Tag: US

  • The Huger Games tops overseas grossing $59.3 mn

    The Huger Games tops overseas grossing $59.3 mn

    MUMBAI: Already a box office superhit in the US and Canada, Lionsgate produced The Hunger Games opened on the foreign theatrical circuit grossing $59.3 million at around 7,700 locations in 67 offshore markets.

    Overseas, the action/sci-fi vehicle opened as the weekend‘s No. 1 after the films‘ foreign opening was said to be the year‘s second biggest opening; nearly $10 million less than the March 11 debut weekend gross of Disney‘s John Carter at 51 locations.

    Starring Jennifer Lawrence as a 6-year-old heroine who fights to survive a last-person standing contest, Games registered dominant No. 1 market introductions in Australia via Roadshow ($9.69 million at some 260 sites) and in the U.K. via Lionsgate ($7.49 million from some 515 situations).

    Leading the non-English-speaking markets was Russia where The Hunger Games grossed $6.5 million. The No. 1 France debut via Metropolitan Filmexport kicked in $3.75 million from about 400 locations while Germany via Studio Canal contributed even more, $3.9 million from 610 sites.

    Based on the first book of Suzanne Collin‘s popular trilogy about kids killing kids in a dystopian future, Games drew a worldwide opening gross of $214.3 million.

    Debuts in Italy, South Korea and Spain will take place next month while the film‘s Japan opening is scheduled for September.

    On the other hand, Disney International‘s Carter, that was the No. 1 overseas for the last two rounds, grossed $22.2 million on the weekend in 54 territories that is more than four times its domestic tally. Carter dropped to fourth place in key markets like Australia, Germany, Spain and South Korea. It finished No. 7 in the U.K., No. 8 in Italy and No. 9 in France.

    Finishing No. 3 on the weekend was Fox International‘s The Best Exotic Marigold Hotel which picked up steam on the foreign circuit with openings in about a dozen markets, highlighted by a No. 2 Australia debut, which produced $3.75 million from 288 screens.

    Weekend gross overall for the comedy-drama about British pensioners in India came to $8.26 million drawn from 1,859 sites in 18 markets. Foreign cume stands at $33.3 million. Hotel opens domestically on May 4.

  • ‘India is among our top 10 markets’ : Discovery Networks International president, CEO Mark Hollinger

    ‘India is among our top 10 markets’ : Discovery Networks International president, CEO Mark Hollinger

    India is one of Discovery‘s key priority markets along with Latin America where there is tremendous scope for pay-TV growth.

     

    Bullish about digitisation in India, Discovery has plans to expand its portfolio of channels. The latest addition in the menu: Discovery Kids from the second quarter of this calendar year.

     

    In an interview with Indiantelevision.com‘s Ashwin Pinto, Discovery Networks International president, CEO Mark Hollinger talks about the company‘s growth markets and its expansion plans in India.

     

    Excerpts:

    How important is India as a growth market for Discovery?
    India is the biggest growth market for us. It is among the top 10 markets globally for us. The combination of the government being very open to international channels, the digitisation process and the great fit between the Discovery brand and the culture of India makes this country a high priority market for us.

    Discovery has launched in many genres. When are you launching the children’s channel?
    We will launch Discovery Kids in the second quarter of this calendar year. The content will be global. We are also looking at local content. As networks grow, we have tended to have locally produced content in the mix. Discovery Kids in Latin America produces some of its own content. In India too time there will be global as well as local content as we go along.

    Is the timing right given that the kids genre is struggling?
    We tend to be long term investors. When we launched a new channel in Spain, people thought that we were crazy as unemployment rate is as as 22 per cent in that country. But we saw that there was an opportunity for us and we went ahead and launched.

     

    So whether a market is up or down at any point of time doesn‘t matter; there is space for a more education-focussed network like ours. And India, moreover, highly values education. The digitisation process is beginning and is a good opportunity for us. We are not worried about the kids genre business at all.

