe talks about the creation of Castle, its USP of focussing on characters, the relationship with ABC Studios, what is needed for a show to work, the importance of being in the digital space and the need for a collaborative relationship between broadcasters and content creators.

     

    Excerpts:

    How did the idea of Castle come about?
    I was watching a lot of procedurals on American television like CSI, Law and Order. I was missing the fun characters that I saw on TV growing up – like Moonlighting. On those shows, you really got a sense of who the people were and that is what you were following more than the case. I wanted to bring something like that back to television. It felt like there was room for it since the other shows were doing things that were different. They were not focusing on characters.

     

    When I was imagining the character of Richard Castle as a writer myself, I thought that it would be great if I could get up and do some of the things that I was writing about. That is where the idea came from. To create a character who is a mystery novelist who thinks of ways to kill people and get away with it. Then to have him go out with a detective in real life solving crime felt to me to be rich, fertile material for storytelling.

     

    We are at a time when there is a lot of competition among channels and shows for viewers attention. What sets Castle apart from other shows?
    The relationship between the two major characters sets it apart. You have to find what attracts your audience. Something like Law and Order was attractive at the time. CSI looks at forensics which was new. For us, it is about the character dynamic and the relationship. When we market the show, this is what we sell. We know that there has to be a procedural element as audiences expect it. However this is the strand on which we put the relationship pearls to make the necklace.

     

    Creating interesting characters for Castle was important. How did you approach this job?
    I looked at the dynamics between the two lead characters. I knew that I had to have characters that were in conflict but who also had a romantic interest in each other. For Castle, he thinks highly of himself. He is a bit of a narcissist but is also charming. Things have come easily for him. I wanted him to be in a relationship with a woman who is a bit of a mystery and who did not fall for him. She did not fall for his surface charm and surface wit but be a match for him. The characters approach storytelling from two different points of view.

     

    For detective Beckett, it is about what the evidence suggests. But Castle looks at it in terms of the story of the dead person like a frozen woman found at a construction site. He wonders how she got there. Though they approach things from different points of view, they help each other reach the solution. We capitalise on the spark and the great relationship that they have working together.

    You have to juggle different genres. Was this tricky?
    It is tricky while writing. We can go from comedy to drama quickly. It is important to treat the victim and the victim‘s family with respect. But we know that we allow viewers to have more fun with the murder mystery than they would with other procedurals. We walk the fine line of walking from a crime scene and have fun. The detective is on point carrying the torch for the victim.

     

    But Castle sometimes says inappropriate things and has more fun with it. Cops have come up and say how much they like our show. They have to find humour in their daily real life situations. Otherwise, it gets overbearing. On other shows where police officers are humourless, it feels less authentic to them. Even though our show exists in a fantasy setting, a lot of law enforcement officers seem to be relating to it.
    ‘New technology has to be in the service of the storytelling rather than the other way around. We have seen big budget action affects movies that do not have a quality story at the heart of it. It is like watching fireworks. You watch something interesting but are not emotionally engaged‘

    Generally as a show gets more popular it gets more expensive to do. What is happening with Castle?
    Finances are a continuous challenge. We figure out which episodes we want to have which are bigger in scale and make a lot of noise. Then you have episodes that are smaller and more personal in scale. The production costs are smaller here and it becomes a more intensely focused drama in terms of the sets that we have. We shoot in Los Angeles but we want to give an authentic feel of New York. There is money that we have to spend on recreating New York.

     

    Fiscal responsibility has become a part of the creative process for us. I don‘t mind it that much as it seems to me that a lot of great creativity can come when you push against constraints. If you have all the time and money in the world, often TV shows are not as good as they should be. Facing constraints can challenge you as an artist to create something better and more interesting rather than opting for what is easy.

     

    How is the show perceived by viewers?
    They enjoy it as it is different from the other stuff on air. The other procedurals are sensationalistic and go to a darker place. Advertisers are excited due to our TG. Women watch us the most. We win the night every time in this demographic. In the US, we have Dancing With The Stars as the lead in. So it helps us build a strong female audience.

     

    We are also getting stronger with men. We have tried to craft an experience where they too can have fun when they come to the show. We are fortunate that our viewers are passionate and bring others into the experience. Advertisers are seeing the value of our show. But so much of the coveted 18-35 TG are seeking out content in non traditional forms on the net, portals. Everybody in the broadcast space is trying to figure out how to best monetise this.

     

    How is Castle faring in countries like India?
    From the conversations I have been having, people have been responding favourably. They like the relationships and the fact that Castle is a family man. They like the creativity of the storytelling. So far the feedback has been very good.

     

    How important is it for a show to be in the digital space?
    It is essential to create a community for viewers. Viewing habits are changing. Some people view content on the net, phone and not just on the TV. Creating a digital watercooler where people can have a conversation about your show is important to extend their experience. We launched a couple of initiatives to have better relationships with fans and deepen their entertainment value. Between the first two seasons in the US, our fiction character Richard Castle was tweeting.

     

    He went on vacation and got involved in a murder mystery. So in the break between seasons, he was keeping loyal viewers engaged and deepening their loyalty but having a story telling vehicle on twitter. Our audience was engaged between the seasons. These people became emissaries. It helped with viewership when we returned for the second season. Having a facebbok page helps get feedback. It helps extend the brand. This is what viewers expect from entertainment these days.

     

    We know what viewers respond to and like or do not like. In the past when you built an online community, it was the fanatics that visited. But now that twitter has gone mainstream, there are more viewers there. You can get more balanced information on what people feel about your show which helps in storytelling.

