Project report on

Movie Marketing

By
Mr. Punit Ketan Thakkar
T.Y.B.M.S.
Div B Roll No 1!
"ca#e$ic year %1&%11
Project 'ui#e
Pro(. Pankaj Natu
D"T) *+ S,BM-SS-*N
.
T/
Septe$0er1 %1
S2KM34
Nar4ee Monjee 5ollege o( 5o$$erce an# )cono$ic4
2ile Parle 6781 Mu$0ai&9:.
- 1 -
D)5;"R"T-*N
I, Punit Thakkar of SVKMs Narsee Monjee College of Commerce an !conomics of
T"#MS, here$% eclare that I ha&e com'lete the 'roject on Mo&ie Marketing in the
acaemic %ear ()1)-()11
The information is true an original to the $est of m% kno*lege+
Punit Thakkar
- ( -
5)RT-+-5"T)
I, Mr+ Pankaj Natu, here$% certif% that P,NIT T-.KK./ of SVKMs Narsee
Monjee college of Commerce an !conomics of T"#MS 0Semester V1 has com'lete
the 'roject on 2Mo&ie Marketing3 in the acaemic %ear ()1)-11 uner m% guiance+
Prof+ Pankaj Natu Prof+ Sunil # Mantri
0 Project 4uie1 0Princi'al1
N+M+ College N+M+ College

"ckno<le#ge$ent
- 5 -
I *oul like to ackno*lege the follo*ing for $eing the iealistic channel an fresh
imension in the com'letion of this 'roject+
I take this o''ortunit% to thank the ,ni&ersit% of Mum$ai for gi&ing me a chance to
o this 'roject+
I wish to appreciate the SVKM management for providing the state
of the art facilities, the Principal Prof Sunil B. Mantri for his dynamic
leadership and the library staff for their support in providing
academic content, and the teaching and supporting staff of .M.
!ollege, for providing the entire state of the art infrastructure and
resources to enable the completion and enrichment of my pro"ect.
I take this o''ortunit% to thank our co-coorinator an m% 'roject guie, Prof+ Pankaj
Natu, for his moral su''ort, guiance an intellect that mae this 'roject successful+
I *oul like to thank our college li$rar% for ha&ing 'ro&ie &arious reference $ooks
an maga6ines relate to m% 'roject+
7astl%, I *oul like to thank each an e&er% 'erson *ho irectl% or inirectl% hel'e
me in the com'letion of the 'roject+ !s'eciall% m% 'arents an 'eers, *ho su''orte
me throughout the 'roject+
)=)5,T-2) S,MM"RY
- 8 -
4one are the a%s *hen the 'roucers jo$ ens once a mo&ie is mae+ In this a% an
age it is im'erati&e for e&er% filmmaker to market his mo&ie once it is com'lete+ The
lag $et*een the com'letion an release of an% mo&ie can ha&e a fatal effect if it is not
'romote effecti&el% an smartl%+ Thus, for a mo&ie to stan out in the mins of the
auience, it is im'ortant that the merit of the same is communicate to them in the
most a''ro'riate an meaningful *a%+
In the last fi&e %ears, non-traitional meia houses ha&e o'ene u'+ #ut the fact that a
'roucer can s'en more oesn9t reall% mean that he has to+ :hen %ou sa%, %ou ha&e
s'ent so man% crores, it isn9t reall% something to $e 'rou of+ :hat reall% matters is
ho* *e s'en the mone%+
Marketing surel% has to translate into ri&ing more 'eo'le to the theatre on that first
critical *eeken+ Toa%, *ith the change in s'ee of o'erations, a major cam'aign
can $e launche in a matter of a%s, $ut in such a situation, factors from the a$ilit% of
ifferentiate %our raio message from the TV to the s'rea of %our costs an *hat
meia %ou $u% ; all $ecomes critical+
Marketing is the ke% in ensuring that a film is a$le to communicate its core theme to
'otential &ie*ers in an engaging *a%+ It sets u' the e<'ectation le&els of the auience
*ith regar to *hat sort of film the% can e<'ect *hen the% enter the auitorium, an is
'rimaril% res'onsi$le for the o'ening the film garners+ Post release, the o$jecti&e of
marketing is to ensure the film remains fresh in the mins of auiences as long as
'ossi$le an to $uil on auience reactions to the film $% aa'ting the P/ an meia
'lan accoringl%+
In its true sense, marketing is all a$out the launch+
The Inian film inustr% has efinitel% *oken u' to the im'ortance of marketing in
ri&ing the $usiness, ho*e&er, it is still looke at $% man% as an aitional e<'ense
rather than an in&estment like the cost of 'rouction+
The reason for me to ha&e chosen this to'ic for m% research 'roject is $ase on the
fascination I ha&e to*ars #oll%*oo an its &arious facets, 'rimaril% marketing+
The =uantum of 'u$licit% of mo&ies that is all aroun is sim'l% har to ignore+ The
emerging tren of rightl% marketing e&er% mo&ie ; right from 're 'rouction to
istri$ution an 'romotion is something that I like to follo* keenl%+ .s a marketing
stuent, the iea of effecti&el% 'resenting a film to the auience an the %namics that
influence the same interests me+
This is the reason *h% I ha&e chosen >Mo&ie Marketing as the to'ic for m% 'roject+
T"B;) *+ 5*NT)NTS
- ? -
SR N*. T*P-5 P"') N*
1. )ntertain$ent in#u4try >&11
%. /i4tory o( -n#ian cine$a 1%&1:
.. Bolly<oo# 1?&1!
9. Marketing Mi@ (or $ovie4 %&%?
:. Marketing an# Bolly<oo# %>&%A
?. Marketing the +il$ %!&.9
>. Role o( $arketing in creating a 4ucce44(ul $ovie .:&.!
A. Pro$otional tool4 9&:1
!. 5orporatiBation o( Bolly<oo# :%&::
1. Bo@ o((ice collection4 :?
11. 5a4e 4tu#ie4 :>&?>
1%. Rece44ion an# Bolly<oo# ?A&>
1.. +uture o( Movie Marketing >1&>%
19. Reco$$en#ation4 >.
1:. 5onclu4ion >9
T/) )NT)RT"-NM)NT -ND,STRY
- @ -
The Inian meia an entertainment inustr% stoo at /s ?A,B)) crore in ())C, a
gro*th of 1+8D o&er ())A, sai the latest EICCI an KPM4 re'ort release at Erames
()1) on Tuesa%+
The inustr% is e<'ecte to gro* at a com'oune annual gro*th rate 0C.4/1 of
15D to reach the si6e of /s 1,)C,1)) crore $% ()18+
7ast %ear, 'rint sho*e a &er% moerate gro*th of (D, reaching aroun /s 1B,?))
crore in si6e+ Music, Internet, gaming an animation $rought cheer *ith ou$le igits
gro*th, al$eit on a smaller $ase+ Fut of -ome, films an raio sectors registere a
negati&e gro*th uring the %ear+
/ajesh Gain, hea of meia H entertainment, KPM4 Inia sai, 2The unta''e
'otential for gro*th in meia reach, im'act of igitisation an con&ergence, $etter
consumer unerstaning, sustaine efforts in inno&ation, an enhance 'enetration of
regional markets, all augur *ell for the inustr%+3
!<'erts $elie&e the annual 15D rate *ill $e ri&en $% factors such as fa&oura$le
emogra'hics, e<'ecte reco&er% in the 4IP gro*th rate an increasing meia
'enetration+
2Though console gaming currentl% constitutes the largest share of the 'ie, going
for*ar mo$ile gaming is e<'ecte to e&entuall% sur'ass console games le&els+ The
gro*th in this sector *ill $e $acke $% the increase in num$er of casual an acti&e
games, arri&al of 54, a&aila$ilit% of localise content, gro*th in a fune gaming
'latforms an greater a*areness of 'roucts an ser&ices,3 sai Gain+ #% ()18, the
gaming inustr% is e<'ecte to gro* at a C.4/ of 5(D to reach /s 5,()) crore in
si6e+
P:C recentl% release ; Inian Meia H !ntertainment Futlook ())C /e'ort ; *hich
ho*e&er is o'timistic of a ou$le igit gro*th rate for Meia H !ntertainment sector
from ne<t %ear on*ars.
Print meium still ominates in terms of the si6e an share 'ercentage+ Total 'rint si6e
is /s+ 111+? #illion *ith a market share of 8B+5D+ Tele&ision comes in close secon
*ith 5A+@D market share an total si6e of C1+) #illion+ #ut interesting tren is the fast
gro*th of Fnline an /aio inustr%, though FF- still nees to 'ick u' 'ace+ Fnline
meium is at a &er% nascent stage in Inia in terms of .&ertising an it 'ro&ies a
huge 'otential+ :hat *e nee though is a ifferent kin of a selling moel as 4oogle
as oesnt seem to *ork the same *a% in Inia as in the ,S+
The re'ort also 'resente some &er% interesting Stats a$out Inian MH! sector-
- B -
F&er 1,))) mo&ies release annuall% 0largest in the *orl1
5+( $illion mo&ie tickets sol annuall% 0largest in the *orl1
A) million 'a%-TV homes 0thir largest in the *orl1
11C million tele&ision househols
8?) tele&ision channels
F&er 5)) million mo$ile su$scri$ers 0secon largest in the *orl1
F&er 5?) raio stations
@,))) ne*s'a'ers 'u$lishe, incluing the *orls largest circulate ail%+
1),))) music tracks release annuall%+ 0That is close to 5 tracks ail%1
Inian !ntertainment an Meia Inustr% in no ou$t ha&e *itnesse magnificent
gro*th in recent %ears+ If a recent re'ort $% P:C is to $e $elie&e then Inia is
certainl% on the &erge to *itness major gro*th in !HM inustr% after onl% to China.
Inian !HM inustr% gre* at 1)+5 'er cent to reach the si6e of /s+ ?5@+C $illion,
although it *ill *itness onl% A D in ())C com'are to 1@+@D com'oune annual
gro*th o&er the ())8-)A 'erio+ The gro*th in Inian !HM inustr% *oul ho&er
aroun 1)+? 'er cent uring the forecaste 'erio ())C-15+
- A -
Futlook for Segmente gro*th of the Inian !HM Inustr% 0())C-151
Televi4ionC The inustr% is estimate to gro* at a rate of 11+8D cumulati&el% o&er the
ne<t fi&e %ears, from an estimate /s+ (88+B $illion in ())A+ The o&erall tele&ision
inustr% *oul reach /s+ 8()+) $illion $% ()15+ In the Tele&ision 'ie, tele&ision
istri$ution is 'rojecte to garner a share of @)D in ()15+ Fn the other han,
tele&ision a&ertising inustr% is 'rojecte to comman a share of 81+)D in ()15,
ha&ing increase from current 5C+)D in the total a inustr% 'ie+ The relati&e share of
the tele&ision content inustr% is e<'ecte to remain constant at 8D+
- C -
+il$C The inustr% is 'rojecte to gro* at a rate of 11+@D o&er the ne<t fi&e %ears,
reaching to /s+ 1A? $illion in ()15 from the current /s+ 1)B $illion in ())A+ The film
inustr% *oul see a 'araigm shift an *oul accrue larger re&enues from ne*
emerging a&enues+
Print $e#ia J It is 'rojecte to gro* $% ?+@D o&er the 'erio ())C-15, reaching to /s+
(15 $illion in ()15 from the 'resent /s+ 1@( $illion in ())A+ The relati&e shares of
ne*s'a'er 'u$lishing an maga6ine 'u$lishing *oul remain the same at aroun ABD
in fa&our of ne*s'a'er 'u$lishing+ Maga6ine 'u$lishing is e<'ecte to gro* at a
higher rate of @+?D as com'are *ith ne*s'a'er 'u$lishing *hich is e<'ecte to
gro* at ?+@D for the ne<t ? %ears+
Ra#io a#verti4ing J This inustr% is 'rojecte to gro* at a rate of 1AD o&er ())C-15,
reaching /s+ 1C $illion in ()15 from the 'resent /s+ A+5 $illion in ())AK more than
ou$le its 'resent si6e+ In terms of attracting a s'enK it is 'rojecte that the raio
a&ertising inustr% *ill $e a$le to increase its share from 5+AD to ?+(D in the ne<t
fi&e %ears+
)$erging 4eg$ent4 J The ke% gro*th ri&er for the music inustr% o&er the ne<t fi&e
%ears *ill $e igital music, an its share is e<'ecte to mo&e from 1@D in ())A to
@)D in ()15+ :ithin igital music, mo$ile music *ill continue to increase its share
an maintain its ominance+
*nline a#verti4ingJ It is 'rojecte to gro* $% 5(D o&er the ne<t fi&e %ears an reach
an estimate /s+ () $illion in ()15 from the 'resent /s+ ? $illion in ())A+ The share
of the online a&ertising too is 'rojecte to gro* from (+5D in ())A to ?+?D in ()15
of the o&erall a&ertising 'ie+
*ut o( ho$e 6**/8 J .&ertising s'en is e<'ecte to touch /s 1? $illion in ())A,
*hich is almost t*ice its current si6e /s (? $illion in ()15+Its share in the total a 'ie
is e<'ecte to go o*n marginall% to @+AD in ()15 from a current le&el of @+CD in
())C+
- 1) -
Internet
Advertising
Television
Music
Films
Radio
Print Media
Live
Entertainment
Outdoor
Advertising
"ni$ation1 ga$ing an# 2+= in#u4tryJ It *ill continue to maintain its gro*th 'ace
an is 'rojecte to gro* at a C.4/ of (( 'er cent to /s+ 8(+? $illion in ()15 from its
current si6e of /s+ 1?+@ $illion+
Break up o( -n#ian Me#ia an# )ntertain$ent -n#u4try
- 11 -
/-ST*RY *+ -ND-"N 5-N)M"
1AC@ *as a significant %ear for Inian entertainment inustr% as it *itnesse the
arri&al of cinema in Inia+ :hen one goes to think a$out the histor% of Inian cinema
that first name that s'rings u' are the 7uemiere #rothers *ho emonstrate the art of
cinema to the su$continent+ #om$a% *as the first Inian cit% that screene
cinematogra'h%, si< short films $% the luemiere $rothers+ The success of these films
le to the screening of more foreign films, for instance, Vita gra'h $% Games+ #+
Ste*art an Moto- Photosco'e $% te -ughes+ In short introuction of cinema in Inia
took 'lace *ith the ai of the colonisers+
. kaleiosco'ic &ie* of histor% of Inia inclues the 'ioneering efforts of sa&e aa
0-arish Chanra Sakharam #hata&ekar1+ -e mae t*o short films as earl% as in
1ACB+ In 1C)) the entire Inian entertainment sector uner*ent huge changes an the
emergence of Iaasahe$ Phalke took Inian cinema to ne* heights+ In 1C15, raja
