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Tag: Motu Patlu

  • Box Office: A disastrous week for film exhibitors

    Box Office: A disastrous week for film exhibitors

    MUMBAI: It has been another disastrous week at the cinema halls and the wait is now on for Diwali week releases. All the releases failed to find audiences and faced the no-audience-no-show situation. The films released a week earlier were faced with the similar fate as well.

    *31st October, a film about the 1984 Sikh genocide of Delhi; My Father Iqbal, a film about an honest and patriotic Kashmiri who chooses to die rather than betray the country and Ek Tera Saath, a film about palace intrigues with a dash of the supernatural, registered between Rs. 1 to Rs 10 lakh opening day figures. These films will only add to their production cost even post release as they won’t cover the distribution costs such as digital and promotion.

    * Beiimaan Love: Trying to cash in on Sunny Leone falls flat as her popularity, sans acting talent, seems to have worn thin. After a poor opening weekend, the film collects Rs. 1.9 crore for its first week.

    *Saat Uchakkey: Despite many talented artistes on the roster, suffers due to a poor screenplay and poorer direction. The actors end up mouthing cuss words and jumping around the screen with little to deliver. The film collects Rs. 1.6 crore in its first week.

    *Anna: A biopic on the anti-corruption crusader Anna Hazare manages to collect about Rs. 15 lakh in its first week.

    *Fuddu: It collects about Rs. 20 lakh in its first week.

    *Motu Patlu: King of Kings (Animation 3-D): It stands out among a horde of poor films as kids take to it at select multiplexes only. The film collects Rs. 2.9 crore in its first week.

    *Mirzya: It continues its poor run at the box office adding just Rs. 40 lakh in its second week taking its two-week collections to Rs. 8.8 crore.

    *Tutak Tutak Tutiya collects Rs. 15 lakh in its second week taking its two-week total to Rs. 2.9 crore.

    *M S Dhoni: The Untold Story continues its good run in the third week as other weak new releases give it a free run at the box office. The film collects Rs. 8.4 crore to take its three-week total to Rs. 115.8 crore.

    *Pink collects Rs. 40 lakh in its fifth week, taking its five-week total to Rs. 67.4 crore.

  • MIPJunior: Can Indian animation make its mark?

    MIPJunior: Can Indian animation make its mark?

    CANNES: As the MIPJunior Lab got filled with an inquisitive audience, “The Passage to India” session began with the moderator, Indiantelevision.com founder, CEO and editor-in-chief Anil Wanvari, giving facts and figures about the kids broadcasting space in India.

    Wanvari started off by mentioning the humungous size of the 0-14 year population group – at 350 million at last count, which is expected to touch 375 million or so by 2020. Which is why the Indian market is attractive, he pointed out for kids programming and animation. Highlighting statistics from 2015 data, he stated that localization is helping the 20-plus kids channels operating in India up the local-international ratio from 10:90 to 80:20. With that wide a ratio and language dubs of each channel, content from the US dominates the television market with about 44 per cent, Japan 17 per cent, India 16 per cent, the UK and France four per cent, Canada one per cent; and if compared to statistics of 2014, it was 42 per cent, 17 per cent, 13 per cent, seven per cent and four per cent, three per cent, respectively.

    These statistics clearly paint the picture of how locally produced shows are being favoured not just by the audience but also the broadcasters. The top six to eight spots of the kids genre are occupied by locally produced programmes such as Motu-Patlu and Chotta Bheem, among others.

    Wanvari pointed out that kids genre accounts for six minutes per cent of total viewership and most of the kids content is in animation format the production cost of which per 30 minutes is between Rs 1.5 to six million.

    After introducing the panelists – Green Gold Animation founder and CEO, Rajiv Chilaka, Viacom18 Digital Ventures COO Gaurav Gandhi, Cosmos-Maya founder, Anish Mehta, and Graphiti Multimedia director and COO Munjal Shroff, Wanvari threw the question to the panelists asking what makes the prospects of the Indian animation sector so bright this time around; earlier attempts have failed.

    He also queried them about how the Indian animation space has changed over the years, in which areas are the opportunities available for international players, and what content works for broadcasters and digital platform for kids.

