Tag: Paramount Pictures

  • Viacom names Gianopulos CEO of Paramount Pictures

    MUMBAI: Viacom Inc. has announced the appointment of Jim Gianopulos as the chairman and chief executive officer of Paramount Pictures, effective 3 April, 2017. Gianopulos will report directly to Viacom president and CEO Bob Bakish.

    In his new role, Gianopulos will oversee the studio’s film and television operations worldwide, including production, marketing, distribution and all other facets. He also will be charged with setting a new strategy for Paramount, including developing new content, strengthening Paramount’s slate with co-branded releases from Viacom flagship brands, and expanding the studio’s global footprint.

    Bakish, said, “Jim is a remarkably talented executive with all the tools – strategic vision, strong business expertise, deep industry and creative relationships – to bring films to life that resonate throughout culture and deliver commercial results. I’m thrilled we will have the benefit of his experience, savvy and global expertise as we lay out a clear path forward and begin the next chapter in Paramount’s storied history.”

    Gianopulos said, “Paramount is one of Hollywood’s truly iconic studios, and the role it has played in shaping the entertainment industry cannot be overstated. Looking ahead, I see a strong opportunity to position the studio for success by creating valuable franchise opportunities, developing fresh creative ventures, and mining Viacom’s deep brand portfolio to bring exciting new narratives to life.”

    Gianopulos has been a leading figure in the global entertainment industry for more than 30 years. For 16 years, he served as Chairman and Chief Executive Officer of Fox Filmed Entertainment, overseeing Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Fox International Productions, and Twentieth Century Fox Animation/Blue Sky Studios. During his tenure, he oversaw numerous box office hits, ranging from “Avatar” and the “X-Men” series, to “The Descendants” and “The Grand Budapest Hotel,” and most recently “Deadpool” and “Hidden Figures.”

    Previously, Gianopulos served as the president of 20th Century Fox International. Prior to joining the company, he held senior positions at Columbia Pictures and Paramount. He began his career as an attorney specializing in entertainment law. Gianopulos is the treasurer of the Academy of Motion Picture Arts & Sciences, chairman of the Motion Picture & Television Fund, and a trustee of Carnegie Melon University and the American Film Institute. He also serves on the USC School of Cinematic Arts Board of Councilors.

    Gianopulos attended the LLM program at the New York University School of Law and received his JD from Fordham University School of Law. He received his undergraduate degree from Boston University.

  • ‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales

    ‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales

    MUMBAI: Licensing and merchandising solutions agency Black White Orange has been appointed as the global licensing agent by Arka Mediaworks Entertainment LLP for their national award-winning movie Baahubali. The much awaited part 2, Baahubali – The Conclusion hits screens worldwide in April 2017.

    With the aim to create a ‘Baahubali brand experience’, Black White Orange will work closely with Arka Mediaworks to conceptualize designs, represent the Baahubali franchise across a wide range of categories and also look at several licensing and retail partnerships, globally. Having already signed on a spate of leading international names like Paramount Pictures, Game of Thrones, Universal Pictures etc. till date, Black White Orange make their first Bollywood brand foray with Arka Mediaworks and their popular franchise – Baahubali .

    “The most challenging part is building the brand and in case of the Baahubali franchise, this job is already done with the global success of the first part of the movie. I know people will be expecting more from the second part. They will not be dissatisfied! We’re confident that Black White Orange’s expertise combined with the Baahubali franchise will translate into an exciting offering of consumer products.” said the film’s director SS Rajamouli.

    Arka Mediaworks CEO Shobu Yarlagadda said, “We are confident that Black White Orange’s unique and promising strategic approach will build the Baahubali brand in India and help us reach our fans.”

    Black White Orange founder and CEO Bhavik Vora added, “Indian cinema has the biggest fan following in the country and probably the most untapped potential on the consumer product platform that takes fans beyond the realm of the big screen. Arka Mediaworks’ Baahubali has raised the bar and created benchmarks in every aspect of movie making.”