-arish Chanra *as release *hich achie&e 'ath $reaking success+ Iuring that time
i+e+ the era *hen silent films *ere mae an *hen talkies *ere introuce, the main
sources for Inian films *ere the m%thological te<ts+ 4rauall% silent films *ere
taken o&er $% the talkies+ Eilms *ere no* mae in -ini, Tamil, #engali an Telugu
an these films 'ro&e to $e 'henomenal successes+
The 'erio from the late 1C8)s to the 1C@)s are regare $% film historians as the
L4olen .geL of -ini cinema+ Some of the most criticall%-acclaime -ini films of
all time *ere 'rouce uring this 'erio+ !<am'les inclue the 4uru
Iutt films Pyaasa 01C?B1 an Kaagaz Ke Phool 01C?C1 an the /aj
Ka'oor films Awaara 01C?11 an Shree 420 01C??1+ These films e<'resse social
themes mainl% ealing *ith *orking-class ur$an life in IniaK Awaara 'resente the
cit% as $oth a nightmare an a ream, *hile Pyaasa criti=ue the unrealit% of cit%
life+ Some of the most famous e'ic films of -ini cinema *ere also 'rouce at the
time, incluing Meh$oo$ Khan9s Mother India 01C?B1, *hich *as nominate for
the .caem% .*ar for #est Eoreign 7anguage Eilm, an K+ .sifs Mughal-e-
Azam 01C@)1+V+ Shantaram9s Do Aankhen Barah aath 01C?B1 is $elie&e to ha&e
ins'ire the -oll%*oo film !he Dirty Dozen 01C@B1+ Madhumati 01C?A1, irecte
- 1( -
$% #imal /o% an *ritten $% /it*ik 4hatak, 'o'ulari6e the theme
of reincarnation in :estern 'o'ular culture+Fther acclaime mainstream -ini
filmmakers at the time inclue Kamal .mrohi an Vija% #hatt+ Successful actors at
the time inclue Ie& .nan, Iili' Kumar, /aj Ka'oor an 4uru Iutt, *hile
successful actresses inclue Nargis, Meena Kumari, Nutan, Mahu$ala, :aheea
/ehman an Mala Sinha+

1C?) on*ars, ecae after ecae inian film inustr% sa* the emergence of stars
like 4uru Iutt, /aj Ka'oor, Nargis, /ajesh Khanna, .mita$h #achan, .sha Parekh
an man% more+ The list is enless+ In 1C@), K-.sifs Mughal-e-.6am create histor%
an a trial of romantic mo&ies follo*e+ Similarl% 1CB) /amesh Si''%s Shola% *on
hearts *orl*ie+ /egional films too *ere oing *ell+
In the late 1C@)s an earl% 1CB)s, romance mo&ies an action films starre actors
like /ajesh Khanna an Iharmenra, an actresses like Sharmila Tagore,
Mumta6, 7eena Chana&arkar an -elen+ In the mi-1CB)s, romantic confections
mae *a% for gritt%, &iolent films a$out gangsters 0see Inian mafia1 an
$anits+.mita$h #achchan, the star kno*n for his Langr% %oung manL roles, roe the
crest of this tren *ith actors like Mithun Chakra$ort% an .nil Ka'oor, *hich laste
into the earl% 1CC)s+ .ctresses from this era inclue -ema Malini, Ga%a
#achchan an /ekha
Some -ini filmmakers such as Sh%am #enegal continue to 'rouce realistic
'arallel cinema throughout the 1CB)s, alongsie Mani Kaul, Kumar Shahani, Ketan
Mehta, 4o&in Nihalani an Vija%a Mehta -o*e&er, the 9art film9 $ent of the Eilm
Einance Cor'oration came uner criticism uring a Committee on Pu$lic
,nertakings in&estigation in 1CB@, *hich accuse the $o% of not oing enough to
encourage commercial cinema+ The 1CB)s thus sa* the rise of commercial cinema in
the form of enuring films such as Sholay 01CB?1, *hich soliifie .mita$h
#achchan9s 'osition as a lea actor+ The e&otional classic "ai Santoshi Ma *as also
release in 1CB?+ .nother im'ortant film from 1CB? *as Deewar, irecte $% "ash
Cho'ra an *ritten $% Salim-Ga&e+ . crime film 'itting La 'oliceman against his
$rother, a gang leaer $ase on real-life smuggler -aji MastanL, 'ortra%e $%
- 15 -
.mita$h #achchan, it *as escri$e as $eing 2a$solutel% ke% to Inian cinema3
$% Iann% #o%le The most internationall%-acclaime -ini film of the 1CA)s *as Mira
Nair9s Salaam Bom#ay$ 01CAA1 *hich *on the Camera 9Fr at the 1CAA Cannes Eilm
Eesti&al an *as nominate for the .caem% .*ar for #est Eoreign 7anguage Eilm+
Iuring the late 1CA)s an earl% 1CC)s, the 'enulum s*ung $ack to*ar famil%-
centric romantic musicals *ith the success of such films as %ayamat Se %ayamat
!ak 01CAA1, Maine Pyar Kiya 01CAC1, um Aa&ke ain Kaun 01CC81 an Dilwale
Dulhania 'e "ayenge 01CC?1, making stars out of a ne* generation of actors 0such
as .amir Khan, Salman Khan an Shahrukh Khan1 an actresses 0such
as Srie&i, Mahuri Ii<it, Guhi Cha*la an Kajol1 In that 'oint of time, action an
come% films *ere also successful, *ith actors like 4o&ina an .ksha% Kumar an
actresses such as /a&eena Tanon an Karisma Ka'oor a''earing in films of this
genre+ Eurthermore, this ecae marke the entr% of ne* 'erformers in arthouse an
ine'enent films, some of *hich succeee commerciall%, the most influential
e<am'le $eing Satya 01CCA1, irecte $% /am 4o'al Varma an *ritten $% .nurag
Kash%a'+ The critical an commercial success of Satya le to the emergence of a
istinct genre kno*n as Mum#ai noir ur$an films reflecting social 'ro$lems in the
cit% of Mum$ai This le to a resurgence of Parallel Cinema $% the en of the ecae+
These films often feature actors like Nana Patekar, Manoj #aj'ai, Manisha
Koirala, Ta$u an ,rmila Matonkar, *hose 'erformances *ere usuall% criticall%
a''ro&e+
The ()))s sa* a gro*th in #oll%*oo9s 'o'ularit% in the *orl+ This le the nation9s
filmmaking to ne* heights in terms of =ualit%, cinematogra'h% an inno&ati&e stor%
lines as *ell as technical a&ances in areas such as s'ecial effects, animation,
etc+ Some of the largest 'rouction houses, among them "ash /aj Eilms an Iharma
Prouctions *ere the 'roucers of ne* moern films+ The o'ening u' of the o&erseas
market, more #oll%*oo releases a$roa an the e<'losion of multi'le<es in $ig
cities, le to *ier $o< office successes in Inia an a$roa, incluing 'agaan
0())11, De(das 0())(1, Koi))) Mil *aya 0())51, Kal o +aa o0())51, ,eer-
-aara 0())81, .ang De Basanti 0())@1, 'age .aho Munna#hai /200012
Krrish 0())@1, Dhoom 2 0())@1, 3m Shanti 3m 0())B1, 4hak De India0())B1, .a# +e
Bana Di "odi 0())A1 an *ha5ini 0())A1, eli&ering a ne* generation of 'o'ular
- 18 -
actors 0-rithik /oshan, .$hishek #achchan1 an actresses 0.ish*ar%a /ai, Preit%
Minta, /ani Mukerji an Kareena Ka'oor1, an kee'ing the 'o'ularit% of actors of the
're&ious ecae+ .mong the mainstream films, 'agaan *on the .uience .*ar at
the 7ocarno International Eilm Eesti&al an *as nominate for #est Eoreign
7anguage Eilm at the B8th .caem% .*ars, *hile De(das an .ang De
Basanti *ere $oth nominate for the #.ET. .*ar for #est Eoreign 7anguage Eilm+

The -ini film inustr% has 'referre films that a''eal to all segments of the auience
0see the iscussion in 4anti, ())8, cite in references1, an has resiste making films
that target narro* auiences+ It *as $elie&e that aiming for a $roa s'ectrum *oul
ma<imise $o< office recei'ts+ -o*e&er, filmmakers ma% $e mo&ing to*ars
acce'ting some $o<-office segmentation, $et*een films that a''eal to rural Inians,
an films that a''eal to ur$an an o&erseas auiences+
There ha&e generall% $een fi&e major influences that ha&e sha'e the con&entions of
Inian 'o'ular cinemaJ
The ancient -n#ian epic4 of Maha#harata an .amayana *hich ha&e e<erte
a 'rofoun influence on the thought an imagination of Inian 'o'ular cinema,
'articularl% in its narrati&es
.ncient San4krit #ra$a, *ith its highl% st%li6e nature an em'hasis on
s'ectacle, *here music, ance an gesture com$ine Lto create a &i$rant
artistic unit *ith ance an mime $eing central to the ramatic e<'erience+L
The traitional folk theatre o( -n#ia, *hich $ecame 'o'ular from aroun the
1)th centur% *ith the ecline of Sanskrit theatre+
The Par4i theatre, *hich L$lene realism an fantas%, music an ance,
narrati&e an s'ectacle, earth% ialogue an ingenuit% of stage 'resentation,
integrating them into a ramatic iscourse of melorama+
/olly<oo#, *here musicals *ere 'o'ular from the 1C()s to the 1C?)s, though
Inian filmmakers e'arte from their -oll%*oo counter'arts in se&eral
*a%s+
B*;;Y7**D
- 1? -
#oll%*oo is the largest in the *orl, 'roucing almost A)) hini language films 'er
%ear that are &ie*e $% roughl% 11 million 'eo'le 'er a%+ These mo&ies are kno*n
for their high conce'ts, ethnic fla&our, rich emotionalism, &i&i colours an sensuous
music+
The entertainment inustr% in Inia has out'erforme the econom% an is one of the
fastest gro*ing sectors in Inia+ Since 1C51 *hen talkies *ere there in the countr%,
the film inustr% has 'rouce more than @B))) films in more than 5) ifferent
languages an ialects+ Inias mo&ie inustr% is a great sector for foreign in&estment
$% cor'orati6e entertainment com'anies+ Though risks are high on 'er- mo&ie $asis,
the risk s'reas out across a num$er of films+ -o*e&er the omestic film inustr%
es'ite its 'rofligac% is %et to ac=uire Nthe character of 'rofessionalism on a large
scale+
.fter the far fetche success of information technolog% an $iotechnolog%, the Inian
entertainment inustr% is all set to $loom in the coming %ears+ #e it the changing
istri$ution scenario, consoliations *ithin the inustr% an segments, technological
in&ocations or changes in regulator% en&ironment- all are contri$ution to the gro*th
of the sector+ !&en the macroeconomic factors like the countr%s 4IP gro*th rate,
emogra'hic changes an Inian Iias'ora are s'urring the tren+ There is immense
'otential to $e ta''e to make the Inian entertainment inustr% at 'ar *ith its glo$al
counter'arts+
Mum$ai, the Cit% of Ireams, houses the 'rime centre of -ini Eilm Inustr%, $etter
kno*n as #oll%*oo+ .cclaime as one of the $iggest film inustries of the *orl,
#oll%*oo 'rouces o&er 1))) films e&er% %ear+ Since 1C15, Inian Cinema has
mae a long journe% from sim'le silent mo&ies to soun films, then coloure films to
technicall% a&ance mo&ies of the 'resent a%+ #oll%*oo im$i$e its name from
the merger of the term #om$a% 0no* Mum$ai1 an -oll%*oo, the .merican Eilm
Inustr%+
.nother 'oint *orth-mentioning is that #oll%*oo is just the 'art of Inian Eilm
Inustr%, *hich also encom'asses other language film inustries+ The mo&ies churne
- 1@ -
out here are the major source of entertainment, *ith an auience of 5+@ $illion 'eo'le,
*hich is more than half of the *orl9s 'o'ulation+ #%'assing the realit%, -ini films
are usuall% 9masala9 0s'ic%1 mo&ies that com'rise all the ingreients like music, ance,
&iolence an melorama of a goo entertainer+ The languages of -ini, ,ru an
!nglish are e<tremel% common in #oll%*oo+
-ntere4ting +act4 a0out Bolly<oo#
Prouction-*ise, #oll%*oo is the largest film inustr% in the *orl *ith o&er
1))) films 'rouce e&er% %ear+
Its mo&ies are *atche $% almost 18 million Inians e&er%a%+
/aja -arishchanra 01C151 *as the first silent feature film of Inia+
9.lam .ra9 - the first Inian soun film *as release in 1C51+
Kisan Kan%a 01C5B1 *as the first coloure mo&ie 'rouce in Inia+
9Kaga6 ke Phool9 01C?C1 *as the first cinemasco'e film of #oll%*oo+
The first B) MM film of #oll%*oo *as 9.roun the :orl9+
The first 5I mo&ie in -ini *as 9Shi&a ka Insaaf9+
9Noorjahan9 01C511 *as the first Inian !nglish film+
!&er% %ear, #oll%*oo mo&ies are cele$rate in no less than @ a*ar
functions+
- 1B -
5ountry <i4e +il$4 Pro#uce#
India
United States
Japan
Cina
France
Ital!
Spain
U"#
$erman!
Russia
%anglades
Sout #orea
%ra&il
Argentina
- 1A -
Bu4ine44 Seg$ent Na$e o( 5o$panie4
TV #roacasting H Soft*are
Prouction
Mee Telefilms, !TC Net*orks, SFN"
!ntertainment Tele&ision, TV Toa%, NITV,
#alaji Telefilms, #ag Eilms, Creati&e !%e,
Cine&istaas, Pamala%a Telefilms, Sri .hikari
#rothers Net*ork, TV 1A, Miitech, ,TV,
Nim$us Communications
Eilm Prouction, Iistri$ution H
!<hi$ition
.la$s Eilms, PV/, Mukta .rts, Shringar Eilms,
Pritish Nan% Communications, 4ala<%
!ntertainment, Kaleiosco'e !ntertainment
Music Content H Iistri$ution Ti's Inustries, Saregama
Print Meia Mi-Ia% Multimeia, -inustan Times
/aio #roacasting !ntertainment Net*ork of Inia
.nimation Crest Communications, IO !ntertainment
5ountry 7i4e 5ine$a "tten#ance
- 1C -
India
United States
Indonesia
France
$erman!
Japan
Cina
United #ingdom
Spain
Me'ico
Canada
Ital!
Australia
%ra&il
Sout #orea
Argentina
Tur(e!
Poland
Iran
%elgium
M"RK)T-N' M-= +*R M*2-)S
Marketing mi< is the set of controlla$le &aria$les an their le&els use to influence the
target market. The elements of marketing mi< are the $asic com'onents of a
marketing 'lan+ .lso kno*n as the Eour P9s, the marketing mi6 elements are 'rice,
'lace, 'rouct, an 'romotion.
