This issue of TW has two sets of page numbers - International pages TW-1 to TW-64 for TW, and India pages TM-1 to TM-36 for TM. TM is inserted between pages TW-50 and TW-51 of TW.
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'Reel'ing Under Reality! Urvashi Dons a 3D Beauty PVR Buys DTS, Strengthens Hold
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S P E C I A L F E AT U R E
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A Different Stroke of
Cinema Design INDIAPLEXING
Being on the Cutting Edge (of) Technology, Cinematically
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Mindscape M TM E D I T O R I A L
DIGITAL (S)TAKES! As I sat down conjuring up my ‘mindscape’ to fill out this brief space, two things struck my mind and began to pull it on either direction: digital cinema, and digital piracy. While one projected India’s growing cinematic brilliance through 2k colours, the other showed the anti-vibes through an evenly magnified lens. Just as the cinematic world began reckoning India as a growing digital major, with the hitherto diehard-conservative, standalone cinemas joining the multiplexes in the DCIcompliant digital journey, the recently busted lab-based piracy served a notice- the digital stakes are in jeopardy, probably in bigger danger than ever, with cross-border attachments! With all the digital claims, India still happens to be a majorly ‘standalone’ market, and there had been some truly commendable efforts to digitise this potential market so that the unified digital stakes would bring a bigger, common good. The film-loyal, average exhibitor was slowly changing his notion that the ‘digital high-funda’ was being thrust on his
community just because the West ran out of its filmbusiness ideas and wanted to make new business – in the name of piracy spectre – which was bought by the modern ‘big brothers’ of Indian cinema. Now, if piracy happens in the digital lab itself, ‘what’s your (s)take?’ is his question! That the digital cinema helps thwart piracy goes without saying, at least notionally! Making it practically possible is an undeniable responsibility on the champions of digital cinema. Any little dilution in this realisation would only dilute the whole cause, and India would have to stake not digital fame, instead digital shame!
Bhavanashi Ramakrishna Editor, Theatre Magic
Breaking News...
New Cinematic Treat in Bengaluru
Urvashi Dons a 3D Beauty Even as the most vehement and biggest advocates of technology cinema continue to weigh their options, a conventional, standalone cinema did the very unconventional, in the parley of the industry talkers. More, this happening in a very conventional backdrop, without the ado that is usually associated with today's fancied multiplexing. Urvashi Theatre - the iconic symbol of Bengaluru's cinematic pride - became India's first standalone, and South India's second cinema to have done a DCIcompliant 3D digital, elevating the city's cinemascape to the global 3D domain. On the occasion of 11 Anniversary, TM celebrates the glory with a snapshot tribute to the bold, pathbreaking initiative. By Bhavanashi Ramakrishna Roughly two-and -half-years ago, when TM visited Urvashi Theatre in Bengaluru, the wonderment that took over initially soon turned into reassurance of a bold and grand statement, both in art and architecture of the cinema: art- for the illustrious genre it symbolised, and architecture- it was made to express itself.
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Urvashi - a name that connotes a celestial damsel - played true to its name with beauty and bold elegance characterising its existence. Topping all the periodical beautifications to keep it enticing, the cinema did a major renovation at the time by incorporating state-of-the-art sound and projection system (that comprised
Strong Ultra Xenon projection, Tanoi speakers and JBL amps) a complete overhaul of seating and screen, and computerized ticketing, in addition to a swanky recreation area within the theatre premises. (Read Theatre World September 2007: 'Urvashi appeals in New Glamour') That was to make the theatre
adequately competitive with the aggressive multiplexes, as also in tune with demand of the time. For a second time in two years, again responding to the same demand, Urvashi did what most cash-rich cinemas hesitate. It has incorporated a DCIcompliant, 3D digital projection system, becoming India's first standalone conventional theatre to do so. However, it is next to Sathyam Cinemas of Chennai who took the honours of being India's first to have 3D digital, but with Sathyam being a multiplex in its own right - with a cluster of five screens - Urvashi takes the laurels of being the first 3D digital standalone with a large capacity of 1100-plus seating, including a balcony of 464 seats, and 56 x 28 feet screen. That sets up for a truly awesome setting, more for a 3D digital viewing. As for the tech-specs, the system comprises •
Christie's new Solaria Series 2k digital projector CP2220 that is also rendered ready for the 4k projection as and when content is made available
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Server solution by Qube Cinema XPD
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3D systems by XpanD X101
Interestingly though, Urvashi's install of XpanD studio-grade 3D system is India's first, and reportedly Asia's third, after HongKong's Golden Harvest cinema, and Japan's Shochiku cinema. While the Christie projection and Qube XPD server systems were supplied and installed by Mumbai-based Scrabble
Entertainment (as part of the latter's joint-initiative with Christie), the XpanD 3D system was sourced directly from the USA. Though Scrabble is also now a partner of XpanD for India, Urvashi management struck the deal directly with the manufacturer, understandably for a better bargain. Now, Urvashi is rearing for the December 4 release of Jim Carrey's `Christmas Carol,' and the all the muchhyped December 18 release of James Cameron's animated magnum opus `Avatar.' And, many more later- some 30 titles that are promised, if not lined up to come in 3D over the next 12-18 months. Now the big question why? "Simply because we didn't want to be
missed out in the mega Amit R Gowda action," immediately comes the quip from Amit R Gowda, the young and dynamic heir-apparent of Urvashi. "The blockbuster movies are increasingly happening in 3D digital," says Amit. "Not having a screening system for those movies means not only we are missing all that action and excitement, but also we are denying our patrons the opportunity to live the entertainment," he says, adding, "this also means potential loss of business." "Three D digital blockbusters like 'Up',' Ice Age,' 'Transformers: Revenge of the Fallen' and 'Monsters Vs Aliens' have all come and gone. They were not released in Bengaluru because no theatre in the
What Makes Urvashi Alluring? If getting a good movie is one thing, and presenting the same is the other, the next thing in line is getting the patrons to set the cash registers ringing. Urvashi has been able to do this as a regular practice. Reason? The common human psyche: price and ease. Despite investing a whopping Rs. 1.4 crore, Urvashi cautiously kept its admission price just the same as its
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film-based screening which means the patrons get to enjoy higher thrills at low price. Since the ticketing can be done online, it is considered far more easier. What's more, Amit is seriously contemplating linking Urvashi's ticketing system to Facebook and Twitter.
With so much sophistication added to its unique ambience, isn't Urvashi alluring?
city was equipped with digital- let alone 3D," explains Amit, "this only meant we have been denying our supportive patrons the best entertainment option. This is exactly where we wanted to move ahead, come what may the cost." Obviously, the system install costed over Rs. 1.4 crore but the Urvashi operator is undeterred. More, he is doubly exuberant. "With movies like Avatar round the corner, we cannot afford to miss the action anymore," Amit declares. "Giving the best form of entertainment has been, and will be our forte." Urvashi had actually begun screening Bollywood, and South Indian movies on its 2k digital format for over three weeks now. "It's been incredible," says the operator. "The digital presentation, particularly in 2k, has a clear edge over the film-based screening," he explains. "Once the audience have experienced and learnt what the movie watching experience can be with 2K digital, the word spreads and bringing more and more audiences, most of them repeatedly." Ajab Prem ki Ghazab Kahani movie gave a box office collection of over Rs. 16 lakh in the first week of running itself at Urvashi. That's 75 per cent occupancy, and too good for any cinema. The theatre had ran 2012 for
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two weeks to almost a packed house. "We ran four shows a day in the first week," informs Amit, "21 out of 28 shows went houseful." The theatre reduced the number of shows by half in the second week, and had half of them running to full house. Recalling that Monsters Vs Aliens collected as much as Rs. 75 lakh from a few 2k digital theatres in Mumbai circuit, Amit says it wouldn't have collected more than Rs. 15 lakh, had it been shown on film medium. According to him, over and above the quality of the moviemaking, it is the presentation that makes it more appealing. "This appeal comes with 2k digital which is what we are doing," he declares.
