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Tag: YRF

  • CCI upholds YRF’s deals with single screens

    CCI upholds YRF’s deals with single screens

    NEW DELHI: Ajay Devgn Films has received a setback with the Competition Commission of India (CCI) ruling that Yash Raj Films‘ (YRF) agreements with single screen exhibitors was not in contravention of the Competition Act.

    The CCI said the agreements entered into in July/August by YRF with single screen theatres were not anti-competitive.

    In its petition, Ajay Devgn Films had pointed out that during the release of Salman Khan-starrer ‘Ek Tha Tiger‘ on 15 August, YRF and its distributors had taken an undertaking from single screen theatres that they would also exhibit the film ‘Jab Tak Hai Jaan‘ by the same producer during Diwali.

    Ajay Devgn Films alleged that it was laid down that any single screen theatre which did not agree to exhibiting ‘Jab Tak hai Jaan‘ would not get to screen ‘Ek Tha Tiger‘.

    CCI was also informed that some single screen theatres did not agree to the YRF‘s condition.

    The Commission said, “The act of booking theatres by a distributor for its two films simultaneously when the theatre owners have the liberty either to agree or not to agree, is not a restraint on the freedom of business of theatre owners. The theatre owners can wait for other films and can refuse to book their theatres simultaneously for two films. Even otherwise, the non significant position held by the single screen theatres does not cause any adverse effect on the competition.”

    Furthermore under the Act, tie-in arrangements per se are not violating of section 3(4)(a) of the Act.

    “If many high ticket mega starrer films compete with each other to be released only on the occasion of festivals, the choice lies with the theatres and each theatre is at liberty to book its theatre even in advance and it cannot be said that this had appreciable adverse effect on the market. The subject of appreciability is of huge practical importance for competition,” it added.

    The Commission said according to its information, even single screen theatres in some of the states are further sub-divided in category A, category B and category C and the distributors discriminate between these categories and do not allow release of new films in category B or category C theatres and only choose category A theatres.

    ‘Thus the market of exhibition of new films on single screen theatres in the context of this case is not of enough significance to cause an appreciable adverse effect on the competition. Even otherwise, the market cannot be restricted to any particular period like Eid or Diwali and the market has to be considered a market available throughout the year.‘

    Justice S N Dhingra and members H C Gupta, R Prasad, Geeta Gouri, Anurag Goel, and M L Tayal said Ajay Devgn Films did not place on record data either of market share or of economic strength to show how the opposite parties were dominant in the proposed relevant market on the basis of above stated guiding factors.

    It was argued by the counsel for the informant that the opposite parties were dominant because Yash Raj Films was a big banner production house and had a big name and had given several blockbuster films.

    But the Commission said, “No enterprise can be considered dominant on the basis of big name. Dominance has to be determined as per law on the basis of market share, economic strength and other relevant factors stated under Section19 (4) of the Act.”

    The Commission said it was unable to accept ‘such a narrow approach‘ while determining the relevant market. A large number of movies are released in India every year. In Bollywood itself, 107 and 95 films were released in 2011 and 2012 (till now) respectively. Out of this, Yash Raj Films produced only two to four films each year. ‘This cannot be said to amount to dominance even in the Bollywood industry, leave aside film industry in India.‘ Therefore, the claim of Ajay Devgn Films that Yash Raj was a dominant player in the film industry in India cannot be accepted, it said.

    Ajay Devgn Films had alleged that the YRF agreements were in violation of section 3 as well as section 4 of the Competition Act. It submitted that ‘Ek Tha Tiger‘ was released at the time of Eid and ‘Jab Tak Hai Jaan‘ is to be released at the time of Diwali.

    ‘This grievance of the informant arose because the informant feared that he would not get enough theatres for his own film ‘Son of Sardar‘ because of the agreement of single screen theatres with the opposite parties at the time of releasing Ek Tha Tiger. Ajay Devgn Films contended that the agreement between the opposite parties and the film exhibitors for exhibition of the two films together amounted to contravention of section 3(4)(a), 3(4)(b) and 3(4)(d) as well as contravention of section 4(2)(a).

  • YRF replies to makers of Son of Sardar

    YRF replies to makers of Son of Sardar

    MUMBAI: Yash Raj Films (YRF) has replied sternly to Eros International, Viacom18 and Ajay Devgn Films‘ legal notice over the release of Jab Tak Hai Jaan opposite Devgn starrer Son of Sardar.

