Tag: US

  • Joker: Half baked and farcical

    Joker: Half baked and farcical

    Mumbai: Joker, when planned, was an ambitious venture, with a lot of special effects and 3D release plans. Somewhere along the line, all the ambitions were pushed back till the film got its unceremonious release. It is surprising that there have been no efforts to promote the film. 

    The  makers as well as the artistes seem to have shied away from the project. After watching the film, one knows why. Joker is described by the producers as fantasy-adventure film. This is not quite an apt description. The problem is that the film fits into no genre; it is just an outcome of the maker‘s fancy. The only adventure one can think of is the very idea of making this film.

    Akshay Kumar is some sort of whiz in the US. An American group has invested billions of dollars in him so he can communicate with aliens. Kumar‘s two-year term for doing this job is over and it can‘t be extended. To make matters worse, one of his detractors in the group wants to take over the control of the project. However, he is granted a single month‘s extension. But Kumar is called back to his native village on account of his father‘s (Darshan Jariwala) illness. He returns to his village, Paglapur, with Sonakshi Sinha, his ‘friend‘, in tow.

    Paglapur is an orphan village in that, during partition, though it remained in India it did not fall within the boundaries of any state despite bordering three of them. The village has no representation in any government and hence no water supply nor electricity and no education. The village was once well known for its mental hospital but its inmates broke loose and burnt the whole village the very night a British surveyor was on his way to the village to decide on its fate. He had to turn back without doing his job.

    Kumar‘s father was not unwell after all and this was a ploy to get him to return. But, seeing the plight of his orphan village, he decides to stay back and do something that will get his village recognition. He meets three ministers all of whom refuse to take the responsibility since the village is not within their vote bank. Helpless, Kumar decides to do something drastic to draw the media and the ministers‘ attention to his village. He fabricates a story about UFOs and aliens landing in his village. The alien, one of the villagers, is decorated with various colours, vegetables and fruits. He is also an ace runner as he would need a quick escape if followed.

    The word spreads: the village is invaded by media of all hues, with the three politicians quick to follow. As if by miracle, the village gets electricity and water from all the three states around it. There is illumination all round and there is the mandatory nachna-gaana. That is what Sinha is in the cast for, besides the item girls brought in as is the norm nowadays.

    But the bubble of lies and fabricated aliens has to burst. Kumar‘s American detractor can‘t digest the idea of an alien having come to Akshay‘s village. He arrives soon enough to nail the fraud. Also, the three neighbouring states may now want to own Paglapur but it seems the US is also very concerned and sends not only an armed-to-the-teeth FBI force but also tanks and helicopters to kill the aliens which it sees as a potential threat to its own safety! The fraud is exposed and the electricity and water supply vanish from the village as miraculously as they had arrived. Paglapur is orphaned again.

    But to paraphrase an old belief in relation to this film: ‘Jiska koi nahi hai, uska Alien hotta hai‘, a spaceship and an alien soon descends on Paglapur. They had received Kumar‘s communication two years earlier but took that much time to verify his credentials before coming down! While departing, the alien gifts the village an oil field and everybody celebrates by showering in this gushing oil.

    Joker, at best, can be described as a farce. Thus what the bunch of actors do is buffoonery; there is no scope for acting or impact. Kumar‘s fans may be disappointed since he does not have a single action scene. Sinha is just a prop. Rest of the cast is always in group and whatever they do is not acting. The film has a couple of good tunes which, alas, are not in tune with the events on screen.

    Joker is a half-baked, ill-conceived film doomed to disaster.

  • Olympics viewership growing among younger viewers in the US

    Olympics viewership growing among younger viewers in the US

    MUMBAI: US broadcaster NBC has announced that through seven days of its coverage of the on-going 2012 London Olympic Games, overall viewership is up double digits among teens and teenage girls.

    Overall viewership for teen girls, 12-17, is up 54 per cent versus 2008 (8.3 rating vs. 5.4 rating) and overall viewership for teens 12-17 is up 29 per cent versus 2008 (7.2 rating vs. 5.6 rating).

