ITV

Tag: Warner Brothers

  • Is Sony Pictures getting a raw deal as studios war over Bond rights?

    MUMBAI: Warner Brothers, Sony Pictures, and 20th Century Fox are among the Hollywood studio majors fighting for the rights to distribute ‘Bond 25’. Universal Pictures, Times and Annapurna are also warring for the rights to distribute the forthcoming James Bond movie.

    The rights to all 007 films are owned by EON and MGM, but they only produce the movies and need a distributor to handle the marketing, PTI reported. Sony Pictures was chosen for the job starting with ‘Casino Royale’ in 2006 and continued until 2015 with ‘Spectre’.

    Sony, under its previous agreement, paid 50 per cent of the production costs for ‘Spectre’ — which was around USD 250 million — but only received 25 per cent of certain profits, once costs were recouped, according to a report.

    Sony also shelled out tens of millions of dollars for the sake of marketing and gave MGM a share of the profit from non-Bond films Sony had in its pipeline, including ’22 Jump Street’.

    Now, MGM and EON are allegedly offering a one-film contract only. MGM, which is owned by private equity firms, including Anchorage Capital Partners, probably wants to keep its options open as it considers a public offer or sale, the report added.

  • NDTV’s Shouneel Charles joins Times Network as SVP – digital

    MUMBAI: Times is inducting senior executives one after the other. After Nikhil Gandhi, Times Network has strengthened its senior leadership team with the appointment of Shouneel Charles as its senior vice president – digital. Based out of Mumbai, he will report to Times Network MD & CEO M.K. Anand.

    Times Network recently appointed Nikhil Gandhi as president – revenue, whose key responsibility is growth of profitable monetisation of the entire bouquet of channels under the network. Earlier too, he was a part of the core team at Zoom during the launch of the channel.

    On Charles’s appointment, Anand said, “We look forward to scaling heights and claiming our rightful position as a strong Digital Media Company with this induction and other senior level interventions that we plan. Given his experience in digital media, marketing and advertising, we are confident that we will be able to better engage with the New Media market.’’

    Charles said, “Leading the digital practice at a network that is known for its unique campaigns and initiatives is a huge responsibility. The growing digitisation throws a huge opportunity for established brands like Times Network.”

    In his previous assignment, Charles was leading the digital business at NDTV Convergence as the chief sales & marketing officer and chief revenue officer. He helped the media company set up a digital ecosystem, profitable internet and mobile based business.

    With close to 20 years of experience, Shouneel Charles has previously worked for multi-national companies such as Yahoo, Turner Broadcasting, HBO, Warner Brothers, STAR TV and The American Express Bank.

    Also Read:

    Nikhil Gandhi joins Times Network as president – revenue

  • AETV 18 buys ‘Chef In Your Ear’, Bomanbridge to bring Asian versions

    CANNES: The Format People announced that Chef In Your Ear completed its successful first season on France 2, under the title Un Chef A L’Oreille. Produced by Warner Brothers International TV Production France, the 25-episode series aired daily in January and February of this year, improving the time period for France 2 by 125% from the previous slot.

    Additionally, Singapore-based Bomanbridge Media announced the sale of 26 episodes of the English-language finished version of “Chef In Your Ear” to Indian broadcaster AETV 18.

    Chef In Your Ear is a cooking competition format in which two professional chefs aim to deliver a restaurant quality dish – by remote control. All the cooking is done by two novice cooks, many of whom claim to be kitchen disasters, each wearing an ear-piece. They take instruction from a chef whom they have been paired with, and who is locked away in a booth, unable to smell or taste the food.

    Singapore-based production/distribution agency, Bomanbridge Media CEO Sonia Fleck said, “Chef In Your Ear is one of those very unique shows that is so fun, yet full of drama as well as instructive. India has a rich food culture and the show is sure to be a hit on AETN 18. Bomanbridge is pleased to represent Chef In Your Ear in the Asia Pacific and we hope to soon announce Asian formatted versions in the near future.”