    Fans across the globe will soon be able to buy authentic licensed merchandise which will be available at retail and online portals, making it possible for every fan to own their favorite Baahubali merchandise. India is a private consumption led economy with retail merchandising forming 45% of private consumption and the current licensing market is 185 million driven by kids and men.

  • ‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales

    ‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales

    MUMBAI: Licensing and merchandising solutions agency Black White Orange has been appointed as the global licensing agent by Arka Mediaworks Entertainment LLP for their national award-winning movie Baahubali. The much awaited part 2, Baahubali – The Conclusion hits screens worldwide in April 2017.

    With the aim to create a ‘Baahubali brand experience’, Black White Orange will work closely with Arka Mediaworks to conceptualize designs, represent the Baahubali franchise across a wide range of categories and also look at several licensing and retail partnerships, globally. Having already signed on a spate of leading international names like Paramount Pictures, Game of Thrones, Universal Pictures etc. till date, Black White Orange make their first Bollywood brand foray with Arka Mediaworks and their popular franchise – Baahubali .

    “The most challenging part is building the brand and in case of the Baahubali franchise, this job is already done with the global success of the first part of the movie. I know people will be expecting more from the second part. They will not be dissatisfied! We’re confident that Black White Orange’s expertise combined with the Baahubali franchise will translate into an exciting offering of consumer products.” said the film’s director SS Rajamouli.

    Arka Mediaworks CEO Shobu Yarlagadda said, “We are confident that Black White Orange’s unique and promising strategic approach will build the Baahubali brand in India and help us reach our fans.”

    Black White Orange founder and CEO Bhavik Vora added, “Indian cinema has the biggest fan following in the country and probably the most untapped potential on the consumer product platform that takes fans beyond the realm of the big screen. Arka Mediaworks’ Baahubali has raised the bar and created benchmarks in every aspect of movie making.”

    Fans across the globe will soon be able to buy authentic licensed merchandise which will be available at retail and online portals, making it possible for every fan to own their favorite Baahubali merchandise. India is a private consumption led economy with retail merchandising forming 45% of private consumption and the current licensing market is 185 million driven by kids and men.

  • Adobe to showcase innovations at IBC 2015

    Adobe to showcase innovations at IBC 2015

    MUMBAI: Adobe, the leader in video software, today announced its next wave of innovation coming soon to Adobe Creative Cloud, which includes groundbreaking support for UltraHD (UHD), brilliant color technology improvements, and new touch workflows. In addition, Adobe Primetime, one of eight solutions of Adobe Marketing Cloud, extends its delivery and monetization capabilities for HTML5 video and offers new tools for pay-TV providers that make TV Everywhere authentication easier and more streamlined. Adobe will showcase the deepening connections across its Creative Cloud and Marketing Cloud offerings at IBC 2015, Europe’s largest professional broadcast show, in Amsterdam, Sept. 11-15.

     

    At IBC, Adobe will also demonstrate growing industry momentum, as customers continue to make the switch to Creative Cloud and Premiere Pro CC workflows. These include the film Deadpool from 20th Century Fox, coming Feb. 12, 2016; Staten Island Summer from Paramount Pictures, edited by Adam Epstein; and award-winning motion picture color grading artist Dado Valentic. Additionally, recently launched services benefitting from Adobe Primetime HBO Now, Showtime, MLB, Sony Pictures Entertainment, RTL Group, Shomi, Voo and Starz (Parsifal).

     

    Revealing New Innovation Across Adobe Video Tools

     

    At IBC 2015, Adobe will preview new video technology coming soon to Creative Cloud that streamlines workflows for broadcasters and media companies. These include:

     

    ·         Comprehensive native format support for editing beautiful 4K-to-8k footage in Premiere Pro CC ushers in a new era of UltraHD. Continued color advancements with support for High Dynamic Range (HDR) workflows in Premiere Pro CC and improved color fidelity and color adjustments come to After Effects CC. Keep pace with rapidly developing color workflows through deeper support for ARRI RAW, Rec. 2020 and other Ultra HD and HDR formats.