The conce't is sim'le+ Think a$out another common mi< - an ice-cream mi<+ .ll ice-
creams contain milk, sugar, fla&ours+ -o*e&er, one can alter the final ice-cream $%
altering the amounts of mi< elements containe in it+ So for a chocolate fla&our a
more chocolate 'o*er, for &anilla fla&our a more &anilla 'o*er an for $itter
coffee taste a less sugar an more coffee 'o*erP
It is the same *ith the marketing mi<+ The offer mae to the customer can $e altere
$% &ar%ing the mi< elements+ So for a high 'rofile $ran, increase the focus on
'romotion an esensiti6e the *eight gi&en to 'rice+
The ?P4 o( +il$ Marketing
Pro#uctC It is time an again that *e kee' coming $ack to this+ The $ase for a *ell-
efine film marketing strateg% starts *ith the film itself+ . *ell researche scri't
*ith a *ell-*o&en screen'la% is *here the core of the film-marketing strateg% for a
film shoul $e in&este+ It is not a$out *ho sees the film onl%, it is also a$out catering
to a efiniti&e auience *ho *atches %our film in theatres, an more often than not,
more than once+ :hile other elements of marketing focus on attracting these
auiences it is this as'ect of marketing i+e+ >the 'rouct that aims at satisf%ing these
auiences+
- () -
Place$entC :ith the first element satisfie *e mo&e on the element that makes the
first element 'ossi$le+ It is true that an auience *ill $e satisfie onl% *hen the% are
attracte to go into the theatre to *atch the film+ It is >'lacement that accounts for
attracting the auience into cro*ing the theatre+ >Placement as a term is use to
escri$e the mous-o'erani of 'lacing the communication an 'romotion strateg% of
the film on to meia an non-meia 'latforms a&aila$le in the inustr% toa%+
There is a com'lete meia-mi< that shoul $e 'ut into 'lace usuall% 1?D to (?D of
the 'rouction cost of the film is in&este into the marketing of the film in #oll%*oo+
#ut then there are films like 7agaan, #oom, Fut of Control, Khel an others *ho ha&e
s'ent as much as 8)D of their 'rouction cost on marketing+ #ut onl% 7agaan out of
all these films $ecame a su'er-hit an neeles to 'oint out that that ha a lot to o
*ith the central theme of the film+
Toa% it makes 'erfect sense to colla$orate *ith one or more meia 'artners in orer
to ensure ma<imum focuse 'u$licit% of %our film through certain guie 'latforms+
The P;"5) o( Movie4C
. marketing attitue tickles the creati&e genius in man% a igital entertainment
entre'reneurP :here an ho* o %our 'ros'ects fin 0an use1 %our mo&ie 'rouctsQ
That9s marketing L'lace+L
It9s a$out making one9s 'roucts an ser&ices a&aila$le to 'ros'ecti&e $u%ers *hen,
*here an ho* the% *ant them+ Iirect marketing to %our en customer an filling the
istri$ution channel in $et*een+ Marketing strategies mi< an match inirect channels
such as *holesale an e<hi$itor channels+ Single or multi'le channels+ 7ong su''l%
chains or short+ Iomestic anRor glo$al+ ,r$an, su$ur$an, rural+
:ith the e&er-in&enti&e entre'reneurial energ% in the entertainment *horl, 'eo'le fin
&enues for entertainment sales not onl% through traitional theaters an $roacast, $ut
on street corners, in homes, o&er the Internet, o&er 'hones, through clu$s, $% shi',
'lane an *ith lea's o&er tall $uilingsP
F'tions for eli&er% of intellectual 'ro'ert% are e<'loingJ mo&ies, games, music,
ne*s, an eucational content+ Iistri$ution takes 'lace through theaters, rental stores,
sell-through stores, catalogs, non-theatrical grou's, the Internet, e&en cell 'hones an
the latest ne* meia gaget+
Gust a fe* of the technologies that ha&e 'ro&ie 'latforms for creati&e sales of igital
meia inclue $roa$an, cellular 'hones, har isk miniaturi6ation, :"SI:I4
- (1 -
interfaces, ata$ase tools, simulators, an the gro*ing o'tions in integrate home
theater s%stems+
Technologies that *ere in&ente for eli&er% mechanisms $ecome the entertainment
themsel&es+ There hasn9t $een such a cross fertili6ation of 'lace an function since the
Italian /enaissance shook the communications *orl *ith the mi<ture of art, music,
literature an 'olitical ieas in the 18))s+
Is toa%9s igital renaissance an% ifferentQ :e ha&e igital entertainment, eucation
an ne*s ta''ing the 'olitical an militar% fronts+ Iigital eli&er% of information
affects $usiness, eucation, go&ernment an famil% communities+
The half-life of 'latforms, strategies an formats are shorter than e&er+ .ffiliate
'rograms on the Internet sa* their 'eak+ No* *e ha&e /SS fees, $logs, &$logs,
auio $logs an mo$ile com'uting+ Man% families no longer lease a lan-$ase 'hone
line--rel%ing strictl% on their cellular 'hones, instant messaging an e-mail for
'ersonal communications+
Through all these mo$ilit% an technological changes, the human factor remains
constant+ Peo'le like 'eo'le+ The% like meeting 'laces an a reason to get together+
The cam'fire might $e igital, $ut it hasn9t lost its glo*+ That9s *here marketing
shines+
:hat oes the technical igi-master nee to kno* a$out the marketing realities of
'laceQ Think Mi' ri&e+ Elo''ies+ .nalog+ /aio+ 7ocal tele&ision+ #ooks+ Stone
ta$lets+ The frustration felt $% toa%9s consumers a$out u'graing, lost ata, $oat
anchors an mice is real+ . marketing 9tue a$out technolog% is reall% a$out
a&aila$ilit% of 'ersonal an $usiness 'hotos an recorings an letters an recors --
not to mention collections of music, games an mo&ies+
Place is a$out a&aila$ilit% -- not just sales a&aila$ilit%, $ut usa$ilit%+ .$ilit% is the
heart of a marketing attitue+ #ack*ar com'ati$ilit%, cross-'latform com'ati$ilit%,
glo$al stanars+ Successful technologists think a$out 'eo'le as the% contort $its an
$ites into ne* o''ortunities+
To 'ut a human face on this 'rocess of change, remem$er ho* 'arents struggle to rear
their chilren *ho, in their teen %ears, hit their strie+ Technolog% links these cutting
ege communicators *ith famil%, friens, a&isors, teachers an co*orkers in the
home, the car, the office, an the $ack 'ocket+ It9s a$out 'lace+ .&aila$ilit%+
Communit%+ Sharing the jo%, the o''ortunit% an the content of the message+
Iesign for sharing an for &ar%ing le&els of technological com'ati$ilit%, aa'ta$ilit%
an s'ee of ao'tion are 'o*erfull% tantali6ing an 'rofita$le elements of a
successful marketing mi<+
F'tions for L'laceL toa% are ifferent than t*ent% %ears ago+ In 1CA? /onal /eagan
took office as Presient+ The first laser 'rinters *ere ae to the eskto' 'u$lishing
re&olution+ The .''le Macintosh an the I#M PC .T home com'uters ha just $een
release+ Microsoft releases its first &ersion of :ino*s+ The first CI-/om ri&e for
- (( -
'ersonal com'uters *as release s'orting a *ho''ing L1SL s'ee+ Is it an% *oner
'eo'le are reeling from the s'ee of technological changeQ
Toa%, the L'laceL of entertainment istri$ution is min $oggling+ Proucers an
istri$utors must 'ick an choose their istri$ution a&enues, $ut also manage their
'resence in all of the ke% market istri$ution channels+ :hen technologists *ork
closel% *ith marketing strategists, the% can kee' 'ace *ith grouns*ell market shifts
create $% com'etitors, colla$orators an glo$al shifts in economic, 'olitical an
social changes+
LPlaceL is the grassroots of a marketing attitue+ There9s still no 'lace like home turf+
MARKETING TO DO
Create %our in-house list of famil%, friens, su''orters, an inustr% mem$ers,
&enors an meia
/esearch the istri$ution chain in the general mo&ie inustr% an hint, hint, at least
T-/!! niche markets relate to the su$ject matter of %our 'roucts
/efine %our market niche an e&elo' a li$rar% of mo&ies *ith a cohesi&e core so that
%ou can e&elo' fans -- 'eo'le *ho look for the ne<t mo&ie %ou 'rouce $ecause it
touches their interestsJ genre, su$ject, ensem$le cast, etc+
4et to kno* %our istri$utors+ The% are 'eo'le+ The% lo&e mo&ies just like %ou+ The%
see a lot, hear a lot, an think a lot a$out ho* to $ring =ualit% to their market niches+
Po4itioningC The entire meia, marketing an communication strateg% of the film
e'ens on the 'ositioning of the film+ Positioning is that 'articular slot in the min of
the auience that the film 'ositions it in+ This kin of 'ositioning has a lot to o *ith
ho* *ell efine %our target-auience is+
The time-consuming an highl% com'le< oreal of 'in-'ointing the target- auience is
something that a goo film marketer shoul take care of in the conce'tualisation
stage+ The film $% an large shoul a''eal to the sensi$ilities of all kins of auience
$ut 'rominentl% shoul $e 'ositione for a *ell efine auience+ #ase on the
'rojecte associations *ith %our target-auience %ou must formulate the >'ositioning
elements+ These >'ositioning elements shoul highlight an reflect in all the
'romotions for the film+
- (5 -
PeopleC The 'ositioning of the film has a lot to o *ith the 'ersonification of the film+
Personification finall% is the ke% to creating a $ran out of the film+ 7agaan is $ran
Inia an Cricket+
It is the central characters 0not the actors1 of the film that shoul ena$le the making of
a $ran out of %our film+ There shoul $e a *ell-efine 'romotion 'lan that has to $e
'ut-into 'lace for 'romoting the 'eo'le of the film 0$oth on-screen an the technical
team1+ The $uil-u' shoul $e such that *ithout o&er-e<'osing the team there shoul
$e enough flurr% of acti&it% that *ill cata'ult the auiences into the character of the
film e&en $efore the% see the film+
Pu0lic Relation4C #esies the a&ertising an 'romotion of the film there shoul $e a
strategic focus on 'u$lic relations for the film, $oth meia an non-meia 'u$lic
relations 'la% an im'ortant role in the success of the film+
Partner4 Bran#4 an# Bolly<oo#C There is e&ience of shortene attention s'ans an
a greater effort to $reak through the clutter of multituinous $rans an meia
&ehicles+ The $est *a% to eli&er the message is to catch the customer off-guar *hen
the rational efences are o*n+ The $est *a% to o so is to use the emotional gate
rather than the rational gate+ The rational gate e<amines the a&antages, $enefits,
features an seeks &alue for mone%K the emotional gate is all a$out trust, lo&e,
ientification an $elief+ It has $een notice that films o'erate at the emotional le&el+
These as'ects ha&e $een le&erage $% $rans such as Coke, Pe'si, 7u<, .irtel,
-%unai, #ag'i'er, 7u< *herein mo&ies an $rans flash iscreet 0an sometimes
iniscreet1 messages at their target auiences+
- (8 -
Then there is also the nee to e<amine s%nergies $et*een the $rans an films+ The
successful integration of 'rouct 'lacement *ithin the films stor%line has a long
histor%J the first e<am'le $eing the %ello* /ajoot $ike use in /aj Ka'oors #o$$%+
-oll%*oo also le&erages $rans such as #M: 0#on mo&ies1, Gaguar, Eor, /a%
#an 0Tom Cruise in /isk% #usiness an Mission Im'ossi$le an :ill Smith in Men
In #lack1, Star$ucks coffee, .F7, .THT, an so on+ M% 'ersonal fa&orites are the
$ran fits create for >Nike in :hat :omen :ant an for Ee!< in Casta*a%+
-o*e&er, at this 'oint it might $e crucial to 'oint out that *hat is im'ortant is that
there is com'lete trans'arenc% in the agreement that the film-marketer an $ran-
marketer get themsel&es into+ Fther*ise things can get reall% irt%+ /ecall /akesh an
-ritik /oshan of Koi Mil 4a%a &Rs Killer Geans an !mami+
Eilms are a ifferent meium an one $a 'lacement can o more amage than 1)
goo 'lacements+ .rtistic integrit% is crucial for successful $ran 'lacements an the
o'eration has to $e *o&en into the scri't+ Sometimes, unreasona$le clients eman
more footage although research has sho*n that a (-minute cli' can effecti&el% eli&er
a message in a crei$le manner+ The 'lacement shoul $e a natural fit an shoulnt
$e contri&e an unnatural+ !ach effecti&e tie-u' $et*een a $ran an a film in&ol&es
hectic negotiations of aroun 5-@ months+
There is no fi<e formula $ut the factors that are taken into consieration M!II.
uring the negotiation stage inclueJ cast an creitsK si6e of the 'rojects an the
'roucersK timing of the releaseK $ran im'actK num$er of screens uring release an
'ost-release 'haseK an 'ossi$ilities of $ran associations through contests an
'romotions+ Ie'ening on the content of the film an its stor% line, the film-maker
can sketch a 'rofile of &ie*ers *ho *oul flock to see the mo&ie+ Then the film-
maker a''roaches all those $rans *ho coul a''eal to the targete &ie*ers+ This is
follo*e $% a 5@) egrees marketing 'lan for cross-'romotions uring the &arious
stages of a films release+
- (? -
. list of marketing &aria$les uner Pro#uct1 Place1 Pro$otion1 an Price are as
follo*sJ
Pro#uct Price Place Pro$otion
Oualit% 7ist 'rice Channels .&ertising
Eeatures Iiscounts Co&erage Personal selling
F'tions .llo*ances 7ocations Sales 'romotion
St%le Pa%ment 'erio In&entor% Pu$licit%
#ran name Creit terms Trans'ort
Packaging
Si6es
Ser&ices
:arranties
/eturns
- (@ -
M"RK)T-N' "ND B*;;Y7**D
LTaking %our famil% to a multi'le< *oul cost %ou at least /s @))+ No* to make the
masses o that, a goo marketing strateg% is &er% essential+L
-ence no* it is $elie&e that an% 'rouct --- $e it a film, 'la% or TV sho* --- re=uires
goo marketing if its commercial e<'ectations are to $e met+ The 'ur'ose of
marketing is to ma<imise the auience for a film an to therefore ma<imise its
earnings i+e+ to make as much mone% as 'ossi$le+ Most $lock$uster mo&ies alrea%
ha&e an auience+ So 'roucers 'ut in millions of ollars into the mo&ie $ecause the%
alrea% kno* 'eo'le *ill go an see it $ecause it is $ase on a meia te<t that alrea%
has an auience+ This ma% $e a 're&ious film 0e+g+ Krisshh7s auience *ill consist of
man% 'eo'le *ho are fans of the first mo&ie Koi Mil 4a%a +++P1+ -o*e&er, the
'roucers nee a guarantee that the film is going to $e make not just a small 'rofit,
$ut a comforta$le one, an after s'ening crores of ru'ees on a mo&ie the% *ill
usuall% s'en aroun half as much again on marketing it+
Marketing also aims at making the mo&ie a $ran so that 'eo'le are lo%al to it an a
set of $ran lo%al consumers are create+ Marketing 'la%s a &er% im'ortant role in
attracting 'eo'le to the theatres+ -o*e&er the $ran lo%alt% lasts for a &er% small
'erio of time+ Peo'le might $u% the t-shirts, auio CIs etc+ of the mo&ies+ Mo&ies
are a one time e<'erience an 'eo'le ont go to see the same mo&ie again an again+
The $ran lo%alt% in case of mo&ies is entirel% ifferent from that of EMC4 'roucts+
Peo'le $u% those 'roucts again an again if the% like them $ut mo&ies the% *ill see
onl% once or at the most t*ice if the% like it so much+ The ecision to go an *atch
the mo&ie is largel% influence $% the marketing of the film+
:ith each ne* mo&ie release, the stuio has to create a ne* $ran+ Thats one of the
reasons *h% 'roucers are keen on 'roucing se=uels to *ell esta$lishe $rans+
The% kno* that the% alrea% ha&e a $ran lo%al customer $ase an no matter ho*e&er
the mo&ie *oul $e, the auiences *oul ha&e a sense of curiosit% to go an *atch
the film+ Eor e+g+ the 'roucers of hoom kne* that the% *oul get the esire
num$er of 'eo'le for hoom ( an if the% come u' *ith a thir se=uel 'eo'le *oul
- (B -
still go an *atch it e&en if the% int like hoom (+ -ence marketing of se=uels is
much easier than creating a ne* $ran altogether+
Stars ma% also $e consiere as $rans, 'articularl% if the% are associate *ith onl%
one t%'e of mo&ie+ Peo'le ma% $e fans of an ini&iual actor an *ill go to see the
mo&ie $ecause he or she stars in it+ Therefore the marketing of a mo&ie is all a$out
creating instant $ran ientit%+ . mo&ie9s $ran is esta$lishe $% signalling to
consumers *hat it is like an *here it has come from+
Eilms can onl% $e markete effecti&el% 'rior to their release+ Fnce the% ha&e $een
sho*n in cinemas, the cat is out of the $ag, an *or-of-mouth takes o&er from the
marketing e'artment in 'ersuaing auiences to go an see a 'articular mo&ie+ Eilms
ha&e a limite istri$ution *ino*, an therefore a limite shelf-life+ The% ma% 'la%
in cinemas for as long as si< months, sometimes onl% for a *eek+ The marketing has
to ha''en at a$solutel% the right time to get auiences into cinemas+ . marketing
cam'aign ma% $uil for as long as it takes to make a film, $ut it is o&er once the
mo&ie has $een release+
!arlier there *ere onl% t*o streams - 'arallel an the mainstream cinema+ #ut no* *e
ha&e all kins of films that make it a ifficult task to tag them+ !&en an o regional
or foreign film has its auience in cities no*+ Peo'le toa% onl% look for the =ualit% of
the film an so the% *oul go to *atch a film e&en in a regional language+
The challenge therefore lies in sur&i&ing the ma race for e%e$alls+ In the oler a%s,
the 'u$lic ha onl% a fe* alternati&es for entertainment an film 'roucers coul
al*a%s get a*a% *ithout s'ening much on marketing+ #ut no*, the ne* generation9s
nees an interests shoul $e treate carefull% failing *hich the filmmakers *oul
suffer huge losses not onl% in terms of mone% $ut also in terms of lost auiences+
Thus toa% the mantra of marketing isN LIf %ou on9t 'roject %our film in the correct
'ers'ecti&e, the target auience *on9t notice it+L
- (A -
M"RK)T-N' T/) +-;M