    Chilaka mentioned, “Back in 2001, there was only one channel catering to kids segment and now, there are 25-plus channels which showcase content produced locally as well. Over the years, the quality of animation, the technology, the services provided all have improved, and to support that, are the increased budgets.”

    Speaking about the international market, Shroff commented, “Through our show ‘Kulveera’, we did a case study with Cartoon Network UK wherein we produced a pilot episode and gauged the response of the audience and it was interesting to see that kids loved the show.” So, as long as one’s series has a strong storytelling going on, the place from where the content originates hardly matters.

    Mehta’s animation studio Cosmos-Maya has been doing wonders and, at present, has three co-production deals going on. “Our co-production deals are with Italian, French and German companies. We will be launching the French co-produced show ‘Captain Cactus’ which was made in association with Euope’s well-known film maker Olivier Jean-Marie,” expounded Mehta.

    “Over the period of 20 years, our work has evolved from being a service company to IP production, and finally we are at a stage where we can co-produce.”

    With the advent of digital platform, and Voot being probably the biggest kids SVOD service, Gandhi added, “It’s said that, in next three years, more homes will be have the streaming device than television sets. We are an open market, and ready to buy any good content.”

    Mehta also stated that, for co-productions to work, it’s necessary that one needs to understand the demographics. “Personally, after doing research, we follow a mixed model which blends well with both the countries.

    Since ‘Captain Cactus’ is a co-production between India and Europe, the animation style and narrative is set according to the tastes of audience of both the countries.”

    The session was wrapped up with Q&A round wherein many people were interested in learning more about how can they work with not just Indian animation studios but also on how their content can work across the various platforms.

  • MIPJunior: Can Indian animation make its mark?

    MIPJunior: Can Indian animation make its mark?

    CANNES: As the MIPJunior Lab got filled with an inquisitive audience, “The Passage to India” session began with the moderator, Indiantelevision.com founder, CEO and editor-in-chief Anil Wanvari, giving facts and figures about the kids broadcasting space in India.

    Wanvari started off by mentioning the humungous size of the 0-14 year population group – at 350 million at last count, which is expected to touch 375 million or so by 2020. Which is why the Indian market is attractive, he pointed out for kids programming and animation. Highlighting statistics from 2015 data, he stated that localization is helping the 20-plus kids channels operating in India up the local-international ratio from 10:90 to 80:20. With that wide a ratio and language dubs of each channel, content from the US dominates the television market with about 44 per cent, Japan 17 per cent, India 16 per cent, the UK and France four per cent, Canada one per cent; and if compared to statistics of 2014, it was 42 per cent, 17 per cent, 13 per cent, seven per cent and four per cent, three per cent, respectively.

    These statistics clearly paint the picture of how locally produced shows are being favoured not just by the audience but also the broadcasters. The top six to eight spots of the kids genre are occupied by locally produced programmes such as Motu-Patlu and Chotta Bheem, among others.

    Wanvari pointed out that kids genre accounts for six minutes per cent of total viewership and most of the kids content is in animation format the production cost of which per 30 minutes is between Rs 1.5 to six million.

    After introducing the panelists – Green Gold Animation founder and CEO, Rajiv Chilaka, Viacom18 Digital Ventures COO Gaurav Gandhi, Cosmos-Maya founder, Anish Mehta, and Graphiti Multimedia director and COO Munjal Shroff, Wanvari threw the question to the panelists asking what makes the prospects of the Indian animation sector so bright this time around; earlier attempts have failed.

    He also queried them about how the Indian animation space has changed over the years, in which areas are the opportunities available for international players, and what content works for broadcasters and digital platform for kids.

    Chilaka mentioned, “Back in 2001, there was only one channel catering to kids segment and now, there are 25-plus channels which showcase content produced locally as well. Over the years, the quality of animation, the technology, the services provided all have improved, and to support that, are the increased budgets.”

    Speaking about the international market, Shroff commented, “Through our show ‘Kulveera’, we did a case study with Cartoon Network UK wherein we produced a pilot episode and gauged the response of the audience and it was interesting to see that kids loved the show.” So, as long as one’s series has a strong storytelling going on, the place from where the content originates hardly matters.