    Will the education component be your differentiating element?
    Yes! The other kids channels are similar. We are not Scooby Doo. We are about how you do things, when do you do, why you do. It is inquisitive in nature. Education is an important part of society. But at the same time we are not naive to think that it is just going to be education that people will tune into; it has to be entertaining as well. This was the very genesis of Discovery when John Hendricks first started it.

     

    The channel will have a healthy dose of entertainment and also satisfy the curiosity of viewers in an entertaining way. The good news is that India is a young country. There are millions of kids below the age of 14 and so the market is big.

    ‘Flagship brands have a strong place in the market. We are in a better position to survive audience fragmentation than our rivals‘

    The challenge here is that niche channels have to rely excessively on ad revenue. By when do you see subscription starting to contribute in a serious manner?
    That is a big question in terms of the impact of digitisation on the affiliate revenue stream. If you look at the international portfolio, our channels are weighted towards affiliate. 70 per cent of revenue outside the US is affiliate.

     

    When we start in a market, there is a 100 per cent affiliate revenue and then we move towards advertising. India obviously is an ad sales market. But it is hard to sit here and say what the affiliate revenue stream is going to be. We can hope that digitisation will affect carriage fees and other things.

    For the digitisation process to succeed in terms of cut off dates being achieved, what needs to happen?
    For the cable operators, it is going to be a giant challenge. If you think just about the logistics it is going to be a huge task – acquiring enough set top boxes, distributing them, getting people to understand what is going on and creating the customer service capability.

     

    Forget about fancy things like DVRs. Just to get the infrastructure in place is an enormous challenge. Luckily for us, we can watch it from afar. But once it is in place, then there is an opportunity and sort of a challenge for programmers to take advantage of digitisation. We have done it successfully in other markets.

    Do you think that the 30 June deadline will be met for the metros?
    We met some MSOs recently and they are pretty much prepared for it. Moreover, a set top box is not such a novel thing now. There are 25-30 million STBs already in DTH homes. I don’t think that the deadline is a challenge. It will be managed.

    How will digitisation change OneAlliance’s relationship with MSOs?
    This relationship will become stronger. When change happens, there is bound to be some chaos. There will be disturbance and that is the time when if you are part of a strong bouquet, you can navigate through things.

     

    We have a great team on the ground and great brands. When The OneAlliance was started, there was no digitalisation in India, no DTH. Now that there is DTH, the OneAlliance has only become stronger.

    Will you now make a concerted effort at marketing yourself to Indian consumers so that they choose you?
    This is already happening. On DTH more and more people choose us and the digital ratings of our channels are high. We offer quality content that people globally pay for. In India there is sensational television on other channels that target eyeballs at any cost. But as we move towards a digital environment, we are better prepared with quality content.

    Discovery is in several languages in India. Could you talk about the importance of localisation?
    It is important from a content point of view, from a feed structure point of view and from a language point of view. Discovery is in five languages. We are evaluating other language launch possibilities. Some of the other players have possibly gone a little bit overboard, but we have found that local language results in higher viewership in that region.

    More players are entering the infotainment and lifestyle space in India. Will this cause fragmentation?
    There is fragmentation of viewership happening. We are, however, in a better position to survive audience fragmentation than the other companies.

    Discovery spends $1 billion towards programming. Are content investments going to be affected by the global downturn?
    No! The content that we invest in is evergreen. Moreover, we can ammortise investments across 210 markets due to the nature of our products. A show will have at least a four-year life. This allows for a longer timeline in terms of investing in shows.

    Which are the main focus areas for Discovery?
    India clearly is one focus market. Latin America is also a big priority market for us; there is pay television growth to be had from there. In Brazil pay television was hampered, but now ownership has changed and pay-TV penetration is growing substantially. Poland and Russia are also big growth markets for us.

