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Tag: Pix business

  • Year of flux and expansion for English movie channels : Pix business head Sunder Aaron

    Year of flux and expansion for English movie channels : Pix business head Sunder Aaron

    The past year has been a great step forward for the entire English Movie Channel category which has gained both in size and viewership.

    2011 – Looking Back before Seeing Forward:

    The overall viewership for the category increased by a whopping 50 per cent. Channels have also realised the importance of creating brand extension programmes for their viewers to gain viewer loyalty and top of mind recall. Many new brand extension programmes have been launched by many channels to build a close relationship with their viewers.

    The Pix Movie Club is a great example of connecting with viewers beyond their television screens. The club is college-based community for students which allows them to watch new Hollywood theatrical releases for free. The main link between the channel and the club is Hollywood and not the content on the channel. Many sponsors and advertisers are also very keen to be associated with such properties since it establishes a direct and personal connection with prospective consumers.

    Distribution fees and carriage did not abate in 2011, and it was amazing in some circumstances to see new channels that address limited audiences launching and paying a high price just to make a splash in the market.

    Looking at the ratings pattern for the genre over last year you will see that the English movie category is competing as fiercely as the GEC channels. The channels are putting forth tight scheduling and great content to garner maximum eyeballs.

    There is fierce competition among the top four channels for the top spot. No channel remains at the same position for too long unlike the year of 2010.

    Pix has its own interesting trends worth quickly highlighting. 2011 has been a great year for us in many ways. The year began with Pix introducing major blockbuster films which we acquired through our exclusive output deal for all films under the SPE banner. It gave me immense joy to crack this deal since this was a foundation for a brand new Pix!

    The channel transitioned from a storyteller to a one stop destination for latest Hollywood blockbusters with current titles. The evolution is a continuous process for us and the channel is going from strength to strength. This is a very exciting time for us and even more so for our viewers who took a keen interest in the channel and its new content.

    Trends in 2012

    Content: Competition for content in 2012 will be more aggressive than ever. When it comes to the English movies category, fans of Hollywood films couldn’t be happier given they now have so many channels to choose from.

    Most of the popular titles come from studios and, therefore, scarcity cannot be avoided. Economics teaches us that with high demand and limited product prices will escalate. This trend started in 2011 and will only mount further in 2012. I expect high pricing to remain for the next year at least.

    Digitisation: Digitisation means channels must become more relevant for its viewers, since consumers will themselves hand select channels they want on their television set top box. This also marks a change in the television landscape which has been long overdue in India.

    Digitisation should also lead to greater transparency and rationalisation for all the stakeholders involved in the industry including consumers, operators and broadcasters. Indian cable systems that offer multi channel TV in India are technologically outdated and need to catch up with the rest of the world. The economics of multi channel television are better for operators as well as broadcasters.

    When you consider the great variety of channels that consumers have to choose from at low subscription prices, India may arguably have the greatest television market in the world. Keep in mind, our industry here is still very young; it’s less than 20 years old whereas private TV started in the 1950’s in the US. The evolution of television, the “Televolution”, will continue for some time.

    Digitisation is just the next stage of growth for all of those concerned. While we can look at the other markets around the world for lessons and guidance, we should also be careful not to believe that they are offering us lessons on the right or wrong way of doing things.

    The Indian television market is its own vast, and unique creature. Our own methods of packaging, pricing etc. will develop naturally as digitisation proliferates.

    Distribution: While we can expect digitisation to have an effect on the carriage fees and cost of placements, it’s hard to anticipate what exactly will happen and na?ve to expect carriage fees to go away entirely.

    Many of the channels and networks that launched with big carriage budgets meant to attain clear and immediate success are playing a valuation game rather than making their P/L a priority. At some point this will catch up with them.

    Perhaps 2012 will see some shake outs of these channels, and should digitisation be immediately successful, we might see several of them convert their business models. Hopefully in 2012, we will see lots more services being launched by cable operators including VOD, SVOD, PPV, broadband and data services, Internet radio and, perhaps, even telephony.

