ITV

Tag: indiantelevision.com

  • Only Dish TV carrying HRD ministry’s educational TV channels

    Only Dish TV carrying HRD ministry’s educational TV channels

    NEW DELHI: Only Dish TV is carrying 32 educational television channels of the human resource development ministry in spite of appeals by ministry to all the private DTH operators.

    An information and broadcasting ministry source told indiantelevision.com that the department of higher education of the HRD Ministry had approved the launch of ‘Swayam Prabha’ — a project for operationalising 32 Direct to Home (DTH) television channels for providing high quality educational content to all teachers, students and citizens across the country interested in lifelong learning.

    However, Doordarshan’s FreeDish had not taken any channels as yet as it had space for only eighty channels and would consider adding new channels when it switches from MPEG 2 to MPEG4.

    There will be new content of four hours every day in these channels, which would be telecast 6 times a day allowing the student to choose the time of his/her convenience.

    The soft launch of the channels has already been done and all private DTH operators had been requested to carry the channels.

    The HRD Ministry had also requested cable operators to carry these educational channels but with no success so far, the source said.

    (This report had earlier erroneously stated that only three educational channels of the HRD ministry are being carried by Dish TV. It was an inadvertent error and it is regretted – Editor)

  • Only Dish TV carrying HRD ministry’s educational TV channels

    Only Dish TV carrying HRD ministry’s educational TV channels

    NEW DELHI: Only Dish TV is carrying 32 educational television channels of the human resource development ministry in spite of appeals by ministry to all the private DTH operators.

    An information and broadcasting ministry source told indiantelevision.com that the department of higher education of the HRD Ministry had approved the launch of ‘Swayam Prabha’ — a project for operationalising 32 Direct to Home (DTH) television channels for providing high quality educational content to all teachers, students and citizens across the country interested in lifelong learning.

    However, Doordarshan’s FreeDish had not taken any channels as yet as it had space for only eighty channels and would consider adding new channels when it switches from MPEG 2 to MPEG4.

    There will be new content of four hours every day in these channels, which would be telecast 6 times a day allowing the student to choose the time of his/her convenience.

    The soft launch of the channels has already been done and all private DTH operators had been requested to carry the channels.

    The HRD Ministry had also requested cable operators to carry these educational channels but with no success so far, the source said.

    (This report had earlier erroneously stated that only three educational channels of the HRD ministry are being carried by Dish TV. It was an inadvertent error and it is regretted – Editor)

  • DTH subscriber growth retards in Q1-16 as per TRAI data

    DTH subscriber growth retards in Q1-16 as per TRAI data

    BENGALURU: We at www.indiantelevision.com had noted and said thatContrary to expectations that the sunset date of 31 December 31, 2015 (Q3-16 in financial terms in India) would rake in good numbers for the DTH industry for Q4-16 the subscriber base growth just did not happen.At that time, results declared by three of India’s seven DTH players whose results are available un public domain did notshow much of a change.Further, at that time, though Airtel Digital TV and Videocon d2h had both shown a small spike in subscriber additions between Q2-2016 and Q3-2016, overall taking the combined addition in subscription numbers by all the three, the change was just 3.59per cent. In the case of the third player-Dish TV, it witnessed the lowest growth over a five quarter period starting Q3-2015 until Q3-16 at 2.19 per cent.

    Results for Q4-16 (quarter ended 31 March 2016) showed a reversal of sorts in that trend. Dish TV announced that it had added 5 lakh subscribers – the highest additions in fiscal 2016. Airtel DTH and Videocon d2h added 6.19 lakh and 5.9 lakh subscribers respectively and each reported approximately 11 percent quarter-over-quarter (q-o-q) growth in operating profits in that quarter.It may be noted that TRAI (Telecom Regulatory Authority Regulatorreports for Q3-16 (quarter ended 31 December 2015) of the net active subscriber base included temporarily suspended subscribers that have been inactive for not more than 120 days – hence reflecting a huge 36 percent growth in active subscribers for that quarter.

    Besides Airtel DTH, Dish TV and Videocon d2h, there are three other private DTH players in India – Reliance, Sun Direct and Tata Sky, and the government’s FreeDish. Airtel DTH, Dish TV and Videocon d2h (the three players in this report) represent about 65 percent of the private DTH active subscriber universe in India. Please refer to Fig A below:

    public://image1.jpg

    FreeDish DTH service – the largest DTH player by far in terms of subscribers with an estimated 15 million or 1.5 crore subscribers in 2015 as per the KPMG-FICCI Indian Media and Entertainment Industry Report 2016 (KPMG-FICCI M&E Report 2016) titled The Future: Now streaming. It must however be noted that an exact number for registered or active subscribers is not available since this is a free DTH service. The proposed merger of Videocon d2h with Dish TV will create the largest private television carriage player in India and the second largest in the world, be it cable, internet television or DTH or any other.