    What is the big challenge you face this year?
    It differs from market to market. In the US pay TV has a 90 per cent penetration rate. The pay TV growth there will not happen in terms of penetration. So you will see the impact of OTT and if there is enough of an upside to counterbalance any cord cutting, that may happen. Again it is hard to know if Netflix and Amazon will continue to be successful the way they have been. This is not an issue in other markets.

     

    I would say that the big challenges are the impact generally of broadband or free platforms like DTT on pay television. Can pay TV penetration continue to grow? In some countries, there are regulatory issues. Some markets like Brazil have become more protectionist as of late in terms of local Brazilian content and local channels being required on packages. The availability of alternative platforms is both a big challenge and a big opportunity.

    There has been a certain amount of operational restructuring within Discovery like the removal of the COO position. Is the basic aim to be more cost effective?
    I would say that the changes were more on the US side of the business rather than on the international scene. The international business has remained largely intact in terms of its structure. The changes were made not due to cost reasons. We have an active CEO in David Zaslav. He likes to have as few layers as possible between people who run the US business and himself. The aim is to have a better handle on the business as opposed to saving money.

    Last year you split Europe into two business units. What prompted this move?
    We used to have what I think was a bit of an odd structure. The UK is an entirely separate business. Then all of Europe, Middle East and Africa are another kind of business. UK has a lot in common with the other western European markets – slow pay TV penetration and DTT kind of opportunities.

     

    Then you have Central, Eastern Europe and the Middle East and Africa which are much more growth markets. There is still expansion to be done. These are more entrepreneurial markets. So we split along the lines of Western Europe as one unit and then Central, Eastern Europe, Middle East and Africa as another unit. We did not add a region. The international business still has four regions. We just restructured Europe to grow Western Europe and put common markets together.

    Could you talk about Discovery‘s strategy to penetrate new markets like Colombia?
    What we tend to do with new markets is to go in first and establish distribution. So we opened new offices in Central and Eastern Europe. We opened a sizeable office in Moscow. We opened other offices in places like Kiev, Almaty and Sofia.

     

    There is an opportunity in Colombia and it is our fourth biggest market in Latin America. We earlier only used a local representative for ad sales. We opened an office there for the primary purpose of ad sales while offices in Europe were opened for affiliate purposes.

    In Spain you are free to air. Are you expanding your free to air portfolio?
    This expansion has been a Western European phenomenon. In Spain pay TV has been at 30 per cent penetration for the last decade. It hasn’t grown.

     

    So now in Germany, Spain and in the UK, we have launched free to air channels. They complement the pay business and are not intended to replace it. They have allowed us to grow at a time when the overall Western Europe pay TV business is not growing. This is harder to do in other markets as there is not a big enough digital terrestrial platform or there are ownership restrictions.

    In Korea you did a partnership with CMB. Why?
    Korea is a difficult market to get into and almost impossible without a local partner. Tom (Discovery Asia Pacific MD) did an enormous amount of legwork. He spent a lot of time in Korea. It is a strong economy and very well penetrated from a pay television point of view and from a broadband point of view. So it has always been an important market for us to get into. We had to pick the right partner and have the right kind of structure in place.

    How did the JV with Oprah Winfrey for a channel come about?
    Everybody knew that Oprah would be ending her show and moving to a new business. People in the media industry wondered what that business would be. David Zaslav sold her the idea that her brand and the Discovery brand’s missions were very well suited for each other.

     

    That is how it happened. We have ambitions for the channel in terms of finding markets internationally for it. Tom is a proponent for markets in the Asia Pacific where he feels that the channel will fare well. Oprah created a lot of buzz when she came down to India. This has also been the case in Australia and in other markets around the region. But we first want it to be well established in the US.

    Discovery bought Betty in the UK, its first such acquisition of a production company. Are you looking at more such acquisitions?
    It is not yet part of Discovery‘s grand strategy to get into production. But we will see whether owning production is a strong addition to our business model or not. But I will not say that we are actively looking at other companies. We will wait and see how the Betty acquisition plays out.