7aunching a ne* film into the market- 'lace is like launching an% other ne* 'rouct -
the 'u$lic nee to $e mae a*are of its e<istence+ It is the role of the istri$ution
com'an% to 'romote the film as *iel% as 'ossi$le in orer to ma<imise its chances of
success at the $o< office+ There is, of course, onl% one chance to o this - if the film is
not a hit *hen it o'ens there is no o''ortunit% to re-release an tr% again at a later
ate+ Peo'le make their ecision a$out *hether to go an see a film at the cinema on
the strength of *hat the% ha&e seen, hear or rea a$out it an the marketing
cam'aign must 'ersuae as man% 'eo'le as 'ossi$le that this *ill $e a film the% *ill
enjo%+
K ) Y + " 5 T R S
:hen a istri$ution com'an% has negotiate the rights to market a 'articular film, the
marketing team meets to ecie the ke% factors in the cam'aignJ
.uience
,ni=ue Selling Point 0,SP1
#uget
The "u#ience
The istri$utors *ant to a&ertise the film to as man% 'eo'le as 'ossi$le, e'enent
on its certificate+ -o*e&er, the% also kno* that there *ill $e a 'articular grou', or
grou's, to *hom it *ill reall% a''eal an therefore the% *ill make this grou' the
target auience for the marketing cam'aign+ The% *ill also aim to scheule the release
ate for the film so that it oes not o'en at the same time as another film ho'ing to
attract the same auience+
- (C -
The ,niDue Selling Point 6,SP8
The ,ni=ue Selling Point - also kno*n as the ,SP - *ill $e the factor that makes this
'articular film ifferent from others in the same genre an *ill $e e&ient in the
images that are seen on the 'oster an trailer+ The marketing cam'aign must aim to
gi&e the 'u$lic information a$out the genre, stor% an stars of the film so the% feel
confient that this *ill $e the t%'e of film the% *ill enjo% coming to see+ -o*e&er,
*hilst stressing the familiar elements of the film it must also highlight ho* the film is
ifferent+
The Bu#get
The success or failure of a film can e'en hea&il% u'on the amount of mone% s'ent
on marketing in the run-u' to its release at the cinema+ The $uget for the marketing
cam'aign *ill $e set accoring to ho* much the istri$utors think the film *ill make
at the $o< office+ The% ha&e no real *a% of kno*ing this as each film is uni=ue an
sometimes there are une<'ecte successes or failures, $ut calculations can $e mae
looking at other films of a similar t%'e+ Influential factors ma% inclue the cast an
cre* of a film, *hen an *here it *ill $e release, auience research from earl% test
screenings of the film an ho* *ell the film has 'erforme in the ,S, as it usuall%
o'ens there first+
The 5a$paign
. marketing cam'aign is i&ie into three areasJ
.&ertising
Pu$licit%
Promotions
- 5) -
"#verti4ing& It is to $e 'ai for an consists of 'ress, tele&ision an raio a&ertising
as *ell as 'osters an >ne* meia such as the Internet+ The a&ertising $uget is an
>a$o&e the line cost as the amount s'ent an *hat %ou get for it can $e *orke out
e<actl%+ .itionall% there is >in cinema acti&it%, *hich onl% costs istri$utors the
'rice of 'rouction+ This com'rises su''l%ing 'osters, trailers an other materials,
such as $anners, stanees 0three-imensional T Eilm !ucation 8 car$oar cut-outs1
an mo$iles to !<hi$itors+ There is no charge for this, as it is o$&iousl% in the
cinemas interest to 'romote films *hich the% *ill $e 'la%ing+
Pu0licity *hich is not 'ai for $ut is generate $% the 'u$licit% e'artment inclues
re&ie*s, articles an inter&ie*s in an% meia+ This is a >$elo* the line costK the cost
of $ringing a star o&er from the ,S can $e calculate fairl% accuratel%, ho*e&er the
le&el of a*areness raise a$out the film through this &isit cannot $e guarantee+
Pro$otion4 - *hich are also a >$elo* the line cost for man% of the same reasons as
'u$licit%, are often run in conjunction *ith other com'anies to coincie *ith the
films release+ -o*e&er, the success of some 'romotional acti&ities, such as
com'etition leaflet gi&ea*a%s, can $e measure =uite accuratel%+
!ach of these three areas *ill *ork together to raise a*areness of the film+ .s the
release ate of the film a''roaches, an 'articularl% as the film hits the cinemas %ou
*ill see more an more elements of the cam'aign emerge+
T/) T)"S)R 5"MP"-'N
If the film is to $e a 'articularl% high 'rofile release, *ith a large 'romotional $uget
to s'en, the main cam'aign ma% *ell $e 'recee $% a teaser cam'aign+ . teaser
cam'aign can contain man% of the elements of the main cam'aign such as 'osters an
trailers $ut is esigne to tease the 'ros'ecti&e auience, to arouse their curiosit%
a$out a film *ithout gi&ing too man% etails a*a%+ It ma% $e set in motion as far in
a&ance as si< months $efore the release ate, *hereas the main cam'aign *ill not
usuall% $egin until there are a''ro<imatel% si< *eeks to go+ #oth cam'aigns nee
careful hanling as too much e<'osure runs the risk of losing the 'ros'ecti&e
- 51 -
auiences interest+ The teaser aims to get 'eo'le talking a$out the film, the main
cam'aign aims to raise the 'rofile an get them into the cinema to see it+
The Po4ter
The 'oster is the 'rimar% tool in the marketing cam'aign+ It must $e instantl% e%e-
catching, $ecause often it is seen onl% $riefl%, %et it must offer clues as to the genre
0t%'e1 of film it 'romotes, information as to narrati&e 0stor%1 an the stars, an sell the
film as $eing uni=ue+
The Trailer
The trailer *orks effecti&el% to market a film $ecause the auience e<'eriences it
actuall% in the cinema auitorium+ In this *a%, *e can get the full im'act of the
mo&ing images an soun, *hich is far more effecti&e than an% still 'icture coul $e,
an the connection in our mins has $een mae $et*een the cinema en&ironment an
the film+ Trailers are not ranoml% sho*n $efore a filmK the% are carefull% chosen to
a''eal to the same t%'e of auience as the main feature, so a trailer for sa% >Koi Mil
4a%a, a chilren9s film, *oul not $e sho*n $efore a late night horror sho* aime at
teenagers+ Trailers also recei&e a certificate, an can onl% $e sho*n *ith main
features of the same or higher certificate+
P,B;-5-TY "ND PR*M*T-*N
Pre44 kit4 an# )PKS
Press kits are sent to journalists all o&er the countr% to gi&e them information a$out
forthcoming films+ The% are one of the $asic tools of an% 'u$licit% e'artment+ Press
kits inclueJ -
" 4et o( 4till4 i+e+ 'hotogra'hs *hich ha&e $een taken uring the making of the film+
These ma% $e images from the film itself, stuio 'ortraits of the stars, an
'hotogra'hs of the 'rouction cre* *orking *ith the actors an so on+ These stills
ha&e $een authorise for 'rinting in ne*s'a'ers an maga6ines+
- 5( -
Pro#uction note4 form the $ulk of an% 'ress kit+ This gi&es the journalist a s%no'sis
of the film an 'ro&ies interesting information such as elements of costume esign,
location choices, issues raise $% the film, choices in casting an ho* the stars feel
a$out their rolesK all the sort of material *hich coul $e use to *rite an article for
their 'u$lication+
" li4t o( ca4t an# cre< cre#it4& Gournalists *riting a$out the film nee correct
information an correct s'ellings+
Biographie4 an# (il$ographie4 of the cast, irector an 'roucerJ The front 'age of
a 'ress kit *ill is'la% the title of the film, *ritten in the gra'hics *hich ha&e $een
chosen for all the 'u$licit% surrouning the release+ It *ill also contain the title an
logo of the com'an% *hich is istri$uting the film+
)lectronic Pre44 Kit4, usuall% kno*n as !PKS, are a&aila$le to journalists *orking
in tele&ision+ These take the form of a &ieo ta'eK raio journalists *ill ha&e similar
information on auio ta'e+ The !PK ma% inclueJ
. trailer for the film+ There ma% $e more than one &ersion of this+
Short cli's from the film sho*ing ramatic or funn% moments, authorise for
sho*ing on tele&ision *ithout further co'%right clearance+ Eor the
'romotional 'erio of the release, these are the cli's %ou *ill see on film
re&ie* 'rogrammes an in more general 'rogrammes featuring film+ There
*ill $e a &ariet% of cli's, not onl% to sho* the ifferent features of the film
$ut also so that the auience for a certain tele&ision 'rogramme can $e sho*n
an a''ro'riate cli' for their age an interests+
Short e<tracts of the irector, 'rinci'al stars, screen*riter talking
a$out their role in the film, ho* the% feel a$out it, *hats ne* a$out it etc+
These cli's can $e use $% tele&ision 'resenters to make it look as if the% are
actuall% inter&ie*ing the star, $ut of course *ithout the massi&e cost that this
*oul in&ol&e+
The #-/oll+ This is footage shot $ehin the scenes+ It *ill often sho*
the irector at *ork or it coul $e sho*ing ho* animals *ere traineK an%thing
*hich ma% $e of interest to an%one *anting to kno* a$out the films
'rouction+
- 55 -
PR*M*T-*N"; P"RTN)RS "ND M)R5/"ND-S-N'
Iistri$utors ma% link *ith 'romotional 'artners to generate aitional 'u$licit% for
their films+ East foo retailers ma% $e a''roache to run 'romotional 'ackaging
featuring the film or electrical outlets to run trailers on tele&isions in sho' *ino*s+
Meia 'artners ma% $e aske to run 're&ie* screenings or to gi&e a*a% holia%
'ackages or other e<clusi&e items relate to the film+ Pros'ecti&e 'artners ma% $e
sho*n a si66le reel to gi&e them an iea of *hat the film is a$out, as the film ma% not
$e finishe *hen the tie-ins $et*een the t*o com'anies are $eing iscusse+
Merchanising *ill $e also 'rouce to 'romote a film+ This can $e of t*o t%'esJ
a1 S*eatshirts, $ase$all ca's, 'ens, mugs, lunch $o<es etc+ *hich *ill $e gi&en to
journalists to 'ro&ie a constant &isual reminer of the film an *ill $e use for
com'etition 'ri6es in the 'ress an so forth+ This is all gi&en a*a%+
$1 7icense merchanise, *here$% com'anies *ill $u% the rights to make to%s,
clothes an other goos featuring the film+ These 'roucts are sol+
T/) PR)M-)R)
The Premiere of a film is its first major 'u$lic sho*ing, although it *ill ha&e $een
screene to the 'ress 're&iousl% so re&ie*s can $e *ritten an the film 'u$licise in
ne*s'a'ers an maga6ines at the time of its release+ The Premiere screening is often a
high 'rofile e&ent, 'erha's for charit%, *ith stars an irectors in attenance an a
theme 'art% after the film+ It is an e<cellent o''ortunit% to gain 'u$licit% for the film
as there *ill ho'efull% $e tele&ision an 'ress co&erage of the night an as such, e&er%
effort is mae to make the Premiere a little ifferent+
- 58 -
R*;) *+ M"RK)T-N' -N 5R)"T-N' " S,55)SS+,; M*2-)
-as the conce't of >mo&ie marketing reall% taken off in IniaQ -o* effecti&e is this
moe of marketing in 'romoting filmsQ
Its a s'lit &ote so far+ :hile man% are of the &ie* that Inian film 'roucers are no*
cashing in on the h%'e aroun their mo&ies to a great e<tent, others argue that the
conce't has faile in man% cases+ Eor instance, the conce't has *orke &er% *ell for
the mo&ie Fm Shanti Fm *hile it has faile to 'romote mo&ies such as Sa*aari%a+
/ecognising the gro*ing significance of mo&ie-marketing, #oll%*oo 'roucers are
increasingl% o'ting for this moe of marketing+ . 5@) egree marketing 'latform *as
'ro&ie for Fm Shanti Fm+ It *orke &er% *ell for e&er%$o% *ho *as associate
*ith the mo&ie+ This conce't is gaining a strong momentum in Inia+
.ccoring to inustr% anal%sts, the conce't of mo&ie marketing is still at a &er%
nascent stage in Inia $ut Inian film 'roucers are &er% eager to create h%'e an
hoo'la aroun their mo&ies through this moe of marketing+ The conce't of mo&ie
marketing is hel'ing 'roucers a lot as the% are a$le to reco&er the cost of the film
*ithin the first t*o *eeks of the release of the mo&ie an all this is onl% $ecause of
the h%'e create aroun the mo&ie+ Iue to this reason the marketing $uget of films is
also rising+ .lmost 5)D of the $uget is allocate for marketing+ Inno&ations in
marketing are coming *ith e&er% $ig $anner release+ #ut as mentione a$o&e, the
conce't is still at a nascent stage in Inia+ Fut of ?)) Inian film 'roucers, onl% 1(
no* o't for mo&ie marketing $ecause it $ecomes ifficult for 'roucers to raise such
huge funs for marketing+
Proucers no* ha&e realise that marketing 'la%s a &ital role in eciing the fate of a
film an so the% are no* getting into marketing e&en if its a small $uget film+ :ith
more an more mo&ies $eing 'rouce, the shelf life of an ini&iual film has
ecrease an so its &er% im'ortant to make an im'act on the mins of the 'eo'le an
- 5? -
this can onl% $e one through marketing+ /ealising this, 'roucers no* are *illing to
s'en almost half the $uget of their film on marketing+
Not just the 'roucers $ut e&en the stars no* realise ho* im'ortant it has $ecome to
attract the cro*s to *atch their mo&ies+ The% are *illing to take 'art in meia
interactions, cast engagements an roa tri's+ Thus is e<'laine the stri''ing of .amir
Khan, the clinical ocumentation of fla$ to 'ectorals, an his generous $ill$oar
a''earances in the 4hajini haircut+ The efforts reall% 'ai off an the mo&ie *ent on
to $ecoming one of the $iggest hits of recent times+ Marketing has also $ecome &er%
so'histicate+ The earlier a''roach that $om$are auiences *ith nois% tele&ision
an 'rint a&ertisements has no* su$sie+ Proucers are engaging into inno&ati&e
strategies of marketing no*+ Marketing shoul $e one at the right le&el i+e+ it shoul
raise onl% so much e<'ectations as much as the mo&ie can fulfil other*ise it *as
'ro&e =uite fatal+ Fne such e<am'le is >Irona+
The film um !um 'rouce $% "ash /aj Eilms is a classic e<am'le of a film that
ha highl% inno&ati&e marketing-'u$licit% cam'aigns+ Though film critics ga&e a less
than *arm rece'tion to um !um, the film, s'ecificall% targete at an markete
among the %outh, *as an ackno*lege $o< office hit+
The cam'aign um !um unleashe coul *ell fin 'lace as a te<t$ook case on
marketing+ "ash /aj Eilms tie u' *ith organisations ranging from Times of Inia to
7a%s Chi's to 'romote the film+ The ,SP of the film *ere the cartoon characters of
-,M T,M *hich *ere highl% 'u$licise an a lot of merchanising also *as
unertaken for those characters+
Simultaneous to its 'rouction, strategising the film9s marketing an 'u$licit%
cam'aigns ha $egun+ um !um in&este 1) to 1( 'er cent of its total 'rouction
$uget on marketing an 'u$licit%+ The mo&ie actuall% got free 'u$licit% *orth 5) to
5? 'er cent of its $uget $ecause of the free-of-cost eals like Saif9s a''earance in
Son%9s soa' "assi "aisi Koi +ahin an the numerous MTV a''earances of its cast-
mem$ers+
- 5@ -
7hy 5orrect Marketing i4 i$portant in Bolly<oo#EEE
The su'er $um'er o'ening that Ka$ir Khans Ne* "ork ha
generate in the metro cities an the multi'le<es, unerlines the im'ortance of the
right *a% of marketing+
Vashu #hagnanis much h%'e Kal Kissne Iekha ha o'ene to a luke*arm res'onse
es'ite $eing a far $etter 'romote film in terms of mone% s'ent than "ash /aj+ #ut
the major ifference $et*een the marketing of the t*o films *as that, *hile the
marketing of Ne* "ork ga&e the auience an insight into the film, the marketing
'romotions of Kal Kissne Iekha left the 'u$lic *onering *hat the film *as all
a$out+
Fne ma% argue that Ne* "ork ha esta$lishe stars *hereas Kal Kissne Iekha
introuce ne*comers such as Gackk% #hagnani an Vaishali Iesai $ut still, the
o'ening of #hagnanis film coul ha&e $een far more $etter ha the 'romotion $een
*ell thought of, irres'ecti&e of the films merits+ .t the same time the release of
Pa%ing 4uests, a Su$hash 4hai 'rouction harl% came *ith an% 'romotion+
Trae sources felt that Su$hash 4hai might ha&e sa&e a cou'le of crores of ru'ees $%
economi6ing on the 'u$licit% an marketing of Pa%ing 4uests $ut he might ha&e lost
more than that $ecause man% in the 'u$lic *erent e&en a*are that the film *as
releasing or *hat the film *as all a$out or *ho *ere the actors in it+
- 5B -
Marketing as a tool is consiere to $e successful if it is a$le to highlight the
uncon&entional an make it the selling 'oint an the ,SP an this is the $asic eifice
on *hich marketing is go&erne+ 7ets tr% to unerstan this $% anal%sing an
unertaking the com'arisons $et*een the marketing one for S..:./I". an FM
S-.NTI FM+ FSF ha emerge as a 'erfect success as a marketing tool+
This is clearl% e&ient from the fact that Shahrukh Khan continue to 'romote FSF
on *hate&er occasions he coul grace, as he ha $een oing through &arious cricket
matches aroun the countr%sie an ifferent 'arts of the *orl *here Inia ha $een
'la%ing+
The song in *hich all the film stars till ate coul congregate ha $een $rought
together an ha $een 'ositione as the ,SP of the film from the a% on *hich the
'romos of FSF *ere launche+ The sa&iness of Shahrukh in marketing the 'rouct
aka FSF *as e&ient from the smart comment that he mae *hile gi&ing an inter&ie*
to after the final one a% match $et*een Inia an Pakistan at Gai'ur+ :ith a
mischie&ous glint in his e%es Shahrukh tol /ameej /aja that *hen 'eo'le are $ore
of *atching a test match shoul come o&er to a cinema hall to *atch FSF+
Eor S..:./I". the marketing effort of this &ariet% *as not mae in the same
magnitue as it *as one $% FSF though it ha $een re'orte that more than /s+?)