     

    ·         Introduction of a touch environment with Premiere Pro CC, After Effects CC and Character Animator optimized for Microsoft Surface Pro, Windows 8 tablets or Apple track pad devices.

     

    ·         Adjust the duration of a song to match video content with Remix, a new feature in Audition CC. More than a simple looping tool, Remix automatically rearranges music to any duration while maintaining musicality and structure, creating custom tracks to fit storytelling needs.

     

    ·         Updated support for Creative Cloud Libraries across CC desktop video tools, powered by Adobe CreativeSync. Now assets, including images from Adobe Stock, instantly appear in After Effects and Premiere Pro, to bring creative visions to life.

     

    ·         In Adobe Media Encoder, Destination Publishing, a single action solution for rendering and delivering content to popular social platforms such as YouTube, Vimeo and Creative Cloud, now includes support for Facebook to easily showcase and promote social media projects and campaigns.

     

    ·         Adobe Anywhere, a workflow platform for enterprise teams to collaborate, adds the ability to be deployed as either a multi-location streaming solution or a single-location collaboration-only version.

     

    “Adobe is redefining video and motion picture workflows to more easily provide fantastic image quality. Color is essential in cinematic storytelling and images with no color correction fall flat,” said Bill Roberts, senior director of professional video product management, Adobe. “And image quality is especially important in a world moving to UltraHD. With our continued Creative Cloud advancements, Adobe is helping production companies more easily create compelling UltraHD content for any screen.”

     

    “Color is now everyone’s responsibility in production. Feature updates in Adobe Premiere Pro CC, such as Lumetri Looks, enable filmmakers and editors to control the look of a project throughout the production process, from the initial script to the end, ultimately giving them more creative control. I look forward to what’s coming next in Creative Cloud,” said Dado Valentic, Founder and Chief Colorist at Mytherapy.

  • EU files anti-trust charges against Sky TV & major Hollywood studios

    EU files anti-trust charges against Sky TV & major Hollywood studios

    MUMBAI: The European Commission has filed anti-trust charges against Sky UK and six major US film studios namely Disney, NBCUniversal, Paramount Pictures, Sony, Twentieth Century Fox and Warner Bros, accusing them of unfairly restricting customers’ access to content within the European Union.

     

    The Commission takes the preliminary view that each of the six studios and Sky UK have bilaterally agreed to put in place contractual restrictions that prevent Sky UK from allowing EU consumers located elsewhere to access, via satellite or online, pay-TV services available in the UK and Ireland. Without these restrictions, Sky UK would be free to decide on commercial grounds whether to sell its pay-TV services to such consumers requesting access to its services, taking into account the regulatory framework including, as regards online pay-TV services, the relevant national copyright laws.

     

    If the Commission’s preliminary position were to be confirmed, each of the companies would have breached EU competition rules prohibiting anti-competitive agreements. The sending of a Statement of Objections does not prejudge the outcome of the investigation.

     

    EU Commissioner in charge of competition policy Margrethe Vestager said, “European consumers want to watch the pay-TV channels of their choice regardless of where they live or travel in the EU. Our investigation shows that they cannot do this today, also because licensing agreements between the major film studios and Sky UK do not allow consumers in other EU countries to access Sky’s UK and Irish pay-TV services, via satellite or online. We believe that this may be in breach of EU competition rules. The studios and Sky UK now have the chance to respond to our concerns.”

     

    US film studios typically license audio-visual content, such as films, to a single pay-TV broadcaster in each Member State (or combined for a few Member States with a common language). The Commission’s investigation, which was opened in January 2014, identified clauses in licensing agreements between the six film studios and Sky UK, which require Sky UK to block access to films through its online pay-TV services (geo-blocking) or through its satellite pay-TV services to consumers outside its licensed territory (UK and Ireland).

