Executive Dossier

“Govt. doesn’t recognise the importance of cinema”: Subhash Ghai

Published

11 years ago

November 14, 2014

Born to a dentist father in Delhi, Subhash Ghai entered the film industry in 1970 after attaining his diploma from Film and Television Institute of India (FTII). The film director, producer and screenwriter, known for his works predominantly in Bollywood has given notable films like Kalicharan (1976), Karz (1980), Hero (1983), Meri Jung (1985), Karma (1986), Ram Lakhan (1989), Saudagar (1991), Khalnayak (1993), Pardes (1997), Taal (1999) and Black & White (2008).

In 2006, he set up his own film institute Whistling Woods International in Mumbai. The institute trains students in filmmaking: production, direction, cinematography, acting, animation. Ghai has done brief cameos in his directorial ventures.

Mukta Arts managing director Rahul Puri spoke to Ghai to know about changing times, new vertical of the business, the market scenario and much more.

Excerpts:

Tell us about the differences in the film industry today from when you joined? How has the influence of branding and other media (like television and digital) changed the way that the film industry is perceived now?

The main difference in the film industry is that now it has become broad in terms of media, technology, and communication from what it was in 1970s. Earlier in 70s, films were the only mass media to entertain people whereas today there is a huge growth in terms of content and reach in television, radio, digital and social media, which has taken entertainment to a different level. Nowadays, branding has become ‘THE’ thing for today’s generation. A sports man, a fashion designer or a chef, everyone has turned themselves into brands and tell me who hasn’t? Film industry might be only one dimension of the entertainment world, but it still holds a major importance and impact in media.

The film industry continues to be iconic yet the size and scale of the industry is comparatively smaller than many others. Is the mindspace the industry occupies today in terms of influence and marketing justified?

No. The film business is a showmanship and a business we term as ‘Showbiz’, which influences all other industries like television, digital, music, events, fashion, and festivals with a big dividend. So, if you have a look at the film business in the theaters, it is very discouraging. But on the other hand, we are also involved in other aspects of media business such as satellite rights, music, events, branding, franchising that brings more money than theater business. Henceforth, marketing has become a bigger gamble to attract initial draw towards theaters and even to other aspects of media.

Where do you see the film industry reaching in the next decade? Will this growth/change come from new content or new delivery platforms (digital/theatres/mobile)? Where is the best hedge for risk in the industry today?

Film industry always survived because of its bigger frame images in cinema halls. Cinema experience is a social bonding for people, it is a collective gathering, it is an event, a festivity! It can cover many weekends if the movie is really brilliant, and to create its presence such films run in maximum theaters. And now with the changing technology and improving higher standards, we will see a drastic change in theaters with 180/360 angle big screens to draw audiences from their homes. 3D, 4D and 5D theaters, mobiles, big watches and so on, the digitisation will bring Rs 100 crore to Rs 200 crore on first day of release in theater and television screens simultaneously. Content will be improvised accordingly, and more fantasies genre will be touched upon as I firmly believe that ‘a child in a man will never die’.

People talk about a new type of content coming into to Indian films. Is this a hype? Are we actually telling newer stories or is the format of our storytelling changing but the core remains the same?

Content keeps developing with time. Film content will soon adapt the following and some of which are already taking place such as:

Real life issues/biopics
Super star fantasies in mainstream style treatment
Science fiction
Animation – mythology/kids fantasies

India has a lot of rich content in terms of stories in its heritage; soon, maybe by 2015, it would dominate internationally with its content. Though, it is said that there are only 36 plots in human drama, Shakespeare and Mahabharta says it all.

There is a trend today about remakes. Some of your own films are being remade. How do you feel about that and do you think the remake trend is causing original content to suffer?

Honestly, if you ask me I think nothing is original. Art itself is an imitation of universal existence and its various versions thereafter. A film like Aurat in 1940 was made Mother India in 1957 which was remade as Dewaar in 1975. We all should look at remake as an adaptation, transformation, inspirations of same plot which touched millions of hearts and souls… and the adaptation from a different filmmaker’s perspective makes the content looks fresh. Every remake comes with new packaging as ‘old wine in a new bottle’, but only classic stories will be repeated like our epics which are evergreen.

What is the key to being successful in the content creation business? There are so few people who are able to sustain it. What do you attribute your success to?

According to me the key factors are – develop your skill for the business, do market research, have a talent for ideation and innovation! My quest is to observe life and to present current and old dishes in new plate and that is my strength.

You are very active on social media platforms. What do you feel is the benefit of this media and is it really something that will revolutionise marketing of entertainment?

My only personal factor in being active in social media is to connect with the people I do not know as it widens my horizon and I can express directly to them. So we talk about our work to people and take feedback from strangers too, it develops your skill to improve as well. Such open platforms are good ways to communicate.

What are your hopes from the new government, both at the centre as well as in Maharashtra. The film industry, as mentioned, is iconic in brand and has a lot of brand value but this doesn’t always deliver incentives to the industry from the government. Do you think this will change?