    As per numbers released by TRAI for Q4-16 and the quarter ended 30 June 2016 (Q1-17), the growth of registered and active DTH subscribers has reduced from 4.5 percent and 4.6 percent in Q4-16 to 3.3 percent and 3.4 percent respectively in Q1-17. Overall, DTH active subscribers grew by 19.7 lakh or 8.06 percent q-o-q in Q1-17 to 605 lakh active subscribers (66 percent of registered subscribers) from 585.3 lakh (also 66 percent of registered subscribers) in Q4-16. The three players in this report contributed a combined 12.95 lakh or 65.74 percent in subscriber growth. Registered subscriber numbers were 915.3 lakh and 886.4 lakh in Q1-17 and Q4-16 respectively. In Q3-16, registered subscribers were 848 lakh.

    In Q1-17, 4.65 lakh (3.97 percent growth), 4 lakh (2.76 percent growth) and 4.3 lakh (3.6 percent growth) were added q-o-q by Airtel DTH, Dish TV and Videocon d2h respectively.

    Among the three, Airtel DTH added more net subscribers in absolute numbers in FY-16 than in FY-15, Dish TV added approximately the same number of net subscribers in both FY-15 and FY-16, while Videocon d2h saw slightly lower absolute net subscribers increment in FY-16 as compared to FY-15. Airtel DTH added 55.6 percent more subscribers in FY-16 – 16.52 lakh to reach net subscriber base of 117.52 lakh as compared to 10.62 lakh in FY-15; Dish TV added 15 lakh subscribers in FY-16 as well as in the previous year; Dish TV’s subscriber base was 145 lakh in FY-16; Videocon d2h added 16.8 lakh subscribers in FY-16 to reach a subscriber base of 118.6 lakh as compared to 17.4 lakh subscriber additions in FY-15. The above numbers are based on the financial results/investor presentations reported by the three DTH entities.

    Please refer to Fig B below.

    public://image2.jpg

    ARPU has been steadily increasing in the case of Airtel DTH and Videocon d2h, while it has was constant in the case of Dish TV at Rs 174 in Q4-16 as well as Q1-17. In Q2-17, however, Dish TV’s ARPU has dipped q-o-q by a huge Rs 12 to Rs 162.

    For the first time in Q1-17, despite having the largest subscriber base amongst the top three, Dish TV’s revenues have been the lowest. In Q2-17, Airtel DTH reported the highest revenue amongst the three followed by Dish TV, with Videocon d2h’s revenue lower by just a few crore rupees. This could be mainly because Dish TV is more of a value player, whilst the other two are premium players.  It may be noted Videocon d2h’s ARPU in Q2-17 has also dipped q-o-q by Rs 10 to Rs 209. Please refer to Fig C below for revenue and ARPU trends (Revenue numbers have been rounded off to the nearest Rs crore, ARPU numbers are in Indian Rupees, Rs)

    public://IMAGE3.jpg

    Let us see how the three have performed in Q1-17

    Airtel DTH

    Revenue from Airtel’s DTH segment in Q1-17 increased 22.2 per cent to Rs 836.9 crore as compared to Rs 684.8 crore in the corresponding quarter of the previous year. Airtel’s DTH segment reported EBIT (Earnings before interest and tax) of Rs 121.9 crore (14.6 per cent operating margin) in Q1-17 as compared to EBIT of Rs 41.5 crore (6.1 percent operating margin) in Q1-16.

    Airtel DTH added 4.24 lakh net subscribers in Q1-17 to bring its subscriber base to 121.9 lakh from 117.25 lakh in the previous quarter. Average revenue per user (ARPU) increased to Rs 233 from Rs 229 in the immediate trailing quarter. Airtel DTH reported a monthly subscriber churn of 0.8 percent in Q1-17, same as the churn in Q1-16 and Q4-16.

    Dish TV

    Dish TV reported 6.7 percent higher y-o-y subscription revenue of Rs 728.2 crore for Q1-17, as compared to Rs 682.8 crore. Operating revenue in Q1-17 increased 5.7 percent y-o-y to Rs 778.6 crore from Rs 736.7 crore in the corresponding quarter of the previous year.

    Dish TV says that:
    (1.1) For Q1-17, subscription revenue, on a like-to-like basis, was Rs 766.9 crore, a growth of 12.3 percent y-o-y.
    (1.2) For Q1-17 operating revenue, on a like-to-like basis, was Rs 817.2 crore, a growth of 10.9 percent y-o-y.