    Below is the official statement from YRF:

    “We were indeed quite surprised to receive an intimation from Ajay Devgn Films‘ lawyers today saying that they had filed a complaint with the Competition Commission of India against YRF, alleging malpractice committed by us in connection with the release of Jab Tak Hai Jaan and thereby affecting the release of Son of Sardar. For a company like ours, which has maintained the highest standards of work ethics and fair play, this has really come as a shock.

    We would like to clarify, at the outset, that we still haven‘t received any notice from the Commission and will suitably represent our stance if and when called upon to do so. Worldwide, as well as in India, distributers often sign deals for their complete annual slate of films to simplify the process. We trust the Competition Commission will also see it as universally acceptable fair business practice.

    As we have mentioned in the past, all the exhibitors, when approached by us earlier this year for booking their theatres, were happy to play out Yashji‘s movie considering their long standing and emotional relationship and goodwill with YRF of over 40 years. A Yash Chopra/Shah Rukh Khan movie, coming after a gap of 8 long years, did not need any coercion for contractual screening. Additionally, some exhibitors, who played Ek Tha Tiger, have chosen not to screen Jab Tak Hai Jaan.

    Interestingly, of the 10500 plus single screens available on an all-India basis, we have booked less than 1500 single screens (an industry norm for an A-lister movie), a fact that has been common knowledge for some time now. If this was an issue, why wasn‘t it raised earlier? Why wait till now when both films are nearing release?

    We had announced Jab Tak Hai Jaan would be a Diwali 2012 release as far back as 27th June 2011 and thereafter every press release of ours reiterated this. Given that most big ticket films avoid simultaneous releases, it was odd that Son of Sardar announced their release for the same day almost a year later on 29th May 2012. They were also able to lock their final distribution partner as late as 4th Oct 2012. It would seem odd that they would expect us to wait for our release plans to be put in place till they had finalised theirs!

    It is also unfair to say that we are in any way in a dominant position. While we are releasing just three films this year, the two production houses in question, VIACOM 18 & EROS, who are distributing Son of Sardar, have a total release strength of almost 27 films in a year.

    Everyone agrees that the festive time of Diwali has space for two simultaneous releases. Give the audience a choice to choose the one they want to watch. Few of the exhibitors have already chosen, on the basis of a business decision, the one they want to exhibit.”

  • Ranveer Singh and Arjun Kapoor in YRF’s next Gunday

    Ranveer Singh and Arjun Kapoor in YRF’s next Gunday

    MUMBAI: Fresh from its success of Ek Tha Tiger, Yash Raj Films has announced its next project Gunday that will star Ranveer Singh and Arjun Kapoor in lead roles.

    The film is based amidst the most turbulent times in the history of Kolkata, then Calcutta, from 1971 to1988, where Bikram and Bala rose from being small time wagon breakers and coal thieves to becoming the biggest and most powerful black marketing mafia-men.

    A rare combination of vigour and wit, the two were inseparable and the city of Calcutta swore by their friendship then. As their notoriety became the stuff of legends, the people of the sprawling city started calling these two carefree rebels as Gunday.

    Hunt is on for the leading lady who would play a stellar role in the film, while the cast will be announced shortly.

    Incidentally, the film would be both Ranveer and Arjun‘s third film with YRF and the first time when these two have been featured together.

    The film, which goes on floor this December, will be directed by Ali Abbas Zafar who had earlier directed Meri Brother Ki Dulhan.

  • YRF & Salman’s ‘Tiger’ sure to ride to box office glory

    YRF & Salman’s ‘Tiger’ sure to ride to box office glory

    MUMBAI: Yash Raj Films and Salman Khan finally come together 24 years after the actor made his debut, while the production house has a standing of 40 years.

    So when the two titans come together, the expectations are those of a perfect blend of romance with some great music and action to go with Salman’s image. Ek Tha Tiger lives up to some but belies equally. It is not a regular Salman Khan out-and-out action flick, but a love story.

    The spy angle and the action is incidental mainly due to his character’s job profile. Yet, no denying the fact that the film is slated to register the biggest first day as well as the biggest opening week figures ever.