crores ha $een earmarke for 'romotion of S..:./I".+
:hile Salman Khan *as an integral 'art of the film he *as ne&er markete in the
manner in *hich he shoul ha&e $een+ .fter the first roun of 'u$licit% *hen it
$ecame e&ient that the film neee some further 'ro', this tool coul ha&e $een
highlighte+ Salman Khan after all has his ca'ti&e auience an coul 'ro&e $eneficial
for the film+
Secon as'ect of the film that coul ha&e $een highlighte is the fact that it *as a lo&e
stor% $et*een a -inu $o% an a Muslim girl+ The films mae on these themes are
&er% fe*, an if a irector ha taken this courage to o it, this fact shoul ha&e $een
highlighte+ This is o*ing to the fact that the 'ast films of this &ariet%, #FM#.",
II7 S! an 4.I./ *ere a resouning success, an in the secon line of marketing
effort this coul ha&e $een thought of as the strateg% to re'osition the film+
- 5A -
S..:./I". *as a *ork of art, *here something ifferent ha $een attem'te in
terms of the choice of colours an the contours an this nees to ha&e $een $rought
out in a etaile motif+ This coul $e the first film *here $lue colour has $een chosen
as the motif in the $ackgroun, an to make the auience acce't the same this is also
an as'ect that coul ha&e $een use to 'osition the film+
Marketing after all is the a$ilit% to make the 'rouct stan out in the cro* an ha&e a
istinct entit% in the clutter, an to o so uncon&entional is *hat has to $e highlighte+
The meiums of multitue a&aila$le as o'tion nee to $e ta''e, an occasions nee
to $e ca'itali6e on to sell the 'rouct+ .fter all it is marketing that goes on to ecie
the estin% of the 'rouct+
- 5C -
PR*M*T-*N"; T**;S
+il$ pro$otion is a 'ractice unertaken $% most film stuios+ Stuios in&est in
e<'ensi&e marketing cam'aigns to ma<imi6e target auience attenance of the
release film earl% in the release c%cle+ Man% 'romotional techni=ues, $oth traitional
an moern, ser&e this enJ
Trailer4 in theatre4C
Main sta%s are the trailers that are t*o-minute film 'romotions for mo&ies+
Trailers screen in theatres $efore mo&ie sho*ings an 'o' u' across the
Internet on *e$sites+
Televi4ion an# ra#io
Mo&ie istri$utors s'en huge amounts in a %ear to $u% 'ai a&ertising 05)-
secon TV commercials, ne*s'a'er as, etc+1 an o&er half that total is 'lace
on $roacast an ca$le TV, *hich are the main &ehicles for a&ertising mo&ies
to auiences+ TV is effecti&e $ecause it is an auio-&isual meium ; like film
; an can eli&er a &ast auience =uickl%, *hich is crucial $ecause films
t%'icall% ont linger in theatres more than 8-@ *eeks+

Pro#uct place$entJ Pai acti&e or 'assi&e insertion 0as on-set 'osters,
an action figures1 of film $ran in rama or sitcom sho*s, or as 'assing mentions in
ialogue+
)@ten#e# place$entJ full e'isoes of tele&ision talk sho*s, entertainment
ne*s 'rograms, or net*ork ne*s 'rograms, e&ote to com'ensate e<'osure of the
film, stars, cli's, irector, etc+
Prouction an 'ai $roacast of $ehin-the-scenes ocumentar%-st%le sho*s+
.&ance trailers, longer 're&ie*s, or $ehin-the-scenes footage on rental
&ieos an IVIs+
- 8) -
-nternetC Creating a s'ecial *e$site for the film, Le<am'le-the-mo&ie+comL+
2iral $arketingJ Eree istri$ution of trailers on mo&ie-oriente *e$sites an
&ieo user-generate-content *e$sites an ra'i issemination of links to this content
$% email an $logs+ Inclues allege leakage of su''ose LrushesL an Learl% trailersL
of film scenes+
-n print
Pai a&ertisements in ne*s'a'ers, maga6ines an inserts in $ooks+
Cross-'romotion of original $ook or no&eli6ation, incluing s'ecial 'rintings
or ne* co&er jackets 0LNo* a major motion 'icture+L1
Comic s'ecial eitions or s'ecial e'isoes
Merchan#i4ing tie&in4C
Pai co-$raning or co-a&ertising 0#M: an Games #on films1 of a 'rouct
*ith the film+
Promotional gi&ea*a%sJ $rane rink cu's, to%s, or foo com$inations, at
fast foo chains+
Pro$otional tour - Eilm actors, irectors, an 'roucers a''ear for tele&ision,
raio, an 'rint meia inter&ie*s, sometimes sho*ing a cli' from the film or an
outtake+ Inter&ie*s are conucte in 'erson or remotel%+ Iuring film 'rouction,
these can take 'lace on set+ .fter film release, ke% 'ersonnel make a''earances in
major market cities, or 'artici'ate remotel% &ia LsatelliteL or tele'hone+
- 81 -
-n the $ovie theatre
Slie sho*s - stills, tri&ia, an tri&ia games from the film, sho*n $et*een
mo&ie sho* times+
Trailers an $ehin-the-scenes shorts, sho*n 'rior to the main attraction
In lo$$ies an &ieo rental outlets
Stan-u's 0freestaning 'a'er$oar life-si6e images of figures from the film1
Car$oar 5I is'la%s, sometimes 'roucing soun
Eilm 'osters+
-N&+-;M "D2)RT-S-N'
Taking a lea from in-film a&ertising, multi-national com'anies are no* e%eing
associati&e marketing 'artnershi's in #oll%*oo+
If Nike ha $ecome a 'art of the Men in #lue9s uniform for the Cricket :orl Cu'
())B, /ee$ok is $us% romancing #oll%*oo+ .n this is not just a $rief flirtatious
engagement, as the s'orts $ran reaies for long innings+
It9s efinitel% not in-film a&ertising *here a $ran makes an a''earance akin to an
a&ert in a mo&ie that the MNC is intereste in, $ut a 'artnershi' *ith 'rouction
houses for associati&e marketing+
In the mo&ie -attrick, /ee$ok ha a small 'lacement in the mo&ie an *as seen in a
@) secon commercial at the en of the mo&ie+ The $ran *as also seen in a small tie-
u' *ith Salaam Inia, 7ets #ring the Cu' -ome an 4oal, a foot$all mo&ie+
In 4oal, customers got to see /ee$ok9s ne* range of s'orts shoes s'orte $% the star
cast that *as to $e launche in .ugust along *ith the mo&ie+ /ee$ok also 'artl%
finance the mo&ie an 'artici'ate in co-'romotions, retail 'romotions an other
acti&ities+
- 8( -
/ee$ok has increase its $uget tenfol for alternati&e meiums, *hich largel%
inclue #oll%*oo+ F&er the last t*o %ears, the tren is shifting from in-film
a&ertising to associati&e marketing an tie-u's *ith $igger $ugets+ .lso, more
$rans, *hether it is the EMC4S, ne* sectors like a''arels 0for instance, Pantaloons
*as associate *ith Ion1, all are looking at ta''ing into #oll%*oo to reach their
consumers+
Eor regional mo&ies, $rans ha&e $ugets of /s (?-5) lakh 0/s (+?-5 million1 an for
a $oll%*oo mo&ie or 'o'ular stars $rans s'en an%*here u' to /s 5 crore 0/s 5)
million1
.&ertising agencies like Maison, G:T, 7eo an 4rou' M ha&e s'ecialist i&isions
focusing on entertainment $usiness+ #roa min, 4rou' M9s s'ecialist unit for its
entertainment $usiness, has signe on 1)) customers in four %ears since ince'tion+
Some of its *ork inclues ICICI in-film 'lacement in #agh$an, 7ene&o in Ka$hi
.l&ia Na Kehna an /ee$ok in 4oal+
#oll%*oo has no* $ecome an integral 'art of the a&ertising $ugets of cor'orates+
F&er the last t*o %ears cor'orates are setting asie significant $ugets for #oll%*oo+
. huge change from the a hoc s'ening *here #oll%*oo *as a 'art of the ?-1) 'er
cent of the a&ertising $uget allocate for inno&ations+
Till last %ear, $rans association *as limite to just @)-B) mo&ies of the o&er 5))
#oll%*oo mo&ies releasing e&er% %ear+ This has no* change+ In-film a&ertising
an associati&e marketing is gro*ing at o&er B) 'er cent an the num$er of mo&ies
ha&ing $ran tie-u's *ill also ou$le+
- 85 -
D-'-T"; M"RK)T-N'
#oll%*oo has starte increasing its s'ening on igital marketing+ T%'icall%, total
marketing $ugets of a #oll%*oo mo&ie com'rise 5) 'er cent of *hich 1? 'er cent is
s'ent on igital marketing+ This is still small *hen com'are *ith -oll%*oo flicks
*hich in&est u' to 5) 'er cent of its $uget on igital 'romotions+
Eor 'romoting films like Kam$akkht Ish= an 7o&e .aj Kal on the *e$, almost ()
'er cent of their marketing $ugets *ere s'ent on igital 'romotion+ 7o&e .aj Kal
in&este nearl% /s 5 crore in online 'romotions+ Tie-u's *ere mae *ith "ahoo an
"ouTu$e to market the t*o films+ .n e<tensi&e online acti&it% *as carrie on to
'romote the mo&ie on *e$sites like #oll%*oo -ungama, Frkut, an Eace$ook
*hich interact irectl% *ith the %ounger auiences+ In an attem't to lure the ?)-@)
million Inian internet su$scri$ers, 'rogrammes *ere esigne to engage the
auiences through games $ase on films+
!ros an -ungama Iigital Meia ha also come u' *ith a game on the mo&ie 7o&e
.aj Kal+ It *as an arcae game *ith #oll%*oo t*ists, tailor-mae to gi&e the 'la%er
information a$out the mo&ie an its conce't+ ,sers coul access the game online an
on mo$ile 'latforms an a mo$ile racing game on Kam$akkht Ish=+ !ros also offere
its customers free igital content $ase on the mo&ie an ha also tie u' *ith online
ticketing 'artners like ***+k%a6oonga+com+ .roun A1 'er cent of the online Inian
'o'ulation, accoring to a re'ort $% -ungama Iigital Meia, engages in some kin of
social interacti&it% on the *e$ making it an ieal 'lace for the film marketers to ra*
%oung cro*s+
- 88 -
Internet &iral marketing is less a$out ho* much is s'ent an more a$out ho*
effecti&el% it is s'ent+ !ros, *hich *as one of the earl% 'la%ers to strike an alliance
*ith 4oogles "ouTu$e, has its o*n 'artner channel on the &ieo sharing site that
gets o&er 1)) million &ie*s+ !ros also markets its &ieos on *e$sites like MSN,
/eiff, .F7, "ahoo to ri&e the auiences to its content+
.fter the success of Slumog Millionaire, the Inian film inustr% gaine an
international outlook+ So, it is no sur'rise that the s'ening is increasing on igital
marketing $% $oll%*oo+
The recentl%-release Kam$akkht Ish=, *hich *as sai to ha&e cost the 'roucers
a$out /s B) crore, 'um'e in nearl% /s B crore in igital marketing+ :ith aroun ?)
million Inians accessing the internet, mo&ie marketing $ugets are $oun to inclue
the online 'latform+
Ri4e o( the $ovie portal4
Eor the last ecae or so the $oll%*oo s'ace has $een co&ere $% the likes of
Iniafm no* rename an re$rane #oll%*oohungama+com 0o*ne $% the
hungama grou'1 an #oll%*oosargam+com+ #ut offlate there ha&e $een a $unch of
$oll%*oo centric 'ortals that ha&e s'rung u'+ That also from $ig cor'orate houses
like the /eliance grou' an Perce't+ These are cinecurr%+com an $igo%e+com *hich
*e co&ere here an here+ Not to forget Net*ork1A as *ell *hich has $u661A
co&ering the $oll%*oo ra66mata66+
This tren inicates that more of more mo&ie goers 0es'eciall% the multi'le< kins1 is
flocking to the online s'ace for reaing re&ie*s an &ie*s an icusssions $efore
going an *atching a mo&ie+
Ri4e o( Micro4ite4FMovie Site4
Ff recentl% In+com has starte the tren of hosting mo&ie *e$sites an 'romoting it
&ia their 'ortal+ The% i so for Singhiskingg an also for a fe* others+ There has also
$een consiera$le free P/ an 'u$licit% &ia official mo&ie *e$sites an a case in
'oint is Ie& I a small $uget multi'le< auience targette mo&ie *hich cause a stir
*ith its ault *e$site an lust line feature+
Ri4e o( the Social Me#ia G 'a$ing Pheno$enon
Practicall% e&er% ecent mo&ie last %ear has ha an official face$ook an orkut grou'
an marketing an engagement through social meia $e it $logs an communities+
This has $een a $ig tren in the ,S an our last 'ost on ark knight has iscusse this
- 8? -
*ith a &ieo+ #ut the tren is catching u' in Inia as *ell *ith mo&ie makers hiring
'rofessional agencies to hanle their social meia an $u66 marketing for their films+
+ace0ook +an Page4 o( Recent Movie4
Ia$angg
:e are famil%
Pee'li 7i&e
/oar#ing4 an# Trailer4 are thing4 o( the pa4t
Mo&ie 'rouction houses are no* looking at no&el marketing techni=ues to get
auiences to the theatres+ .n *ith se&eral mo&ies line u' for release, *e9ll see more
inno&ationinthisarena+
Erom $ig-ticket contests to online 'romotions, there are a sle* of initiati&es on the
ta$le+ Some mo&ies are taking the realit% sho* route, *ith Salman 4house, the *inner
of a ance realit% sho*, 'erforming *ith Salman Khan for a song in :ante Iea H
.li&e+ 7o&e .aj Kal ha tie-u's *ith the T() :orl Cu'+
To 'romote Ne* "ork, Katrina Kaif is e<'ecte to *rite an online iar% chronicling
her e<'eriences uring the film9s shoot+
,TV Motion Pictures has e&ise horror-$ase marketing initiati&es for their mo&ie
.g%aat+ The .g%aat Short Eilm Contest has $een announce, for *hich 'artici'ants
can su$mit a 1)- to 1?-minute-long scar% cli''ing+ The *inner *ill *ork *ith the
'rouction house on a mo&ie+ :iget-like soft*are *ill also $e launche soon, *ith a
Make "our F*n Trailer contest+ /am 4o'al Varma *ill select the $est trailer, *hich
*ill $e sho*case on-screen+
LThe usual 'romotions U $asic cam'aigning, a fe* trailers an a cou'le of meia
interactions U is out+ No*, *e 'lan it strategicall% an kee' the target auience in
min+ :e stu% the core of the film an unerstan the e'th of the stor% $efore
constructing a marketing 'lan+ The 'rocess is &aria$leJ the $uget, technicalities,
im'act U e&er%thing is fle<i$le,L e<'lains Shikha Ka'ur, &ice-'resient, marketing,
,TV Motion Pictures+
Perce't Picture Com'an% use the IP7 to 'romote Gannat last %ear+ The% also ha ()
consumer screenings for Khua Ka% 7i%e, *hich ga&e the film a goo $oost+ LThe
mo&ie ran for ?1 a%s $ecause of the $u66 aroun the film much $efore its release,L
sa%s Na&in Shah, C!F, Perce't Picture Com'an%+
#ig Pictures is also ha&ing s'ecial screenings for its u'coming film, Sikanar+
LMo&ie-goers just on9t go to the multi'le<es an ecie *hich film to *atch
an%more+ :e ha&e to create a s'ace in the mins of the auience through &arious
acti&ities an 're-release $u66+ !&en gossi' relate to mo&ies has $ecome 'art of
- 8@ -
marketing strategies+ Mo&ies like :ake ,' Si an Kites are alrea% making ne*s,L
sa%s Saura$h Varma, chief marketing officer, #I4 Pictures, aing, L!arlier, trailers
*oul gi&e a*a% the $est 'art of mo&ies, $ut toa%, *e tr% $uiling curiosit% in
them+L
Proucers are also increasing marketing $ugets+ Sa%s Na&in, LMarketing cuts the
losses of a $a mo&ie an increases the 'rofit of a goo one+ !arlier, less than 1) 'er
cent of the total $uget *as ke't asie for 'romos+ Toa%, it9s shot u' to ()-(? 'er
cent+L
#ut Saura$h $elie&es the $uget e'ens on strateg%+ LEor instance, 15# *as a small-
$uget film+ #ut *e thought it ha goo 'otential, so *e *ent $e%on *hat *as
ecie,L sa%s Saura$h+
- 8B -
S*M) *+ T/) PR*M*T-*N T**;S ,S)D +*R M"RK)T-N'
+-;MS
2Mo&ies ha&e $ecome e<tremel% 'erisha$le,3 an so it $ecomes &er% im'ortant for
the marketers to attract the auiences in the 1
st
fe* a%s of the films release+
Marketers toa% are focussing on ha&ing fe*er $ut &er% im'ortant strategies to
'romote the films+ 7et us look into some of these e<am'les+
Stars toa% are *illing to take 'art in meia interactions, cast engagements an roa
tri's+ Thus is e<'laine the stri''ing of .amir Khan, the clinical ocumentation of
fla$ to 'ectorals, an his generous $ill$oar a''earances in the $i6arre 4hajini
haircut+ It certainl% 'ai off, sa%s Nitin Soo, Chief Einancial Ffficer, PV/, *ith ue
res'ect to the contents of the mo&ie+ The mo&ie *as the $iggest hit in recent months+
Ie&I, ,TVs moern-a% &ersion of Ie&as, launche a line of tattoos in Mum$ais
.ls tattoo 'arlour, an a >7ust line ha $een o'ene for callers *ho coul talk to ke%
actors in the ur$an inter'retation of Ie&as+ The initiati&es *ere targete at its ke%
auience, the ur$an %outh+
The 'lans *ere ifferent for the highl% a*aite Ielhi @, irecte $% /ake%sh
Fm'rakash Mehra, *hich ha a more 'an-Inian a''eal, sai ,TV+ . cara&an took
stars to 1)-1? cities across the countr%, incluing Inore, Surat an Nag'ur+ . mela,
recreating the gullies of Fl Ielhi, *as 'lanne for #angalore an Kolkata+
Eor the release of 7uck $% Chance, #ig Pictures arrange 'rogramming alliances, no*