    Dish TV reported PAT of Rs. 40.9 crore in Q1-17, down 24.5 percent as compared to Rs 54.2 crore in Q1-16.

    EBIDTA in the Q1-17 increased 12.2 percent to Rs 264.6 crore from Rs 235.7 crore in Q1-16.

    The company reported addition of 4.02 lakh net subscribers for Q1-17. It closed the quarter with 149 lakh subscribers. Average revenue per user (ARPU) for Q1-17 remained the same year-over-year (y-o-y) and quarter-over-quarter (q-o-q) at Rs 174.

    Videocon d2h

    Videocon d2h is the second listed Indian DTH player to report a profit after tax (PAT), after the Essel group’s Dish TV that turned the numbers black last year. Videocon d2h reported PAT of Rs 2.7 crore for Q1-17. For the corresponding year ago quarter (Q1-17), the company had reported a loss of Rs 24.4 crore and for the immediate trailing quarter (Q4-16) reported loss was Rs 21.2 crore.

    Videocon d2h subscription and activation revenue in Q1-17 increased 23.9 percent y-o-y to Rs 752.3 crore from Rs 607.3 crore and increased 6.6 percent q-o-q from Rs 705.6 crore.

    The DTH major also reported 15.5 percent year-over-year (y-o-y) growth in net subscriber number growth at 122.9 lakh for Q1-17 as compared to 106.4 lakh and a 3.6 percent quarter-over-quarter (q-o-q) growth from118.6 lakh. Average revenue per user (ARPU) in Q1-17 increased to Rs 219 from Rs 205 in Q1-16 and from Rs 214 in the immediate trailing quarter.

    Subscriber monthly churn in the current quarter was 0.49 percent; in Q1-16 it was slightly lower at 0.46 percent, while in the immediate trailing quarter it was much higher at 0.58 percent.

    Comments

    There is not much of a change in the comments and conclusions drawn by us for FY-16 numbers. Overall, the pay DTH industry is turning profitable as is obvious from the results.

    DAS III and IV were/are sunshine periods for the television carriage industry. Activation revenues have been adding to the top lines and bottom lines of most of the players. Have they been able to optimise the opportunity that DAS has offered? Not fully! At present the focus of a majority of the players is more investor oriented, not viewer oriented. This has to change. DTH has the potential to grow even more than the predictions of the industry pundits, provided they get their act together in coming out with packaging – as has Dish TV to a limited extent. India is a price sensitive market, offer the viewers what they want at a reasonable price and the sheer volumes will bring in more and more moolah.And what happens to profits once the activation fee component goes down?

     

  • DTH subscriber growth retards in Q1-16 as per TRAI data

    DTH subscriber growth retards in Q1-16 as per TRAI data

    BENGALURU: We at www.indiantelevision.com had noted and said thatContrary to expectations that the sunset date of 31 December 31, 2015 (Q3-16 in financial terms in India) would rake in good numbers for the DTH industry for Q4-16 the subscriber base growth just did not happen.At that time, results declared by three of India’s seven DTH players whose results are available un public domain did notshow much of a change.Further, at that time, though Airtel Digital TV and Videocon d2h had both shown a small spike in subscriber additions between Q2-2016 and Q3-2016, overall taking the combined addition in subscription numbers by all the three, the change was just 3.59per cent. In the case of the third player-Dish TV, it witnessed the lowest growth over a five quarter period starting Q3-2015 until Q3-16 at 2.19 per cent.

    Results for Q4-16 (quarter ended 31 March 2016) showed a reversal of sorts in that trend. Dish TV announced that it had added 5 lakh subscribers – the highest additions in fiscal 2016. Airtel DTH and Videocon d2h added 6.19 lakh and 5.9 lakh subscribers respectively and each reported approximately 11 percent quarter-over-quarter (q-o-q) growth in operating profits in that quarter.It may be noted that TRAI (Telecom Regulatory Authority Regulatorreports for Q3-16 (quarter ended 31 December 2015) of the net active subscriber base included temporarily suspended subscribers that have been inactive for not more than 120 days – hence reflecting a huge 36 percent growth in active subscribers for that quarter.

    Besides Airtel DTH, Dish TV and Videocon d2h, there are three other private DTH players in India – Reliance, Sun Direct and Tata Sky, and the government’s FreeDish. Airtel DTH, Dish TV and Videocon d2h (the three players in this report) represent about 65 percent of the private DTH active subscriber universe in India. Please refer to Fig A below:

    public://image1.jpg

    FreeDish DTH service – the largest DTH player by far in terms of subscribers with an estimated 15 million or 1.5 crore subscribers in 2015 as per the KPMG-FICCI Indian Media and Entertainment Industry Report 2016 (KPMG-FICCI M&E Report 2016) titled The Future: Now streaming. It must however be noted that an exact number for registered or active subscribers is not available since this is a free DTH service. The proposed merger of Videocon d2h with Dish TV will create the largest private television carriage player in India and the second largest in the world, be it cable, internet television or DTH or any other.