    Marketing: Marketing will play a more important role in a digitised environment than ever before. Marketers will need to utilise new and unique means to differentiate their brand from competition, while remaining cost efficient.

    In the highly competitive English Movie Channel category, the top 4 channels have similar programming and brand offerings. This makes it essential for the channels to market and promote themselves distinctly.

    For example, if I were to take a hoarding at Marine Drive to promote the Pix Super Movie of the Month, it may be successful in a typical (and costly) way, but it won’t create any differentiation for the brand (all movie channels have advertised themselves on prominent hoardings at one point or another). But if my communication has a differentiated message and/or is delivered via a distinct and innovative media vehicle, then the marketing communication would create a ‘differentiating’ factor for the brand as well as driving viewers to the channel.

    At Pix we try to conduct as much ‘Differential Marketing’ as possible, to really distinguish Pix from the rest of the category. It’s not always easy, and it’s certainly not always cheap. In fact, it often requires experimentation which can prove to be expensive. However, given the changing television landscape, the brands which don’t run work on their Differential Marketing will run the risk of losing out.

  • ‘Pix’s growth has upset the balance in the English movie genre’ : Pix business head Sunder Aaron

    ‘Pix’s growth has upset the balance in the English movie genre’ : Pix business head Sunder Aaron

    The English movie channel space has seen a shake-up. The power centre has been upset with the growth of Pix and the onslaught of new entrant Movies Now. From being a two-horse race, now there are four – Star Movies, HBO, Movies Now and Pix.

     

    Having acquired the library of its parent Sony Pictures Entertainment, Pix is making a bigger push in a market that is getting more competitive.

     

    In an interview with Indiantelevision.com‘s Ashwin Pinto, Pix business head Sunder Aaron talks about the rise of the channel, the challenges the genre faces and the opportunities to grow the market.

     

    Excerpts:

    What have been the focus areas of Pix this year?
    To capture moré and more good content, given the competitive nature of the market; to ensure that the channel is distributed on the right networks and in the right position; and to create an environment for viewer stickiness.

    How far has Pix gained from the output deal with parent Sony Pictures Entertainment?
    The perception about Pix among viewers and advertisers has changed as we have moved from a library to a contemporary movie channel. It is easier to change attitudes and perceptions of younger audiences as they do not have an inherent commitment to another channel like HBO or Star Movies.

     

    Among our target audience, we have beaten HBO since January. The aim is to become No. 1 eventually. We will continue to focus on getting the right content and building distribution.

    Could you talk about how Pix has evolved since launching five years back?
    The appearance has really evolved since we launched the channel with library content. The channel went through a massive packaging overhaul in May-end. Our promos look a lot more younger. We are playing bugs; we also give trivia information for some of our key titles.

    What are the changes you have brought on the programming front?
    We were the first ones to create a single ad break movie slot. We also realised that the afternoons and late nights are the non primetime hours where the viewership is growing.

     

    Younger audiences come in during the 12:30 pm-4 pm time band. Our programming is geared towards addressing that audience who are mainly college going.

     

    In the last few weeks, two new things have happened. One is ‘Awesome Saturdays‘ where we have lined up the evening with popular movies. And on Sundays we focus on the 12 pm-4 pm time slot with an initiative called ‘Sunday Breakout‘. This is how we are pushing the weekends.

     

    We are doing the Dynamite Diwali festival, which takes place on weeknights at 11 pm. In November, we will have an even bigger stunt. It will probably be called ‘Big Guns of Hollywood’.
    ‘The perception about Pix among viewers and advertisers has changed as we moved from a library to a contemporary movie channel. The output deal with Sony Pictures Entertainment has helped in this‘

    What about thematic blocks?
    We had started this when we launched five years back, but have moved away from this as we evolved. When your channel does not have a strong identity or presence, you need to build points which can draw in viewers. However, we continue to do festivals.