a norm+ Stars mae a''earances on F%eP Its Eria%, the talk sho* on NITV Imagine
0hoste $% lea actor Earhan .ktar himself1 an at the gran finale of the singing
contest sho* Sa/e4aMaPa +
- 8A -
Eor its mo&ie Eashion, ,TV tie u' *ith /P4 Cellular, Kima%a an Sunsilk+ #oth
Kima%a an Sunsilk launche a range after the film+ 7ea actors Pri%anka Cho'ra an
Kangana /anaut *alke the ram' for Sunsilk at 7akme Eashion :eek, hel'ing $u66
reach 'eak at the time of launch+ . Vogue 'hoto shoot *as ro'e into the stor%lineK
Pri%anka Cho'ra ha alrea% feature on the maga6ines co&er $% the time the film
release+ .s $ran enorsers stars can e<ten the association+ Samsung launche
s'ecial 4hajini-moel hansets an Tata Sk% ran a continuous feature on ho* .amir
Khan 0its $ran am$assaor1 *orke to get the 4hajini look an hoste an interacti&e
=ui6+
Proucers are counting on 'ai 're&ie*sR'remiers+ Its a ne* 'henomenonK Channi
Cho*k to China ha them, an 7uck #% Chance ran a 2'ai 're&ie*3 $efore its
release+ The -oll%*oo stuios fora% into -ini mo&ies has emonstrate ho* the
$ig stuios o the marketing+ #ut the h%'e onl% i that much for the mo&ies
Saa*ari%a 0Son%1 an Channi Cho*k to China 0:arner1+ !&entuall% its all a$out
the content+
/am 4o'al Varmas horror film a$out $lack magic, Phoonk, offere a cash 'ri6e of
/s? lakh to an%one *ho are to *atch the mo&ie alone in a theatre+ ,T2
)ntertain$ent Net<ork offere &ie*ers a chance to get marrie on a graniose set
of the film "odhaa Ak#ar, if the% *on a contest that *as run uring the tele&ision
'remiere of the mo&ie+ "annat, a film a$out cricket match fi<ing, *as 'romote
aggressi&el% $% actor !mraan -ashmi at the Inian Premier 7eague matches+
- 8C -
.roun the release of the film HRock *nII3 a B,)))- strong cro* gathere in the
$acklot of Select Cit%*alk Mall in Ne* Ielhi for a concert featuring Magik, the
fictitious $an from the #oll%*oo film .o8k 3n$$
The e&ent, ifferent from the traitional cele$rit%-laen #oll%*oo 'romos, *as a hit
*ith the auiences that ha gathere there to see actors Earhan .khtar, .rjun /am'al,
Pura$ Kohli an 7uke Kenn% 'erform li&e, $acke $% musicians Shankar, !hsaan an
7o%+ The iea *as to engage an 2interact *ith auiences through a ifferent
'latform3, sai /itesh Sih*ani, co-founer of !<cel !ntertainment P&t+ 7t, *hich
co-'rouce .o8k 3n$$ 2. star cast is not enough to market a film an% more+++%ou
ha&e to think out of the $o<+3
!ngaging &ie*ersJ 7uke Kenn% 0left1 an .rjun /am'al, 'art of the fictitious $an
Magik from the film /ock FnPP, at a concert organi6e $% !<cel !ntertainment, that
'rouce the film, in the Ca'ital on @ Se'tem$er+
. gro*ing num$er of film-makers are looking at in&esting in inno&ati&e film
marketing to cut across the clutter an gra$ consumer attention in an increasingl%
com'etiti&e mo&ie $usiness+
- ?) -
No sur'rise then that the 'rouction house also commissione a /s(? lakh music
&ieo for the track Pi8hle Saat Dino Mein+++ as a 'art of their /s8+? crore marketing
an 'romotion $uget for the film+
!<'erts maintain that inno&ati&e film marketing is linke to #oll%*oo $ecoming
more organi6e+ #ig-$uget films such as "odhaa Ak#ar, *hich coul o'en *ith
1,())-1,?)) 'rints in the market, ao'te a strateg% of tr%ing to rea' ma<imum $o<
office collections uring the first *eeken, *hich etermines the fate of a mo&ie+
Smaller-$uget films, ho*e&er, ha&e to stan out to score in an e<tremel% cluttere
market that has three, or four releases e&er% *eek+ #oth scenarios call for smart
strateg%, sa% e<'erts+
Eilm-makers nee to ha&e a ifferentiator+ There is no such thing as a clean *ino*
for release an% moreNso %ou ha&e to create e<citement aroun the film an a sense of
urgenc%, *hich *ill ri&e auiences to theatres+3
- ?1 -
5*RP*R"T-J"T-*N *+ B*;;Y7**D
There is a lot of $u66 going aroun that the Inian mo&ie making 'rocess es'eciall%
the -ini film making 'rocess has starte ao'ting cor'orati6ation in a $ig *a%+ The
talk rests on the 'remise that the financing for making of the films has starte getting
institutional finance, $ig $usiness houses ha&e ste''e into the $usiness of
filmmaking an the% are also istri$uting the films+ Then cor'orati6ation is also $eing
talke a$out for the fact that no* the $ig com'anies are oing $ookings in $ulk for
their em'lo%ees to &ie* a film, *hich is a 'art of the cor'orate res'onsi$ilit%+ This
ha''ene in a $ig *a% *ith /ajnikant9s latest mo&ie S-IV.GI-T-! #FSS *here all
the cor'orate majors of the soft*are sector $ooke $ulk tickets, an it *as terme as a
cor'orate interest in the film %namics+
Cor'orati6ation has also $ecome $u66 *or in association *ith the fact that cor'orate
are 'artici'ating in the 'rocesses of film making $% either s'onsoring the songs or the
&ehicles $eing use in the mo&ies as it ha''ene in the case of T. /. /,M P,M,
*here Castrol an Che&rolet .&eo an 4oo "ear chi''e in a $ig manner+ The
signing of a num$er of films *ith the to' stars is also $eing $ranie as one more ste'
to*ars cor'orati6ation+ #ut oes this mean that a streak of cor'orate a''roach has
$een injecte in the 'rocess of film making in the countr%+
:hen the surface is scratche then $eneath the &eneer the realit% is ifferent+ The first
funamental 'remise of cor'orati6ation is the finali6e scri't of the film+ /arel% oes
it ha''en that *hen the film has gone to the floor the actors are ha&ing a com'lete
scri't of the film *ith themsel&es+ Shootings go on, an then at the eiting ta$le the
stor% is gi&en the conclusion+ :hen one has the com'lete scri't then shooting
scheules is organi6e in a $etter manner, there is a minimum *astage of the ra*
stock an the film can $e com'lete in the oraine time frame, there$% sa&ing in a
$ig manner on the in'ut costs+
.nother funamental 'rinci'le of cor'orati6ation is the 'rocess of accounting that is
ao'te in the filmmaking+ The 'a%ment s%stem has to $e through the che=ues an the
e<'enses incurre in totalit% shoul $e auite after the com'letion of the films+ Ma%
$e the ne* com'anies *hich ha&e ste''e into the 'rocess of film making like
Shringar Eilms, .la$s, etc+, ha&e ao'te it, $ut the% still form the miniscule
minorit%, an in majorit% of the cases the financial transactions that are one are either
in cash, or in kin in form of &arious usa$le commoities+
In the 'rocess of cor'orati6ation another ke% eifice is the s%stem of eferre 'a%ment
*hile here signing amount is the norm+ !&en the cor'orate majors, *ho are ste''ing
into this arena grauall%, ha&e not $een a$le to introuce the s%stem of eferre
'a%ment on a graual $asis+ . form of eferre 'a%ments though has come into 'la%
in a $ig *a%, it $eing o$taining the territor% rights+ Fnce the s%stem of eferre
'a%ments is introuce the heaache of getting the signing amount $ack from the stars
*ho ma% ha&e $een signe in the initial eu'horia $ut refuse to return it, either after
$eing ro''e at the time of film going on the floor, or $eing ro''e from the
'roject coul $ecome a thing of the 'ast+
- ?( -
. $eginning is $eing mae, though an the real cor'orati6ation *oul come onl%
*hen scri'ts are gi&en at the time of signing, 'a%ments are through che=ues an in the
form of eferre 'a%ments an auiting an 'u$lication of accounts film *ise starts
getting one on a regular $asis+
This ha to ha''en+ . chunk of inustr% *hich *as talking a$out the 9e&il9 of
cor'orate *orl 0es'eciall% the ones that *ere $elie&e to $e ha&ing no $usiness to $e
making mo&ies1 resulting in rotting of #oll%*oo has no* come out in o'en+ Ff
course there *ere collecti&e failure of much h%'e films like Drona2 'o(e Story 20902
:u((raa5 an 9Karzzzz9 0all of *hich *ere either 'rouce, $acke or ac=uire $%
cor'orate houses1 that ha set the groun for a e$ate aroun *hether cor'orate *orl
is $urst or just a$out to $urst+
Saawariya, *hich ha release in ())B, ha starte it all *hile raising the =uestion
aroun foreign stuios entering #oll%*oo *ith $ig mone%+ .n no*, *ithin 18
months of the release of Saawariya2 4handni 4howk to 4hina, *hich sa* :arner
#ros+ aiming for a soli founation, has mae =uite a fe* inustr% follo*ers go on
recor *ith their &ie*s a$out cor'orati6ation of #oll%*oo *orl+ In this t*o-'art
!<clusi&e Eeature in Bolly<oo# /unga$a, Goginer Tuteja kick-starts the e$ate an
seeks 'oint of &ie* of ine'enent film makers as *ell as those *ho $elong to the
cor'orate *orl or are making films *ith them+
LThe $u$$le still e<ists though the m%th of $ig mone% is o&er+ It9s the time of high
conce't - lo* cost filmsL, sa%s .nurag Kash%a' *hose De( D is 'rouce $% ,TV
S'ot #o% an is e%eing a @th Ee$ruar% release+ /amesh Taurani of TIPS too maintains
the same stan $% sa%ing LI on9t think the cor'orate $u$$le has $urst+ -o*e&er, I
must sa% that realit% has 0thankfull%1 cre't $ack into the inustr%+ In the %ear gone $%,
*e ha&e seen losses $eing mae not onl% $% flo' films $ut also se&eral su'er hit
films+L
-e oes make a 'oint here $ecause there ha&e $een murmurs that e&en a $iggie like
Singh Is Kinng in9t make 'rofits for a istri$utor or t*o+ Though the =uantum of the
mone% $eing lost on the 'roject is not something that has $een iscusse so far 0since
the film i make goo mone% for majorit% of it9s in&estors1, no istri$utor going on
recor a$out the losses onl% makes the claim further reunant+
Sa%s Vi'ul Shah, the 'roucer of the .nees #a6mee- irecte Singh Is Kinng, L:ith
mo&ies like Singh Is Kinng2 *ha5ini an *olmaal .eturns, istri$ution house Inian
Eilms has $ecome e<tremel% strong istri$utor+ So I *oul isagree if someone starts
s'eculating that a $u$$le *as $eing create *ith the entr% of cor'orate *orl an is
no* getting $urst+L
Interestingl%, his ne<t release 'ondon Dreams *as sai to ha&e $een ac=uire $%
Inian Eilms for an astronomical 1() crores+ Though trae $elie&es that this figure has
$een 'ulle o*n no*, an official statement on this is %et to $e mae+ -o*e&er,
Inian Eilms is not the onl% cor'orate house that Vi'ul is *orking *ith as he has also
signe a t*o film eal *ith ()th Centur% Eo< *hich is looking at entering the
#oll%*oo market+ #u66 is that at least one of them *oul feature .ksha% Kumar
0*ith *hom Vi'ul has earlier mae Aankhen2 ;a<t2 +amaste 'ondon an Singh Is
Kinng1 an *oul $e set on a mega $uget ue to the ton loas of s'ecial effects that
- ?5 -
it 'romises to carr%+
Mukesh #hatt, *hose .aaz - !he Mystery 4ontinues, is releasing this *eeken is
e<'ectel% &ocal in his is'leasure *ith the cor'orate *orl, LThe $u$$le has
certainl% $urst+ There *as so much of artificial h%'e that *as createK things *ere
$eing inflate+ This ha to ha''en at some 'oint or time or another+ Peo'le shoul get
into realit% check an it is intros'ection time for the *hole inustr%+ !&er%one has to
come together an the $asics of economics ha&e to $e e&elo'e+L
Vi&ek .gnihotri isn9t far $ehin *hen it comes to $eing frank a$out his &ie* aroun
the changing scenario of #oll%*oo in toa%9s *orl+ -e oesn9t $lame it all on the
so-calle 9cor'orate $u$$le9 $ut insists that mone% instea of ieas *as turning out to
$e focal 'oint of mo&ie making+ LI on9t kno* if the cor'orate $u$$le has $urst $ut
%es, a $u$$le has certainl% $urstL+ Not mincing an% *ors, he goes on to a, LIt *as a
cancerous $u$$le *hich emerge ue to fictitious h%'e an lack of assessment of
'otential+ . game of highl% 'rojecte figures to lure in&estors ga&e im'etus to
organi6e scheming an mani'ulation+L
Someone like Saji Khan, *ho has *orke *ith ine'enent 'roucer Saji
Naia*ala for $oth eyy Ba#yy an soon to get on floors ouse=ull, has his o*n
'oint of &ie* a$out the entr% of cor'orate houses in #oll%*oo+ -e sa%s, LMost
cor'orates $elie&e in 'roucing a large num$er of films an releasing them on their
o*n+ Iue to this, the loss or 'rofit is greater+ Fff late, it is unfortunate $ecause it is
turning out to $e 9loss9 an more 9loss9 $ecause of the market crash+L
Satellite re&enue, something that *as $eing looke as a golmine, has consiera$l%
gone o*n as *ell 0as 'er inustr% follo*ers, it is as lo* as 5)D of *hat *as $eing in
the offering till a$out @-C months1 that has 'ro&en to $e the final nail in the coffin+
LThat9s e<actl% the caseL, asserts Saji, L#esies auio market, *hich is an%*a%s in
the olrums, the satellite market has crashe too+ Since satellite is com'letel%
e'enent on a&ertisers 0*hich are mostl% MNCs1 an these com'anies are an%*a%s
facing the market heat ue to recession, ho* coul %ou e<'ect them to shell out
mone%Q Their $uget cuts are e&entuall% affecting e&er%one, *hich o*n the line
im'acts the cor'orate *orl $ehin mo&ies+L
,TV 0/onnie Scre*&ala1, Sahara Fne, .la$s, Pritish Nan% Communications an
/am 4o'al Varma9s Eilm Eactor% are such cor'orati6e 'roucers+ Cor'orati6ation is
still in infanc% an onl% an estimate 1?D of #oll%*oo mo&ies are Lcor'orati6e+L
#ut these 'rouction houses ha&e $rought a$out much neee 'rofessionalism+ Mo&ie
scri'ts are 're-researche $% market research grou's *ho sam'le auiences u'front+
4one are the a%s *hen actors an actresses coul *alk into sets hours late or *hen
'roucers *ere assasinate for not 'a%ing e<tortion mone% to #om$a% gangsters+ #ig
'rouction houses toa% a''rentl% ha&e roama's for u'to t*o %ears in a&ance+
Satellite rights, raio, home &ieos, IT-, mo$ile ser&ices ha&e also o'ene u' ne*
re&enue streams *hen onl% one 0theatre $o< office1 e<iste earlier+
Most of the cor'orates are counting on the 1,)))-o ne* multi'le<es that *ill s'ring
u' in the countr% in the ne<t t*o %ears+ Conse=uentl%, the%9re ho'ing it *ill 'ut an en
to the inustr%9s lackaaisical an ha'ha6ar *a% of functioning+
- ?8 -
"/E has scale u' its o'erations recentl% an the stuio moel that *as em$arke
u'on a cou'le of %ears ago is firml% in 'lace+ "/E takes 'ries in $eing 'art of e&er%
ste' of the &alue chain of a film from its conce'tion to its eli&er%,3 sa%s Sanjee&
Kohli, irector an C!F, "ash /aj Eilms+
The sees of cor'oratisation that *ere so*n a cou'le of %ears ago are finall% $earing
fruit an most of the to' 'la%ers 0rea /eliance !ntertainment, ,TV, !ros
International an TIEC1 no* *ant to $e on all sies of the s'ectrumJ Prouction,
istri$ution an e<hi$ition+ -a&ing sai that, there are no set rules of cor'oratisation
in the film inustr% an most of the 'la%ers amit that 2#oll%*oo is not all there
%et3+
Some cor'orates, incluing the Singhanias an the #irlas ha&e learnt it the har *a%+
Eor instance, accoring to anal%sts after 'roucing Sanja% 7eela #hansalis #lack,
.it%a #irla 4rou's .''lause !ntertainment lost its *a% some*hat an is no*
reorganising its strateg% to mo&e for*ar+
#ut still, theres am'le reason for $ig cor'orates to knock on #oll%*oos oors an
*alk in+
Consier thisJ The Inian film inustr%, *ith o&er 5 $illion amissions 'er annum, is
the largest in the *orl+ The inustr%, *hich is currentl% *orth V(+C $illion as 'er
estimates, is slate to gro* at a C.4/ of 1@D+
- ?? -
B*= *++-5) 5*;;)5T-*NS
#% no* *e ha&e unerstoo the relati&e im'ortance of marketing a film in a 'ro'er
*a%+ #ut all this is onl% one to achie&e goo $o< office collections+ .s is state
earlier the fate of the mo&ie e'ens on the initial *eeken collections of the mo&ie
so let us look at some of the $o< office collection re'ort+
5*;;)5T-*N R)P*RT
N"M) *+ T/) M*2-) 5*;;)5T-*NS
4-.GINI 1)) C/F/!SW
P!!P7I 7IV! () C/F/!S
/.# N! #.N. II GFII 88+? C/F/!S
/.GN!!TI C( C/F/!S
M" N.M! IS K-.N B( C/F/!S
I.#.N44 15( C/F/!S
I!V I 5) C/F/!S
7FV! ..G K.7 B) C/F/!S
FM S-.NTI FM 1)C C/F/!S
S..:./I".