That almost 30 titles are lined up for the next 18 months or so, Amit is not at all worried about regular content flow. "The content is there and coming, we need to be geared up to grab it," he says. "Avatar is anyway the most anticipated movie in recent years. We are eagerly waiting for IceAge too." Animated movies with themes like Monsters Vs. Aliens, Avatar and Ice Age go very well with Indian audiences, the operator says, adding since there are more of such genres coming from Hollywood, and sometimes from India too, 2k digital and 3D digital are the best way to go about presenting them. So, digital and 3D is fast catching up Indian cinemas, at least in urban markets, no?
PVR Buys DTC, Strengthens Hold The expected has happened finally. The ailing Delhi-based multiplex chain DT Cinemas - after prolonged dilly-dallying - has come under the fold of the eying PVR Cinemas, another Delhibased multiplex chain. The former's changing hands wasn't something sensational. What the buyer got in the bargain is interesting- a very critical operating space and more strength to the regional hold, besides the best monitory deal. A TM perspective: "The acquisition of DT Cinemas and long-term strategic partnership with the prestigious DLF Group is part of our expansion strategy," said PVR Chairman and Managing Director Ajjay Bijli commenting on the acquisition. "It will further enhance PVR's position as a leading multiplex operator in the country," he said,
Putting all the long-held speculations to rest, PVR Cinemas has finally announced its buyout deal with the ailing DT Cinemas. The interesting part of the otherwise expected story is that the realty behemoth DLF Group has given away its non-core business unit on a slump sale basis, with a bonus attached- an exclusive multiplex partnership for the cinematically strong-rooted PVR. Further, this acquisition news came close on the heels of PVR's sale of 10 per cent of equity - amounting to Rs. 42 crore - to the Thai exhibition company Major Cineplex Group, with whom it set up the joint-venture PVRBlu O bowling alley business. In what is said to be the the best buyout deal in the country after the Reliance ADAG's buyout of Adlabs, the PVR-DT Cinemas buyout deal is estimated at Rs. 56 crore, in cash and stock. As part of this, PVR will issue 2.55 million shares, worth approximately Rs. 36 crore to DT Cinemas - which is said to be 10 per cent of the fully diluted paid-up share capital - and pay Rs. 20 crore in cash. Further, PVR will have exclusive rights to operate as a multiplex partner in all the mall developments that the DLF Group would create in the country. That the DLF group has mega malls
adding, "the industry is undergoing a paradigm shift. We foresee an opportunity for growth in the film and exhibition space, and we want to be prepared to meet the challenges and provide innovative solutions in entertainment." planned at Delhi (Chanakaya Puri), Mumbai, Chennai, Hyderabad, Noida, Jalandar and Lucknow amongst other cities, the DT Cinemas buyout deal will give PVR an enviable operating ground and significantly contributes to consolidating its business strengths. This is significant from the point of view that PVR has plans to create as many as 100 more screens over the next 18 months time. According to the market observers, the only consolation for the losing DLF, if it can be viewed as such, is that PVR would operate the accruing 26 screens from DT brand on a revenue-sharing basis by sharing 15 per cent of the revenues with the DLF, rather than a fixed rental for the real estate.
PVR is now stronger by as many as 26 screens from six locations in New Delhi, Gurgaon and Chandigarh, taking the total tally to 134 screens, from the current 108 from its own stable. Another three-screen cinema has been slated for launch shortly. According to industry experts, the deal would give PVR around 60-70 per cent of the market share in the national capital region, and will further strengthen its position in the multiplex industry. The company's current market cap is estimated at Rs. 321.73 crore. It has reported a consolidated net profit of Rs 6.44 crore and consolidated revenue of Rs 92.22 crore for the quarter ended September 30, 2009.
Disappearance of A ‘Digital Talkies’ Promise The buyout of DT Cienmas by PVR means the end of an ambitious brand that was created with lot of promises and corporate wherewithal. Though a non-core business for the realty giant, it infused every skill and energy required to make it a competing business and an attractive brand. Futuristically named Digital Talkies, the
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DT brand did make some aggressive moves in the initial stages like hosting special film festivals - including what was referred to as reverse digital, meaning movies that were made in digital format and converted to film medium - and making strategic partnerships with friendly circuits for sharing domain skills and strengths. It
created a triangular alliance with Fame Cinemas of Mumbai and Sathyam Cinemas of Chennai towards this goal. As part of the alliance, the company had also contemplated creating a consortium for ushering in digital cinema. The objective of the proposed consortium was to shoot, distribute
and exhibit movies in digital format. The company, on its own, had in turn mooted roping in tech-brains such as Shekhar Kapur for making digital movies of the popular genre. When the DLF IPO created unprecedented ripples in the market, everyone was given to understand
that the DT cinema brand will be rejuvenated and explode across the cinematic grounds in the country. However, somewhere in the middle, it appeared to be losing track from where it never really managed to come back. Compounding the tough times was the rude upheaval in the
realty industry that shook the feet of the brand's mighty parent that suddenly appeared 'not in a mood' to spend its beaten strengths to energise its entertainment business. The dicey journey thus began, ended in landing under the PVR banner.
Adlabs is Reliance MediaWorks Adlabs Films has changed the company's name to Reliance MediaWorks Limited with effect from 5 October, 2009. The company has received the certificate from the Registrar of Companies, Maharashtra registering the aforesaid change in name. The company's Board of Directors had decided to change the name as the original name Adlabs Films, was reflective of the company's initial business as a film processing laboratory. Pursuant to the Reliance ADA Group acquiring the controlling stake in the company in 2005, the company witnessed growth in the canvas and scale of its operations as Reliance ADA
Group's financial strength and management expertise acted as a catalyst in its expansion across businesses like exhibition, film and media services, and television software. Reliance ADA Group's financial strength and management expertise have acted as a catalyst in expanding the company across various interrelated businesses of exhibition, film and media services, and television software. The company today has a presence in the film exhibition business in India and internationally; and has entered new segments of the film production value chain including digital post-
production,digital cinema mastering, studios/shooting floors, film and TV equipment rentals, visual effects and image enhancement, film restoration BPO and other value added services The company's operations include a 100 per cent owned facility in Los Angeles, California - Lowry Digital - which is a premier digital restoration facility. The company also houses a television production house, the BIG Synergy. Reliance MediaWorks CEO Anil Arjun said, "the name Reliance MediaWorks Limited more accurately reflects our identity as a diversified film and media services company with a global presence and enables us to draw upon the international recognition of the Reliance Anil Dhirubhai Ambani Group brand."
The 'Magadheera' of Cinema! considering the way it was made, no one really expected it would turn out to be such a mega hit to challenge the mighty Ghajini.