    As per numbers released by TRAI for Q4-16 and the quarter ended 30 June 2016 (Q1-17), the growth of registered and active DTH subscribers has reduced from 4.5 percent and 4.6 percent in Q4-16 to 3.3 percent and 3.4 percent respectively in Q1-17. Overall, DTH active subscribers grew by 19.7 lakh or 8.06 percent q-o-q in Q1-17 to 605 lakh active subscribers (66 percent of registered subscribers) from 585.3 lakh (also 66 percent of registered subscribers) in Q4-16. The three players in this report contributed a combined 12.95 lakh or 65.74 percent in subscriber growth. Registered subscriber numbers were 915.3 lakh and 886.4 lakh in Q1-17 and Q4-16 respectively. In Q3-16, registered subscribers were 848 lakh.

    In Q1-17, 4.65 lakh (3.97 percent growth), 4 lakh (2.76 percent growth) and 4.3 lakh (3.6 percent growth) were added q-o-q by Airtel DTH, Dish TV and Videocon d2h respectively.

    Among the three, Airtel DTH added more net subscribers in absolute numbers in FY-16 than in FY-15, Dish TV added approximately the same number of net subscribers in both FY-15 and FY-16, while Videocon d2h saw slightly lower absolute net subscribers increment in FY-16 as compared to FY-15. Airtel DTH added 55.6 percent more subscribers in FY-16 – 16.52 lakh to reach net subscriber base of 117.52 lakh as compared to 10.62 lakh in FY-15; Dish TV added 15 lakh subscribers in FY-16 as well as in the previous year; Dish TV’s subscriber base was 145 lakh in FY-16; Videocon d2h added 16.8 lakh subscribers in FY-16 to reach a subscriber base of 118.6 lakh as compared to 17.4 lakh subscriber additions in FY-15. The above numbers are based on the financial results/investor presentations reported by the three DTH entities.

    Please refer to Fig B below.

    public://image2.jpg

    ARPU has been steadily increasing in the case of Airtel DTH and Videocon d2h, while it has was constant in the case of Dish TV at Rs 174 in Q4-16 as well as Q1-17. In Q2-17, however, Dish TV’s ARPU has dipped q-o-q by a huge Rs 12 to Rs 162.

    For the first time in Q1-17, despite having the largest subscriber base amongst the top three, Dish TV’s revenues have been the lowest. In Q2-17, Airtel DTH reported the highest revenue amongst the three followed by Dish TV, with Videocon d2h’s revenue lower by just a few crore rupees. This could be mainly because Dish TV is more of a value player, whilst the other two are premium players.  It may be noted Videocon d2h’s ARPU in Q2-17 has also dipped q-o-q by Rs 10 to Rs 209. Please refer to Fig C below for revenue and ARPU trends (Revenue numbers have been rounded off to the nearest Rs crore, ARPU numbers are in Indian Rupees, Rs)

    public://IMAGE3.jpg

    Let us see how the three have performed in Q1-17

    Airtel DTH

    Revenue from Airtel’s DTH segment in Q1-17 increased 22.2 per cent to Rs 836.9 crore as compared to Rs 684.8 crore in the corresponding quarter of the previous year. Airtel’s DTH segment reported EBIT (Earnings before interest and tax) of Rs 121.9 crore (14.6 per cent operating margin) in Q1-17 as compared to EBIT of Rs 41.5 crore (6.1 percent operating margin) in Q1-16.

    Airtel DTH added 4.24 lakh net subscribers in Q1-17 to bring its subscriber base to 121.9 lakh from 117.25 lakh in the previous quarter. Average revenue per user (ARPU) increased to Rs 233 from Rs 229 in the immediate trailing quarter. Airtel DTH reported a monthly subscriber churn of 0.8 percent in Q1-17, same as the churn in Q1-16 and Q4-16.

    Dish TV

    Dish TV reported 6.7 percent higher y-o-y subscription revenue of Rs 728.2 crore for Q1-17, as compared to Rs 682.8 crore. Operating revenue in Q1-17 increased 5.7 percent y-o-y to Rs 778.6 crore from Rs 736.7 crore in the corresponding quarter of the previous year.

    Dish TV says that:
    (1.1) For Q1-17, subscription revenue, on a like-to-like basis, was Rs 766.9 crore, a growth of 12.3 percent y-o-y.
    (1.2) For Q1-17 operating revenue, on a like-to-like basis, was Rs 817.2 crore, a growth of 10.9 percent y-o-y.

