Prateek's Musings

My Connection With Films

As a fat kid with very few friends, watching TV was my only pastime. While I watched cartoons alone on most school afternoons, watching the World Television Premiere of some successful films on a Sunday evening with my parents is a core film-viewing memory. It was only after I stepped into adulthood that I started visiting theatres more often to watch a few films, and for the rest I relied on my hostel room's Wi-Fi connection and my experience of using torrents.

Sizing India's film business

With more than 10,000 theatres across the country, revenue from theatrical film exhibition in India are projected to reach INR 384 billion in 2024 and cross INR 512 billion in 2029 (Source). This number is miniscule compared to USA and China, but makes sense in the context of India's connectivity, technological penetration, disposable income and entertainment preferences.

Anecdotally, Indian film industries churn out scores of film every year, however their budgets and scales have been fairly modest. This trend has drastically changed in the last decade due to global critical acclaim and financial success attained by films like the Baahubali duology and Dangal. The stupendous success of the magnum opus RRR at the Oscars and Golden Globes have definitely put Indian films on the map of world cinema.

Business Model Of Films By Dummies

There are three key aspects of the business of filmmaking - production, distribution and exhibition. Production encompasses selection of the base story or concept of the film, hiring or selecting writers to expand it into a screenplay with dialogues, hiring or selecting the director and other technicians, casting actors, readying the inputs required for filming, shooting the content and then enhancing the content with dubbing, re-recording, background score, DI, VFX+CGI and other activities.

Distribution involves the sale of audio and movie streaming rights to respective platforms, television rights to a TV network and sometimes dubbing rights to a specialist company. Production companies aim to recover the production costs and earn some profits through these sales. As the production company sells various rights, they decide upon a date for the theatrical release of the film in consultation with the industry's producer and distributor governing bodies, and streaming release dates with their partner platform. The extent of preferential treatment given to a film in setting a release date is directly proportional to the value of its theatrical and streaming rights, which is linked to the film's budget.

Distributors prepare for theatrical exhibition of the film by signing agreements with theatre owners and multiplex chain management. These agreements outline the number of shows, ticket prices and revenue share between the distributors and theatre owners. Andhra Pradesh, Telangana and Tamil Nadu have a cap on ticket prices; although the former two states allow this cap to be raised for some films with prior permissions from the Government.

Sustainable Scaling Of Film Production

More and more films with bigger budgets are being produced every year, as production companies and directors look to bring together ensemble casts, utilise modern technology and creating multi-verses of characters, akin to the Marvel and DC Cinematic Universe from Hollywood. However, reports suggest that the lead actor's salary is the biggest cost incurred during the production of a star-led film. These salaries are market-driven, and both producers and distributors know that stars can single-handedly bring in massive footfalls and theatrical revenues in the release weekend itself, thereby ensuring that the distributors break-even on their investment at the earliest.

However, a film's financial success is hard to predict because it depends on the its reception and the performance of other films released during the same period. In situations where films severely underperform, actors have ended up part of their salary to compensate the producers and the distributors. Therefore, it makes more business sense for the sought after stars to adapt the profit-sharing model and divide their salary into a fixed component proportional to the number of days they allot for a film, along with a variable component linked to the theatrical revenue and the value of the streaming rights sales.

The Inevitable Intervention Of Streaming Platforms

When the COVID-19 pandemic brought the world to a standstill, people sat up and took notice of streaming platforms. The massive influx of viewership emboldened them to sign exclusive deals with production companies to release films directly on their platform instead of theatres, giving them a lifeline and a way out of the accumulating interest.

While initial deals were pretty much always a win for the production companies, platforms have grown enough to enforce their terms and even revise the terms depending on a film's theatrical success and initial viewership garnered on their platform. I am not aware of the depth of their analysis of a film before signing or revising a deal, but it is a lesson that production companies could imbibe to choose whether to produce a film and decide the resource allotment and the scale of the publicity campaign and theatrical release.

The Not-so-Slow Death Of Cinema Theatres

If you are at least a 90s kid, you might remember the theatre where you watched a film for the first time. For most people, it is a single screen theatre that might have become defunct or even destroyed and replaced by a multiplex or a commercial complex. Apart from selected areas in some South Indian states, single screen theatres have fallen out of grace. Sudarshan 70 MM, a notable single screen theatre in the RTC X Roads area in Hyderabad and a big contributor to the financial success of some landmark Telugu films, was demolished in 2010 due to being unviable.

PVR INOX - the biggest multiplex chain in India has grown multifold in the last few years, both organically and through acquisitions, but their latest financial report clearly signal a top-line and bottom-line downturn along with poor unit economics. They have also managed to restrict footfalls from South Indian films by choosing not to screen films with a theatrical window of less than 8 weeks, and have resorted to signing exclusive deals for re-releases of older films which did not garner enough theatrical revenue during their original runs. Things are probably worse for some of the smaller chains.

Consolidation is the natural course in an asset-heavy industry like this, but distributors and theatre owners need to come together and find a way to make theatrical releases profitable for both parties without distributors having to press for higher revenue shares and theatres having to push food and beverage spends for top-line growth.

What's The Way Forward?

Streamlined processes, robust contracts, focus on the fundamental revenue stream needs to support creativity and innovation to make films a sustainable and more lucrative business to attract investors and audiences.