In an age where movies disappear in the second, if not the first, week of their release, and bite the dust doubly faster than their making time, here is a reel Magadheera. Produced and released by Geetha Arts - that created the mega Bollywood blockbuster Ghajini - and directed by S S Rajamouli, the Magadheera has rewritten most filmy records of India. Consider this: "
It ran to houseful shows for over 100 days in as many as 223 centres
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It ran to houseful shows for over 50 days in as many as 302 centres
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It emerged to be the biggest ever hit and highest grosser in South India
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It surpassed the hitherto biggest hit (Shivaji's Rs 62 crore collection) by netting Rs 104 crore, excluding the satellite and audio rights
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It collected Rs 28 crore in the first week itself- 16 centres collected Rs one crore each, which is an all-time record in the south
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The movie starring Chiranjeevi's son Ram Charan Teja and Kajal Agarwal in the lead roles is claimed to be second only to Ghajini which is from the same production house and collected Rs. 200 crore. Set in two periods - 600 AD and contemporary times - the movie revolves around a reincarnation theme that has apparently enticed the movie audiences into multiple visits. The extraordinary success of the movie is attributed not only to the fact that no expenses were spared to make the film come good, but also to the genius of the director who is hailed to have unleashed the best of the story telling skills on the big screen. Though the industry pundits predicted good returns for the movie,
"I told Rajamouli, 'there are no budget limits for this movie. Spend whatever you want, make whatever you like but it should be lavish and should re-write the history'," Allu Arvind, chief of Geetha Arts, was quoted as saying. "Rajamouli is a great director with excellent vision. He made it." Probably, a more modest statement from the producer-distributor, who is also the maternal uncle of the movie's here, is that "this success belongs to entire Telugu cinema. Magadheera is the pride of Telugu cinema‌this credit goes to all Telugu people who made this movie bigger. " The reality check is that Indian movie audiences - who are largely oriented to popular entertainment - have always welcomed a story that is told grippingly, irrespective of the production extravaganza and effusing glamour. Are the believers of outlandish moviemaking and oozing oomph factor paying an eye or ear?
Inox Opens in Rajarhat Movie buffs in Kolkata now had a brand new reason to cheer about the Diwali this year. They were presented with a new four-screen cinema at the City Centre New Town Mall in Rajarhat locality of the Eastern metropolis. Taking the honours with their latest cinema launch, Inox Leisure Ltd. became the only multiplex chain to have seven multiplexes in West Bengal, including four in Kolkata. The new multiplex has four screens for a total of 1190 seats, including 34 luxurious recliner seats. Created in line with what is boasted as Inoxian standards, the cinema is characterised by state-of-the-art sound and projection, edge-to-edge screen, plush seating with ample legroom and professional services all presented in an attractive ambience. INOX Rajarhat which has 4 screens & 1190 seats including 34 luxurious recliner seats will be open to patrons from 16th Oct'09. Nationally INOX operates 29 multiplexes and 105 screens in 20 cities across India.
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Luxury is the corner stone of all INOX multiplexes; plush seats with ample leg space, lush carpeting in the auditoriums, a spacious lobby; all backed by world class hospitality will take the movie viewing experience at INOX Rajarhat to a different level altogether. Mr. Alok Tandon-CEO, INOX Leisure Ltd. said, "We have been at the forefront of the multiplex revolution in West Bengal with the highest number of properties in a single state. The people of Bengal are true connoisseurs of cinema and their continued patronage to our existing
multiplexes has been very encouraging. We hope that patrons will similarly continue to enjoy their experience at our latest offering INOX Rajarhat with its convenient location, easy accessibility, state-of-the-art facilities and high-end technology. "With 7 multiplexes & 26 screens in our stable, East is topmost on INOX's expansion map. We aim to have 17 multiplexes & 66 screens in this part of the country by the end of 2011." added Mr. Tandon. INOX presently operates 4 multiplexes in Kolkata (INOX Forum, INOX City Centre, INOX Swabhumi and INOX Rajarhat), 1 each in Darjeeling, Durgapur and Burdwan.
Mukta Movies to Feed Cinepolis India Cinepolis India has entered into an agreement with Mukta Movies Distributors - the distribution concern of Mukta Arts - for sourcing movie content for its upcoming rollout of multiplex theatres across India. Under the terms of the three-year agreement, Mukta Movies Distribution will source all domestic movie content for Cinepolis. The Mukta-Cinepolis tie-up opens a big opportunity for Indian movies going overseas for international distribution to the Latin and South American markets where Cinepolis has a strong presence. Cinepolis has been instrumental in developing Mexico to become the fourth largest market for Hollywood movies over the past decade. Cinepolis Mexico tops the movie charts with over 60 per cent market share in the country. In India, Cinepolis had announced plans to rollout 500 screens in the next seven years, most of which will be in the megaplex format. Large format megaplexes allow for more titles to be played and for titles to stay in theatre for a longer first run. This, in turn, offers consumers with more movie choices and producers with a superior financial payback on their film investment. All Cinepolis theatres have been claimed to feature digital projection
technology. The first Cinepolis multiplex is scheduled to open in Amritsar in November 2009. "We are pleased to associate with a renowned global brand like Cinepolis," said Mukta Arts chairman and managing director Subhash Ghai. "With their aggressive pan-India rollout plan and their large format megaplex designs, we stand ready to support Cinepolis India for all their film programming needs with high quality and timely service." "Cinepolis is pleased to partner with Mukta Arts which is a premier brand in the Indian film industry," said Cinepolis India country head Milan Saini. "With its long standing and strong associations with all banners and production houses in India, Mukta Arts can provide us with a key advantage in securing the wide and diverse content that we require for our national foot-print of cinemas."
Scrabble in Pact with XpanD Scrabble Entertainment Pvt. Ltd., India's leading provider of solutions for digital conversion, already working in a partnership with Christie, broke yet another ground recently by making non-exclusive alliance with XpanD, the USA-based 3D cinema and technology platform. The partners have an ambitious plan to roll-out a total of 100 3D digital screens in the first phase that is intended to commence in November-December 2009.
The partnership endorses XpanD's reputation as the dominant 3D leader in the Asian continent, and validates the progressive vision of Scrabble Entertainment towards digital conversion of Indian cinema exhibition industry. Having already developed the critical space in the digital conversion business through a strong business model of VPF, Scrabble is positioned to set off to the next level of digitisation with 3D digital roll out.
By financing the exhibitors' transition to the digital format, Scrabble had already secured the studios' commitments to provide both 2D/3D content, and its forecasts to install over 200 systems annually is expected to provide a natural succession into 3D digital domain. XpanD, in its turn, has been making strong strides in the North American market endorsing the Hollywood movement of the 3D experience. "The XpanD system provides complete flexibility for the exhibitors," said Scrabble Entertainment CEO Ranjit Thakur. "It's the best value for money system out there considering that the exhibitors can maximize their revenue potential every time," he said, adding, "we are proud to partner with a company like XpanD." According to Maria Costeira, XpanD's CEO, this, by far, has been one of their most exciting announcements as the first 3D company to penetrate India's digital marketplace. "We intend to demonstrate and maximize the XpanD 3D brand by introducing India to our advanced, cutting-edge active technologies while providing an entirely new concept and, for many movie patrons, delivering the 3D experience for the very first time." Says Mohammad Ahmadi, President of Technology & Operations for Asia: "Our goal of partnering with a very capable, prominent and aggressive regional deployment entity was met when XpanD and Scrabble Entertainment entered into this partnership. I am very pleased to add Scrabble Entertainment to a list of great partners we have on this continent." Though India has about four 3D digital cinema installs till now, the market buzz is that the industry had been rearing to explode. That now an attractive business case is in place, the industry is expected to see multiples of 3D digital rollout in the coming months which XpanD is targeting.
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Indian genius has always made waves on foreign shores in various domains, including cinematic entertainment. It's been more in the reckoning particularly in the recent past- thanks to the emergence of a new genre and generation of entertainment entrepreneurs. Here is a snapshot of Indian genius getting accolades in overseas domain in the recent months (It consciously avoided the laurels achieved more than three months ago lest it sound stale):
nour Badshah Gets a Black Belt Ho Rukh g Bollywood Badshah is truly goin the r afte our hon places- from one other across the international st entertainment horizon- the late do won Taek in ' Belt being a 'Black a. from the Government of Kore assy Emb an Kore the Delegates from n flow y ciall espe have in New Delhi the er conf to bai down to Mum award on king Khan.
The title actually comprised two honours. Besides the Black Belt 5th Honourary in Taekwondo - a it also ls degree in Taekwondo leve
regards Shah as the Honourary Ambassador for Culture and Tourism.