    Teen viewership of the London Games is more than six times higher than traditional broadcast viewing habits, and teen girl ratings for NBC‘s coverage of the London Olympics is 89 per cent higher than the No. 1 rated prime-time show on broadcast television in the same demographic (Glee/Fox), according to an official statement from NBC.

    Teen girl ratings for the London Olympics are also more than double the rating of the number one prime-time shows on remaining competing broadcast networks.

    The NBC data provides more viewership details. More than three times as many female teens watched the London Olympics in prime-time than purchased a movie ticket to The Twilight Saga: Eclipse.

    Around 171 per cent more teens watched NBC‘s coverage of the London Olympics than shopped at Abercrombie and Fitch in the last three months, NBC stated.

    In addition to an increase in broadcast viewing habits, young people are also engaging with NBC Olympics digital content.

    Through the first seven days of the London Olympics, NBC is averaging 1.7 million teen viewers, the most for any non-US Summer Olympics since the 1992 Barcelona Olympics. Through the same time period, 174.9 million Americans have watched the Olympics on the networks of NBCUniversal, ahead of Beijing‘s 174.1 at the same point through the Games.

  • Hollywood films relegating Chinese films at BO

    Hollywood films relegating Chinese films at BO

    MUMBAI: Box office collection of Hollywood films in China continues to surge but local media say it‘s “embarrassing” that local films barely figure in the top 10.
    Box office in the Country grew 35 per cent in the first half of year to 7.74 billion yuan ($1.22 billion), and nine of the top 10 titles were from outside China. Foreign films look likely to continue to reap the lion‘s share of Chinese BO thanks to the recently increased quota for imports of premium films.
    The highest-grossing film so far this year, according to Chinese media reports, was the 3D release of Titanic that grossed $153 million; it‘s third on the list of all-time top earners behind Avatar and Transformers: Dark of the Moon.
    With grosses expected to reach $5 billion by 2015, China‘s B.O. total could equal US and Canada‘s $10 billion annually by 2020. Other Hollywood titles in the top 10 included Mission: Impossible — Ghost Protocol, Battleship, The Avengers and Men in Black 3.
    Though The Hunger Games missed the Chinese top 10, with nearly $25 million after four weeks locally, the film still shows the potential of non-studio films that are usually released outside summer.
    Warner Bros.‘ Wrath of the Titans, that made $25.4 million in China, was the first film to benefit from the country‘s higher revenue-sharing ratio.

  • Disney first studio this year to reach $1 bn at BO in US

    Disney first studio this year to reach $1 bn at BO in US

    MUMBAI: With the help of The Avengers and Brave, Disney has become the first studio of the year to cross $1 billion in domestic box office revenues.
    With this milestone reached in just 188 days, Disney has set a new record for themselves, beating out 2010’s pace of 210 days to reach the $1 billion mark. This is the seventh year in a row that Disney has achieved this first place accomplishment.
    The Avengers, from Marvel and Disney, has grossed $611.1 million domestically. It has become the No. 3 showing of all time after James Cameron’s Avatar and Titanic. Globally, The Avengers is No. 3 with $1.5 billion.
    In its third weekend, Pixar‘s Brave grossed $20.2 million for a domestic cume of $174.5 million. The 3D toon has grossed $211.1 million worldwide.

  • Cinepolis set to spend $ 300 mn to digitize entire chain

    MUMBAI: Mexican exhibitor Cinepolis, the world‘s fourth largest multiplex chain will invest more than $300 million to digitize its entire chain by 2013. So far it has converted 61 per cent of its theatres to digital in Mexico where it operates more than 2,400 screens.

    The multiplex chain‘s goal is to become the first exhibitor in Latin America to go 100 per cent digital. An advantage in doing so is that in addition to state-of-the-art film screenings it can also project alternative content such as live and pre-recorded concerts and sporting events, according to Cinepolis.

    Cinepolis owns 2,800-plus screens in Latin America and India and has recently cracked the US market with two luxury cinema complexes in Southern California.