Unfortunately, the government at the center or state level has never recognised film industry what it deserves, they don’t share the vision as it can be powerful media to influence people. It’s a major device to develop a culture in children of tomorrow. With the government, it’s not only the financial issue; it’s the issue of recognition of ‘importance of cinema’ that the government needs to look into. Please study what American cinema has done to its own country and how it has influenced other major countries and India is nowhere close to it, yet. Cinema speaks about your country, culture and brings tourism and business.

The government has set up a new Skills Ministry. Given your involvement with education at Whistling Woods, what do you think will be the benefit of this to the film industry?

This is the first positive step taken by the new government, which brings big hope to fulfill my dream to see India to be known as the ‘Big Think Tank’, an ‘ideator’ rather than just a doer. Whistling Woods has been doing this since its inception in 2003. If you look at most of our alumni, they all are actively working towards bringing a new change in cinema and media industry. They are doing brilliant in their respective cinema and media jobs. I only hope and wish that government should be able to recognise this soon.

Related Topics:Bollywood Deewar Film industry Government of India Mother India Pardes Rahul Puri Ram Lakhan Subhash Ghai Whistling Woods International

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Executive Dossier

Game on, fame on as Good Game hunts India’s first global gaming star

Published

2 weeks ago

January 27, 2026

indiantelevision.com Team

MUMBAI: Game faces on, pressure high India’s gaming ambitions are levelling up. Good Game, billed as the world’s first as-live global gaming reality show, has officially launched in India with a bold mission: to crown the country’s first Global Gaming Superstar.

Blending esports with mainstream entertainment, the show brings together competitive gaming, creativity and on-camera performance in a format that tests more than just joystick skills. Contestants will be judged on gameplay, screen presence and their ability to perform under pressure, reflecting how gaming has evolved from pastime to profession and pop culture currency.

Fronting the show are three high-profile ambassadors: actor and entrepreneur Samantha Ruth Prabhu, Indian cricket star Rishabh Pant, and gaming creator Ujjwal Chaurasia. The winner will take home Rs 1 crore ($100,000) among the largest prize pools for any Indian reality show along with the chance to represent India on a global stage.

Backed by a planned annual investment of up to Rs 100 crore, Good Game is also courting brand partners, promising a minimum reach of 500 million among India’s core youth audience. The creators position the show as a bridge between entertainment and interactive culture, offering long-format content, community engagement and commercial scale.

Auditions are now open to Indian citizens aged 18 and above, inviting amateur and professional gamers, creators and performers alike. Shortlisted candidates will be called for in-person auditions in Mumbai on 14 and 15 February, and in Delhi on 28 February and 1 March 2026.

With big money, big names and even bigger ambition, Good Game signals a shift in how India views gaming not just as play, but as performance, profession and prime-time spectacle.

Digital

SpotDraft hires new CMO and CFO to fuel global push for its AI contract platform

Published

2 months ago

December 3, 2025

indiantelevision.com Team

INDIA: SpotDraft has strengthened its senior ranks as it gears up for faster global expansion, naming Alon Waks as chief marketing officer and Amit Sharma as chief financial officer. The appointments follow the firm’s $54 million Series B round earlier this year and mark a push to scale across the Americas, EMEA and India.

The AI-powered contract-lifecycle-management platform has posted 100 per cent year-on-year growth in customer acquisition, counting Apollo.io, IPSY, Mixpanel, Oyster and Panasonic among its global clients. The firm processes more than one million contracts annually, with volumes up 173 per cent and nearly 50,000 monthly active users.

Waks, a veteran of Kustomer, Bizzabo, CreatorIQ, LivePerson and ZoomInfo, will steer global marketing and category positioning as legal teams adopt AI-driven tools. Sharma, who has led finance across scaling tech firms since 2016, will guide financial strategy, investor relations and market expansion.

Both hires aim to sharpen SpotDraft’s bid for a larger slice of the fast-growing legal-tech market, expected to exceed $63 billion by 2032. Co-founder and chief executive Shashank Bijapur said the company is focused on scaling go-to-market operations in the Americas, deepening leadership in EMEA, and accelerating AI capabilities for general counsels and legal-operations leaders.

Clients report shorter deal cycles and better alignment between legal and business teams. “What used to take weeks now happens in days,” said Abnormal Security senior legal operations manager Susan Koenig. DeepL head of legal operations André Barrow, said SpotDraft has helped reframe legal “from a cost centre to a generator of revenue”.

Executive Dossier

Outdoor Ads Get Smarter as LOC8 Shifts OOH from Visibility to Attention

Published

3 months ago

November 28, 2025

indiantelevision.com Team

MUMBAI: Out-of-home ads were once the wallflowers of marketing seen by everyone, noticed by few. But in an age where attention has become the world’s most fought-over currency, even billboards are getting a brain upgrade. Enter LOC8, OSMO’s AI-powered attention engine, quietly reshaping the old OOH playbook by measuring not just who could have looked at an ad, but who actually did. The shift is subtle but seismic: impressions are out, impact is in and data, not gut instinct, is calling the shots.