     

    Are you creating Castle content for the net and mobile?
    It is an on-going discussion. Is this being done to market the show or to try and create another revenue stream? People have not figured out the economic model. You have to have actors. They already work a lot on the television show. You need to figure out why you are doing it. Is it to attract a new audience, go to a new platform to bring people to the main show or is it to generate more revenue? It has a price tag.

     

    There is stuff we want to do, but we do not have the capability yet. The proven business model is not there and so it is always a risk. We might have a great idea but are we generating revenue or bringing more viewers to the table? These questions must be answered or you could have unnecessary capital expenditure.

     

    What are the key ingredients needed for a show to work and draw audiences regularly in an increasingly fragmented environment?
    You need something at the heart of a show for people to talk about. There has to be reason for them to leave the storytelling and go out to the community and talk about their experience. You can do it with a compelling premise like Lost. Or you can have a key relationship at the heart of it and characters that viewers fall in love with.

     

    If this happens, viewers will invite the characters into their homes week after week and live the adventures with them. It is either the premise that is very bold or characters that we fall in love with. Ideally, you should have both. The minute a premise loses its interest, then the characters keep you coming back for more.

     

    What trends are we seeing now in terms of the kinds of shows that work and do not?
    Comedy is making a bit of a comeback. There was a time when comedies were not working. But when things get bad economically, people want an escapist experience. People are attracted to really good content, characters. This is hard to do.

     

    Are dramas and realities tapering off a bit in terms of popularity?
    I think that they are both evolving. Some new reality shows are successful while others are not. What is specific premise? Is it resonating? Dramas had a tough year where few shows got traction or caught on. However, broadcasters are being more patient and seeing they can grow a show.

     

    Marketing is a challenge for everybody. There is a lot of product including online with YouTube. I think patience can help develop a show so that people can understand that this cultural experience will be something they would want to be a part of. Broadcasters will be more patient out of necessity to see if they can grow an audience. There is no hard and fast rule. If something goes strong out of the gate, people will be more generous and foster it over the next couple of years.

    What are the fresh challenges that you and the creative community in general face?
    We always think that our stories are worth telling and there is audience. We have to be entrepreneurial, be better partners for studios and networks. It means that we have to take chances. We have to take risks as the audience wants new and interesting material.

     

    They also want an experience that they are comfortable with. Sometime people spend a lot of money and at other times there is belt tightening. As a content creator, you have to roll with those punches and do the best that you can.

    Has the production process of making a show changed?
    Not really. The fundamental stuff is there. A lot of shows have switched to HD. People are doing more special effects work for less money. We can go to states where there are tax breaks. We still shoot on film. We don‘t feel that HD cameras are there yet in terms of how they capture light. They will catch up. There will be cost savings but also time issues.

     

    The new technology has to be in the service of the storytelling rather than the other way around. We have seen big budget action affects movies that do not have a quality story at the heart of it. It is like watching fireworks. You watch something interesting but you are not emotionally engaged. It is important for us that the cart does not lead the horse.

    Are you happy at the deal the WGA did with the AMPTP?
    That remains to be seen as to whether or not we are happy with what the settlement was. The issues that we had were in terms of new media. This landscape is changing rapidly. When we went on strike in terms of digital rights and payments, nobody understood the landscape. This brought the town‘s attention to the fact that this is an issue. It is an issue worldwide. What does it mean to have IP in a digital age when it is so easy to make a copy? How do you define and protect IP in the digital age?

     

    It goes to the heart of piracy. These issues have not been resolved by the marketplace. I know a lot of writers and studios who are still recovering from the strike. Nobody wants to see this labour strike again. But the issues that were raised across the board by the strike are the ones that we are going to be dealing with for a while.

    Will YouTube be the new TV five years down the road?
    No! There is too much content for people to sort through. People want to know that they will commit their time to something worthwhile. So the notion of a brand or a channel or community will not go away. I do think that the screen will change. This will create chaos but out of chaos comes opportunity.

     

    If there is too much product, people are not going to know where to look. They will ask their peers or stick to trusted brands. While there are hundreds of channels in the US, most people I know only watch five or six channels. They only talk about five or six shows. That is because it is hard to make great content that resonates. It will come down to making good shows and it will find an audience it is worthwhile. I don‘t have time to go to YouTube and sift through the noise and nonsense to find something worthwhile. I need a filtration system. This is why brand and channels will still be important in the new formulation.

     

    As a writer do you constantly learn from the work going on in other shows, especially those that have been going on for a while?
    We look at other shows to make sure that we are not doing the same thing. We also study older shows like Moonlighting to see how the relationship between the two lead characters was handled. On that show it was handled well for a while, and then it wasn‘t.

     

    I also look at shows like Bones. You never want to get too complacent and only look inside your own show. You would also want outside perspective to shape up your storytelling.

     
    What is the difference between writing for television and writing for film?
    In films, you have more leeway in terms of location and money that you can spend. You can paint on a much bigger canvas. In case of television, you need to be clever in terms of the storytelling – and overcome financial constraints.
     
    Are you looking at other concepts or is Castle your only focus?
    Right now it is my primary focus. I want to make sure that the series does well. But I have an appetite for creating shows.

    In films, I have a couple of projects that are actively moving forward. I have an alien invasion movie with Warner Bros. It will be directed by Pierre Morel who made Taken. He has just signed on.