    Mehta’s animation studio Cosmos-Maya has been doing wonders and, at present, has three co-production deals going on. “Our co-production deals are with Italian, French and German companies. We will be launching the French co-produced show ‘Captain Cactus’ which was made in association with Euope’s well-known film maker Olivier Jean-Marie,” expounded Mehta.

    “Over the period of 20 years, our work has evolved from being a service company to IP production, and finally we are at a stage where we can co-produce.”

    With the advent of digital platform, and Voot being probably the biggest kids SVOD service, Gandhi added, “It’s said that, in next three years, more homes will be have the streaming device than television sets. We are an open market, and ready to buy any good content.”

    Mehta also stated that, for co-productions to work, it’s necessary that one needs to understand the demographics. “Personally, after doing research, we follow a mixed model which blends well with both the countries.

    Since ‘Captain Cactus’ is a co-production between India and Europe, the animation style and narrative is set according to the tastes of audience of both the countries.”

    The session was wrapped up with Q&A round wherein many people were interested in learning more about how can they work with not just Indian animation studios but also on how their content can work across the various platforms.

  • New films: The business of a few lakhs

    New films: The business of a few lakhs

    The dull pre-Diwali period has taken its toll. The films released recently as well as last Friday have fallen like nine pins. Some of these have been forced to commit hara-kiri as they would not be able to get playtime at the cinemas in peak period when the flow of star cast films is regular. The opening day collections of almost all new releases remained in lakhs, and far away from a crore mark.

    Saat Uchakkey from which the trade and people had some hope hardly earned money. Despite a number of known character artistes in the film and a comedy label, its crude and lewd language besides overacting by a few sunk it. The collections remained poor from day one and did not improve over the weekend. The film collected 90 lakh for its opening weekend.

    Beiimaan Love tried to play the Sunny Leone card to draw the audience. The makers seem to have hit on the idea rather late in the ‘skin specialist ‘star’s life who has lost her novelty value soon after she hit the screen. Whatever she had to offer does not seem to sell now. Sadly, the film had nothing else to offer. The film fell short of Rs 1-crore mark in its first weekend.

    Motu Patlu (3-D: Animation) could not draw kids, its target audience. The film is more likely to reach its viewers through home entertainment. The opening-day collections remained low, and the improvement hoped for over Saturday and Sunday was only marginal as the film managed Rs 1.4 crore for its opening weekend.

    Fuddu had a disastrous reception at the box office with the first day collections ranging between two to three lakh and managing to collect just about 10 lakh for first three days.

    Anna, a biopic on Anna Hazare, a celebrated activist, added to the long list of biopics that don’t work. The audience to the film remained that of total indifference as, despite a controlled budget, the film will be a total loser. The film could not cross Rs one lakh collection figure on its opening day and remained in the same range through its first weekend.

    Mirzya, after a poor opening weekend of Rs 5.2 crore, was faced with more miseries over next four day to show Rs 8.4 crore for its first week.

    Tutak Tutak Tutiya failed badly. The title as well as the bad casting affected the film’s opening, offering no chance to improve. The film collected Rs 2.75 crore in its first week.

    M S Dhoni: The Untold Story benefitted the most with a continuous flow of poor films in opposition and giving it a free run at the box office. The film collected Rs 24.8 crore in its second week to take its two week tally to Rs 107.4 crore.

    Pink collected Rs 1.6 crore in its fourth week to take its four week total to Rs 66.9 crore.

  • New films: The business of a few lakhs

    New films: The business of a few lakhs

    The dull pre-Diwali period has taken its toll. The films released recently as well as last Friday have fallen like nine pins. Some of these have been forced to commit hara-kiri as they would not be able to get playtime at the cinemas in peak period when the flow of star cast films is regular. The opening day collections of almost all new releases remained in lakhs, and far away from a crore mark.

    Saat Uchakkey from which the trade and people had some hope hardly earned money. Despite a number of known character artistes in the film and a comedy label, its crude and lewd language besides overacting by a few sunk it. The collections remained poor from day one and did not improve over the weekend. The film collected 90 lakh for its opening weekend.