     

    The Commission’s preliminary view as set out in the Statement of Objections is that such clauses restrict Sky UK’s ability to accept unsolicited requests for its pay-TV services from consumers located abroad, i.e. from consumers located in Member States where Sky UK is not actively promoting or advertising its services (passive sales). Some agreements also contain clauses requiring studios to ensure that, in their licensing agreements with broadcasters other than Sky UK, these broadcasters are prevented from making their pay-TV services available in the UK and Ireland.

     

    As a result, these clauses grant ‘absolute territorial exclusivity’ to Sky UK and/or other broadcasters. They eliminate cross-border competition between pay-TV broadcasters and partition the internal market along national borders. The Commission’s preliminary conclusion is that, in the absence of convincing justification, the clauses would constitute a serious violation of EU rules that prohibit anticompetitive agreements (Article 101 of the Treaty on the Functioning of the European Union).

     

    The Commission previously also set out concerns as regards licensing agreements between the film studios and other major European broadcasters (Canal Plus of France, Sky Italia of Italy, Sky Deutschland of Germany and DTS of Spain). The Commission continues to examine cross-border access to pay-TV services in these Member States.

     

    These antitrust investigations focus on contractual restrictions on passive sales outside the licensed territory in agreements between studios and broadcasters. At the same time, broadcasters also have to take account of the applicable regulatory framework beyond EU competition law when considering sales to consumers located elsewhere. This includes, for online pay-TV services, relevant national copyright laws. In this context, in parallel to its actions under EU competition law, the Commission will propose to modernise EU copyright rules and review the EU Satellite and Cable Directive as part of its Digital Single Market Strategy adopted in May 2015. The aim is to reduce the differences between national copyright regimes and allow for wider access to online content across the EU.

     

    Background

    EU antitrust rules prohibit the restriction of passive sales, i.e. the sales of products cross-border in the internal market responding to demands from customers not solicited by the seller. In its October 2011 ruling on the Premier League/Murphy cases, the EU Court of Justice specifically addressed the issue of absolute territorial restrictions in licence agreements for broadcasting services. The Court held that certain licensing provisions preventing a satellite broadcaster from providing its broadcasts to consumers outside the licensed territory enable each broadcaster to be granted absolute territorial exclusivity in the area covered by the license, thus eliminating all competition between broadcasters and partitioning the market in accordance with national borders.

     

    As part of its Digital Single Market strategy, the Commission will propose to reform EU copyright rules. It seeks to improve people’s access to cultural content online as well as to open new opportunities for creators and the content industry. More specifically, the Commission wants to ensure that users who buy online content such as films, music or articles at home can also enjoy them while travelling across Europe.

     

    Currently, service providers, in particular in the audio-visual sector, may be prevented from providing such portability features by copyright licensing arrangements. The Commission also wants to facilitate wider access to online content across borders. In this context, the Satellite and Cable Directive will be reviewed and a public consultation will be launched after the summer. The Commission will notably assess if the scope of the Directive needs to be enlarged to broadcasters’ online transmissions.

  • MPAA extends CEO Chris Dodd’s contract to 2018

    MPAA extends CEO Chris Dodd’s contract to 2018

    MUMBAI: The Motion Picture Association of America, Inc. (MPAA) has extended chairman CEO Chris Dodd’s contract to 2018.

     

    In a joint statement, MPAA member companies’ representatives namely – Twentieth Century Fox chairman and CEO Jim Gianopulos, Paramount Pictures chairman and CEO Brad Grey, Walt Disney Studios chairman Alan Horn, Sony Pictures Entertainment chairman and CEO Michael Lynton, NBC Universal vice chairman Ron Meyer, Universal Filmed Entertainment chairman Jeff Shell, Warner Bros. Entertainment chairman and CEO Kevin Tsujihara said, “We are pleased to announce that Chris has agreed to extend his contract into 2018. He has been an impactful leader and a vigorous champion for the industry. We are confident he will continue to effectively help steer our interests through a challenging media and policy landscape and represent our member companies around the globe.”