  • New media to open up new revenue streams: Punit Goenka

    New media to open up new revenue streams: Punit Goenka

    MUMBAI: Entertainment in today’s times cannot be termed as evolution anymore, it is a ‘revolution’, Zee Entertainment Enterprises MD and CEO Punit Goenka said on Wednesday while delivering a keynote address at Ficci Frames 2012.

    According to Goenka, there are two main factors that are driving the revolution — young population with high disposable income; and a new generation that is ready to embrace new technology at the drop of a hat.

    Emphasising on the fact that new media would create unique revenue generation models for the entire value chain, he said that with the spread of adoption of content consumption, very soon new media will not be new media. It will be “The media”.

    Goenka said content consumption is going through a sea change. Broadcasters are increasingly looking to engage young audiences through new media offerings. “With dependence on ad revenues going down, newer avenues will open up for content players. Niche and sports channels, currently unprofitable ventures, will start becoming viable businesses. 3G, 4G and Wireless Broadband will evolve as new platforms for distribution of content. Also, smart devices will drive consumption of content on-the-go.

    Goenka also said that the ratings system in India is inadequate. It needs to be enhanced to give the right picture of TV viewing.

    He said that GenNext is redefining the TV broadcast industry and to move forward content creators, content delivery platforms and broadcasters have to work in sync to meet their expectations.

    “India’s young population is demonstrating huge appetite for digital content. Broadcasters and content providers need to ride on the tech wave to seize the opportunity. Technology is re-defining industries and consumer consumption. Broadcasters and content houses are working towards building anytime, anywhere access to content. Content producers are looking at partnerships with platform owners. Distribution players need to evolve into an intelligent pipe,” he added.

    Niche is the way forward in the television space. “It is imperative to have fair price for the content available. Content has to scale up to command fair share of consumer’s wallet. Premium pricing should be demanded for exclusive content and consumers are willing to pay for such content.”

    Talking about digitisation, Goenka said, “Consolidation and co-option will drive digitisation. Less than 20 per cent channels are profitable on standalone basis. With the implementation of DAS, as per the announced timelines, there would be accelerated conversion from analogue to digital subscribers. I believe that over the next 4-5 years, the television distribution business can evolve to a more transparent, organised and service oriented industry.”

    “Young Indian with an average age of 29 constitutes a majority of wealth accumulators. They will decide which way the entertainment content and delivery mechanism moves over the next few years. At least 2.2 million jobs will be created over the next two years, resulting in the changing lifestyle of India‘s younger generation. Over the next 10 years, GenNext should constitute the majority of ‘wealth accumulators’,” he added.

    As smart phones gain in popularity and acceptance, emerging youth markets such as China and India offer a bigger opportunity in terms of market size and potential. “India will leapfrog the United States and Europe’s combined markets to become the second largest youth smart phone market with 66 million owners,” he added.

  • Miami fest announces line-up

    Miami fest announces line-up

    MUMBAI: The Miami International Film Festival has announced the lineup for 29th annual event that will go underway on March 2.

    While Tom Gustafson’s Mariachi Gringo starring Shawn Ashmore will open the festival, Chinese Take-Away directed by Sebastián Borensztein will be the closing film on the Awards Night on March 10.

    Among the slate of 100 features are seven world premieres, five international premieres, 10 North American premieres and 10 US premieres. Selected films will represent categories including World Directors, Québec Cinema and modern Cuban life.

    Ten documentaries will compete for the John S. and James L. Knight Foundation Award, which carries with it a $10,000 grand prize. A recognition of the career of screen veteran Robert Loggia is also scheduled to take place.

    The curtains to the festival will be wrung down on March 11.

  • Paranormal Activity 4 to release on October 19

    Paranormal Activity 4 to release on October 19

    The Paranormal franchise has been a sizable success for the studio and producers Jason Blum, Oren Peli and Steven Schneider (who shifted to a producer role on Paranormal 3 after executive producing the first two films).