    Dish TV reported PAT of Rs. 40.9 crore in Q1-17, down 24.5 percent as compared to Rs 54.2 crore in Q1-16.

    EBIDTA in the Q1-17 increased 12.2 percent to Rs 264.6 crore from Rs 235.7 crore in Q1-16.

    The company reported addition of 4.02 lakh net subscribers for Q1-17. It closed the quarter with 149 lakh subscribers. Average revenue per user (ARPU) for Q1-17 remained the same year-over-year (y-o-y) and quarter-over-quarter (q-o-q) at Rs 174.

    Videocon d2h

    Videocon d2h is the second listed Indian DTH player to report a profit after tax (PAT), after the Essel group’s Dish TV that turned the numbers black last year. Videocon d2h reported PAT of Rs 2.7 crore for Q1-17. For the corresponding year ago quarter (Q1-17), the company had reported a loss of Rs 24.4 crore and for the immediate trailing quarter (Q4-16) reported loss was Rs 21.2 crore.

    Videocon d2h subscription and activation revenue in Q1-17 increased 23.9 percent y-o-y to Rs 752.3 crore from Rs 607.3 crore and increased 6.6 percent q-o-q from Rs 705.6 crore.

    The DTH major also reported 15.5 percent year-over-year (y-o-y) growth in net subscriber number growth at 122.9 lakh for Q1-17 as compared to 106.4 lakh and a 3.6 percent quarter-over-quarter (q-o-q) growth from118.6 lakh. Average revenue per user (ARPU) in Q1-17 increased to Rs 219 from Rs 205 in Q1-16 and from Rs 214 in the immediate trailing quarter.

    Subscriber monthly churn in the current quarter was 0.49 percent; in Q1-16 it was slightly lower at 0.46 percent, while in the immediate trailing quarter it was much higher at 0.58 percent.

    Comments

    There is not much of a change in the comments and conclusions drawn by us for FY-16 numbers. Overall, the pay DTH industry is turning profitable as is obvious from the results.

    DAS III and IV were/are sunshine periods for the television carriage industry. Activation revenues have been adding to the top lines and bottom lines of most of the players. Have they been able to optimise the opportunity that DAS has offered? Not fully! At present the focus of a majority of the players is more investor oriented, not viewer oriented. This has to change. DTH has the potential to grow even more than the predictions of the industry pundits, provided they get their act together in coming out with packaging – as has Dish TV to a limited extent. India is a price sensitive market, offer the viewers what they want at a reasonable price and the sheer volumes will bring in more and more moolah.And what happens to profits once the activation fee component goes down?

     

  • Star Plus gears up for ‘Dil Hai Hindustani’ launch in January

    Star Plus gears up for ‘Dil Hai Hindustani’ launch in January

    MUMBAI: After launching P.O.W, Star Plus is geared up to launch its yet another grand singing reality show “Dil Hai Hindustani.” Though the channel has not officially announced the launch date, but the show is slated to go on air by January 2017, and will be replacing Masterchef India at 8pm time slot.

    Produced by Frames Production, the show will celebrate the popularity of Bollywood music through talent from across the globe, from different cultures and nationalities, bound together by their love for Bollywood songs.

    Vivo has come on board for the show as the presenting sponsor.

    Speaking to Indiantelevision.com, Frames Production founder Ranjeet Thakur said, “Dil Hai Hindustani is a unique show and we are very excited. We have gone far and wide across the world in search of a good talent. People will see and realize how different it will be from the other reality shows.”

    “Dil Hai Hindustani” promises to be a musical extravaganza showcasing phenomenal performances through not just solo, but also duet and group performances consisting of bands, choirs, acapella; a first of its kind on Indian television.

    The talent on the show will be judged by an expert panel who India on the world map for music. The panel would consist of director Karan Johar who travelled the globe to handpick singers for the show, while Bollywood’s favourite rapper, Badshah, will be seen making a debut as a judge on television. Music sensation — Shekhar Ravjiani and Shalmali Kholgade will be seen monitoring the contestants and judging the show.

    Bollywood’s finest director Karan Johar, known to create magic with every project he undertakes, said, “I am thrilled to be associated with and have an opportunity to curate performances based on talent from across the globe. It is rare to find a platform which takes Bollywood to the centrestage and with ‘Dil Hai Hindustani,’ we are ready to entertain the world with extraordinary performances.”

    Asked about launching his digital platform anytime soon, addressing the media Johar replied in the negative, and said, “Digital is definitely a very strong medium and a great means to scout talent. I have always been on the lookout to hunt for talented people on the web. As for venturing into it, I am still not ready. Right now, every failed script becomes a web series or short film, but I want to wait and see how the medium moves ahead. I will let others make the stairs and happily climb on when the time is right. Digital is a kid right now, when it will grow, it will be massive.”