"It is wonderful to wear this. I feel like I know Taekwondo sulate but a special thank to the Con on the n Kha ted exul an General," said occa sion . lade This is second international acco od for the 43-year-old Bollywo s of the Badshah, coming on close heel
honourary doctorate in arts and culture by Bedfordshire University in London for his contribution to culture. The award was based on the nomination made by the reputed NGO Routes to Roots. Earlier, roughly a year ago, by Khan was honoured as Datuk the Malaysian government, ie making him the first Indian mov us star to be conferred a prestigio Malaysian title.
NFDC Movie Lauded at Toronto Fete
Paltadacho Munis (Th e Man Beyond the Bridge), a Konkani language movie pro duced by National Film Devel opment Corporation of India (NFDC) and directed by debutant filmmaker Laxmikant Shetgaon kar, won the critics' awards at the Toronto International Film Fes tival.
The movie was select ed by the festival for its Discov ery Section that discovers new and em erging filmmakers from aro und the world, and showcases their debuting works. As many as 30 such movies were selected for scr eening, that included Shetgaonkar 's work. Of all the 30 entries, Paltad acho Munis was selected as the winner of the International Fed eration of Film Critics (FIPRESCI) Prize. The honour, besides its cla ss, is also valid from the point of view of the recognition that it gets. The Festival is considered one of the
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largest and most pre stigious international film fes tivals of the world and generates a busin ess of over $135 million CAD annually . The jury citation for Shetgaonkar's film read, "far from the sensory overload of India's big cities, this film explores smaller but enduring dilemmas, drawing together keen environmental sensiti vity with a nuanced view of vill age dynamics." Director Shetgaonkar , immersed in the culture of the region , tells his tale with grace and attentivenes s, taking the village traditions and beliefs seriously, while casting a jaund iced eye on those who exploit them," the citation added.
Expressing happiness at the honour, NFDC chairm an Om Puri said, "the Toronto Int ernational Film Festival is a ma jor global platform for all kinds of cinema from around the wo rld and this is an honor for India and for the first-time filmmaker. We hope to see more NFDC film s making a mark and winning int ernational awards for artistic exc ellence." Obviously exulted ove r the honour, the awardee Laxmik ant Shetgaonkar said, "I am excited with this honour. The idea is to raise an issue, try to reflec t different perspectives and ma ke people think. Though my film is in Konkani, it being sho wcased at the Toronto festival reinforces my faith that it is all about making a good film , irrespective of which language you make it in."
Cinefan's Lifetime Achieveme nt Award for Gulzar
Cairo Feather in Madhur's Cap Noted movie director Madhur Bhandarkar has added more feathers to his cap. The 33rd Cairo International Film Festival Cairo from 10-20 held in the Egyptian capital of called Tribute to on secti November had a special screened five select also has Madhur Bhandarkar, and kar staple. dara Bhan d movies from the renowne Chandni Bar, Page3, The movies screened included ion. Corporate, Traffic Signal and Fash er the presidency of The Festival which was held und honorary president Omar actor Dr Ezzat Abou Ouf and brity figures as Salma Sharif was attended by such cele kson, and Tom Berenger. Hayek, Lucy, Liu, Samuel L.Jac the heels of the That this tribute came close on recently concluded Bhandarkar retrospective at the it added further ival, Moscow International Film Fest ai-based movie Mum aura around the fame that the maestro has carved for himself. movies are not exposive, An exulted Madhur said, "my or to society. My movies maybe they just hold up a mirr what happens in our are not judgmental, I just show be a solution and society, sometimes there could Life goes on." sometimes there may be none. and hard hitting films Known for his socially relevant the highest honor in with d Madhur has been felicitate the prestigious ing winn by the Hindi Film Industry dani Bar, Page-3 Chan s film his National Award thrice for
Eminent movie personality Gulzar has been conferred upon with The Osian's Cinefan Film Festival Lifetime Achievement Award for 2009 for his contribution to Indian cinema. The award was presented to the writer-poet recently at a glittering programme organised at the
Siri Fort in New Delhi.
The Lifetime Achievement Awa rd for Cinematic Contribution is the most pres tigious Award presented by Osian's Cinefan and the tribu te focuses on Gulzar's creativity and contribution to entertainment that goes beyond cultural, linguistic and other boundaries. Noted film director Mrinal Sen was the winner of the Award last year. Gulzar's work has served as an inspiration for generations of audiences righ t down to the contemporary times. His films, dialogues and songs have swung from the romanti c lyricism of a mora gora ang layi le in 'Bandini' to that of the 1970s with 'Aandhi,' 'Parichay' and 'Kinara, ' to the youthful moods of 'Bunty Aur Babli' (200 5), 'Omkara' (2006) and 'Slumdog Millionaire' (200 8). Gulzar's contribution to the histo ry of Indian cinema has also been to infuse a sens e of poetry and wistful contemplation about the com plexities of human life as a writer of films, as a director and as a writer of songs. His movie Machis, and his songs from the movie Aastha still haunt millions of movie lovers in India and abro ad.
and Traffic Signal.
Emmy Awards Jury Show Man on the producer-director and noted film Mukta Arts chairman w Man for his larly referred to as Sho Subhash Ghai - popu d by the king - has been invite brilliance of moviema & Sciences as a y of Television Arts International Academ 2009 nd of judging for the Juror in the final rou Awards. International Emmy end the 37th ited as a Juror to att Ghai has also been inv will take place Awards Gala, which International Emmy New York City. on 23 November in a part of the "I am honoured to be An elated Ghai said: mbled hu l awards 2009 and fee International Emmy
representing my country on this International stage. It is my dream to see India too being nominated for these awards and I hope my dream d Ghai. comes true soon," sai regional awards come from the The nominees for the ging regions jud my Em r h of the fou semi-finalists from eac Middle-East. erica, Asia, Africa & i.e. Europe, Latin Am
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to Gold Coast Fete Tahaan Nominated le , a fable about a litt Santosh Sivan's Tahaan in se rpo pu and meaning boy's journey to find t Bes for inated his world, has been nom the 2009 Asia Pacific in Film e tur Fea s Children' y ). The award ceremon Screen Awards (APSA s lia' stra Au on , vember will be held on 26 No . ast Gold Co SA is an international Established in 2007, AP the Queensland State cultural initiative of a It brings together, in Government, Australia. N CN Atlanta-based unique collaboration, ased UNESCO and is-b Par International, and eration of Film FIAPF-International Fed s. on ati Producers Associ inated from over 210 Tahaan has been nom m 43 countries in the movies submitted fro will compete for the Asia-Pacific region. It 3 Indonesia's 3 Wishes coveted prize against
Krishna Shah Honoured with Raj Kapu r Award
Lovers, New Zealand's The Strength of Water, Korea's A Brand New Life and Turkey's The Bogeyman. Tahaan was nes Film Festival premiered at the Can been 2008, after which it has festivals across showcased in over 25 Rome, London, the globe including, Kong, Pusan, Seattle, Hong w York and Stockholm, Cairo, Ne a few. Cinekid to name just such as Tahaan features actors ul Bose, Rah , ika Sar Anupam Kher, erjee. Ban tor Vic and a Rahul Khann
Eminent Indian film personality overseas Krishna Shah ha s been honoured with the prestigious Raj Kapur Awar d fo r Lifetime Achieve ment by the Un ite d States Asia Busin ess Forum (USA BF). He was ho first Indian to ha noured for being ve made a mark in Hollywood as director on Broa a writer and dway, Hollywood and Indian Film Industry. The award was presented at a glittering progra part of the Foru mme held as m Convention recently in Los programme wh Angeles. The ich was attended by the Mayor of Antonio Villraig the city, osa as the even t's chief guest, Indian dignitarie ha d several s, including Un ion Cabinet Min convention had ist er s. The attracted hund reds of entrepr delegates from en eu rs and about 45 countri es. The USABF conv ention primarily focuses on 20 categories acro high-growth ss its operationa do main, including entertainment and media. "Raj Kapoor has been mentors during one of my my college days in the USA. He come back to In in spired me to dia to make mo vies. That beca said an exulted me Shalimar," Shah on the oc casion. Shah has been fascinated by th e transformatio film industry, pa n of the Indian rticularly the ris e of young filmm their innovative akers with cinema, which would have mad very proud from e Raj Kapoor wherever he is. I accept this aw name of The Ne ard in the w Indian Cinema , a future that is happening," Sh already ah added.