    When Pix launched, it skewed towards 25+ audiences. Now where do they come from?
    We focus on 15-34 SEC A,B, across six metros. But from a programming perspective, we are inclusive in nature. Older viewers also watch us. We continue with properties like ‘Hand Picked‘which consist of movies that have a strong drama quotient.

    Is this genre seeing more of appointment viewing than say two years back?
    My suspicion is that it is not there. When HBO had groundbreaking series like ‘Sex And The City‘, this was there. Also, when Star Movies had ‘Avatar’ people probably made a point to come in, but they have shown it 30 or 40 times. So you don’t have to make an appointment to view it. I don’t think that it is possible to build it any longer.

     

    People watch movies in different ways – DVDs, online, on their ipad. So why would you have to make an appointment at 9 pm to sit in front of a channel to watch a film? I don’t think that channels compete on this basis anymore. Competition is on the basis of content, perception and profile.

    Is channel loyalty falling?
    Yes, but this is the case across television and is not something specific to the English movie genre. There is more programme than channel loyalty. There is a residual brand presence in the consumers mind at the same time.

    Has the market dynamics for the genre changed dramatically?
    HBO and Star Movies were the leaders. Pix has grown, which has obviously upset the balance. Then Movies Now came in and upset the balance even more.

    Movies Now has made an impact by focussing on popular films. Does that mean that premieres have lost a bit of their value?
    I think that Movies Now has been clever and there have been elements to their success. One is that they selected films that are widely known and recognizable. Another big factor is that they got the distribution right; they invested a lot in positioning themselves properly. The third factor is that you cannot underestimate the value of the Times support.

     

    But I wouldn‘t say that it diminishes the value of premieres. It does show that Indian audiences still have an appetite for movies that are familiar to them. But when Pix showed ‘The Karate Kid‘, it was a premiere and propelled us to the No. 1 spot.

    Is there going to be more focus on original shows like ‘Gateway’?
    Yes! But there is a challenge as it is costly. We are talking to sponsors about bringing back ‘Gateway’ in a different form that will be even more exciting. Currently, we do specials from time to time. ‘Chicks on Flicks’ does things on premieres. We will do new series in a couple of months.
    How is the deal with the NBA working out?
    It is working out well. The big challenge, though, is that the NBA is in a lockout; they have not started the season. The players’ union has not come to an agreement with the owners to start the season. The season will get delayed.
    Are you looking at more sports properties to build reach?
    We are careful. The NBA is enough; if we put more, it will look like a sports channel.

    How are you pushing distribution?
    We are attempting to go beyond the six metros. DTH has shown how we are consumed in other markets as well. We are looking forward to cable digitisation.

     

    I don‘t want to rely so much on ad revenue. But we don‘t get our due in terms of subscription income. Carriage fees rise every year while subscription revenue is not keeping pace with it.

    Between the different mediums, how is your spend split?
    It is defined by the film and not by the city or medium. Flexibility is needed in planning. For instance, if we use radio this month, then next month we may or may not use it at all.

     

    I would say that online is a very effective medium. It is highly flexible.

    Could you give me a couple of examples of innovative campaigns that have been done this year?
    We did the ‘Hollywood is Here‘ campaign where we used clustered outdoor. In Chowpatty (in Mumbai), we took six to seven hoardings together. In Delhi, we used a cluster of 10 mobile vans standing in one line. We showcased our positioning and the new titles that were coming up.

     

    For ‘The Social Network‘, we could not use Facebook as a medium. So we used radio and hoardings. People knew Mark Zuckerberg but not the film’s star Jesse Eisenberg. The thought for the campaign was the sexiest man alive; this created an intrigue.
    How are you growing consumer contact initiatives like the Pix Movie Club?
    We have touched 10,000 members. We are in Mumbai, Delhi and Bangalore and we want to take it further down next year. We haven‘t decided on whether or not to rope in advertisers for this.
    Are you looking at more marketing initiatives?
    We are looking at doing something online. We are working on the details. For me, online marketing is about an idea and not just taking out a bunch of banners across sites.
  • ‘Our goal is to increase our audience share to 25 per cent’ : Pix business head Sunder Aaron

    ‘Our goal is to increase our audience share to 25 per cent’ : Pix business head Sunder Aaron

    When Pix launched four years back, it had to be content with library movies. Now the English movie channel has evolved into a stage where it can air current titles to draw in younger audiences and nurture ambitions of competing successfully with Star Movies and HBO.