    Cinepolis dominates Mexico with a 62 per cent market share in box office revenue. In recent years, the Mexican exhibitor has shown growing interest in India where it has launched 32 screens and has plans to build more.

  • Avengers crosses $ 1 billion mark

    Avengers crosses $ 1 billion mark

    MUMBAI: After taking a $200 million opening, Disney and Marvel‘s The Avengers has recorded a $100 million-plus second weekend.

    The superhero tale took in $103.1 million to cling onto the No. 1 position and lift its domestic take to $373.1 million in just 10 days. With nearly $630 million more overseas, The Avengers raised its worldwide total to just over $1 billion.
     
    Johnny Depp and Tim Burton‘s latest collaboration, the vampire romp Dark Shadows opened a distant second with $29.7 million domestically.
     
    The top 20 movies at US and Canadian theatres from Friday through Sunday last followed by distribution studio, gross, number of theatre locations, average receipts per location, total gross and number of weeks in release.

  • Scorsese’s Hugo to release on 4 May

    Scorsese’s Hugo to release on 4 May

    MUMBAI: Viacom18 Motion Pictures is gearing up to release Martin Scorsese’s Hugo (3D) across the country on 4 May.

    Set in 1930s Paris, the film is the story of an orphan, living in the walls of a train station. It is wrapped up in a mystery involving his late father and an automaton.

    The film won 5 Academy Awards this year which included awards for visual effects, art direction and cinematography. It was nominated for the Academy Awards in 11 categories including Best Motion Picture and Best Direction.

    In the US, the film was distributed by Paramount Pictures and released on 23 November last year.

  • ‘Hello Kitty’ apparel plans brand strategy for India

    ‘Hello Kitty’ apparel plans brand strategy for India

    BANGALORE: Sanrio Co. Ltd, the creators of the ‘Hello Kitty’ brand, have announced in Bangalore the launch of the Hello Kitty apparel collection in India through Twenty One Fashion Studio, its sole licensee and distributor in India.

    TOFS is the holder of Hello Kitty license for apparels, accessories, toys and games, footwear, watches, health and beauty, bed and bath, food and beverages, and furniture for the territory of India.

    The brand is planning its strategy for India. “Hello Kitty is a brand for females across all age groups. We have to be very careful about our communications so as not to isolate anybody. In other geographies, word of mouth is one of the best ways for brand communication, but we are very careful about the communications by us and our franchisees,” reiterated Sanrio Global Consumer Products President Roberto Lanzi while speaking with www.indiantelevision.com.

    “We will be using online also for mass media communications, and will have an India specific Hello Kitty page on facebook. Our US facebook page has over 8 millionlikes, while the Hong Kong page has around 3 million of them,” added Lanzi.

    Lanzi furter added, “We have hatcheries supplying eggs in Dubai with the Hello Kitty brand. We also have Hello Kitty bars in other countries where the cream on the cappuccino is Hello Kitty. We will study India before we decide on the strategy for India.”

    The character Natasha played by Sumona Chakravarti in the Balaji tele-serial on Sony ‘Bade Achhe Lagte Hain’ sported ‘Hello Kitty’ apparel in number of episodes, as did the character Dimple Chaddha played by Parineeti Chopra in some of the scenes in the 2011 Bollywood movie ‘Ladies v/s Rick Bahl’. This was done voluntarily by the females actors who were aware about the brand, revealed TOFS CEO Muthukumar.

    Hello Kitty, created in 1974, is a worldwide social icon with relevance to women of all ages, ethnicities and economic backgrounds as well as an inspiration to artists and designers. Her motto says: ‘You can never have too many friends’.

    Hello Kitty products range from mass market items to high-end consumer products and rare collectibles.

  • India’s first horror fest from 13 April

    India’s first horror fest from 13 April

    MUMBAI: In its endeavour to educate audience of horror short films, Cyrus Dastur’s Shamiana, a short film club that comprises film enthusiasts and budding filmmakers from across India, has organised India’s first horror short film festival starting 13 April.