    The show originally aired on both Food Network Canada (English language) as well as on Radio-Canada (French Language) – earning top ratings. It was produced by HLP+ Partners and The Format People; and developed by famed Canadian chef Ricardo Larrivée, Michel Rodrigue and Henry Less with assistance from Justin Scroggie who originally conceived the Format. Food Network Canada announced the commission for a second season.

    Scroggie added, “All great formats evolve, and Un Chef A L’Oreille produced by Warner Bros for France 2, is a wonderful evolution, with a daily stripped format following the same chefs and novices across a week on their culinary journey. A perfect cast with host Elodie Gossuin, top production values and some surprise elements, create the ideal TV serving.”

  • HOOQ raises US$ 25 million from Sony Pictures, others; open to outside investors

    HOOQ raises US$ 25 million from Sony Pictures, others; open to outside investors

    MUMBAI: Southeast Asian streaming platform HOOQ, a Netflix challenger, has raised US$25 million (Rs 1.7 billion) in capital from existing investors — Sony Pictures, Singtel and Warner Brothers, it was announced through a stock exchange filing from Singtel.

    HOOQ went live in Indonesia, Philippines, India and Thailand in 2015. Recently launching in India, Amazon Prime Video is now an international challenger.

    HOOQ CEO Peter Bithos said that the company was preparing to welcome outside investors.

    The filing stated that Singtel had invested an additional US$ 15.5 million with the other investors contributing the remainder. It was also disclosed that HOOQ had earlier raised US$ 70 million, taking the total recent investment to US$ 95 million.

    HOOQ was founded two years ago by the trio with Singtel having a majority holding. Following the deal, the companies retained the same shareholding with Singtel owning 65 per cent; Warner and Sony each taking 17.5 per cent.

  • HOOQ raises US$ 25 million from Sony Pictures, others; open to outside investors

    HOOQ raises US$ 25 million from Sony Pictures, others; open to outside investors

    MUMBAI: Southeast Asian streaming platform HOOQ, a Netflix challenger, has raised US$25 million (Rs 1.7 billion) in capital from existing investors — Sony Pictures, Singtel and Warner Brothers, it was announced through a stock exchange filing from Singtel.

    HOOQ went live in Indonesia, Philippines, India and Thailand in 2015. Recently launching in India, Amazon Prime Video is now an international challenger.

    HOOQ CEO Peter Bithos said that the company was preparing to welcome outside investors.

    The filing stated that Singtel had invested an additional US$ 15.5 million with the other investors contributing the remainder. It was also disclosed that HOOQ had earlier raised US$ 70 million, taking the total recent investment to US$ 95 million.

    HOOQ was founded two years ago by the trio with Singtel having a majority holding. Following the deal, the companies retained the same shareholding with Singtel owning 65 per cent; Warner and Sony each taking 17.5 per cent.

  • Regional market contributes 12 per cent to Cartoon Network Enterprises

    Regional market contributes 12 per cent to Cartoon Network Enterprises

    MUMBAI: It was a big deal for a 90s kid from non-metro India to get hands on a Batman or Superman figurine. A Justice League T-shirt would have bowled them over because authentic merchandise shopping was a ‘city’ thing, for the sheer lack of access. Hence, counterfeits thrived.

    Since then, the merchandising industry in the country has come a long way given that consumers can now access their favourite character-driven consumer products at the click of a button online, sitting at home. As Cartoon Network Enterprises (CNE) director Anand Singh rightly pointed out, e-commerce has helped Cartoon Network expand the licensing and merchandising business to the regional and Tier I and Tier II markets as well.

    CNE is the licensing and merchandising arm of Turner Broadcasting System Asia Pacific.

    “Earlier, there was a restriction of location, one could have limited inventory per character, pilferage and cost of carrying inventory, and promoter cost added to very high overheads, which made the business difficult. But, e-commerce has revolutionised the process, by adding another distribution channel. The cash-on-delivery proposition has allowed the assortment of products to be exposed to potential consumers in newer markets,” Singh informed.