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duced The film has been pro and n ctio du by IDream Pro s. Film an Santosh Siv Pictures, IDream Independent e wid who took the world it to d sol , rights for the movie like beglo territories across the ds, rlan the South Africa, the Ne n, ede Sw Spain, Turkey, Greece Japan and the USA.
Rasul After Rehman, It's at the Academy eps Following the footst R A so tuo vir of music Re hm an , sou nd okutty technician Resul Po ing vot a as g is joinin emy member of the Acad es. tur Pic n of Motio Po ok utt y wh o ma de olades global waves of acc ning an Oscar for a few months ago win Millionaire, now his work in Slumdog the voting member made another- to be ademy of Motion of the prestigious Ac Pictures. 134 artistes who He is one among the itation to join the have received an inv of the other names Oscar ballot. Some s group include who are part of thi k Nicholson, Hollywood actors Jac ll Smith and Wi o, tin Quentin Taran A.R.Rahman and Indian celebrities like Mira Nair. be among the other Now, Pookutty will Academy, to 6000 members of the rs. ne choose the Oscar win
Rahman Scores An other Laurel
Indian music virtuoso A Rahman scored another global laurel. Couples Retreat, Rehman's firs t venture into mainstream Hollywoo d, has reportedly crossed the 100 million dollar mark at North American box office. The 113-minu te comedy was released worldwide on October 8 in Australia and New Zea land and October 9 in the USA . It has reportedly grossed ove r $ 102 million domestically, besides over $20 million overseas. Rahman provided ori ginal music for Couples Retreat, beside s writing and performing two songs: Na Na and Sajna. Rahman's son A. R. Ameen
also sang in Na Na. Shot in Tahiti (French Polynesia) and the USA, it revolves around four couples who go to a tropicalisland resort for vacatio ning. It is yet to be released in many countries. Looking at the succes s of the movie, the industry pundits fee l HollywoodBollywood marriage could bring better results at the box off ice. Acclaimed Indo-American states man Rajan Zed who is also the chairp erson of IndoAmerican Leadership Confederation, hoped that the treme ndous success
Couples Retreat would pave way for more creative-technicalfinancial alliances between Hollywood and Bollywood in the coming years. Written by Jon Favrea u, and directed by Emmy-no minated Peter Billingsley (Dinner for Five), the movie stars MTV win ner Vince Vaughn of Wedding Crashers fame, Golden Globe winner Jason Bateman of Arrested Development fame, Golden Globe nominated Kristin Davis, known for the Sex and the City programme, etc.
Inox Makes 100 pc Revenue Growth Benefiting from the sudden outburst of cinematic enthusiasm of the post-Q1 scenario, Inox Leisure Ltd. reported impressive growth rate for the second quarter of the financial year 2009-10, ending September 30. The multiplex chain saw 105 per cent growth in revenues for Q2 with Rs. 70.68 crore versus Rs. 34.51 crore in Q1. The company profits grew to Rs. 5.30 crore from a PAT loss of Rs. 4.01 crore in Q1 and EBITDA grew to Rs. 12.22 crore from an EBITDA loss of Rs. 1.74 crore in the first quarter. During the quarter, Inox opened one new multiplex, comprising of four screens at Central Mall in Indore, taking the total tally of properties under operation to 28 multiplexes, with an aggregate of 101 screens, across 20 cities in India. After the addition of its Rajarhat near Kolkata the company now has a
total of 29 multiplexes and 105 screens. The company's profits have apparently come from the increased footfalls- from 19,77,829 in first quarter to 39,25,880 in the second quarter. Looking segment-wise, the company's multiplex division accounted for major share with a gross revenue of Rs. 66.67 crore in Q2, growing from Rs. 59.86 crore in Q1, and film production accounted for Rs. 4 crore against nil in the last quarter. Inox Leisure Ltd. Director Deepak Asher said, "our strong performance is reflective of the stringent cost control measures adopted by us and the good film releases we have seen in this quarter." However, for the half-year ending 30 September 2009, the company's revenues showed.
Reliance MediaWorks's Strong Q2 Reliance MediaWorks Ltd. - formerly Adlabs - and a member of the Reliance ADA Group announced a strong second quarter results for 2009. Sharply reducing its net losses to Rs. 11 crore from Rs. 64 crore accounted during the last quarter, the company bounced back with an EBIDTA of Rs. 34 crore as against a loss of Rs 9 crore dented during the trailing quarter. The company reported a total operational income of Rs. 189 crore, posting an increase of 80 per cent over the preceding quarter. Taking the major share in the rise, the exhibition division revenues accounted for Rs. 115 crore, with an increase of 62 per cent over the last quarter. Revenues from film and media services are reported to be Rs. 48 crore with a rise of 64 per cent. Most important development for the company during the quarter has been that the it changed its name to Reliance MediaWorks Ltd, to reflect the company's transformational evolution pursuant to Reliance ADA Group acquiring controlling stake in 2005. The company today has a leading presence in domestic and
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international movie theatres, comprehensive range of film and media production services and television software. BIG Cinemas, the company's cinema exhibition division added 16 screens in the second quarter and currently has a network of 480 screens spread across India, US, Malaysia and Netherlands. BIG Cinemas also entered New Delhi with the reopening of Connaught Place's landmark Odeon theatre as Odeon BIG Cinemas. The company also opened Mumbai's first megaplex with nine screens. Reliance MediaWorks Motion Picture Processing and DI Lab continued to maintain market leadership. The processing laboratory has won the prestigious National Award for the 4th consecutive year. The company also launched film cameras and equipment rentals service, making it India's largest camera and equipment rentals company. "Reliance MediaWorks has shown strong performance in all its business segments in this quarter," said the company Chief Executive Officer Anil
Arjun. "The company's strategic investments and scaled business operations have resulted in the creation of a robust business model which makes us a significant player across the entire film and media services value chain and enables us to be a leading beneficiary of the continuing upswing that the industry has seen since July this year."
Fame Suffers RS. 90 Lakh Loss Fame (I) Limited, formerly Shringar Cinemas Limited has reported a loss of Rs. 90 lakh for the three-month period ending 30 September 2009. This, against a net profit of Rs. 2.82 crore earned for the same period during last financial year. However, the company reported increase in its operations from Rs. 32.95 crore during the second quarter of last year to Rs. 37.05 crore for the second quarter of the current fiscal. For the half-year ending 30 September 2009, the company revenues declined marginally to Rs.53.31 crore from Rs. 65.83 crore earned for the same period last fiscal. The company also reported higher net losses at Rs. 10.43 crore as against Rs. 84 lakh for the same period last financial year. The company, in its results announcement noted that the halfyearly figures are not strictly comparable with the period ended 30 September 2008 on account of the business interruption caused due to the strike called by the United Producers and Distributors Forum in the quarter ended 30 June 2009. Segment-wise, the company's revenues from theatrical operations increased from Rs. 30.68 crore for the second quarter of 2008-09 to Rs. 35.38 crore for the same period this year. However, the profits from theatrical operations have fallen from Rs. 4.75 crore to Rs. 1.86 crore. During the quarter under review, the Fame further consolidated its multiplex expansion with the launch of two new facilities- a five-screen multiplex at Value Mall in Bengaluru and, four-screen multiplex at Seven Seas Mall in Vadodara.