  • Star Plus gears up for ‘Dil Hai Hindustani’ launch in January

    Star Plus gears up for ‘Dil Hai Hindustani’ launch in January

    MUMBAI: After launching P.O.W, Star Plus is geared up to launch its yet another grand singing reality show “Dil Hai Hindustani.” Though the channel has not officially announced the launch date, but the show is slated to go on air by January 2017, and will be replacing Masterchef India at 8pm time slot.

    Produced by Frames Production, the show will celebrate the popularity of Bollywood music through talent from across the globe, from different cultures and nationalities, bound together by their love for Bollywood songs.

    Vivo has come on board for the show as the presenting sponsor.

    Speaking to Indiantelevision.com, Frames Production founder Ranjeet Thakur said, “Dil Hai Hindustani is a unique show and we are very excited. We have gone far and wide across the world in search of a good talent. People will see and realize how different it will be from the other reality shows.”

    “Dil Hai Hindustani” promises to be a musical extravaganza showcasing phenomenal performances through not just solo, but also duet and group performances consisting of bands, choirs, acapella; a first of its kind on Indian television.

    The talent on the show will be judged by an expert panel who India on the world map for music. The panel would consist of director Karan Johar who travelled the globe to handpick singers for the show, while Bollywood’s favourite rapper, Badshah, will be seen making a debut as a judge on television. Music sensation — Shekhar Ravjiani and Shalmali Kholgade will be seen monitoring the contestants and judging the show.

    Bollywood’s finest director Karan Johar, known to create magic with every project he undertakes, said, “I am thrilled to be associated with and have an opportunity to curate performances based on talent from across the globe. It is rare to find a platform which takes Bollywood to the centrestage and with ‘Dil Hai Hindustani,’ we are ready to entertain the world with extraordinary performances.”

    Asked about launching his digital platform anytime soon, addressing the media Johar replied in the negative, and said, “Digital is definitely a very strong medium and a great means to scout talent. I have always been on the lookout to hunt for talented people on the web. As for venturing into it, I am still not ready. Right now, every failed script becomes a web series or short film, but I want to wait and see how the medium moves ahead. I will let others make the stairs and happily climb on when the time is right. Digital is a kid right now, when it will grow, it will be massive.”

  • Films Division shorts in cinema halls: Centre mulling revival

    Films Division shorts in cinema halls: Centre mulling revival

    NEW DELHI: All cinema halls may soon have to screen the news features produced by the Films Division, sources in the Information and Broadcasting Ministry said.

    As a first step, the Government had earlier this year waived the 1% rental charged by Films Division in lieu of supplying public services awareness films including news features to facilitate exhibition of such films in the cinema halls of the country.

    These sources told indiantelevision.com that provisions have been kept in the proposed amendments to the Cinematograph Act 1952 to empower the Central Government to issue directions so that such films may get adequate opportunity of being exhibited.

    Meanwhile, Films Division sources told indiantelevision.com that a beginning had already been made and almost all the PVR theatres were showing shorts that went on for just around three to four minutes. However, the aim to revive the practice prevalent around two decades earlier was to show a news feature by the Division before the main feature film commences.

    At one stage, some private filmmakers had gone to court saying that there was no reason for only Films Division films being shown. As a result, cinema halls had stopped screening of the Division films. However, the Supreme Court ultimately ruled over a decade earlier that theatres should show films of relevance to society irrespective of who has made it. But, cinema halls have been reluctant to show these films.

    As a result, the Films Division appealed to the ministry to take decisive steps to ensure that the films – like those on the Swachhta Campaign or other ongoing programmes of the government should be shown. It is learnt that cinema owners have said that they will generally not accept films that are more than three minutes long, and therefore the Centre may step in to make this mandatory.

  • Films Division shorts in cinema halls: Centre mulling revival

    Films Division shorts in cinema halls: Centre mulling revival

    NEW DELHI: All cinema halls may soon have to screen the news features produced by the Films Division, sources in the Information and Broadcasting Ministry said.

    As a first step, the Government had earlier this year waived the 1% rental charged by Films Division in lieu of supplying public services awareness films including news features to facilitate exhibition of such films in the cinema halls of the country.

    These sources told indiantelevision.com that provisions have been kept in the proposed amendments to the Cinematograph Act 1952 to empower the Central Government to issue directions so that such films may get adequate opportunity of being exhibited.

    Meanwhile, Films Division sources told indiantelevision.com that a beginning had already been made and almost all the PVR theatres were showing shorts that went on for just around three to four minutes. However, the aim to revive the practice prevalent around two decades earlier was to show a news feature by the Division before the main feature film commences.