     

    Dodd added, “I am grateful to our member companies for their continued support. This is an exciting time of almost unparalleled creativity and innovation in film and television and I look forward to continuing to promote and protect that creativity, and the jobs of the men and women who go to work in this industry every day.”

  • Christian Bale, Brad Pitt, Ryan Gosling, Steve Carell cast in ‘The Big Short’

    Christian Bale, Brad Pitt, Ryan Gosling, Steve Carell cast in ‘The Big Short’

    MUMBAI: In a casting coup of sorts, Paramount Pictures’ has roped in Christian Bale, Brad Pitt, Ryan Gosling and Steve Carell to star in The Big Short.

     

    The movie is being produced by Paramount Pictures along with New Regency and Plan B Entertainment. It will be directed by Adam McKay. The film also stars Melissa Leo and Marisa Tomei. 

     

    The film’s screenplay is written by McKay, from a script by Charles Randolph, based on Michael Lewis’ bestselling non-fiction book The Big Short: Inside the Doomsday Machine

     

    The Big Short is the remarkable true story of the genius contrarian investors who, recognizing just how insane the housing bubble had become, figured out how to “short” the market prior to the financial collapse of 2008.

     

    Rounding out the cast is Tracy Letts, Hamish Linklater, John Magaro, Byron Mann, Rafe Spall, Jeremy Strong and Finn Wittrock.

     

    Pitt, Dede Gardner and Jeremy Kleiner will produce the movie via their Plan B Entertainment banner.  Production has begun in New Orleans.

  • Paramount Pictures to stream ‘Interstellar’ on UltraFlix streaming network

    Paramount Pictures to stream ‘Interstellar’ on UltraFlix streaming network

    MUMBAI: Paramount Pictures and NanoTech Entertainment have inked a licensing agreement that will bring the award-winning movie Interstellar to UltraFlix, NanoTech’s streaming network. Under the agreement, the film will be available on UltraFlix from 31 March.

     

    Named as one of the Top Films of 2014 by The American Film Institute, Rolling Stone, Esquire, the New York Post and more, director Christopher Nolan’s masterpiece stars Matthew McConaughey, Anne Hathaway, Jessica Chastain, John Lithgow and Michael Caine. A breathtaking filmmaking achievement, Interstellar follows an ex-pilot-turned-farmer who must leave his family and a foundering Earth behind to lead an expedition traveling beyond this galaxy to discover whether mankind has a future among the stars.

     

    In addition to Interstellar, UltraFlix now offers subscribers the largest selection of crystal-clear content, reinforcing its lead as the source for the world’s biggest and most diverse library of VOD entertainment. To appeal to a broad audience, offerings range from sci-fi, action/thriller, comedy, drama and family movies to extreme sports videos, concerts, TV shows, and special events. UltraFlix also offers over 100 hours of free content.

     

    To enhance the viewing experience, UltraFlix uses a variety of proprietary technologies with video compression, adaptive streaming and intelligent bandwidth management. These technologies enable UltraFlix to stream visually lossless video with uninterrupted viewing at under 8Mbps, making it available to most North American and European internet subscribers today.

     

    “We are delighted to bring one of the best and most critically-acclaimed films of 2014 to our UltraFlix subscribers,” said NanoTech executive vice president of sales & marketing Aaron Taylor. 

  • Paramount acquires distribution rights of ‘Captive’

    Paramount acquires distribution rights of ‘Captive’

    MUMBAI: Paramount Pictures has secured the worldwide distribution rights to Captive, starring David Oyelowo and Kate Mara. The studio will release the film on 18 September, 2015.

     

    Directed by veteran filmmaker Jerry Jameson, the film is based on the book Unlikely Angel: The Untold Story of the Atlanta Hostage Hero by Ashley Smith with Stacy Mattingly. The film’s screenplay is by Brian Bird.