    The first Paranormal, which cost $15,000 to produce and opened in a limited run in September 2009, went on to gross $193.4 million worldwide. Paranormal 2 cost $3 million to produce and grossed $177.5 million worldwide.

    Released Oct. 21, Paranormal 3 opened to a massive $54 million in the U.S. (the top horror launch ever) and grossed $202.2 million worldwide — besting the first two films, an unusual feat for a franchise‘s third outing. The projects are made on shoestring budgets; Paranormal 3 cost $5 million to produce.

    But unlike 2011, when Paramount faced no direct competition, there‘s a horror movie set to release on October 26 in the form of Dimension Films‘ Halloween 3D.

  • FilmDistrict to release foreign-language version of Jolie film

    FilmDistrict to release foreign-language version of Jolie film

    MUMBAI: FilmDistrict has given an indication that it would release the foreign-language version of Angelina Jolie‘s directorial debut In the Land of Blood & Honey so that audiences can fully experience the director‘s version.


    The film will have subtitles; however, it is uncertain which version of Jolie’s film would release in the US.


    “I‘m honoured that FilmDistrict has chosen to release the film in the United States in the original Bhs-language version. It was always my hope that US audiences would have the opportunity to experience this version,” Jolie remarked.


    It has been reported that the 36-year-old actress shot her war love story in English and Bosnian/Croatian, doubling up scenes in a mixture of languages.

  • Paranormal 3 has record debut

    Paranormal 3 has record debut

    MUMBAI: Paramount’s Paranormal Activity 3, a $5 million low-budget horror movie, has mopped up $80 million from the box office over the weekend.

    The film earned $54 million from US and Canadian theatres, the highest debut for a horror movie and the biggest October debut ever in those markets, according to the studio. Jackass 3-D had an opening of $50.4 million last year.

    The R-rated horror prequel made $26 million from international markets.

    The movie is about two young sisters and their creepy encounters with an invisible presence in their home, all recorded by surveillance cameras.

    Horror movies generally attract teenagers and young adults. Paranormal Activity 3 also brought in viewers over 25 years of age.

    The Three Musketeers and Johhny English Reborn, the weekend’s two other releases, had sluggish ticket sales. A 3D action version of the classic novel, The Three Musketeers grossed $73.2 million, with $8.8 million coming from US and Canadian theatres, as it failed to draw in younger moviegoers.

    Jhnny English Reborn, which had a better run overseas, grossed just $3.8 million in the North American market. The British spy comedy had travelled in other markets before releasing in America, collecting $104.5 million over five weeks.

  • Using social media to build brands

    Using social media to build brands

    MUMBAI: Marketers are using social media to build their brands and connect with their audience more directly.


    Even as US consumers spend more time than ever using social media, as is demonstrated in the Social Media Report recently published by Nielsen and NM Incite, consumer insights are being developed and utilised by marketers.


    Social media is playing an important role in how consumers discover, research, and share information about brands and products. In fact, 60 per cent of consumers researching products through multiple online sources learnt about a specific brand or retailer through social networking sites. Active social media users are more likely to read product reviews online, and three out of five create their own reviews of products and services. Women are more likely than men to tell others about products that they like (81 per cent of females versus 72 per cent of males). Overall, consumer-generated reviews and product ratings are the most preferred sources of product information among social media users.
     
    Preferred sources of brand information: Research shows that social media is increasingly a platform consumers use to express their loyalty to their favourite brands and products, and many seek to reap benefits from brands for helping promote their products. Among those who share their brand experiences through social media, at least 41 per cent say they do so to receive discounts. When researching products, social media users are likely to trust the recommendations of their friends and family most, and results from Nielsen’s Global Online Survey indicate that two out of three respondents said they were either highly or somewhat influenced by advertising with a social context.


    Social Media also plays a key role in protecting brands: 58 per cent of social media users say they write product reviews to protect others from bad experiences, and nearly 1 in 4 say they share their negative experiences to “punish companies”. Many customers also use social media to engage with brands on a customer service level, with 42 per cent of 18- to 34-year-olds acknowledging that they expect customer support within 12 hours of a complaint.
     