    Salman Khan is a top rated RAW agent who is sent on a relatively easy assignment to Ireland where a renowned Indian scientist, Roshan Seth, is on a self-imposed exile and has chosen to teach in a university there. It is suspected that some details of his research are being shared with Pakistan’s secret service agency, the ISI. Salman Khan’s job is to keep an eye on him and his movements.

    Salman tries to cultivate a contact with Seth introducing himself as a writer working on a book on top brains of India, but Seth proves a hard nut to crack and remains indifferent to him. On one of his attempts to gain access to Seth, Salman notices his housekeeper, Katrina Kaif, and decides to use her to reach Seth. Love is inevitable and it takes deep roots on both sides.

    Curiously, Salman, though sent on a mission, is being watched by his own agency: the local agent, Ranveer Shorey, keeps tab on his actions! So while Salman is romancing, he gets a message from Shorey about some mischief happening at the Seth residence. He lands up only to discover Katrina hacking his computer. She is an ISI operative! The film is half way through and things which were crawling, promise to pick up now.

    It is love versus duty now; his brief as a RAW agent would have been to shoot Katrina she being an enemy spy, but love wins. The next encounter of the lovers is in Istanbul. The fire of love is still burning, Salman suggests the only way out: to elope. But this is no teenage romance with villains and parents of the lovers chasing them.

    This is love between a RAW and an ISI operative and both know enough secrets! As such, none of the two agencies can afford a happy ending to this romance. They have to die because RAW and ISI agents can’t go soft on each other, romance is a far cry.

    This is the second part of the film where the pace picks up as the couple has two biggest enemies with each other chasing them with intentions to finish their existence: the RAW on one side and the ISI on the other. Finally the opposing agencies, the sworn rivals have a common goal that is to kill both the agents.

    Since this is more a love story, the hunted, Salman and Katrina, explore the world as well as dodge trouble and fight their detractors while they also take you to a sight-seeing tour of about half a dozen countries. In the absence of hummable or danceable music, comedy, side tracks, touring is what the film has to offer sprinkled with thrill here and there.

    Actually, the film has just about four recognisable actors in the lead players, Salman and Katrina, Salman’s shadow Ranveer Shorey and handler and boss, Girish Karnad. Not much of a star cast to plan a blockbuster on! Also, it puts the entire burden of pulling the film through on the masculine shoulders of just one actor, Salman Khan.

    This is not really a film which tests the histrionics of its small roaster of artistes: it has just four artistes playing any kind of visible character. Salman Khan plays himself, which is to say, being around and being casual and throw punches; perform some stunts as if it was a way of life.

    Katrina Kaif has stopped looking all syrupy and sugar sweet but learnt some acting and expressions in the bargain, which all she uses in this film; she even justifies some action scenes!

    In a film with poorly etched out characters, Girish Karnad and Ranveer Shorey don’t amount to much, really! The film has two good numbers of which one with a Persian score is wasted on end titles. Also, what makes Ek Tha Tiger more watchable are the backdrops of the several countries making it a visual delight.

    Ek Tha Tiger starts with what is called climax that is a thrilling action scene, a trend established by Bond movies. This aptly establishes the character and exploits of the hero. As for action, there is not much of it in the first part save for a well-executed tram car sequence. It is the film’s second part that makes good the sagging pace of the first half. What also makes the story tick is the fact that he is an Indian who conquers the heart of a Pakistani girl (A la Gadar: Ek Prem Katha) and fighting singlehandedly with the mighty ISI to save his love.

    Ek Tha Tiger, all said, is the triumph of Salman Khan’s popularity, the film’s title which endorses his image, and the release strategy. The film was a business hit even before its release. What it has added to the records are the box office figures not to be broken in the near future. Having collected Rs 329.2 million on day one with most of the 3,300 cinemas registering all house full shows, the film has yet to cater to the Eid crowd, which is due on Monday.

  • YRF to remake Bunty Aur Babli in Hollywood

    YRF to remake Bunty Aur Babli in Hollywood

    MUMBAI: Uday Chopra is all set to have an international version of YRF’s 2005 hit Bunty Aur Babli. With a re-written script in hand, Chopra is planning to remake the film in Hollywood.