PVR Nets 27 pc Profit PVR Limited reported a net profit of Rs. 6.44 crore for the three-month period ending 30 September 2009, as against Rs. 5.05 crore earned during the same quarter of previous financial year- thereby showing a rise of 27 per cent. The EBIDTA for this quarter is reported to be at Rs. 19.25 crore as against Rs.16.23 crore from the corresponding quarter last fiscal, with an a 19 per cent jump. However, the total consolidated revenues for the quarter is shown to be Rs. 92.22 crore as compared to Rs.108.63 crore during the corresponding quarter ended September 2008 showing a decline by 15 per cent. However, the company's earnings look impressive with a 105 per cent rise from its first quarter of the current fiscal during which it earned only R. 43.6 crore. This was due to the eight-week shut down of multiplexes following the
stand-off with the producers, as also due to the factors like Swine Flu etc. The exhibition business revenues increased from Rs. 82.98 crore in Q2 2008-09 to Rs 86.87 crore during the quarter under review, with a growth of 5 per cent. EBIDTA margins grew from 19 per cent in Q2 2008-09 to 22 per cent in Q2 2009-10 on the back of sustainable revenues generated from operations and various cost rationalization measures initiated by the company. The PVR Pictures business was slow during this quarter and there were no major movies distributed/released by the company. The other subsidiary PVR Blu-O has been performing exceptionally well and delivering EBITDA margin of 33 per cent. The occupancies at PVR Cinemas in this quarter averaged at around 33
per cent as compared to a dismal 20 per cent in the first quarter of the current year. The ATP also increased from Rs 132 in the previous quarter to Rs. 145 in this quarter showing a strong growth of 10 per cent. PVR currently operates 26 theatres with a total of 108 screens and 27,890 seats across 14 cities in the country. "On the back of various operating initiatives taken by the management to improve revenues and rationalize costs, we have been able to achieve an EBITDA margin of 21 per cent during the quarter as compared to 15 per cent in corresponding period of last year," said Ajjay Bijli, Chairman & Managing Director, PVR LTD. "Overall we see the consumer sentiments really buoyant towards movie going," he said, and added "we remain highly positive about the long-term prospects of the leisure and entertainment Industry."
SPECIAL FEATURE
Video Piracy
'Reel'ing Under Reality! In what can be an intriguing case of inspiration for Bollywood scriptwriters, the movie piracy racket that shook the Tinsel Town out of its blissful slumber, exposed the spectre that had long been lurking from behind it. In the process, it brought the hitherto make-believe industry to a grim reality. More, even after the big shake, the spectre is still at large. TM tries to do a retro and a reality check. Sometime in the second week of September 2009... Wee hours of the morning near Guru Kripa Hotel at Kherewadi Junction in Mumbai‌ Two youth arrived on a motorcycle from one side and while one came on another bike from the other side. The threesome quickly confabulated and 'exchanged' what they were ought to. Then happened what was not happening for some unknown number of years. The cops, arriving from nowhere, took the youths by surprise and apprehended them, and the material they were transporting: a DVD print of the yet-to-be-released Ashutosh Gowarikar movie What's Your Rashee! The men in mufti from the Mumbai Police Crime Branch obviously did not know that the apparent small link they 'caught' hold of would lead to unearthing an ugly face of a massive piracy racket that is hidden behind the fancied corporate profiles; more, it is being remote-controlled from across India's North-Western border. Bollywood, as also the rest of Indian cinema entertainment industry, came
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in for a rude shock when Afsar alias Ashraf Haider Hussain, Firoz alias Sameer Irfan Khanand Aman alias Tanzeem Ali Hameed Ali - the three youths nabbed from Kherewadi Junction - reportedly pointed towards top executives from very high-profile corporate entities, three of them commanding highest respect for security, in the Indian entertainment industry. Acting on the leads taken during the interrogation, the police moved swiftly to zero in on one Durgadas
Shriramswami Bhakta, a business development manager at the erstwhile the Adlabs in Goregaon Filmcity, and another Rajesh Harkishan Chaudhary, associate vice- president of UFO Digital Mastering office in Andheri, Reliance Big Cinemas manager of overseas distribution Neerav Shah, and Shemaroo Entertainment head of overseas distribution Kalapi Nagda. According to Mumbai Joint Commissioner of Police (Crime) Rakesh Maria, Rajesh Chaudhary, would get master prints of yet-to-be-released
SPECIAL FEATURE movies. UFO processes the prints digitally. Chaudhary would save the movies on his laptop, put it onto a DVD, and hand it over to Bhakta. Bhakta then, passes the print on to Afsar, who in turn passes it on to Tanzeem, a computer expert. Tanzeem uploads the movie to his computer, and then sends it via Internet to the kingpin of the racket, Asif, who is in Karachi, Pakistan. Asif then sends the movie prints to various countries that include Bangladesh, Indonesia, The Netherlands, Germany, France, and Australia. The youths have reportedly paid Rs. two lakh to Bhakta for getting the movie copy. Police have eventually arrested Bhakta, his accomplice Ajal Udayansingh Pal from the same lab, and Rajesh. The fact that the police have not only seized as many as 11 pirated titles from the accused, but also touched upon the depths of crossborder piracy that had apparently made inroads into the echelons of high-security set-ups in the country
empowers police to book people involved in piracy under the MPDA wherein an offender can be detained and sent to jail for a period of one year.
exposed the grim reality. That the cinematic India continues to 'reel' under piracy, even with boastfully digitised set-ups. This major breakthrough, though, did not come off just like that. The Crime Branch had set up a few months ago a special team that also had officers of the police Social Service Branch to keep a tab on piracy cases and rackets. This happened building on the strengths given to the department by the Maharastra Prevention of Dangerous Activities (MPDA) Act when the Maharashtra Government brought audio and video piracy under the purview of MPDA. The new legislation
According to police, they had actually received a tip-off that the print of Dil Bole Hadippa that was released on September 18 was already available in the market. Despite making their efforts, police could not nab them. They were, however, successful on the second occasion, and with a bang. On the face of it, respective companies of the accused were said to have been instantly disowned them by instant termination, and strong condemnation of the act that brought then indignation. Reliance Big Pictures said in a statement: "Anybody found guilty of any wrongdoing as far as the law of the country is concerned, will be strictly dealt with." Welcoming the Mumbai police action, Reliance Big Entertainment Chairman
Make a Difference: MPA India Appeal to Cinemas The Motion Picture Association of America (MPAA) recently initiated a massive campaign in association with Indian film industry and leading Indian multiplexes to curb camcord-based movie piracy in the country. Named the 'Make a Difference' campaign, the initiative was launched at the Big Cinemas Odeon in India's national capital under the aegis of MPAA CEO and Chairman Dan Glickman, PVR Cinemas CEO Amitabh Vardhan, and Adlabs COO Tushar Dhingra. Glickman, who had apparently come down specifically for the programme, besides ramping up the India operations, noted in a statement: "As we continue to release more Hollywood titles in India, the number of camcords coming out of the country is likely to rise. However, we are sure that the 'Make A Difference' training
package for cinema staff will go a long way in helping them prevent camcording, identify camcorders as well as assist enforcement authorities when they are caught making these recordings." Other multiplex chains in the country such as Fame Adlabs and Fun Republic have also been made part of the nationwide training. That MPAA has a wholly-owned local office Motion Picture Dist. Association (India) Pvt. Ltd., it hopes that the Indian arm would address its concerns more effectively by working closely with local industry, government, law enforcement authorities and educational institutions. According to the US India Business Council - Ernst and amp; Young 2008 report on 'The Effects of Counterfeiting and Piracy on India's Entertainment Industry,' the Indian film industry lost $ 959 million and
571,896 jobs due to piracy. "Piracy is a global menace. Over 90 per cent of newly released movies that end up appearing on the streets and on Internet sites originate from illegal copies made in cinemas," noted Adlabs COO Tushar Dhingra. "Indeed, with the advancement of technology, piracy is getting a boost but the same technology can also be used in order to curb the spread," he said and added, "BIG Cinemas firmly stands behind this MPAA initiative, which takes proactive action to curb camcord piracy. We hope that the antipiracy laws are more steadfastly enforced in India." PVR Cinemas CEO Amitabh Vardhan added: "movie piracy results in fewer movies being financed, which means jobs are not created and local goods and services - such as cinema tickets - are not purchased."