8) C/F/!S
5 IIIFTS ()) C/F/!S
- ?@ -
. -D-*TS 5"S) ST,DY
:e s'oke here a$out the *a% Inian mo&ies marketing mantra is changing an ho*
mo&ie making has $ecome more of a $usiness+ It is inee $ecoming more an more
'rofessional *a% of mone% making+ Erom $eing an art no* it has $ecome a $usiness+
Fne film *hich is a striking e<am'le of the same, a$out *hich I cannot sto' ra&ing is
5 iiots+ Mainl% ue to the man at helm, .amir Khan this mo&ie can $e taken as an
e<am'le in $usiness of film making+Eour months 'rior to launch of the film a 8)
mem$er team *as 'ut u' for marketing of the film+The film *as sho*n to all /eliance
Meia*orks em'lo%ees an all other stakeholers, *eeks $efore the release on
Iecem$er (8, to ensure that e&er%$o% s'oke the same language an ke't the
communication consistent+ It *as follo*e $% a full 5@)-egree cam'aign+
T*o *eeks $efore the release, a huge s'lash *as mae online+ . site calle
iiotsacaem%+com *as starte to engage the &ie*er+ .amir Khan, the star of the film,
tra&elle to &arious 'arts of the countr% in isguise to create $u66 a$out the mo&ie+
:e ha&e seen 5 iiots moelle seats in major multi'le<es aroun the countr% as a
marketing mo&e+
Character of Chatur /amalingam, a major factor to the films success mainl% $ecause
of the humour associate *ith the character *as full% ke't uner *ra's+ 2.ll is :ell3
cam'aign $% /eliance *as s%m$iotic gains to $oth /elaince insurance an the
mo&ie+This a took TV an /aio $% storm in a ne&er $efore fashion+
Iigital meia *as use strongl%+ Fne of the first things the com'an% i *as to
launch an alternate realit% game on iiotsacaem%+com *here actor .amir Khan sai
that he *ill tra&el through Inia, lea&ing clues a$out his *herea$outs, an 'artici'ants
ha t*o *eeks to fin him+
The site ha o&er @)),))) uni=ue &isitors in a matter of t*o *eeks+ .long *ith that,
the marketers of the film use Eace$ook e<tensi&el% to make a 'oint+
- ?B -
Pirac% 'ro$lems *ere also effecti&el% hanle+ . core grou' *orking from Inia, the
,nite States an the ,nite Kingom tracke an attacke 'irac% U 'h%sical as *ell
as online U $% issuing trae notices, *arning letters s'ecific to 'ros'ecti&e infringing
sites an outlets across the ,nite States, Canaa an !uro'e+ /ais *ere also
conucte follo*ing the release of the mo&ie+
.n to a to all this, the goo ol methos of strong istri$ution *ere one+ In Inia,
the film *as release across 1,A?) screensK o&erseas it o'ene in o&er 5@) screens,
making it the largest o'ening thus far+
Though I ma% not $e 'rou of the 'rouct 5 iiots is, I am efinitel% 'rou of the
$usiness moel it is+ It surel% ser&es as a case stu% in the $usiness of mo&ie making+
M"RK)T-N' 5"S) ST,DYC '/"K-N-
- ?A -
.amir khan as most of us as #oll%*oo Eans kno* is not onl% a $rilliant actor $ut
also an intelligent marketer+ In times *hen the success of a film hugel% e'ens on
the $usiness it oes in the first t*o *eeks the marketing genius lea&es no stone
unturne to s'rea the *or for his films an create a sense of rush among his fans to
*atch the film as soon as 'ossi$le+ .s e<'ecte he i the same for his latest mo&ie
4hajini+ -e 'romote the film e<tensi&el% all o&er the countr%+ :hats note*orth% is
the fact that a major chunk of the 'romotion in&ol&e online 'romotion+ Eilms *ere
ne&er reall% in&ol&e in online 'romotion $ut 'ost 4hajini its $ecome a huge success
an majorit% of the 'roucers are using this tactic to attract the cro*+ The iea *as
gi&en $% -ungama channel+
7et us list o*n the &arious tactics that *ent into the marketing of 4hajini an ho*
the% *ere e<ecute
#$ The ;ook 6*nline G *((line8C
:hen one thinks of 4hajini, the first thing that s'rings u' in ones min is the
haircut *hich aamir khan s'orte in the mo&ie an also his tattoos+ The haircut le
to creation of a ne* tren in the fashion inustr%+ . lot of efforts *ere mae to
create this uni=ue look for aamir khan+ .n the efforts i 'a% off *ell+ The
haircut sure i *oners for the film+
*nline Tactic4J
a1 .amir khans $log carrie a full screen si6e 'icture as on the film 'osters+
$1 T*o of the three *e$sites relate to the film also ha a $ig $are cheste 'icture
of his on their home'age+
*((line Tactic4C
- ?C -
11 .amir khan ha the same 4hajini haircut for =uite some time e&en after the film
*as release an eclare a hit+
(1 .amir an his 'roucers tie u' *ith leaing multi'le<es 0PV/, #I4, Cinema<1
across the countr% to gi&e all the ushers, ticket-sellers the istincti&e 2#u66-cut3 that
.amir s'orts in the film+
51 .amir 'ersonall% ga&e the >$u66 cut U the hairst%le the actor s'orts in 4hajini to
his fans in Ielhi
%8 'etting (an4 -nvolve# 6*nline8 C
.amir H co got another im'ortant $it right i+e. L-nteractive pro$otionM. /ather than
oing one *a% communicationR$roacast through the film site or sim'l% sharing
content the% in&ol&e his fans in the films 'romotion+
7allo(4u4pect4J . su''orting &iral *e$site for the film, *hose aim *as to re'licate a
similar conce't from the film+ To checkout the *allofsus'ects one neee to ha&e a
coe *hich coul $e o$taine $% u'loaing ones images+ ,sers coul also 'ro&ie
their mo$ile num$ers *hich *ere use to intimate if the% *in some 'ri6e+
+in#ghajiniC .nother &iral *e$site $uilt aroun the film, *as a &iral gaming
a''lication *here the users coul 'la% the role of .amirs character in the film an tr%
to fin 4hajini through the clues 'ro&ie+
.D P5 'a$e4J on the (?
th
of Iec the film *as release an also Inias first 5I PC
4ame $uilt aroun a mo&ie+ Eor the first time there *as a com'lete game $uilt aroun
a mo&ie+
51 'etting Me#ia -nvolve# 6*nline8 J
Fnce his fans got in&ol&e, the ne<t target *as the meia+ .amir H co trie to engage
meia 'ersons an a a le&el of 'ersonal touch to the *hole affair+
<<<.re$e$0erghajini.co$F$e#iaF is the 'lace *here meia 'eo'le coul u'loa
their 'ictures to *hich .amir ae notes $ase on their 're&ious interaction0s1 *ith
- @) -
him+ This re'ositor% hel'e him in remem$ering those meia 'eo'le more &i&il% an
those *ho registere got information kit on 4hajini along *ith .amirs 'ersonal note
a$out them+ 4hajinis marketing team share mo&ie stills *ith their site so that the%
coul $e use for 'romotion+
81 Maintain Su4pen4e an# Thro< /ook4 6*nline8C
,nlike other film sites the sites for 4hajini i not focus much on the s%no'sis of the
film or the main 'lot 0:hich *as out in o'en1 the% instea focuse on certain e&ents
of the film 0fining the killers etc1 an *ere le&eraging them+ In aition to this there
*ere some hooks *hich *ere meant to form certain associations an $uil min
ma's+ !<tening the theme from film after e&er% 1? minutes the user got reirecte
0forget e&er%thing1 to the home 'age no matter *hat 'age the% *ere at+ /emem$ering
the ate 0/emem$er Iec (?1 on *hich the film *as to $e release *as another one,
=uite 'rominent an common through the sites+
?1 "44ociation4F5olla0oration4 J
The% ha a tie u' *ith Tata sk% an aamir khan feature in Tata sk% as along *ith
4ul Panag+ Though 4ul Panag *as no*here relate to the film, the a&ertisement still
hel'e in 'romoting the film $ecause aamir khan starre in it+ Tata Sky also has a
contest s'ecificall% for the film an ha chosen .sin as their ne* $ran am$assaor+
Not onl% this, there a s'lurge of &ieos a$out making of .amirs $o% for the film+
Eirst the footage taken *as of the course of his $o% $uiling *as sho*n on Tata Sk%
an later it *as all o&er the ne*s channels, *hich ga&e 'eo'le more an more reasons
to talk a$out the film+
- @1 -
2an /eu4en launche a similarl%-name collection for the su'er confient %oung
men *ho *ere ins'ire $% the mo&ie+ Van -eusen to 'romote the ne* range also
organi6e a fashion sho* in *hich moels s'orte not onl% Khans clothing st%le
from the film, $ut also his hairst%le+
Then there *as 2Tata -n#ico$s out$oun ialler ser&ice *ith Khans 're-recore
&oice+ In this a Tata Inicom ser&ice user got a call in Khans &oice, asking the caller
*hether he *as 4hajini an tol the caller that the film *as releasing on (?
Iecem$er+ Tata Inicom reache out to 1) million customers *ith those out$oun
ialler calls+ Tata Inicom also a&ertise on TV for mo$ile o*nloas of 4hajini
songs+3
Sa$4ung launche s'ecial 4hajini eition of moels 7B)) an M()) of its mo$ile
'hones of ;> an# M% $o#el4+ These hansets *ere 're-loae *ith ringtones,
'ictures an songs from 4hajini+ 4hajini *as the first Inian film to release a hanset
as 'art of the films content+ .amir also tie-u' *ith some leaing scul'tors *ho
create re'licas of Khans 4hajini look+ These scul'tures *ere installe at &arious
multi'le<es in the countr%+ The first 'hase of 4hajinis marketing life c%cle *as =uite
acti&e an 'romising+ 4hajini *as Mae *ith a $uget of aroun : 5rore an
marketing e<'enses of a$out 19 5rore4.
- @( -
5"S) ST,DY *N D)2 D
;u4tlineC
#efore %ou go an% further, 'ick u' %our 'hone an ial )((-@18(8A))+ Gust ial it for
%ourself an see *hat it is, trust me, it *ill $e *orth the call charges 0if %ou are
ialling from Inia1
:elcome+ To 'rocee, 'lease certif% that %ou are a$o&e 1A $% 'ressing one+ Fn
'ressing one, %ou are greete $% a husk% &oice that sa%s LIf %ou *ant me in !nglish
toa%, 'ress one+ .gar hini mein chahi%e toh o a$ai%e+L Though *hat ha''ene on
'ressing the ne<t igit might ha&e $een isa''ointing for most callers as instea of
talking 0or hearing1 an%thing naught%, all the% got to hear *as Lto get an autogra'he
c of the film &isit the *e$site e&thefilm+com or Lto get a mo&ie 'oster &isit the
*e$site e&thefilm+comL
This kin of marketing is a $rilliant e<am'le of something that ha ne&er $een trie
$efore+ If the lustline e&er *orke the *a% it *as sai to *ork it *oul ha&e $een
great $ut e&en if it ne&er reall% *orke that *a% it o'ene u' a *hole ne* *orl of
interacti&e marketing+ The 'ossi$ilities of using 'hone an sms lines for in&ol&ing
masses *as immense an ho'efull%, *e *oul soon $e seeing more $eing one on
these lines+
7e04iteC
The user ha to certif% that he *as a$o&e 1A to &ie* the site, interesting+ The lustline
*as also a&aila$le on film9s *e$site, *here again the user neee to certif% that he
*as a$o&e 1A $% an select a language to get going+ Though onl% a fe* sections *ere
*orking, the all re site looke intriguing just like its trailers+ The communit% links
section ha links to 1) e<ternal *e$ 'ro'erties $ut the site coul ha&e $een a lot $etter
an engaging 0engagement *as almost 6ero1+
- @5 -
2i#eo4C
The song, 2!mosional .t%achar3 *as u'loae on "ouTu$e uner the official ,TV
Motion Pictures channel three *eeks 'rior to the release of the film an ha got a$out
(?,))) &ie*s *hile the official trailer u'loae t*o months 'rior ha $een seen more
than ?C,))) times an ha got a$out 11B comments, not $a at all+ Not onl% this, ,TV
folks ha $een regularl% u'loaing a minute long &ieo of the film songs e&er% B-1)
a%s+ Since the mo&ie containe 1A songs, the% coul easil% u'loa 1) songs *ithout
*orr%ing too much+ These &ieos ha got almost 1, )),))) hits in total+
"u#io J
The films music *as also a&aila$le &ia streaming at #oll%*oo -ungama+ .n%one
*ho listene to the songs of the film efinitel% s'oke a$out it an thus s'rea the
*or+ .fter ha&ing listene to the songs 'eo'le starte $u%ing auio CIS of the film
an the songs ha&e $een listene more than (?,))) times alrea%+
6M8T2C
The MTV ticker *as full of L.t%acharL+ :hat ha''ens if %ou are 'retening to $e
*orking in office *hen %ou are actuall% 'la%ing gamesQ Professional .t%achar etc+ It
*as another nice *a% to s'rea the *or+ There *ere film 'romos 'la%ing e&er% ?
minutes across the ne*s channels, e&en if an%one *ante the% coulnt miss them+
+ace0ook J
.n acti&e official grou' *as forme *hich consiste of C() mem$ers 0(,)()
mem$ers as of no*1, B &ieos, A@ stills from the film+ The goo thing a$out the grou'
*as that it *as regularl% u'ate an the aministrators *ere also 'artici'ating in it+
Theres also an acti&e fan 'age *hich is also hea&% on content+ The film has @A@ fans
alrea% 0no* 1(,1@1 fans1+ There *as also an e&ent a$out Ie& I9s tattoo launch+ This
*as an interesting *a% of in&ol&ing online auience into offline acti&ities+ Translate
the l%rics contestJ There *as also a contest to translate !mosional .t%achar into
!nglish H get an autogra'he CI+
- @8 -
*ther 4ocial net<ork4 6+i4hing <here the (i4h are8C
The film ha official grou'sRcommunities on Frkut 051@ mem$ers1, Perfs'ot 015?
mem$ers1, hi? 08( mem$ers1, Ero''er 0(@ mem$ers1, #igaa 08? mem$ers1 an
4o%aar 01) mem$ers1+ It9s *orth mentioning that es'ite the si6e of the
grou'Rcommunit% the information an content *as same across all these grou's an
a''arentl% there *ere 'rofiles of some of the cast an team mem$ers also on most of
the 'latforms co&ere+
P+5 J
Passionforcinema is the $iggest 'latform for -ini film $uffs an lots of e<'erts in the
fiel $log there+ .nurag #asu $eing an acti&e $logger at PEC ha *ritten a lot of the
film an engage *ith his reaers+ There *ere lots of other 'osts *ritten $% other
folks a$out the film+ These 'osts must ha&e easil% got more than 1),))) &ie*s+ There
*as also a elete scene &ieo from the film e<clusi&el% for PEC *hich *as certainl%
a great iea+
5ontrover4y J
Nothing *orks $etter for making noise than a 'lanne or acciental contro&ers%+ Ie&
I also ha its share of contro&ers% in the claims the film ha reignite the infamous
IPS mms scanal.