    At one stage, some private filmmakers had gone to court saying that there was no reason for only Films Division films being shown. As a result, cinema halls had stopped screening of the Division films. However, the Supreme Court ultimately ruled over a decade earlier that theatres should show films of relevance to society irrespective of who has made it. But, cinema halls have been reluctant to show these films.

    As a result, the Films Division appealed to the ministry to take decisive steps to ensure that the films – like those on the Swachhta Campaign or other ongoing programmes of the government should be shown. It is learnt that cinema owners have said that they will generally not accept films that are more than three minutes long, and therefore the Centre may step in to make this mandatory.

  • Life is more imaginative than fiction in a story like POW, says writer-director Gideon Raff

    Life is more imaginative than fiction in a story like POW, says writer-director Gideon Raff

    MUMBAI: Sometimes, coming back home after 17 years is not always a happy ending. “Prisoners of War” is the story of three Israeli soldiers, who were held captive for that many years following their kidnapping while on a secret mission with their unit.

    The man behind penning down a beautiful story full of emotions, Israeli film and television director, screenwriter and producer Gideon Raff was in India to visit the sets of “POW- Bandi Yuddh Ke” which is the Indian adaptation of its Israeli version “Hatufim”. It was also made into ‘Homeland’,a runaway global hit, courtesy US cable network Showtime.

    “POW- Bandi Yuddh Ke” will be aired from 7 November at 10.30pm on Star Plus.

    “I love the set of POW, it is very much similar to the Israeli version, Nikkhil Advani has done a great job,” says Raff in an interview with indiantelevision.com.  Talking about the Indian adaptation, Raff informs that he met the entire cast of the show and loved the way Nikkhil has directed the story.

    Commenting on the production cost of the original “Hatufim” (US$ 200,000), Raff says, “ It doesn’t matter how expensive the show is. Nothing can be better if connects with the audience because something is real about it.” Raff has not seen any Indian series so far, but he is eagerly waiting for the Indian version and, with “POW- Bandi Yuddh Ke”, he looks forward to watch more Indian content.

    Excerpts:

    How did you come up with the idea of “Prisoners of War”?

    Israel is a very small country, and we all go to the army for the sake of training. The real stories of prisoners of war being brought back home always fascinated me. We learned that the government pays a high price to bring them back but we don’t hear about them once they are back. I started researching about the reasons.

    When they came back, they go through a very tough journey and many of them have symptoms of Post Commencement Stress Disorder (PCSD), many of them can’t get a job, and many of them get divorced. There is a high percentage of emotional and physical diseases among the PoWs. I found that it’s worth telling the story of people coming back, and that coming back is the first episode and not the last one.

    I researched and met many prisoners of war and spoke to their kids, sisters, wives, parents and doctors, and found that it’s a story that has to be told.  I realized that there is a world of drama there that hasn’t been tapped into. And, it is a fact when they come back, it’s not a happy ending.

    Israel is known for its air force and military. Everybody needs to serve in the forces for a fixed period. Has this created a general demand for stories that speak of the lives of soldiers?

    When I started my show, I thought it’s a story of soldiers, but it’s not. It’s a story of the people of Israel, and now it’s a story of Indians. It’s not a military show in that sense.

    public://POW.jpg

    You were also drafted into the Israeli army. Please share your experience while you were there. Do your experiences reflect in the story?

    Yes, it does. I can pinpoint what are my experiences. But, the fact is that I am an Israeli, the fact is that I was in army for three years all of that is a part of my story-telling. Also, the part that I am vegan is a part of storytelling and I am gay is a part too. But, there are significant lessons from the years in the army — definitely.

    How do you think the story will be received in India? Are you happy with the little changes that have been made in the storyline and setting?

    I think Star (Star Plus) is very brave to take a story like this and Nikhil (Nikhil Advani ) is very brave in the way he told the story. You can only do the best as an artiste, and then it’s in the hands of the audience. I think and hope that whatever happened in the Israeli version as they recognized the reality and truth about human conditions and really wanted to see more. I hope the same happens in India as well. I support the changes that have been made.

    How different was it to collaborate with the Indian broadcaster as compared to the US?

    I was more hands-on in the US version, and in the Indian version, I am more of a fan and spectator. They kept me in the loop and told me stuff, they loved to hear my ideas.

    How are shows such as Hatufim adapted for different territories? Which was an easier adaptation?

    The Indian version is an adaptation of “Prisoners of War”, and is very close to the Israeli version in terms of storyline, plot, emotions and the journey that characters go through. In the American version, we took the interrogation, the investigation part into the heart of the show because that was a bit easy for Americans to digest.