    A focus area for Pix will be to aggressively get into the action genre.

     

    An important mix on the channel is also non-film content including football.

     

    In an interview with Indiantelevision.com‘s Ashwin Pinto, Pix business head Sunder Aaron talks about the channel‘s progress over four years.

     

    Excerpts:
     

     
    What factors prompted Pix to change its positioning to a blockbuster channel?

    Our positioning as a premium Hollywood movie channel has not changed. We are still about telling good stories. It is just that our programming strategy has evolved. Our game plan in 2006 was to transform Pix into a current film channel. We are following the path that we had laid out for ourselves when we launched the channel.

     
    What was the plan in 2006?

    When we launched the channel, we mainly had library movies from Sony and MGM. We also had all time favourites like Jerry Maguire. We still have those but they do not dominate our primetime as much as they used to. We knew that four years down the line we would add current movies and be as current as HBO and Star Movies.

     
    So new films have to be part of the recipe for a successful English movie channel?

    We have learnt that brand new current films are the prized assets in this genre. At the end of the day, that drives spikes in viewership. As long as there are enough spikes, the overall welfare of the channel and its profile will rise. You will see the movie channels that have current films – HBO and Star Movies – excel.

     

    You can have other kinds of films but it is these big, current films that will drive the channel. Within these current films, it is the action genre that is the most valuable and the most attractive. This is what our focus will rest on.
     

     
    Any other lessons that you learnt from the last four years of Pix‘s operations?

    Yes, subtitling. To widen the reach, this is an important tool. We avoided it for a while but our viewers asked us for it. This led to an increase in reach. Shadows of Time, for instance, did well in the six metros. It is a Bengali film with subtitles. Subtitles make it easier for viewers to understand the film.

     
    Is it fair to say that older movies do not have much traction due to the niche nature of this genre?

    You have raised two points. The English film genre is not niche anymore. If you look at it from a cable operator‘s point of view, they must have English movie channels. It is as essential as a sports channel.

     

    One reason why older films do not as work as well is that the audience likes films that are current and sexy. The newer films appeal to the younger generation. Library films have less action and special effects. The style of cutting and editing is different from the way it is now.
     

     
    ‘We will have more current films. Our audience will also be more youthful and we will have a wider reach across the country‘

     
     There are already two channels that showcase blockbusters and aim at becoming bigger and better. How will Pix differentiate itself?

    We operate from India. Star Movies is operated out of Hong Kong, while HBO is based out of Singapore. The fact that we operate out of Mumbai allows us to be more hands on.

     

    We actually do local programming like Chicks on Flicks. We also have sports properties like the FA Cup. Thanks to the World Cup, the soccer fans have grown.

     
     
    What goals have been set for the year?

    Our ultimate goal is to increase our share to 25 per cent and be on the same level as Star Movies and HBO. Right now our share is around 20 per cent. We want more youth tuning in. The current films are aimed at broad basing our reach.
     

     Pix went for a design and look makeover. What was the aim of this?

    We want to draw in younger audiences. It is not that older audiences are not useful but the fact is that the youth are the demographic that advertisers target.

     

    The channel looks slicker and is more attractive visually. Earlier the look we had was too static and flat, colour-wise. Now there is more dynamism.

     
    Is Pix going to create time slots that appeal to different TGs?

    We already have slots like Super Movie of the Month and programming tailored for the afternoon. Our share and time spent has grown though the category as a whole has fallen.

     
    Does the English film genre face fresh challenges this year?

    Scarcity of product is a natural issue. The increase in prices and fragmentation are other issues. We are clever about how we deal with suppliers and where we find our movies. We track viewer feedback regularly. If somebody sends us an email, we read it and even respond sometimes.