    Singh shared that 30 per cent of the business done by CNE comes from e-commerce with double-digital growth rate. The merchandising and licensing division itself has grown three times since 2014, thereby identifying e-commerce as one of the key growth drivers.

    Close to 12 per cent of CNE’s business currently comes from the emerging regional markets, including a significant chunk from the north-eastern states.

    “We have recently tied up with a brand called Dukes from Hyderabad.
    There is a company called Kishna Snacks from Guwahati which has done amazing work with the promotional license for Batman Vs Superman, and Tom and Jerry,” Singh said.

    While ease of access through online shopping has been a major boon to the business made in regional markets, it’s the willingness of local and regional brands that have augmented growth. The country’s new-found love for Hollywood superhero movies can be credited for this acceptability.

    And, since CNE also represents the Warner Brothers Consumer Products IP portfolio for south Asian markets, its proposition for the regional markets has only increased. The portfolio includes hit favourites like Tom & Jerry, Looney Tunes, Scooby Doo, Superheroes from the DC portfolio such as Batman, Superman, Flash, along with various WB movie franchises such as Harry Potter series and TV shows such as F.R.I.E.N.D.S. and Big Bang Theory, etc.

    “We see a lot of interest from the regional FMCG and food and beverage players. It all comes down to the resonance with these classical franchises. Brands have come to realise that buying licenses to these properties is not as expensive as they thought it was. There was a general assumption in those markets that being regional players it would be too much to go after global franchises. But, that mindset is changing and more and more regional players are opening up to the idea,” he said.

    According to industry guesstimates, currently, licensed merchandised market for character IPs or franchises for kids stands at Rs 5000 crore, growing from Rs 3500 crore, last year. Without sharing any figure, Singh asserted that, though CNE may not add huge numbers to the network’s top line, it’s a highly profitable business.

    In 2012, Cartoon Network Enterprises was expecting a turnover of Rs.1,650 crore in the next three years as against a Rs.850 crore turnover previously, according to media reports (source:
    licensing.org)

    Of the major 500 licensees, CNE handles close to 135 across India and south Asian markets with more than 5000 SKUs on retail across mass distribution, modern trade and e-commerce. Currently, CNE South Asia looks after the territories of India, Pakistan, Bangladesh, Sri Lanka and Nepal, which will be added later this year.

    CNE’s most recent tie-ups include strategic partnerships with Myntra for apparel and fashion accessories and a DTR (direct to retail) deal with Future Group across product categories.

  • Regional market contributes 12 per cent to Cartoon Network Enterprises

    Regional market contributes 12 per cent to Cartoon Network Enterprises

    MUMBAI: It was a big deal for a 90s kid from non-metro India to get hands on a Batman or Superman figurine. A Justice League T-shirt would have bowled them over because authentic merchandise shopping was a ‘city’ thing, for the sheer lack of access. Hence, counterfeits thrived.

    Since then, the merchandising industry in the country has come a long way given that consumers can now access their favourite character-driven consumer products at the click of a button online, sitting at home. As Cartoon Network Enterprises (CNE) director Anand Singh rightly pointed out, e-commerce has helped Cartoon Network expand the licensing and merchandising business to the regional and Tier I and Tier II markets as well.

    CNE is the licensing and merchandising arm of Turner Broadcasting System Asia Pacific.

    “Earlier, there was a restriction of location, one could have limited inventory per character, pilferage and cost of carrying inventory, and promoter cost added to very high overheads, which made the business difficult. But, e-commerce has revolutionised the process, by adding another distribution channel. The cash-on-delivery proposition has allowed the assortment of products to be exposed to potential consumers in newer markets,” Singh informed.

    Singh shared that 30 per cent of the business done by CNE comes from e-commerce with double-digital growth rate. The merchandising and licensing division itself has grown three times since 2014, thereby identifying e-commerce as one of the key growth drivers.

    Close to 12 per cent of CNE’s business currently comes from the emerging regional markets, including a significant chunk from the north-eastern states.

    “We have recently tied up with a brand called Dukes from Hyderabad.
    There is a company called Kishna Snacks from Guwahati which has done amazing work with the promotional license for Batman Vs Superman, and Tom and Jerry,” Singh said.