     

    Oyelowo said, “I was drawn to this story because it beautifully illustrates how a broken spirit can be healed by an unexpected source of hope. I feel blessed to be continuing my very fruitful relationship with Paramount.”

     

    Also starring Michael K Williams, Mimi Rogers, Jessica Oyelowo and Leonor Varela, the film was produced by Terry Botwick, Jerry Jameson, David Oyelowo and Ken Wales in addition to BN Films’ Alex Garcia, Lucas Akoskin and Katrina Wolfe. The executive producers are Santiago Garcia Galvan, BN’s Jonathan Gray, Elliott Lester, Ralph Winter and Bird. BN fully financed the picture.

     

    Botwick added, “In March of 2005 Ashley’s story captivated the nation on news outlets everywhere. Her story is thrilling and redemptive as God intersected the lives of two very broken people in the most dramatic way. It has been amazing getting to know Ashley and to be working with such fine actors. I’m so pleased to also be partnering with Paramount to bring this authentic encounter to a worldwide audience.”

     

    “Jerry Jameson has done a fantastic job bringing to life Ashley Smith’s harrowing ordeal and miraculous redemption, and Kate Mara portrays her with phenomenal sensitivity and poignancy. Along with Nightingale, Captive also represents our second collaboration with the brilliantly talented David Oyelowo. We look forward to continuing this special relationship with David and believe that the film has found the perfect home at Paramount,” said AG Studios (holding company of BN Films) president Alex Garcia.

     

    The film tells the dramatic, thrilling and spiritual true story of Ashley Smith (Mara), a single mother and recovering drug addict who was taken hostage in her own apartment by fugitive, murderer and accused rapist Brian Nichols (Oyelowo). With her back against the wall, Smith turned to the personal spiritual journey of Rick Warren’s best-selling book The Purpose Driven Life in an attempt to survive and help Brian find a better way out.

     

  • Viacom’s Media Networks revenue up 4.4 per cent; adjusted diluted EPS up 7.5 per cent

    Viacom’s Media Networks revenue up 4.4 per cent; adjusted diluted EPS up 7.5 per cent

    BENGALURU:  Viacom Inc (Viacom) reported a 4.4 per cent revenue growth for its Media Networks segment to $2654 million for its first quarter ended 31 December, 2014 (Q1-2015, current quarter) from $2541 million in the corresponding year ago quarter (Q1-2014).  ‘Adjusted operating income before tax’ from the segment dropped fractionally by 0.9 per cent to $1104 million in Q1-2015 from the $1114 million reported in Q1-2014.

     

    The company reported an 8 per cent increase in ‘adjusted diluted EPS’ of $1.29 in Q1-2015 against $1.2 reported for Q1-2015. Adjusted Net Earnings totalled $538 million (includes a loss of $24 million due to pension settlement) down 1.6 per cent from $547 million in the year ago quarter.

     

    Viacom executive chairman Sumner M. Redstone said, “Viacom’s powerful entertainment brands continue to lead the way in reaching global audiences with groundbreaking content. Our outstanding management team has positioned Viacom for continued success.”

     

    Viacom president and CEO Philippe Dauman added, “Viacom’s focus on developing popular franchise properties and constantly expanding our growing international presence drove solid top line results and record earnings per share this quarter. We continued to deliver increased revenues in our media networks operations driven by steady growth in affiliate revenues, and also benefited from Paramount Pictures’ Oscar-nominated Interstellar and our very successful company-wide franchise, Teenage Mutant Ninja Turtles.”

     

    “The media business is evolving faster than ever, but our mission remains unchanged: to continually develop more and better entertainment programming and deliver it to our engaged audiences on every screen and on every platform worldwide. To maintain our leadership position, we will continue to innovate and to manage our business as effectively and efficiently as possible, embracing change and adopting new technologies to better measure and monetize our content and meet industry-wide challenges. Viacom is financially strong and extremely well positioned for the future, with the talent and the creativity to grow our core business and continue to deliver increasing value to our investors”, informed Dauman.