     

    Attention spans are changing. People are flipping channels a lot more. Luckily at Pix the time spent has been increasing. This shows that our films and promotions are better.

     
    How much library content is on the channel and what are the big properties coming up?

    Our ratio is the same as our competition. We are airing The Hurt Locker which is a big one. So for two years in a row, we will be airing the Oscar winner for best picture. The other movies include Hot Tub Time Machine, District 9 (science fiction) and New York I love You.

     

    The aim is to have at least one blockbuster each month. Then we have films that are not big blockbusters but are also premiers. If it is really good, it goes into the handpicked movie slot.
     

     
    Have you changed how the weekend is programmed?

    No! We still promote the 9 pm movie. We had the properties Cheap Thrills and Damn Good Drama, but we got rid of those.

     

    How tough will it be to get current films given the fact that major studios already have output deals?

    It is a challenge. We have to be resourceful in terms of finding films that make the channel look good and elevate our level of programming. 

     
    Do Sony‘s films come to Pix first now?

    No! Their films go to HBO first. That output deal is still on.

    Is local content like shows going to be more important going forward?

    It is a distinguishing factor. We have Chicks on Flicks. And we are looking at a couple of other concepts. Gateway (the show done with Ashok Amritraj) will return eventually. It is a complex series that takes planning and it will come back with a new judge. The celebrities on the show have to commit to four to six weeks of shooting.
    We are looking at Hollywood-based film shows. They are useful as interstitial programming.

     
     
    Are you looking at expanding your base into smaller towns?

    It is costly to do marketing there. The focus has to be on the primary target market – which is metros. Beyond that, we do tie ups to reduce costs in secondary and tertiary towns.
    This Is It was an interesting experiment. Since it is a musical and it transcends language barriers and has Michael Jackson, we did promotions in regional languages.

     
    What marketing activities will Pix do this year?

    We will do a brand campaign when we air The Hurt Locker. This will reinforce the new content on our channel. The Hurt Locker is the kind of film that will pull in a wider, more mass audience.

     
    Are out of home activities important?

    Yes! It is important for a channel that is local to behave in a local manner. The Pix Movie club was launched a couple of months back and the response has been strong in places like Mumbai. PVR is our partner and they are also happy with the outcome. You need events to connect with viewers directly on a regular basis.
    We had Hollywood Pix Your Brain last year. This was a trivia quiz. It will return. With This Is It, we did activities in malls like flash mobs. We also did a four-city legendary Michael Jackson tribute. Music groups paid tribute to the late pop star.

     
    What role does digital play?

    It is important given that this is where the youth spend a lot of time. On our site, you can get mobile reminders. We do online promotions. Certain films lend themselves to online promotions like This Is It and Slumdog Millionaire. The budgets are not big and so online is a better way to go about as it is a targeted promotional activity.

     

    Is Pix planning to launch more channels?

    Eventually, we will. We will start with digital platforms, but you will not see another Pix channel for a year. There are channels that launched but fell by the wayside. We do not want that to happen.
     

    Where do you see Pix a year from now?

    We will have more new, current films. Our audience will also be more youthful and we will have a wider reach across the country. The aim is to also have better viewership in secondary and tertiary towns.
  • ‘We are looking at localising further’ : Sunder Aaron – Pix business head

    ‘We are looking at localising further’ : Sunder Aaron – Pix business head

    Pix is lapping up new movies to shed its image of being an English movie channel that showcases only classic films. Its most prize catch: Oscar-winning movie Slumdog Millionaire.

     

    The channel from the Multi Screen Media stable, which is up against stalwarts like HBO and Star Movies, has been able to draw in a slightly younger audience base while having a wider age appeal.

     

    Pix has also been flirting with sports properties to bring more sampling into the channel. It has been showcasing the FA Cup to grow its reach while trying to connect with brands to be constantly visible in the viewer’s eye.

     

    In an interview with Indiantelevision.com’s Ashwin Pinto, Pix business head Sunder Aaron talks about the channel’s focus in content acquisition and its growth plans.