    The film is all about two rather lovable crooks who venture into many adventures like the fake selling of the Taj Mahal. The film draws comparisons to the American classic Bonnie and Clyde. However, there were no dark elements in the film.

    Chopra has already aligned himself as producer for two projects – Peter Glanz‘sThe Longest Week and Olivier Dahan‘s Grace of Monaco. But he says he has also begun work on a Hollywood version of Bunty.

    Chopra, the youngest son of the renowned Bollywood producer-director Yash Chopra, recently launched his family‘s film company Yash Raj Films in the US with plans to produce Hollywood films.

  • YRF in 3-film deal with South Africa’s Avalon Group

    YRF in 3-film deal with South Africa’s Avalon Group

    MUMBAI: South Africa’s oldest and largest independent cinema exhibition and entertainment company, Avalon Group, has signed a three-film slate deal with Yash Raj Films.

    Both Avalon CEO AB Moosa and Avtar Panesar, head of the international distribution arm of YRF, said the films will feature Bollywood star power.

    Moosa said the movie slate will be blockbusters. “We are having Salman Khan in the first release, Shah Rukh Khan in the second and Aamir Khan in the third,” he added.

    The treaty enables productions from both territories to qualify for the incentives available in each country for homegrown content producers. It is designed to enable collaborations between producers from both countries.

    “The slate agreement with Avalon was concluded at the right time when South Africa strengthens their relations with Ireland,” commented Panesar.

    As far as the treaty with Ireland is concerned, South Africa has attracted recent international productions as Chronicle, Safe House and Dredd. It already has similar arrangements with Canada, Germany, Italy, the UK, France, Australia and New Zealand.

    Signing the treaty on Sunday were South Africa‘s minister of arts and culture Paul Mashatile and Irish arts minister Jimmy Deenihan.

  • YRF to co-produce Nicole Kidman-starrer ‘Grace of Monaco’

    YRF to co-produce Nicole Kidman-starrer ‘Grace of Monaco’

    MUMBAI: Yash Raj Films (YRF) Entertainment has partnered with French filmmaker Pierre-Ange Le Pogam‘s company Stone Angels to produce and finance ‘Grace of Monaco‘ that stars Nicole Kidman.

    Directed by Olivier Dahan, ‘Grace of Monaco‘ is a historical drama. The production work on the film will begin this fall in southern France.

    YRF Entertainment CEO Uday Chopra said, “Grace of Monaco is the kind of movie that has a perfect blend of talent and sensibility that YRF Entertainment is proud to be a part of. We look forward to a great partnership with Olivier and Pierre-Ange.”

    YRF‘s Jonathan Reiman will be the executive producer of the film along with the film‘s writer, Arash Amel.

    The movie tells story of the late Princess Grace of Monaco, the former actress Grace Kelly (played by Kidman), and her efforts to make peace between her adopted country Monaco and France.

    “When I first read the script written by Arash Amel, I thought it was a great story to tell, with a lot of artistic, historical and emotional potential. This is why I invited Olivier Dahan to become the director because he has this artistic vision,” Le Pogam said. “When Olivier and I met with Nicole Kidman for the first time, we felt immediately she was the right artist to portray Princess Grace. When I then met with Uday, I had the same feeling after our conversation. He was obviously the right partner because of his beautiful vision of the movie.”

  • APSA nominates Band Baaja Baarat in ‘Best Feature Film’ category

    APSA nominates Band Baaja Baarat in ‘Best Feature Film’ category

    MUMBAI: The Asia Pacific Screen Awards (APSA) organizers have nominated YRF’s Band Baaja Baaraat for this year’s awards. The film is among the 37 films from 19 countries that have been nominated.

    This was disclosed by APSA 2011 International Jury President, Hong Kong film producer Nansun Shi at the Busan International Film Festival.

    The films that have been nominated in the ‘Best Feature Film’ category are Jodaeiye Nader az Simin (A Separation, Islamic Republic of Iran), Rang zidan fei (Let the Bullets Fly, People’s Republic of China – Mainland China / Hong Kong), Bé Omid É Didar (Goodbye, Islamic Republic of Iran), Bir Zamanlar Anadolu’da (Once Upon a Time in Anatolia, Turkey, Bosnia and Herzegovina) besides Band Baaja Baaraat (Wedding Planners, India).