    Beiimaan Love tried to play the Sunny Leone card to draw the audience. The makers seem to have hit on the idea rather late in the ‘skin specialist ‘star’s life who has lost her novelty value soon after she hit the screen. Whatever she had to offer does not seem to sell now. Sadly, the film had nothing else to offer. The film fell short of Rs 1-crore mark in its first weekend.

    Motu Patlu (3-D: Animation) could not draw kids, its target audience. The film is more likely to reach its viewers through home entertainment. The opening-day collections remained low, and the improvement hoped for over Saturday and Sunday was only marginal as the film managed Rs 1.4 crore for its opening weekend.

    Fuddu had a disastrous reception at the box office with the first day collections ranging between two to three lakh and managing to collect just about 10 lakh for first three days.

    Anna, a biopic on Anna Hazare, a celebrated activist, added to the long list of biopics that don’t work. The audience to the film remained that of total indifference as, despite a controlled budget, the film will be a total loser. The film could not cross Rs one lakh collection figure on its opening day and remained in the same range through its first weekend.

    Mirzya, after a poor opening weekend of Rs 5.2 crore, was faced with more miseries over next four day to show Rs 8.4 crore for its first week.

    Tutak Tutak Tutiya failed badly. The title as well as the bad casting affected the film’s opening, offering no chance to improve. The film collected Rs 2.75 crore in its first week.

    M S Dhoni: The Untold Story benefitted the most with a continuous flow of poor films in opposition and giving it a free run at the box office. The film collected Rs 24.8 crore in its second week to take its two week tally to Rs 107.4 crore.

    Pink collected Rs 1.6 crore in its fourth week to take its four week total to Rs 66.9 crore.

  • Exploring Indian kids’ content opportunities at MIPJunior

    Exploring Indian kids’ content opportunities at MIPJunior

    CANNES: The world’s kids programming screenings and conference MIPJunior is slated to commence today 15 October at the prestigious Hotel Martinez in Cannes. The little French Riviera village was under heavy black cloud cover the whole of 14 October and a constant drizzle through the day forced everyone to bring out their brollies and their rain jackets.

    But that won’t be necessary today and the next three to four days. Reason: the weatherman has forecast that the weekend is going to be mostly sunny through to Monday.

    The sunny weather is expected to encourage some brisk meetings, conferences, workshops, keynotes, panel discussions, networking through the day at the famed Hotel. And of course champagne, wine is expected to overflow through the day at the lunches and in the restaurants as the world’s top animation and kids content executives huddle together to figure out what the world and their distribution platforms are going to look like in the coming few months.

    One session that is being watched with increasing curiosity is in the MIPJunior Lab at 17:15 pm on 16 October Titled Passage to India: Working in this dynamic space, it is being moderated by Animationxpress.com and Indiantelevision.com founder, CEO and editor in chief Anil Wanvari.

    India’s top animation studio heads – Rajiv Chilaka of Chhota Bheem and Green Gold Fame, Anish Mehta of Motu Patlu and Cosmos Maya renown, Munjal Shroff of Graphiti Multimedia – and India’s only kids OTT platform Voot CEO Gaurav Gandhi – will be throwing light on how why it makes sense to look at the growing Indian kids market, and how international studios can make head room for themselves in India in the area of co-productions.

    “Indian animation is just waiting to explode on to the world stage,” says Wanvari – who also represents Reed Midem’s MipCom, MipTV, MIPJunior, MipCancun, and Mipim events for India, Pakistan, Sri Lanka, Bangladesh and Nepal. “We have the talent, the right stories, and even now the focus to make in India for the world with the Narendra Modi government laying an emphasis on it. An animation requires many partnerships for it to achieve global success. Through this workshop we want to demystify many notions or perceptions that the world community has about Indian studios and the kids content marketplace. Reed Midem and MIPJunior have been very supportive of India’s efforts to build a global IP in kids’ animation. If we succeed in enabling even one partnership or co-production or spark one such opportunity, we will have been successful.”

    Shall we say amen to that?

  • Exploring Indian kids’ content opportunities at MIPJunior

    Exploring Indian kids’ content opportunities at MIPJunior

    CANNES: The world’s kids programming screenings and conference MIPJunior is slated to commence today 15 October at the prestigious Hotel Martinez in Cannes. The little French Riviera village was under heavy black cloud cover the whole of 14 October and a constant drizzle through the day forced everyone to bring out their brollies and their rain jackets.