     

    Results and Revenues

     

    Viacom reported a 7.9 per cent drop in profit after tax (PAT) for Viacom and non-controlling interests in Q1-2015 to $513 million (excludes a loss of $24 million due to pension settlement) from $547 million in Q1-2014. Operating income fell 2.6 per cent to $935 million from $960 million in the corresponding year ago quarter.

     

    The company’s total revenues were up 4.6 per cent in Q1-2015 to $3344 million from $3197 million in Q1-2014. Revenues from the other segment that contributes to Viacom revenues – Filmed Entertainment were up 5.7 per cent in Q1-2015 to $720 million from $681 million in Q1-2015. Adjusted operating loss from this segment fell in Q1-2015 to $60 million from $74 million in the year ago quarter.

     

    Media Networks

     

    Revenues from Viacom’s major segment – Media Networks have been reported above. Three streams contribute to Viacom’s Media Networks segment – Advertising; Affiliate fees; and Ancillary. All the three reported increase in revenue.

     

    Media Networks ‘Advertisement’ stream’s revenue in Q1-2015 at $1367 million was 3.2 per cent more y-o-y than the $1325 million in Q1-2014.  ‘Affiliate fees’ went up 6.2 per cent in the current quarter to $1132 million from $1066 million in the year ago quarter. Revenues from the ‘Ancillary’ stream increased 3.3 per cent to $155 million in Q1-2015 from $150 million in Q1-2014.

     

    The company says that domestic affiliate revenues rose 8 per cent and worldwide affiliate revenues grew 6 per cent, primarily due to rate increases. Domestic advertising revenues declined 6 per cent, reflecting lower ratings. Worldwide advertising revenues rose 3 per cent, reflecting a 60 per cent increase in international advertising revenues driven by contributions from Channel 5, which was acquired by Viacom in September 2014. The 4.4 per cent increase in Media Networks revenues includes an unfavourable 1 per cent impact of foreign exchange.

     

    Filmed Entertainment

     

    Revenues from Viacom’s Filmed Entertainment segment improved 5.7 per cent in Q1-2015 to $720 million from $681 million in the corresponding year ago quarter.  Four streams contribute to Viacom’s Filmed Entertainment segment – theatrical; home entertainment; license fees; and ancillary. While revenues from the license fees stream fell, revenues from the other three streams improved in Q1-2015 as compared to Q1-2014.

     

    Revenues from the ‘Theatrical’ stream increased 6.3 per cent to $316 million in the current quarter from $276 million in Q1-2014. The ‘Home Entertainment’ stream revenues in Q1-2015 improved by 16.2 per cent to $316 million from $272 million in the corresponding quarter of last year. As mentioned above, revenues from the License Fees stream fell 9.1 per cent to $189 million from $208 million. Revenues from the ‘Ancillary’ stream increased 9.5 per cent in Q1-2015 to $46 million from $42 million in Q1-2015.

     

    Viacom says that Teenage Mutant Ninja Turtles which was released theatrically in the fiscal fourth quarter of 2014 remained a strong performer in the current quarter, complementing the current quarter releases and helping to drive a 5.7 per cent increase in theatrical revenues and a 16.2 per cent gain in home entertainment revenues. Home entertainment revenues reflect two film releases in the current quarter, compared with none in the same prior year period. License fees declined 9.1 per cent resulting from the mix of available titles.

     

    Stock Repurchase Program

     

    For the quarter ended 31 December, 2014, Viacom repurchased 10.2 million shares under its stock repurchase program, for an aggregate purchase price of $750 million. As of 28 January, 2015, Viacom had $5.62 billion remaining in its $20 billion stock repurchase program. As of 31 December, 2014, Viacom had 407 million shares of common stock outstanding says the company.