    A Separation by Asghar Farhadi and Once Upon a Time in Anatolia written and directed by Nuri Bilge Ceylan has each received four APSA nominations. Both films are the Academy Award submissions for their respective countries in the category of Best Foreign Language Film for next year.

    Goodbye by Iranian director Mohammad Rasoulof has received three APSA nominations. Rasoulof received the award for ‘Best Director’ in the Un Certain Regard section at the 2011 Cannes Film Festival.

    Let the Bullets Fly, written and directed by Jiang Wen, has received two APSA nominations. It is said to be the highest grossing domestic film in history at the Chinese box office.

    A total of 240 films entered in this year’s competition. The winners will be announced at the ceremony on the Gold Coast, Queensland, Australia, on 24 November.

  • Release of Ek Tha Tiger deferred, makes way for Dhuan

    Release of Ek Tha Tiger deferred, makes way for Dhuan

    MUMBAI: The release of YRF’s Ek Tha Tiger has been postponed to an Eid release next year.

    The release has been postponed since Aamir Khan wanted to release his next film Dhuan, directed by Reema Kagti, on 1 June for which he requested Salman Khan and producer Aditya Chopra to reschedule the release of their project.

    “Owing to close relationship and mutual respect they share with one another, both Chopra and Khan were happy to oblige and shift the release to Eid,” a Yash Raj Films (YRF) statement said.

    Earlier, the film starring Salman Khan and Katrina Kaif among others was to release on 1 June 2012.

    Ek Tha Tiger is currently being shot in Dublin from where it will move on to Turkey for its next schedule.

  • ‘We will be a Rs 5 billion company by 2008’ : Atul Goel – E-City Ventures CEO

    ‘We will be a Rs 5 billion company by 2008’ : Atul Goel – E-City Ventures CEO

    His is a tale that is not just about multiplexes. E-City Investments and Holdings chief Atul Goel is hooking up a film exhibition, distribution and digital delivery business.

    At the centre of this game is the multiplex business. Fun Multiplex Pvt Ltd is on a massive scale up exercise, planning to ramp up from 23 screens to 150 by FY08 while acquiring 100 single screens to gain a pan-India presence.

    E-City Digital Cinemas will deliver movies to theatres via satellite as well as hard disk in a format that operates on low margins but is profitable. Being part of the Essel group, it will use the Essel Shyam facility at Noida near Delhi which is also utilised by Zee for uplinking its channels.

    Goel recently got IL&FS to invest Rs 1 billion for a 26 per cent stake in E-City Entertainment, the hived off entity that handles real estate development. His next big target: a combined turnover of Rs 5 billion by FY08.

    In conversation with Indiantelevision.com’s Sibabrata Das & Bijoy AK, Goel unveils the expansion plans he has chalked out for E-City.

    Excerpts:

    Why did you decide to hive off the multiplex and real estate businesses into separate companies?
    The best way to attract investors is to divide the two segments of business. They can enjoy their own valuations and investors. For instance, the investors in real estate may not necessarily want to take exposure in the multiplex business. We got Infrastructure Leasing & Financial Services Ltd (IL&FS) to pick up a 26 per cent stake in E-City Entertainment, which handles real estate development like setting up malls, for Rs 1 billion.

    Are you in the hunt for an investor in the multiplex business as well?
    Fun Multiplex Pvt. Ltd. still needs to scale up as we ended the last fiscal with a turnover of just Rs 450 million and a net profit of Rs 60 million. We are planning to pump in Rs 2.5 billion and have 150 screens by FY08. We have already put in Rs 300 million. We plan to raise money in a debt-equity ratio of 1.5:1. Our target in FY08 is to have a total income of Rs 2.5 billion and operating profit of Rs 720 million by FY08.

    What makes you project such a fast rate of growth in two years?
    The revenues will come mainly because of newer developments. We have 23 screens and are opening up three properties this month. We, in fact, will be adding 10 more screens by 15 August.

    Do you see revenue growth also coming from increase in ticket rates?
    Pricing power will continue to be more a movie-based strategy rather than a rate hike in tickets across the board. In case of Krrish, we increased the ticket rates. We will also see the emergence of differential pricing for off-time shows. We have, for instance, lowered the rates for early morning screenings.