     

    Excerpts:

    How would you describe the progress that Pix has made since launching three years back?
    We have evolved over time in terms of the schedule. In the beginning, we had mainly library films. Today while library films are shown, we air current films as well. While we are not the number one English movie channel at this stage, we are in the top three.

    How is the channel perceived in the market?
    We frequently do dipsticks and studies from time to time to find out what is the perception of the channel. Data shows that we are skewed towards a younger audience. When we launched, we were viewed by an older TG 25+. Today, our TG is 18-44 years.

     

    Earlier, the perception was that Pix shows all classic movies. That has changed with us bringing in current films like Honeydripper, I’m Not There and Slumdog Millionaire.

    Pix has focussed on building up a current crop of films this year. What strategy has been followed in this regard?
    We focussed on bringing in current films without losing the premise of showing very good films. We have to remember that just because a film is new, it doesn’t necessarily make it good. Acquiring new films has helped boost our reach and increase sampling.

     

    Slumdog Millionaire is our biggest acquisition and this airs on 27 June. This kind of acquisition sends a positive signal to the market. We will also air a film called Push.

    Is variety a factor in acquiring titles?
    While variety is important, we find that the action and thriller genres fare the best. We buy from independent producers and distributors; we also source some content from the studios. Studios are already selling to HBO and Star Movies. While this is a handicap, we are able to find other suppliers and also do studio deals. This year we acquired films from NDTV, PVR, MGM, Icon, Pathe, SPTI and AMG.

     

    Our first and foremost aim is to find films that have good stories. We also focus on getting films with recognisable stars. Our aim is to improve the ratio of current films that we air.

    In terms of pricing, what is the scene as far as English films are concerned?
    With the economic slowdown, the entire industry has had to change their budgets. We are a smaller and specialised category. While pricing has not changed much, suppliers abroad are closing deals at lower prices just because they understand that channels might not be as successful as they once were due to the current economic situation.
    ‘Acquiring new films has helped boost our reach. Slumdog Millionaire is our biggest acquisition. This kind of acquisition sends a positive signal to the market‘

    Has Pix been able to improve its viewership performance during the last six months?
    We are looking to solidify our primetime slots as well as the afternoon bands over the weekend.

     

    During the IPL we adjusted our schedule so that we could catch the audience after they finished watching a match. This has done well for us. In some weeks, we could catch up with HBO and even beat Star Movies in Kolkata or Mumbai. But we need to be more consistent.

    Are you refreshing the look and feel of the channel?
    We are looking at refreshing the look of the channel. We want it to remain fresh and contemporary. We are encouraged at the response Sony Entertainment Television has received after its repackaging.

    Did the blackout of Bollywood films on multiplexes boost viewership of the English movie channels?
    No! While viewers would have been at home, there are several viewing options. DVD sales went up.

    What programming innovations is Pix coming up with?
    We are looking at localising further. We are examining two to three concepts that can further build our equity. We have had success with ‘Chicks on Flicks.’ Unfortunately, as not many films were released during the producers’ strike, viewership took a dip. Now that it is over, the ratings should pick up.

    What feedback have you received for the film review show Chicks on Flicks?
    It has done well. In a lot of instances, the two hosts have not agreed with their assessment of a film. It is completely non scripted. The girls attend press screenings. They have a passion for cinema which is key in making the show work. We engage viewers by giving them references of the clips that the reviewers are talking about. Now our hosts are permanent invitees of studios who release films in India.

    Has Pix introduced thematic blocks to woo different audience segments?
    While we have festivals, it does not pay off to have too many blocks. Then there is an inventory problem. If every Tuesday, for instance, you have a block dedicated to action, then you need to have enough movies in that genre. You could run out of content after a certain number of weeks and then start to duplicate.

     

    What could also happen is that viewers think that you only have a certain set of films to dip into. The English genre does not have much appointment viewing happening and blocks do not help in this regard. There is a lot of snacking that takes place.