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SPECIAL FEATURE Amit Khanna was quoted as saying "Reliance Big Entertainment and Adlabs are committed to root out this evil. We, being a part of this film industry will continue to support all efforts by the government and the industry in this regard." Recalling that the company's processing lab is the only such entity in India to have been recognized by Federation Against Copy Right Theft of UK, Khanna sought to reassure the industry and the enforcement agencies that they have the most stringent security measures in place. "We shall take all appropriate legal actions against any individual(s) in the organization found guilty of any lapse or misconduct," he was quoted as saying. UFO Moviez, recalling the police version, sought to clarify that 'its executive was acting independently without the knowledge of the company.' It assured the industry that the latter's business interests and intellectual property were of paramount importance to the company. Shemaroo also gave its take on the disgrace allegedly brought by its executive. The company director Hiren Gada was quoted as saying that the company had nothing to do with the incident and strongly condemned all such illegal activities. He hoped that those found guilty would be dealt very strictly, and the company will be cooperating with the authorities in the matter. Even as these corporates were hastening to atone themselves, UTV Motion Pictures - whose movie What's Your Rashee formed the epicentre of the disgraceful ripples - was reported to have sent legal notices to the companies in question demanding a compensation of Rs 50 crore each towards the damage that might have been incurred due to piracy.
A Sheer Systemic Lapse! "The problem is neither with the technology, nor with the system," says a pacifist. "It's the problem of the mindset; of falling values; and greed for quick bucks." According to him,
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Indian industry doesn't have aggressive anti-piracy campaigns that primarily begin with educating the stakeholders. The system, by itself had been supportive with its loopholes on most occasions, and the industry has never seriously geared up to educate people before pressing for stringent measures. Observers of the whole development, point out that the Motion Picture Association (MPA) - the assumed global apex body for fighting piracy had actually long ago recognised the "lab-stage-theft" of the movies as an equally potential threat as that of the "in-theatre-camcording." The very fact that most Hollywood titles appear on the American street corners as also on the US-centric portals even before the movie's theatrical release proves the vulnerability of the post-production and process phases of a movie- which was why the MPA devised programmes to eliminate such security loopholes. Interestingly, just two weeks before the shocking revelations in Mumbai, the MPAA India - the India-centric outfit of the global agency - had began conducting an extensive exercise in association with the topnotch multiplexes in the country on curbing the 'in-theatre-camcording.' MPA's global head, as well as the India chief stressed the need figuratively to curb camcording! (Read a separate story: 'Make a Difference')
Perhaps, they all missed, or failed to suspect the things that had been brewing right under their feet!
Pirates' Own Lab! If the involvement of corporate executives in piracy was not adequate, the pirates setting up an conversion lab and a 'national' godown will serve as fitting statement on the strengths of the pirates. Close on the heels of the first incident, the Mumbai Crime Branch Police have unearthed a what was claimed as a national godown, and a processing lab that had been used for copying and storing movies. The existence of these facilities came to light when the police busted another major video piracy racked for the second time in the same week by arresting five operatives from Mumbai and Ahmedabad. Three operatives from Ahmedabad Chirgag Rawal, Mois Roopwala, and Resham Mehta - and two from Mumbai - Imran Sheikh and Ashfaq Beig have been nabbed. They were arrested during a joint operation conducted by the Social Service Branch and Unit X of the Crime Branch. According to police, Rawal was the kingpin of the video piracy syndicate in Gujarat. Five DVD writer machines
Contd on page TM-34...
INDIAPLEXING
A Different Stroke of
Cinema Design India had been experiencing fascinating multiplexing for some time now, with its cinema exhibition industry regularly coming up with marvels of cinema design. There are a few multiplexes that are classified truly international for their path-breaking design innovation. However, here is one that, probably, tops them all- the newest cinematic expression of HDIL– the Mumbai-based promoter of Broadway brand multiplex chain. Coming up at Bhandup suburb of Mumbai, the new ‘Broadway’ cinema promises to set a new benchmark in cinema design and the celebration of cinematic experience.
The newest cinematic statement that is just about to express itself to the residents of Bhandup as also the movie lovers of the Mumbai is a veritable statement of design ingenuity. For, it explores the unseen, if not unimagined, frontiers of design expression, and exploits the space intelligently to create a spatial experience that is bold and radically different from the common. Created as part of the extraordinarily spread, 13.5 lakh square feet Dreams Mall – a fondly chosen name to symbolise a fancied retail entertainment destination – the new 6-screen cinema from the Mumbai-based Broadway multiplex
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INDIAPLEXING
chain is a fancy space of make-belief living. The moment one steps into cinema entrance, one is set to be taken over a magical spell of randomly combined geometrical triangular forms done in various shades and sizes. The entrance, lobby and concession areas are characterised by a blue immanence of this triangular design geometry that appears sober and pleasant, while an adjacent children’s recreation area – said to
be the ‘kids zone’ – strikes a radically different note with resplendently red triangles intercepting lighter shade triangles. The theme form is carried forward from the lobby to expand into the two large concession areas, as if to continue the impact. The combination of geometrical triangular forms is central to the visibly bold design theme of the multiplex. The apparent attempt to impart the ambience with the glow
of a crystalline lustre in a radically different yet fanciful and moodsetting fashion is carried forward into the auditoriums. Different from one another in their own right, each of the auditoriums characterise a unison of interior walls and ceiling done in a uniform crystalline format- treated by a polypropelene fabric covering the acoustical panels and tiles beneath. Further, the geometrical forms are characterized by protruding ridges running from end to end, and
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INDIAPLEXING blending the walls and ceiling as one single large form. Five of the six auditoriums feature this design scheme done in pink, purple, red, green and blue. The catchline is “the crystalline glow� form is everywhere, permeating every element of the design. While these five auditoriums are uniform in their structural design, the sixth one stands apart both in its design and cinematic offering. Created as VIP Class, the auditorium has its interior surfaces in a uniform black, done in alternating big and small rectangular forms and surfacefinished in polypropeline fabric. The 56-seat luxury auditorium features extra-stretch recliners done in supersoft leather. The auditorium is also unique in that it is attached with a distinctly designed VIP lounge that offers speciality services. As for the technicals, two of the auditoriums feature 2K digital projection systems supplied and installed by MRH Digital Systems while the other four feature 35-mm film projection systems done again by MRH Digital. The system comprises Christie projection, QSC 4way speakers and amps, Dolbydigital audio, and screens by Harkness Hall. The acoustical panels have been supplied by Anutone while the technical design is done by Neville Daruwala. The interior lighting and steplighting in the auditoria, done in tune with the architectural forms created, has been done by Shrikrishnashray. The seating has
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INDIAPLEXING
been supplied and installed by Penworkers – sourced from China. “It’s our flagship property,” says Mukesh Gupta, CEO of HDIL (Cinema Division). “We tried to make it the way a flagship venture should be,” Mukhesh asserts, “we
believe we did.” That the group’s last venture at Khandivli has been giving them good returns in that it’s been getting an average occupancy of 56 per cent, the group is buoyant on its latest statement. That multiplex chain has now increased
its footprint in Mumbai to a total of 17 screens. The industry till now has seen Silver, Gold and Platinum Classes. It hasn’t yet seen a ‘Diamond Class.’ Perhaps, the latest 1346-seat Broadway multiplex at Dreams Mall is one.