    Said Dastur in a statement, “People are familiar with horror movies but the idea of short films in this category is pretty raw and hopefully will gain ground. Though our target audience falls in the clichéd 16-25-year age bracket, I think anyone who appreciates good horror films can enjoy them.”

    The festival will showcase six films, shortlisted out of 50 to 60 entries from across the globe. The short films to be screened on the occasion are: An Evening With My Comatose Mother (USA), Mazaak Mat Karna (India), Chambers (Norway), Love Hurts (Netherlands), Bloodtraffick (Hong Kong) and Divination (USA).

    Although horror short films are common in US and Europe, it’s an altogether new concept in this land.

  • ‘For strong ROI in India’s TV biz, price controls must go’ : Fox International Channels president & CEO Hernan Lopez

    ‘For strong ROI in India’s TV biz, price controls must go’ : Fox International Channels president & CEO Hernan Lopez

    Price controls are limiting the revenue growth for broadcasters in India as they earn net income of $700 million from subscription after paying out carriage fees of $400 million. Investments in programming are muted and, as a result, India is not able to export television formats and finished content while software, music and animation is travelling overseas.

     

    In an interview with Indiantelevision.com‘s Ashwin Pinto, Fox International channels president, CEO Hernan Lopex says price controls have to go if the industry is to see strong ROI. He also talks about the company‘s growth plans worldwide.

     

    Excerpts:

    Q. Do you see India‘s television broadcasting industry growing at the right pace?
    Broadcasters in India earn net income of $700 million from subscription after paying out carriage fees of $400 million. This is holding back investments in programming. India, as a result, is not able to export television formats and finished content while software, music and animation is travelling overseas. If the industry is to see strong ROI which would encourage greater investments in programming, then price controls must go.

    Q. What you are suggesting is that pay-revenues should scale up. What is the ideal revenue mix between subscription and advertising revenues?
    It should be in equal ratio, which is what it is in the US. But in India it is heavily skewed towards advertising. Broadcasters generate $2.6 billion a year in advertising. Subscription income is dismally low in comparison.

     

    Relative to the size of the Indian economy as measured by GDP, this is only 0.04 per cent, and this ratio keeps declining. By contrast, in Colombia, a country with 1/25th of the population, broadcasters get over $200 million in subscriber fees. That is equivalent to 0.07 per cent of the GDP in Colombia, and that ratio keeps rising – partially due to the efforts that Colombia is doing to fight content theft and subscriber under-declaration.

    Q. So India should learn from Colombia and allow its content industry to flourish?
    Price controls lead to creative shackles. At Fox we buy formats and content from different markets, but India is not there. This is surely not due to lack of talent, ambition and vision.

     

    In Colombia a TV episode costs $150,000 compared to India where an episode costs around $20,000. The turnaround there was the emphasis on creating a dual revenue stream. New channels were launched for underserved audiences. Consumers also wanted content in Spanish and Portugese.

     

    That is because Colombia has a strong system of TV production, has great writers, animators, actors and the country also fights strongly against piracy. In India under declaration, along with controls, means that the broadcasters are getting squeezed.

     

    Q. But ARPUs (average revenue per subscriber) are low in India. How do you make consumers pay more for quality content?
    When consumers see that spending more money results in better content, then they will be happy to pay more. In some markets, initially consumers thought that cable and satellite services were not worth paying for. But as more options were added, they realised that they were getting value. I am looking forward to a time when my children, when searching for content, find choices that come out of India. I am keen on buying Indian formats that can be shown elsewhere.

    ‘We have seen double-digit growth year-on-year. We run a profitable business in India that is based on strong fundamentals with dual revenue streams of affiliate and advertising‘

    Q. So you are not happy with FIC‘s growth in India?
    We have seen double-digit growth year-on-year. We run a profitable business that is based on strong fundamentals with dual revenue streams of affiliate and advertising, which are both showing a steady upward trend. Currently, we have six of our channels in the Documentary and Lifestyle space in India.