    So how do you build viewer loyalty?
    Viewer loyalty is a challenge that all of us face, particularly film channels that are title driven. In general, you create an environment that viewers find attractive. Then you frequently deliver films that suit their taste.
    Would you look at dubbing and subtitling to boost reach?
    No! Subtitling can distract the viewer. Many channels put incorrect subtitles illegally. They do not use the official subtitles from the supplier’s side. They may not have taken the permission of the film’s distributor to do this. If you watch some of these channels, you will see that the subtitling has been poorly done.
    Pix started airing soccer last year with the FA Cup. Given the escalating costs of sports rights, to what extent does it make sense for a niche channel to showcase such programming?
    It makes a lot of sense. When you want to grow reach, you need to bring in special events. We have done things like concerts. The good thing about the FA Cup is that it is not soccer every week. It happens on one weekend a month. Then the timings do not disrupt our primetime schedule. Also, the TG is a fit. So we increase sampling for the channel.
    Are you looking at other sports events?
    It has to be special enough to raise our profile. I am not actively going out there looking for sports content. We had aired a boxing bout with Oscar De La Hoya live a few months back.
    Should there be a block for A rated content?
    It would be good if this was to come in. Frankly, it is a question the content code has to take a view on. We will have to see what the CBFC comes up with. Some other Asian markets are more relaxed in terms of what is allowed. Others like Malaysia, though, are stricter.

    What kind of marketing activities does Pix do to create awareness?
    We do campaigns periodically around big properties. We will be pushing Slumdog Millionaire actively. We will have visibility in places like Planet M. We have also tied up with a hotel in Dubai called Atlantis. This will be in the shape of a contest and offers viewers the chance to live the life of a millionaire.

     

    The other strategy is to constantly connect with consumers. One way is to constantly spend a lot of money every month. A better way, though, is to tie up with brands.

     

    We are looking at tying up with restaurants like a Firangi Pani or a Sports Bar. We have a tie up with DNA. We are trying to do something with The Times of India. We are also tying up with out of home screens at McDonald’s and Café Coffee Day where our promos run on a continuous basis. These will be yearly tie ups. We have a promotional deal with VH1. We are looking at one with MTV as well. To succeed we need to constantly be in the consumer’s eye.

    What about tying up with studies to promote theatrical releases?
    This is an area that we are increasing our focus on. This is not restricted to just what Sony Pictures is releasing on the big screen. We recently tied up with Fox for the release of Wolverine where we had clips and interviews. We also do contests around upcoming releases.

     

    The marketing, thus, is not just about films that we show. What we bring to the table when a studio wants visibility for a new theatrical release is much more than what a competing channel can offer.

    How do you see new entrants like MGM affecting the scene?
    The category is growing organically. Homes with television sets are growing by about 10 per cent. New channels are coming in, but the English film genre is about three channels – Star Movies, HBO and Pix. The rest of them are in a sort of jumbled up pecking order. MGM and Warner Bros, for instance, are coming in and spending money to get distributed.

     

    The question is whether they will make the necessary investments to do what it takes to become a leading player. It requires a sustained investment on all fronts – programming, marketing and distribution. I feel WB will really have to step up; their campaigns will have to be sustained across the country and not just in a couple of Metros.

    What about the impact of the economic downturn on the genre?
    Obviously we will have to be savvy with how we spend our marketing dollars and also our programming budget. There is at the same time a flight to quality. While advertisers reduce their budgets, the top channels in each category are the ones that are in demand the most.

     

    In a downturn you do not want to spread the money around too much. You want to go with what you know is safe.

    On the ad sales front do you offer customised solutions in addition to spots?
    We try to be creative at a time when clients want more added value. We have Fiama d’Wills doing a campaign in our 4 pm block on Sundays. We air films that target women in this block. We have also done stuff on the ground with clients.

     

    We recently did a ‘Hollywood Picks Your Brain’ initiative and ITC was a big sponsor. This was done across six metros and one could win prizes like ipods. We are now looking at doing a similar initiative targetted at media outlets.