    But that won’t be necessary today and the next three to four days. Reason: the weatherman has forecast that the weekend is going to be mostly sunny through to Monday.

    The sunny weather is expected to encourage some brisk meetings, conferences, workshops, keynotes, panel discussions, networking through the day at the famed Hotel. And of course champagne, wine is expected to overflow through the day at the lunches and in the restaurants as the world’s top animation and kids content executives huddle together to figure out what the world and their distribution platforms are going to look like in the coming few months.

    One session that is being watched with increasing curiosity is in the MIPJunior Lab at 17:15 pm on 16 October Titled Passage to India: Working in this dynamic space, it is being moderated by Animationxpress.com and Indiantelevision.com founder, CEO and editor in chief Anil Wanvari.

    India’s top animation studio heads – Rajiv Chilaka of Chhota Bheem and Green Gold Fame, Anish Mehta of Motu Patlu and Cosmos Maya renown, Munjal Shroff of Graphiti Multimedia – and India’s only kids OTT platform Voot CEO Gaurav Gandhi – will be throwing light on how why it makes sense to look at the growing Indian kids market, and how international studios can make head room for themselves in India in the area of co-productions.

    “Indian animation is just waiting to explode on to the world stage,” says Wanvari – who also represents Reed Midem’s MipCom, MipTV, MIPJunior, MipCancun, and Mipim events for India, Pakistan, Sri Lanka, Bangladesh and Nepal. “We have the talent, the right stories, and even now the focus to make in India for the world with the Narendra Modi government laying an emphasis on it. An animation requires many partnerships for it to achieve global success. Through this workshop we want to demystify many notions or perceptions that the world community has about Indian studios and the kids content marketplace. Reed Midem and MIPJunior have been very supportive of India’s efforts to build a global IP in kids’ animation. If we succeed in enabling even one partnership or co-production or spark one such opportunity, we will have been successful.”

    Shall we say amen to that?

  • Motu Patlu, 800 kids clean up Mumbai beaches post-Visarjan

    Motu Patlu, 800 kids clean up Mumbai beaches post-Visarjan

    MUMBAI: Nickelodeon Toon Shiva along with superstars Motu Patlu were at Girgaum and Juhu Chowpatty on Fridayas part of a cleanup drive.

    The drive was curated by CMCA, a non-profit organization which works with schools to promote civic awareness among youth and children. As part of the drive, over 800 students along with Nicktoons Shiva and Motu Patlu, collected the waste that got washed back by the water, after the Ganesh immersions. This was done in a bid to make the beaches litter free.

    The purpose of this initiative was to sensitize children on the responsibilities that go with the celebration of any festival. In the case of Ganesh Visarjan, Nicktoon Shiva and superstars Motu Patlu educated the kids about the ill-effects of immersing POP idols in water bodies. The kids were encouraged to buy clay idols /eco-friendly idols or immerse their POP idols in artificial ponds.

    Motu Patlu commented, “We are extremely proud of CMCA’s active involvement in promoting civic awareness and responsible celebration of festivities in Mumbai. It is important that the kids, who are our best friends, enjoy festivities but are also aware of the responsibilities that go with it. Children are not only impressionable and early adopters of change but also have tremendous power to amplify this message of a clean Mumbai.”

    Vinodini Lulla, trustee at CMCA, added, “Students are encouraged to use ecofriendly idols. Cleaning up give the students an experiential learning on what we do to our beaches and marine life. We are delighted to have found a partner in Viacom18. With this drive, “We will be able to bring about a behavioral change towards environment protection among the young students in Mumbai.”

    Viacom18 Media is one of India’s fastest growing entertainment networks and a house of iconic brands that offers multi-platform, multi-generational and multicultural brand experiences. Nickelodeon, India’s leading kids’ entertainment brand and part of the Viacom18, is available in over 100 million households in India. Children’s Movement for Civic Awareness (CMCA) is a 16 year old non-profit organization, working with schools across Karnataka, Tamil Nadu, Kerala and Maharashtra, promoting democracy, citizenship values and civic awareness among children and youth.