    While ease of access through online shopping has been a major boon to the business made in regional markets, it’s the willingness of local and regional brands that have augmented growth. The country’s new-found love for Hollywood superhero movies can be credited for this acceptability.

    And, since CNE also represents the Warner Brothers Consumer Products IP portfolio for south Asian markets, its proposition for the regional markets has only increased. The portfolio includes hit favourites like Tom & Jerry, Looney Tunes, Scooby Doo, Superheroes from the DC portfolio such as Batman, Superman, Flash, along with various WB movie franchises such as Harry Potter series and TV shows such as F.R.I.E.N.D.S. and Big Bang Theory, etc.

    “We see a lot of interest from the regional FMCG and food and beverage players. It all comes down to the resonance with these classical franchises. Brands have come to realise that buying licenses to these properties is not as expensive as they thought it was. There was a general assumption in those markets that being regional players it would be too much to go after global franchises. But, that mindset is changing and more and more regional players are opening up to the idea,” he said.

    According to industry guesstimates, currently, licensed merchandised market for character IPs or franchises for kids stands at Rs 5000 crore, growing from Rs 3500 crore, last year. Without sharing any figure, Singh asserted that, though CNE may not add huge numbers to the network’s top line, it’s a highly profitable business.

    In 2012, Cartoon Network Enterprises was expecting a turnover of Rs.1,650 crore in the next three years as against a Rs.850 crore turnover previously, according to media reports (source:
    licensing.org)

    Of the major 500 licensees, CNE handles close to 135 across India and south Asian markets with more than 5000 SKUs on retail across mass distribution, modern trade and e-commerce. Currently, CNE South Asia looks after the territories of India, Pakistan, Bangladesh, Sri Lanka and Nepal, which will be added later this year.

    CNE’s most recent tie-ups include strategic partnerships with Myntra for apparel and fashion accessories and a DTR (direct to retail) deal with Future Group across product categories.

  • The Dark Knight garners $122.1 mn in opening weekend

    The Dark Knight garners $122.1 mn in opening weekend

    MUMBAI: Going by its weekend results, Warner Brothers‘ The Dark Knight Rises was seen ruling the foreign theatrical circuit, garnering $122.1 million from around 17,000 venues in 57 markets.
    This is a nearly 40 per cent increase from the Batman sequel‘s opening that generated $88 million from 7,173 sites in just 17 markets. This pushed the film‘s foreign gross total way past the $200-million mark to $248.2 million.
    Dark Knight Rises introduced itself in some 40 markets including No. 1 bows in France ($11.3 million at 892 sites including previews), Germany ($9.9 at 718 spots including previews) and in Mexico ($9.8 million at 1,141 situations). The film also premiered in Russia ($8.7 million at 1,310 screens including previews), Brazil ($6.6 million at 931 sites) and in Japan ($6 million including previews).

    Top holdover market was the UK where the film roped in $10.6 million from 598 spots for a market total of $47 million. Australia delivered $7.8 million in round two from 628 sites, pushing the overall total to $27.5 million. Average drop from opening round grosses in U.K., Australia, Korea and Spain was 52 per cent.
    The aftermath of the theater shooting in Aurora, Colorado seems not to have significantly affected second round foreign action. The film still has a long way to go to catch up to the overseas gross total of $469 million registered by 2008‘s The Dark Knight.
    Passing the half-billion foreign gross mark ($514.1 million) was the weekend‘s No. 2 title, Ice Age: Continental Drift, that grossed $49.4 million at 15,924 venues in 69 markets. That puts the latest sequel in the computer animation franchise within very distant hailing distance of the best-grosser of the series, 2009‘s Ice Age: Dawn of the Dinosaurs, that grossed a total of $693.9 million offshore.
    Continental Drift opened No. 1 in China, registering $15.7 million at some 3,500 locations, and also benefited from strong introductions in South Korea ($3.1 million at 501 sites) and in India ($1.5 million at 238 spots), both of which set market records for a Fox animation title.
    At the No. 4 position was The Amazing Spider-Man the fourth title in the blockbuster series, which has been playing overseas since June 27 — elevated is foreign gross total to $412.7 million thanks to a $12.2 million weekend at 9,920 sites in 86 markets. Distributor Sony said the sequel is the top grosser of the franchise in 30 markets. Biggest offshore title of the series is 2007‘s Spider-Man 3 (bagging a total of $554.3 million).
    Pixar‘s Brave continues to chug along on a measured release pattern overseas, playing in 24 territories — which distributor Disney describes as about 38% of the international market. Weekend tally for the animation title was $9.6 million, elevating the film‘s foreign gross total to $92 million. (Domestic cume stands at $217.3 million.) Brave is the weekend‘s No. 5 title.