    Why consumers share their company experiences: On the flip side, another interesting trend is the interest of consumers to act as ambassadors and advocates for brands through social media. A majority of active social networkers (53 per cent) follow brands. These brands are increasingly recruiting their fans and followers to spread word-of-mouth recommendations about their products and services, and among consumers who write product reviews online, a majority say their share their experiences to “give recognition for a job well done” by the company. Social media users are also interested in collaborating with their favourite brands, with 60 per cent of 18- to 34-year-olds saying they want to give product improvement recommendations, and another 64 per cent who want to customise their products.

  • The Lion King rules North American box office

    The Lion King rules North American box office

    MUMBAI: The 3D re-release of the 1994 made The Lion King has edged out the Steven Soderbergh-directed Warner Bros. film Contagion to be on the top spot of the North American box office on its debut weekend.

    The film has done much better than the studio executives had expected, earning $29.3 million from around 2,330 cinema halls in the US and Canada during the weekend.

    Pixar‘s Toy Story and its 2009 3D sequel held the record earlier when it garnered $12.5 million in its opening weekend. And it so happened that being the biggest blockbuster from the stables of Disney, the film also had two made-for-video sequels, a television series and a Broadway musical.

    The Lion King was reproduced in its 3D version mainly due to the existence of a huge audience in their twenties and families who account for 74 per cent of the viewing public.

    The original Lion King released in 1994 maintains the record of the fifth highest grossing animated film and continues to be the highest-grossing hand drawn animation film ever made.

  • Endemol launches scripted TV studio in US

    Mumbai: Television format creator and distributor Endemol has announced the launch of Endemol Studios, an LA-based independent scripted TV studio operation, to be headed up by newly appointed CEO Philippe Maigret.

    Maigret will report to Endemol US chairman, David Goldberg. He will continue to oversee North America rights acquisitions for the Group, where he has served as executive VP, North America Acquisitions, since joining the company in March 2010.

    Endemol Studios will develop and produce US scripted TV programming for global exploitation across all platforms. The operation is resourced to finance the development of projects; deficit-finance the production of pilots and series; and to oversee all related activities.

    Endemol Studios will focus on primetime US cable drama productions based on original projects developed internally, as well as scripted formats adapted from Endemol’s international portfolio. The studio will also partner with US networks and producers on projects already developed, coming on board in a studio capacity.

    Goldberg said, “Endemol Studios represents a significant step in our ongoing strategy to expand and diversify our activities in North America at the same time helping fuel our global growth. Philippe and Jeremy bring together a powerful blend of experience and a track record of delivering projects with global potential”.

    The launch of Endemol Studios capitalises on Endemol‘s successes in US scripted television to date. These have included AMC‘s recent series order of the Endemol USA-developed series ‘Hell on Wheels‘, premiering on 6 November; as well as the rights acquisition of TV Land‘s ‘Hot in Cleveland‘, ‘Happily Divorced‘ and ‘The Exes‘, TNT‘s ‘Leverage‘, The Hub‘s ‘The Haunting Hour‘ in the US and Showcase‘s ‘Endgame‘ in Canada.

    The new operation will immediately focus on a number of projects currently in development at Endemol USA and its subsidiaries as well as adapting some of Endemol’s biggest international drama hits.

    Endemol Studios will benefit from Endemol Group‘s creative and production presence in key markets (including the UK and Australia) as well as leveraging the company‘s global distribution capabilities and infrastructure. The studio will seek co-production partners where appropriate. Endemol Worldwide Distribution will monetise the TV and home video rights to the studio’s productions, with Endemol Worldwide Brands managing all ancillary rights.

    Maigret delivered a number of acquired and co-financed series at Endemol, expanding the company‘s distribution portfolio, and concluded Endemol‘s international distribution and co-production first look deal with Ensemble Entertainment.