    Why is it important to have a real-life stories such as those of prisoners and then create fiction around it? Couldn’t there be pure work of fiction?

    Life is more imaginative than fiction in a story like POW and people have lived this. Hence, there is a responsibility to tell a story which is incredible. It is based on real life and real facts, and then fictionalised and pushed to make little bit dramatic.

     

  • Life is more imaginative than fiction in a story like POW, says writer-director Gideon Raff

    Life is more imaginative than fiction in a story like POW, says writer-director Gideon Raff

    MUMBAI: Sometimes, coming back home after 17 years is not always a happy ending. “Prisoners of War” is the story of three Israeli soldiers, who were held captive for that many years following their kidnapping while on a secret mission with their unit.

    The man behind penning down a beautiful story full of emotions, Israeli film and television director, screenwriter and producer Gideon Raff was in India to visit the sets of “POW- Bandi Yuddh Ke” which is the Indian adaptation of its Israeli version “Hatufim”. It was also made into ‘Homeland’,a runaway global hit, courtesy US cable network Showtime.

    “POW- Bandi Yuddh Ke” will be aired from 7 November at 10.30pm on Star Plus.

    “I love the set of POW, it is very much similar to the Israeli version, Nikkhil Advani has done a great job,” says Raff in an interview with indiantelevision.com.  Talking about the Indian adaptation, Raff informs that he met the entire cast of the show and loved the way Nikkhil has directed the story.

    Commenting on the production cost of the original “Hatufim” (US$ 200,000), Raff says, “ It doesn’t matter how expensive the show is. Nothing can be better if connects with the audience because something is real about it.” Raff has not seen any Indian series so far, but he is eagerly waiting for the Indian version and, with “POW- Bandi Yuddh Ke”, he looks forward to watch more Indian content.

    Excerpts:

    How did you come up with the idea of “Prisoners of War”?

    Israel is a very small country, and we all go to the army for the sake of training. The real stories of prisoners of war being brought back home always fascinated me. We learned that the government pays a high price to bring them back but we don’t hear about them once they are back. I started researching about the reasons.

    When they came back, they go through a very tough journey and many of them have symptoms of Post Commencement Stress Disorder (PCSD), many of them can’t get a job, and many of them get divorced. There is a high percentage of emotional and physical diseases among the PoWs. I found that it’s worth telling the story of people coming back, and that coming back is the first episode and not the last one.

    I researched and met many prisoners of war and spoke to their kids, sisters, wives, parents and doctors, and found that it’s a story that has to be told.  I realized that there is a world of drama there that hasn’t been tapped into. And, it is a fact when they come back, it’s not a happy ending.

    Israel is known for its air force and military. Everybody needs to serve in the forces for a fixed period. Has this created a general demand for stories that speak of the lives of soldiers?

    When I started my show, I thought it’s a story of soldiers, but it’s not. It’s a story of the people of Israel, and now it’s a story of Indians. It’s not a military show in that sense.

    public://POW.jpg

    You were also drafted into the Israeli army. Please share your experience while you were there. Do your experiences reflect in the story?

    Yes, it does. I can pinpoint what are my experiences. But, the fact is that I am an Israeli, the fact is that I was in army for three years all of that is a part of my story-telling. Also, the part that I am vegan is a part of storytelling and I am gay is a part too. But, there are significant lessons from the years in the army — definitely.

    How do you think the story will be received in India? Are you happy with the little changes that have been made in the storyline and setting?

    I think Star (Star Plus) is very brave to take a story like this and Nikhil (Nikhil Advani ) is very brave in the way he told the story. You can only do the best as an artiste, and then it’s in the hands of the audience. I think and hope that whatever happened in the Israeli version as they recognized the reality and truth about human conditions and really wanted to see more. I hope the same happens in India as well. I support the changes that have been made.

    How different was it to collaborate with the Indian broadcaster as compared to the US?

    I was more hands-on in the US version, and in the Indian version, I am more of a fan and spectator. They kept me in the loop and told me stuff, they loved to hear my ideas.

    How are shows such as Hatufim adapted for different territories? Which was an easier adaptation?

    The Indian version is an adaptation of “Prisoners of War”, and is very close to the Israeli version in terms of storyline, plot, emotions and the journey that characters go through. In the American version, we took the interrogation, the investigation part into the heart of the show because that was a bit easy for Americans to digest.

    Why is it important to have a real-life stories such as those of prisoners and then create fiction around it? Couldn’t there be pure work of fiction?

    Life is more imaginative than fiction in a story like POW and people have lived this. Hence, there is a responsibility to tell a story which is incredible. It is based on real life and real facts, and then fictionalised and pushed to make little bit dramatic.