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Being on the Cutting Edge (of) Technology,
Cinematically
Sathyam Cinemas, Chennai - the iconic symbol of South Indian Cinema activism - has been the synonym of bold cinematic initiatives in the country- right from super size giant movie posters on the theatre exteriors to doing the country's first 2K digital, 3D digital, more Imax theatre commitments than most in Asia, and playing instrumental in alternative digital content. Arguably, it is one cinema enterprise that is undeterred by the market upheavals, and diligently seeking its pursuits of ushering in the technology cinema- which is why the exhibitor is being awarded the DLP Market Achievement Award at CineAsia 2009, Asia's coveted industry platform. TM speaks to its First Person Tan Ngaronga(TN), Chief Operating Officer, Sathyam Cinemas, on its directions and dimensions. TM - Congratulations on the CineAsia recognition. How does it feel like? TN - We are very pleased and honored to receive the DLP Marketing Achievement Award. Digital cinema is something that we are passionate about and has been something that Sathyam Chairman Kiran Reddy specifically pushing from many fronts for a long time. It is fantastic that there had been such a significant shift in the last couple of years from print to digital. There are many contributors that have made this possible, from producers to post production houses ensuring that we have a significant amount of content to play out in digital. TM - What brand or value addition you think it brings to Sathyam Cinemas?
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TN - I am not sure how much brand value this brings to Sathyam Cinemas, but we have been committed to be an 'all-digital' exhibitor. We are committed to bring the best picture and sound quality available to our customers. Hopefully this says something about the brand and what we are trying to do.
was a very tough year for the exhibition industry with the recessions and a range of other challenges so things were definitely slow to progress. As our primary strategy is completely contingent on Retail projects we restricted by these developments. As I am sure it has been seen through the
TM - Sathyam had been full of promises, since an year or so, with ambitions plans, but yet to see one on stream- What reasons? TN - We understand that things have not moved as quickly as we would have liked them too, however, last year
The ‘landmark’ move: Sathyam COO Tan Ngaronga(right) and Express Infrastructure Pvt. Ltd. COO Kim Kully (middle)
down turn, it is imperative to be in the right locations with the right retail partners to ensure that each site is sustainable. TM - We have been told about Sathyam's two Imax theatres by 2010, and two more in the next two years. At what stage are these projects? TN - The projects are well into the planning stage and will start construction in the very near future. TM - Sathyam showed the way for DCI-compliant Digital Cinema India by deploying the country's first 2K digital, and 3D digital. Would also do the 4K? TN - 4 K is definitely in the pipeline. For all of our new projects that have immediate projector requirements we are ensuring that the projectors we buy are 4K ready, and will want to ensure that all of our sites are 4K in the immediate future. TM - If so, when and where? on the existing Royapetah location ? or elsewhere?
TN - Sathyam will be upgraded as the older projectors can be either moved or replaced.
We, haven't, however, heard about it again. Why? Are there any such plans (on the anvil?)
TM - Not withstanding the brand identity of doing the country's first 3D digital, how has been the experience so far? How about the regular supply of content?
TN - This never came to fruition. Unfortunately, we were not able to find content that would work for our market. In terms of alternative content, we want to find something that we can establish a regular programme for, something that can be shown in an offpeak period and be promoted as a regular event.
TN - The stream of content has improved and we are seeing more films available in digital 3D being released in India. Most of these titles have been children's focused product, but we are anxiously preparing for the release of James Cameron's Avatar. We are equipping more of our screens to be ready for this release. TM - What drives Sathyam Cinemas for its bold initiates? TN - We want to be on the cutting edge of technology. Kiran Reddy is obviously an advocate of being at the cutting edge and pushing the boundaries on improving the cinema experience. TM - Sathyam also made a bold initiative with alternative content.
TM - In contrast to the movie producing activism, the spread of multiplexing has comparatively been conservative in the south. What reasons you see for this? TN - This is predominantly due to the slow rate of retail developments coming on line. The lion's share of multiplexes is in major retail developments, but we will see a few open in 2010. TM - Judging from today's standing, where do you see Indian cinema exhibition industry in the next three to five years time?
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TN - We will see some multiplexes open, but the rate will continue to be behind expectations. Many people will go down the path of either renovating older screens with premium city locations, or even attempt to do stand alone projects due to the slow pace of major retail developments. TM - Most reputed research firms have been awfully going wrong in predicting the industry dynamicswhat reasons you see for this fallacy?
the middle class is much smaller than the 300,000 million that is claimed. Thus, the disposable income of many is more limited than people are forecasting. So there isn't the money for retail and recreation that is being suggested. TM - Indian cinema market is often criticised for video piracy. How menacing you see the challenge?
TN - I am not sure why this is, but I think it might have something to do with the fact that many of the demographic rates are off the mark. In a recent McKinsey report, only 1 per
TN - Piracy is a huge issue that has no foreseeable solution. As exhibitors, all we can do is make sure that the cinema experience is good enough to compel people to get out of their homes to be entertained. People are social animals and have innate need to be in social situations. Hopefully this and a great
cent of people in India earn more the 10 lakh per annum. Therefore size of
experience offering will keep them coming to the cinemas.
TM - Now Sathyam is getting a high-profile tech honour from an international platform. What business responsibilities you think would come attached with it? TN - With our promise of being ahead of the curve in technology, this means that we need to keep up with the improvements in technology. This will mean that we will have to start looking at the 4K digital technology that will be available shortly from Texas Instruments as well as other improvements in the technology sphere. We are committed to bring the best possible experience to our customers and sometimes that does come at a price considering the speed at which technological changes are taking place.
...contd from page TM-26
'Reel'ing Under Reality! "People invest crores of rupees in each movie, and in these days of fancied film making, it runs into few dozens of crores," says another top executive of an exhibitionproduction enterprise, "with acts such as these, the fate of their investment and professional fortunes are sealed before they open up."
(capable of printing hundreds of copies per hour) along with 15,000 inlay cards had been recovered from him. On ther other hand, 19 DVD machines, a television set and 1,000 duplicate copies of Hindi movies were recovered from Roopwala. Resham Mehta, brother of the alleged Delhibased pirate Jitendra Mehta was arrested with a laptop and 15 duplicate prints of some latest Bollywood movies. The modus operandi of the racket is such that Sheikh and Beig approach loaders engaged by distributors in transporting the prints and offer them anywhere between Rs 20,000 and 25,000 to sneak a print out for three hours. The print would be taken to a lab set up in Andheri, to be converted to a digital format before being finally burnt on a DVD. These prints were stored in a godown in Mahim, before being sent to Pakistani piracy kingpin Asif, from where they would be distributed all over the world.
A Shocked Industry Though most people in the industry do not want to recall what and why happened, it is understandably sent
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January-March 2010
Fumes an exhibitor: "most people wouldn't spare a minute in blaming cinema operators for piracy, they say in-theatre-piracy is the main cause of the menace. They say digital cinema is the only and effective solution. But what is the solution when even the digital prints are stolen and sold for tainted money?" shock waves across the rank and file of the film industry. There is a generic sense of shattering of a mythical belief. "We all believed 35-mm film was very easy to copy and digital version will safeguard against it- given the 'foolproof' technology it came with," an executive of a multiplex firm, said, adding, "now the belief stands shattered. It is now proven that even the digital prints are not safe."
The Tailpiece : Almost two months after the police busted two of the biggest video piracy rackets, the multi-million dollar piracy market seems to have hardly been affected. Pirated copies of most film releases like Blue, All the Best, and Main aur Mrs Khanna were easily available at stalls outside the suburban railway stations and at shopping areas.