    Multiplex operators are in a build up phase and Inox has even taken the acquisition route in Kolkata to enhance its pan-India presence. How are you planning to scale up your operations?
    We are also planning to take the inorganic route. We will be acquiring single screen theatres across the country. We aim to have 100 single screens by FY08. This will be in addition to the 150 multiplex screens we will have by then.
    ‘The future trend could be special alliances between distributors and multiplex operators‘

    Multiplex operators have been made to pay more for premium film content by Yash Raj Films (YRF). When YRF asked for an increase in revenue share for the Aamir Khan blockbuster Fanaa, you took a hard stance. What made you compromise later?
    Initially, all the multiplex operators protested against the hike. But the unity didn’t stay and some of them went ahead to sign the new terms with YRF. Let me reiterate here that we were in a pure business deadlock and not a confrontation of any kind.

    Has YRF, with a lineup of Hindi blockbusters like Fanaa, Krrish and Kabhie Alvida Na Kehna, started a trend where film content distributors would push for higher revenue shares from multiplex operators?
    We are not in a position where we can take a hard stance against YRF. We have a business relationship going with them and are showing Krissh. The new terms are exceptional to YRF but with such high ratios, we can only break even. The future trend could be special alliances between distributors and multiplex operators.

    Are you in any such alliance with a big distributor?
    It is too early to carve out such relationships. In fact, we urge the distributors not to start hiking rates or getting into special relationships with certain multiplexes at this stage. The industry needs to scale up the infrastructure, there is an opportunity sitting out there. We should take measures that grow rather than kill the industry at this early stage.

    Have you taken a cautious approach in the film distribution business?
    E-City Films (ECF) has distributed Hindi movies like 36 China Town in Gujarat where we control 90 theatres. The market is fragmented and will take time to consolidate. Some companies are also acquiring some movies for distribution at unrealistic prices. We are cautious and have no plans to set up a film distribution outfit overseas. For international movies, our strategy is to distribute 10-12 a year. In the past, we have distributed Alexander (December 2004), One Dollar Curry (February 2005), Million Dollar Baby (March 2005) and Sahara (July 2005). Among ECF’s recently acquired movies are Astronaut Farmer, Babel, Miss Potter and Michael Clayton.

    Have you closed down your content syndication business?
    It is in a state of lull now, but we have revival plans.

    What are the expansion plans for E-City Entertainment after IL&FS has taken a stake in it?
    We are investing Rs 1 billion each for the Kanpur and Coimbatore properties. Lucknow will attract a further funding of Rs 250 million. We have already pumped in Rs 2.17 billion in developing four projects (Rs 600 million for Andheri in Mumbai, Rs 750 million in Lucknow, Rs 550 million in Ahmedabad and Rs 270 million in Chandigarh). We will have 10-15 properties by FY08. We expect our turnover to climb from Rs 210 million to Rs 800 million by then. As these are rental incomes, E-City Entertainment will always be a profitable venture.

    How are you funding these properties?
    We will be raising fresh equity. But we have not started talking with anybody yet.

    When is E-City Digital Cinemas starting satellite delivery of movies to cinema theatres?
    We plan to launch it by the end of this month. We will be using the uplinking facility of Essel Shyam at Noida near Delhi. Currently, the hard disk is physically distributed to the 22 theatres in Gujarat (we control 90 theatres there) which we have taken on long term hire basis. We are using Real Image’s encryption technology so that piracy is safeguarded. The movie is first converted into digital master using the telecine machine, after which it can be taken on to D5 tape or captured directly on the encoding server. After encryption and compression, the movie is uplinked to the satellite via transmission server and downloaded at the playout local server which is installed at the theatre. A digital projector is used for screening of the film. E-City Digital Cinemas will target A-class towns where the current net collections are over Rs 100,000 per week.

    How many theatres will have the digital system?
    We plan to digitise 500 screens by FY08. We have already acquired 30 cinemas including a few in Mumbai. The business operates on low margins and, on a turnover of Rs 300 million last fiscal, we have reached a break even situation. As we ramp up theatre acquisitions, we expect our revenues to touch Rs 2.5 billion by FY08.

    So will E-City Holdings go for an initial public offering (IPO) or will the different entities have separate listings?
    We haven’t decided anything yet. We have no IPO plans, as of now. But by FY08 the entire venture will be a Rs 5 billion company.