  • Dev Anand turns 88, announces sequel of Hare Rama Hare Krishna

    Dev Anand turns 88, announces sequel of Hare Rama Hare Krishna

    MUMBAI: India’s evergreen star Dev Anand turned 88 and used the opportunity to announce the sequel of Hare Rama Hare Krishna, which he had made 39 years ago.

    The film brings back Anand playing the character that he played in the original. Naturally, the character would have aged by less than a decade in the sequel, as the story moves forward.

    Said Anand, “The script of Hare Rama Hare Krishna Aaj which takes forward the story of the earlier film is ready. It isn’t a remake of Hare Rama Hare Krishna. Every scene and every character except mine would be new. If I have played Prashant in the original, the sequel will have me play Prashant in 2012 in this film too.”

    The hunt is now on for “A woman of today, trendy savvy with-it and attractive.”

    He confided that he starts thinking of his next film even before he completes the previous one. “While I am making a film, I am totally consumed by it. But I must admit that a part of my mind moves to the next project.”

    Chargesheet is a totally new genre for the filmmaker. “I haven‘t done this genre before, it‘s a murder mystery.” Off late the producer-director-actor has been busy with the release of his film Chargesheet that releases this Friday.

    “I have been having meetings with Warner Brothers, my producers,” he said.

    Anand is both agile and charged about whatever he does. “If I‘m not as enthusiastic about my new film, then I‘ve no business in making it. My audience, my fans are my source of energy. I need my fans‘ good wishes that gives me energy,” Anand concludes.

  • John Calley expires

    John Calley expires

    MUMBAI: Producer of The Da Vinci Code John Calley died on Tuesday. He was 81. His death was announced by Sony Pictures Entertainment.

    Calley – three-time studio chief, confidant of Stanley Kubrick rose to Hollywood‘s highest ranks by making gut-level bets on directors and writers and by gently and quietly steering them.

    Stints at leading studios like Warner Brothers, United Artists and Sony gave Calley his A-list status in Hollywood‘s executive ranks, but it was his approach to those jobs that made him stand out.

    Like any studio boss, he had his share of failures and purely commercial hits. While The Towering Inferno was a hit, he also directed films like Clockwork Orange (1971), The Exorcist (1973), Chariots of Fire (1981) and As Good as It Gets.
    “When he believed in someone, he trusted and supported him,” Mike Nichols, who collaborated with Calley in films like Catch-22 to Closer, said in a statement.

    John Calley was born on 8 July, 1930, in Jersey City, the son of a car salesman, and, after serving in the Army, worked at 21 as a mail clerk for NBC in New York. After climbing a few rungs on the network‘s ladder, he left to join an advertising firm before giving film producing a try at Filmways, a production company mostly known for TV comedies like The Beverly Hillbillies.

    In 1996, Calley took the reins of Sony‘s movie operation and delivered hits like Jerry Maguire with Tom Cruise, but his biggest contribution to the studio involved restoring stability: Columbia, Sony‘s major arm, had four presidents come and go from 1991 to 1996.

    He stepped down in 2003 but kept producing films for Sony that included The Da Vinci Code.

    Calley‘s survivors include his daughter, Sabrina Calley, and three stepchildren, Emily Zinnemann, David Zinnemann and Will Firth, from his marriage to the actress Meg Tilly that ended in 2002.