  • Motu Patlu, 800 kids clean up Mumbai beaches post-Visarjan

    Motu Patlu, 800 kids clean up Mumbai beaches post-Visarjan

    MUMBAI: Nickelodeon Toon Shiva along with superstars Motu Patlu were at Girgaum and Juhu Chowpatty on Fridayas part of a cleanup drive.

    The drive was curated by CMCA, a non-profit organization which works with schools to promote civic awareness among youth and children. As part of the drive, over 800 students along with Nicktoons Shiva and Motu Patlu, collected the waste that got washed back by the water, after the Ganesh immersions. This was done in a bid to make the beaches litter free.

    The purpose of this initiative was to sensitize children on the responsibilities that go with the celebration of any festival. In the case of Ganesh Visarjan, Nicktoon Shiva and superstars Motu Patlu educated the kids about the ill-effects of immersing POP idols in water bodies. The kids were encouraged to buy clay idols /eco-friendly idols or immerse their POP idols in artificial ponds.

    Motu Patlu commented, “We are extremely proud of CMCA’s active involvement in promoting civic awareness and responsible celebration of festivities in Mumbai. It is important that the kids, who are our best friends, enjoy festivities but are also aware of the responsibilities that go with it. Children are not only impressionable and early adopters of change but also have tremendous power to amplify this message of a clean Mumbai.”

    Vinodini Lulla, trustee at CMCA, added, “Students are encouraged to use ecofriendly idols. Cleaning up give the students an experiential learning on what we do to our beaches and marine life. We are delighted to have found a partner in Viacom18. With this drive, “We will be able to bring about a behavioral change towards environment protection among the young students in Mumbai.”

    Viacom18 Media is one of India’s fastest growing entertainment networks and a house of iconic brands that offers multi-platform, multi-generational and multicultural brand experiences. Nickelodeon, India’s leading kids’ entertainment brand and part of the Viacom18, is available in over 100 million households in India. Children’s Movement for Civic Awareness (CMCA) is a 16 year old non-profit organization, working with schools across Karnataka, Tamil Nadu, Kerala and Maharashtra, promoting democracy, citizenship values and civic awareness among children and youth.

  • BARC week 31: Doraemon was no 1 program; Nick still lead the genre

    BARC week 31: Doraemon was no 1 program; Nick still lead the genre

    MUMBAI: Doraemon has dethroned kids television long time favourite Motu Patlu and claimed the number one spot for itself as per Broadcast Audience Research Council (BARC) India’s all India (U+R) data for week 31 in NCCS All 4-14 Individuals category.

    Doraemon : Nobita’s Little Space War has acquired 641 (000s sums) impressions; beating Nick’s Motu Patlu In Alien World – Part I by only 3 points, as the latter has scored 638 (000s sums) impressions.

    The thin margin couldn’t secure Hungama the first spot in the top ranked channel list in the genre. Viacom 18’s Nick maintained the most watched channel title with 67400(000s sums) in spite of a slight drop in ratings from the previous week’s performance.

    Turner International’s Cartoon Network was yet again the second channel in the list securing 59786 (000s sums) impressions- a drop from the previous week’s 63251(000s sums).

    Its sister channel Pogo TV locked a viewership rating of 56721(000 sums) securing itself the third spot on the list followed by Hungama from Disney India on the fourth spot with 53475(000s sums) impressions. The list shared by BARC India concludes with Disney Channel at the fifth spot with 45985(000s sums) impressions. Pogo TV, Hungama, and Disney Channel showed some improvement in viewership ratings in Week 30.

    The top five most watched program list in the genre was lead by Doraemon : Nobita’s Little Space, as mentioned above.Motu Patlu In Alien World – Part I was close at heel on the second spot.

    Pogo TV’s Chhota Bheem Aur Krishna grabbed the third spot on the list with 567(000s sums) impressions, followed by its sister channel Cartoon Network’s Bhoot Raja Aur Ronnie with 477(000s sums) impressions on the fourth spot.

    Pogo TV’s Chhota Bheem Aur Chhalchhaaya was the fifth most watched program in the genre with 451(000s sums) impressions. Over all the genre saw a dip in viewership as compared to week 30.