    Q. As a market how is India different from the rest of Asia in terms of challenges and opportunities?
    We run our channels in over 100 countries around the globe. While there are big similarities across markets, each has some of its own peculiarities and challenges. I think that the challenge of scarce bandwidth for channels coupled with price control and carriage fees put a limit on the revenue potential. However, India is a land of huge opportunity and with mandatory digitisation in the Metros slated to kick off in 2012, we believe that a very bright future is ahead.

    Q. With digitisation set to take off in India, do you see the carriage fee structure being rationalised based on the experience in other markets or will disputes happen with big operators like what happened in the US with Comcast?
    We believe that digitisation will help all the stakeholders in the business to realise the true value – Last Mile Operators, MSOs and broadcasters.

     

    There will be teething issues like in any new technology, but market forces will aid the stakeholders in arriving at an understanding.

    Q. News Corp restructured the Fox Networks Group last year. What was the aim and how did this impact Fox International Channels?
    The goal was to foster stronger cooperation between various units. As a result, Fox International Channels has strengthened its ties with the US networks in entertainment, factual and sports.

    Q. Aren‘t you looking at doubling operating profit and reaching $1 billion by 2015? 
    The gameplan is very simple: to continue to deliver to platforms, advertisers and viewers a portfolio of must-have brands.

     

    This is what we call “brands with fans” – and get a fair share of wallet for it. In order to do that, we are investing more in content (both global and local), marketing and our teams.

    Q. How much revenue does Fox International Channels contribute to News Corp’s TV business and what growth has been experienced year on year?
    In FY‘11, we made a little over $1.5 billion in revenues and we‘re growing at double-digit rates.

    Q. How do you split up the global market into regions and which are your three biggest markets globally?
    We run Latin America and US Hispanic; Italy and Germany; the rest of Europe and Africa; and the Asia/Pacific/Middle East. We don‘t disclose the ranking at the country level.

    Q. Globally what is the split between subscription and ad sales and which area do you see growing faster?
    About two-third of our revenues come from subscription, with the balance coming from advertising, syndication, and other fees. We strive to make all revenue sources grow at the same rate.

    Q. Pay TV you have said is turning from a “nice to have” to “must have” service. How is this changing the dynamics of your business?
    Whereas in the past we programmed primarily shows produced in the US, we are now broadening the scope of our lineup. The aim is to include more local shows, as well as different genres.

    Q. What challenges is the current economic slowdown posing?
    In a handful of cycles we‘ve seen ad revenues decline, but overall our profits continue to increase.

    Q. Has Fox International Channels done recent research to find out what consumers globally want and how they view your brands?
    We are indeed finalising a brand audit in 10 countries as we speak.

    Q. Digitisation globally is allowing FIC to have more specialised offerings in genres like Crime. How has their offtake been?
    Very positive! Fox Crime, for instance, is the number one channel in Italy, surpassing even Fox.

    Q. Are there any genres that are currently underserved globally? If so, how do you plan to service them?
    Our portfolio globally includes entertainment, sports, factual and lifestyle – we‘re quite content with it.

    Q. What role does sports play in your portfolio as it is a challenge to control costs given the intense competition for rights?
    Sports is the ultimate must-have content. But because of it, there is intense competition for rights.

     

    We simply must be disciplined in our approach, but we have the benefit of a wide portfolio of channels – includingentertainment channels – that can both contribute to and benefit from having sports in the portfolio.

    Q. Globally, how has FIC expanded?
    These are exciting times! We now have 1.1 billion cumulative subscribers, and have a presence in 57 offices. I have been to 40 of them.

     

    We have added Fox Sports to our portfolio in Latin America, and continue to increase ratings at the National Geographic Channels. And yet there is still so much more to be done.

    Q. How difficult is China due to government regulation?
    We have a small but profitable business in China.

    Q. New media is growing globally. Are you launching channels for the mobile and Internet?
    We are launching mobile extensions of our TV brands, like the Fox Movies Premium Player in Asia.

    Q. How is Fox International Channels leveraging high definition?
    My goal is to launch nearly every TV channel from now on simultaneously on HD and SD.