In a landscape where marketers question every rupee spent outdoors, LOC8 is turning lampposts, flyovers and traffic islands into precision-mapped attention laboratories. By crunching dwell time, visibility zones, perceptual size and real-world obstructions, the platform is dragging OOH into a future where creativity meets computer vision and where the best ideas aren’t just eye-catching, but eye-measured. From automotive facelifts to FMCG novelty and real estate trust-building, the message is clear, outdoor has stopped shouting and started listening. Indian Television Dot Com explores more about it in an Interview interview with OSMO co-founder Nipun Arora.

On how OSMO is shifting outdoor advertising from a visibility-led medium to an attention-led one through LOC8.

Traditional OOH has long been measured by visibility and impressions i.e how many people could see an ad. OSMO, through its proprietary AI platform LOC8, is shifting that narrative more towards likelihood of being noticed. Using computer vision and machine learning, LOC8 analyzes real-world video data to measure visibility zones, obstructions, dwell time and perceptual size; bringing precision to how attention is quantified outdoors. It moves the focus from mere impressions to quality of impressions, making OOH a data-verified, attention-led medium comparable to digital in accountability.

On how marketers can use LOC8’s dwell-time, visibility and perception insights to craft more effective, emotionally resonant OOH campaigns.

LOC8 helps brands understand how people truly experience outdoor media how long they look, from what distance, and under what conditions. By quantifying dwell time, visibility duration, and perceptual size; marketers can plan campaigns that align with real human viewing behavior. This empowers creative and strategy teams to design emotionally resonant storytelling where messaging, visual hierarchy and placement are optimized for how people actually notice and process OOH creatives.

About what LOC8 has revealed through campaigns like Renault Triber and Namaste India on how categories such as auto, FMCG and real estate use attention metrics to drive outcomes.

Each category uses attention data differently but all share one common goal: to convert outdoor visibility into measurable engagement.

• Automotive | Renault Triber

For the new Renault Triber facelift, bold creative met data-led planning through LOC8. By analyzing on-ground video data, LOC8 measured real audience attention across placements factoring in visibility zones, obstructions, traffic speed and perceptual size. This enabled Renault to identify corridors that delivered maximum reach, saliency and engagement, optimizing media efficiency and ROI.

• FMCG | Namaste India

In OOH, innovation is the hook and assets are the bait. But bait often hides the hook. With Loc8’s attention metrics, we ensured the bait wasn’t a hurdle, rather it became the perfect stage for innovation to deliver its full impact! The insight proved that creative novelty, when validated by attention data, drives deeper engagement and measurable brand lift.

• Real Estate

For luxury and real estate campaigns targeting HNI/UHNI audiences, attention patterns differ especially between front and rear passengers, who are often the core audience segment for premium sites. LOC8’s ability to distinguish rear vs. front visibility plays a critical role here. It helps identify sites that offer longer viewing windows and stronger perceptual dominance from the rear seat where decision-makers are most likely seated making it a key differentiator for premium and trust-led categories. Together, these insights prove that auto optimizes for impact, FMCG for recall, and real estate for trust visibility showing how attention metrics adapt to category goals while ensuring measurable outcomes.

On how attention analytics will shape the future of brand storytelling and media planning as OOH becomes more digitised and data-driven.

As outdoor digitizes, attention analytics will inform not just where to advertise but how stories are told in public spaces. This evolution transforms OOH from a static broadcast channel into a dynamic attention ecosystem, where creativity is optimized through evidence-based insight.

On how LOC8’s data-led framework helps marketers quantify OOH impact and make outdoor a more accountable, ROI-driven medium.

LOC8 bridges the gap between intuition and evidence. By quantifying metrics like visibility duration, attention opportunity index, and visual saliency rank, it allows brands to benchmark site performance and justify investment. This data-led approach brings transparency, comparability and ROI measurement to a medium historically driven by perception.

On how OSMO ensures AI and computer vision enhance creativity rather than reduce it to numbers.

OSMO believes that technology should enhance creativity, not overshadow it. LOC8’s attention models reveal what naturally draws the human eye helping creative teams refine design cues, contrast, and visual hierarchy for greater impact. By merging art and science, LOC8 empowers creativity with intelligence.

About the creative best practices and design cues LOC8 has uncovered regarding what truly captures consumer attention outdoors.

LOC8’s visual cognition analysis has surfaced clear patterns across campaigns:

• High contrast and minimal messaging outperform cluttered designs.

• Motion cues draw significantly longer dwell times.

• The first two seconds are critical, creatives must establish focus instantly.

• Contextual alignment between the creative and its environment increases attention by over 30%.

These learnings offer a scientific foundation for creative effectiveness helping brands design OOH that’s visually magnetic and emotionally memorable.

On how attention metrics will integrate into omnichannel planning where OOH, digital and social work together for unified brand impact.

Attention can become the unifying KPI across OOH, digital and social to creates seamless storytelling continuity, where outdoor triggers digital engagement. The future of omnichannel planning lies in attention-led integration ensuring that campaigns don’t just reach audiences everywhere but truly capture and hold their focus.