Merchan#i4eC
The marketing strateg% for the film inclue $oth offline an online acti&ities, *hile
4hajini9s online marketing *as more focuse on stan alone sites, it *as focuse more
on social net*orks in the case of Ie& I an a''arentl% it ha got to o *ith the fact
that the 'roucer of the film *as ,TV S'ot $o%+ .''arentl%, the% ha a 'latform an
a methoolog% *hich *as use to 'romote their films+
- @? -
R""2"N +"-;,R)
There has to $e something reall% fla*e a$out a film *hich is $ase on /ama%ana,
has Mani /atnam at the helm of affairs, stars the #achchan cou'le, $oasts of music $%
.+/+ /ahman an has the *hos *ho from the technical e'artment+ Still, .aa(an
hasn9t *orke *ith the auience+ :e anal%se *h%P
Boring narrativeE
!&er%one unerstans that /ama%ana *as a$out the trium'h of goo o&er e&il+ .s an
auience %ou are 're'are to see *hat is going to unfol+ #ut 'ra%, *h% make it all so
$oringQ This is *here .aa(an falters $ecause a one-imensional stor%line just oesn9t
translate into a t*o hour film, *hich coul hol %our attention+ .ll one gets to see is
e&er% actor in the film getting *et in the jungle an sli''ing or running through the
rough terrain+
"0hi4hekN4 character & The <eak linkE
.s for the lea actors, .$hishek #achchan has efinitel% trie har+ In fact one can
clearl% sense that he has follo*e Mani9s irections to the T an one *hate&er *as
aske of him+ -o*e&er, if the attem't *as to $ring the s'lit 'ersonalit% sie of his
'ersona out, than sal%, it fails totall%+ It9s the character *hich fails here, not .$hishek
as an actor+
"i4h<aryaN4 character & 5ontra#ictoryE
- @@ -
.ish*ar%a #achchan9s character is full of contraictions+ Ioes she *ish to en her
lifeQ Fr oes she notQ Is the Stockholm9s s%nrome catching u' *ith herQ Is she
falling for .aa(anQ Ioes she reall% get to her hus$an in the enQ :ell, %ou on9t
=uite get it+
5on(u4ing plotE
Fne ne&er kno*s *hether the outla* 0.$hishek #achchan1 is a Na<al, militant, re$el
or something elseQ "es, he the messiah of tri$als $ut as it turns out, the entire rama
re&ol&es more aroun the 'ersonal enmit% that he has *ith the co' 0Vikram1+ #ut
*hat a$out the $igger 'ictureQ :hate&er ha''ene to the entire Na<al angleQ .n if
'ersonal cause *as su''ose to $e the ri&er of this entire e'isoe, *h% ha&e a Na<al
angle at allQ .fter all, the outla* coul *ell ha&e $een a cor'orate e<ecuti&e an that
*ouln9t ha&e mae an% ifference to the film at all+
- @B -
R)5)SS-*N "ND B*;;Y7**D
.s is ha''ening in an% other inustr% currentl%, #oll%*oo com'anies too are stri&ing
to curtail their cash outflo* an increase cash inflo*+
The $ugets allocate to mo&ies earlier ha&e alrea% $een renegotiate, an no*
another 'rime area to come uner the a<e is the marketing an 'romoting e<'eniture
of mo&ies+
Some recentl% release mo&ies alrea% shrunk their 'romotional $ugets an &ast
cam'aigns+ Most other forthcoming mo&ies of ())C ha&e reajuste their marketing
an 'romotional $uget to $ring s'ens o*n $% a''ro<imatel% 5) 'ercent, 'oint out
marketing heas of &arious filme entertainment com'anies+
5*MP)NS"T) ;*7 M"RK)T-N' B,D')TS 7-T/ B)TT)R -D)"S
#ut the ke% here isnt to reuce s'ens an get going, the 'ro$lem is onl% half sol&e
%et+ If a mo&ies 'romotion an h%'e is lo*, then it also $ecomes a 'oint of *orr%, as
it ma% not $e effecti&e in getting auiences in large num$ers in cinemas an therefore
ham'er cash inflo*+
"es, there are $ugets cuts in marketing forthcoming mo&ies, $ut one has to
com'ensate it *ith $etter ieas,3 sa%s Iharma Prouction marketing hea .run Nair+
In such a scenario, the *a% out is to cou'le %our juicious s'ens *ith inno&ati&e
marketing strategies+ !&er% mo&ies marketing strateg% shoul com'rise of t*o ;
three a$solutel% inno&ati&e ieas *hich catch 'eo'les attention+
Intelligent TV an P/ oriente cam'aigns can o a lot of goo to a mo&ies
'romotion+ Eor instance, ushers at multi'le<es 'osing .amir Khans 4hajini hairst%le
*as lo* on cost, high on 'romotion+
2.''ro<imatel% B) 'ercent of a mo&ies re&enue such as theatrical, home &ieo an
satellite are im'acte $% its marketing $u66, so the marketing has to unou$tel% $e
&er% effecti&e,3 sa%s Stuio 1A VP marketing, istri$ution an s%nication Priti
Shahani
N*N &5;,TT)R)D "D )N2-R*NM)NT
Since &arious $rans, com'anies, mo&ies are kee'ing lo* ke% on a&ertisingK the
en&ironment isnt cluttere no* as it *as at this time last %ear+ This has therefore
automaticall% reuce the re=uirement of noise a mo&ies marketing shoul make+
Traitionall% in the months of Ee$ruar% an March mo&ie release an 'romotions are
lo* ue to the school an college e<ams+ This time last %ear, in March ())A fi&e
mo&ies release incluing Su$hash 4hais #lack H :hite, /ace an Fne T*o Three+
- @A -
In March ())C, more than 1) mo&ies incluing Ihoonte /eh Gaaoge, 15 #, 7ittle
Mi6ou, .loo Chaat, .a Iekhen Mara etc+ are slate to release+ #ut e&en collecti&el%
these 1) mo&ies ma% not make the same le&el of noise as last %ears mo&ies+
R"T-*N";-J)D M)D-" B,Y-N'
Mo&ie marketers meia 'lanning an $u%ing has efinitel% $een im'acte *hich
&arious marketing heas call as a rationali6e 'roceure no*+ Marketing heas are
challenge to rein&ent their strategies+ 4rou' M general manager /ajee& #err% sa%s,
2There has $een a efiniti&e change in the meia $u%ing ha$its of mo&ie marketers
an the% are $eing cautious no* ue to the lo* sentiment in the market+ Marketing
focus *ill no* shift $ack to the consumers from the film trae+3
!&en as lo* cost effecti&e 'romotion is a 'riorit%, $ut no meia in the countr% has
slashe its a&ertising rates until no*+ 2Eull 'age as in ne*s'a'ers an outoor
hoarings o not translate into incremental re&enues+ These just act as t*o secon
reminers an $uil a mo&ies $ran, $ut ma% $e a&oie+ Instea this mone% ma% $e
channeli6e to mass meia through an effecti&e a *hich reaches out to larger num$er
of auience+ It is necessar% to think intelligentl% on meia 'lanning an $u%ing,3 sa%s
Shahani+
. focus on the use of a$o&e the line or $elo* the line meia iffers from mo&ie to
mo&ie an com'an% to com'an%+ . smart mi< of $oth *ill ha&e to continue for the
u'coming releases of this %ear+
Do4 an# Don3t4C Don3t 0e 4care# to #o it
!&en in times of slo*o*n, ,TV 'romote its latest film Ielhi @ across mass meia
in the countr% *ith fe* alterations in its strateg% to suit the current marketing
en&ironment+
7ast %ear, Iostana *as the onl% film that i not make its actors .$hishek #achchan,
Gohn .$raham an Pri%anka Cho'ra a''ear in a num$er of realit% sho*s on TV+
Stuio 1A i not 'ut u' outoor hoarings for its films Singh Is Kinng, it chose to
reirect these s'ens to*ars mass meia, such as TV+
In times like these, it is onl% natural for an% marketer to ro'e in $rans for co-$rane
'artnershi's in orer to fill a &oi+ #ut a $ran that oes not match a mo&ies theme
ma% o more $a than goo+ Eor instance, an other*ise sua&e marketer Shahrukh
Khan ro'e in $rans Tu''er*are an Centur% Pl% for #illus co-$rane 'romotions,
$oth of *hich ha no irect connection *ith the film+
-a&e it, flaunt it+ Kam$akkth Ish= an Kites ha&e $een in ne*s since the time the
mo&ies e&en *ent on floors+ ,n&eiling the 'resence of actors such as S%l&ester
Stallone, #ranon /outh, #ara$ara Mori etc+ in the film has hel'e the film gain great
&isi$ilit% across meia for free+
The list of sectors afflicte $% recession $lues seems to $e getting longer *ith
#oll%*oo $eing the latest entr% to it+
- @C -
7eaing film-making com'an%, "ash /aj Eilms 0"/E1, is unerstoo to ha&e lai-off
() of its em'lo%ees recentl% as a 'art of its cost-cutting initiati&es+
LThe com'an% recentl% aske () em'lo%ees to lea&e, sa%ing that it *as not in a
'osition to retain them an% longer,L an affecte "/E em'lo%ee sai in Mum$ai+
These em'lo%ees ha $een *orking *ith the com'an% for the 'ast fi&e %ears, the
em'lo%ee sai aing, amongst those aske to lea&e inclue !<ecuti&e Proucers+
:hen contacte, the com'an% ecline to comment+ "/E, s'earheae $% ace film-
maker "ash Cho'ra, is one of the leaing film-'roucing com'anies in the countr%+
The 'rouction house recentl% release Shahrukh Khan-starrer, 9/a$ Ne #ana Ii
Goi9+ Its much-talke a$out film 9Ne* "ork9 featuring Gohn .$raham an Katrina
Kaif, is slate for release in ())C+
Fne of the signs of a slo*o*n in #oll%*oo *as clearl% manifest in the lo*-ke%
'romotions of se&eral recent releases incluing 94hajini9 an 9Channi Cho*k to
China9+
. fe* film-makers ha&e alrea% slo*e o*n on ne* 'rojects *hile others ha&e
resorte to cost-cutting measures incluing renegotiating contracts+
- B) -
+,T,R) *+ M*2-) M"RK)T-N'
From left to right Siddhart Roy Kapur CEO of UTV Motion Pictures !eera" Roy M# $ CEO
of%ungama #igital Media Entertainment P&t' (td' Colin )urro*s CEO of Special Treats Production
Company UK Sandeep )harga&a CEO of Studio +,Kapil -gar*al .oint Managing #irector UFO
Mo&ies /ndia (td'San"ee& (am0a CEO of Reliance )ig Pictures
This session at EICCI Erames looke at ne* technolog% 'ro&iing aitional re&enue
to the theatrical release+ Sihart /o% Ka'ur C!F of ,TV Motion Pictures sai, LThe
si6e of our entire film inustr% is e=ual to the $o< office earnings of .&atar at (+(
$illion+ :e coul gro* our re&enue if ancillar% re&enue coul contri$ute @)D+ Then
the theatrical release *oul $e like a trailer to sell other rights+ -o*e&er the realit% is
that theatrical contri$utes more than @)D of the re&enue+L
-e then ga&e reasons for the limite re&enue generate $% ancillar% streams, namel%,
'irate co'ies of a film out on the &er% a% of its release, the recession, the *a% meia
com'anies 'urchase films in 'arts, the rise of home &ieo 'rices an the ecline of
'h%sical sales in music $efore com'anies ha&e igiti6e+ -e also ga&e *a%s in *hich
the inustr% coul gro* like creating content that has a''eal outsie South .sia,
ta''ing the Inian ias'ora more an increasing the num$er of functional theatres in
rural Inia+ Sanee' #harga&a C!F of Stuio 1A sai, L:e are e'enent on
theatrical, *hereas in the *est, re&enue comes from 'latforms that are more
recurring+L Sanjee& 7am$a C!F of /eliance #ig Pictures then contri$ute, LThe
Inian mo&ie is uner ser&e internationall%+ There is an interest $ut no access to
Inian films+ Fnl% 5)-8)D of mo&ies ha&e an international release+L
-e then s'oke a$out ho* the markets of continental !uro'e, .frica an South
.merica can $e e<'loite *ith not onl% #oll%*oo $lock$usters, $ut also *ith art
house cinema on TV or e&en other meiums+ -e also s'oke a$out ho* the focus of
our films ten to $e the stars, *hich 'resents a challenge since the% are unkno*n in
o&erseas markets+ Colin #urro*s C!F of S'ecial Treats Prouction Com'an%, ,K
an the moerator for the session sai, L"ou nee to 'o'ulari6e %our stars a$roa,
the% all s'eaking !nglish, the% all look fantastic+ M% Name is Khan is an interesting
e<am'le, *here Shahrukh Khan cracke the market o'en in 4erman%, $ut the su$ject
o'ene the market in the Islamic *orl+ So 'erha's small $uget su$ject $ase films
can *ork a$roa+L
- B1 -
.&ertisement
Sanee' s'oke a$out increasing the strength of the o&erseas market through
igitali6ation+ -e use the e<am'le of Striker, a smaller film *hich in>t ha&e much
of a theatrical market a$roa, $ut *as e<'loite $% marketing IVIs on the a% an
ate of the release of the film e&er%*here e<ce't in Inia, thus tackling 'irac% of the
film a$roa+ "outu$e =uickl% remo&e an% 'art of the film that *as u'loae+
S'eaking a$out the a&antages of going igital Ka'il .gar*al, Goint Managing
Iirector, ,EF Mo&ies Inia 7t+ sai, L#% going igital %ou can achie&e a
*ies'rea release an %ou on>t ha&e to in&est u'front in 'rint costs+ This also cur$s
'irac%+L Neeraj /o%, MI H C!F, -ungama Iigital Meia !ntertainment P&t+ 7t+
s'oke a$out the man% e&ices that ha&e an increasing o*nloa s'ee an memor%
ca'acit% an lo*ering costs an the e<citing film re&enue o''ortunities the% offer+
Neeraj ae, LIon>t restrict %ourself to thinking, *ho *ill *atch this on such a small
screen+ Ie&ices can 'roject on u' to a 8) inch 'lasma screen, 'lus %ou can attach
s'eakers, *hich can $e %our home theatre in the jungle+ !&en &ieo 'la%ers are
coming *ith social net*orking immersi&e interacti&e features like film tri&ia
a''earing in a $ar after *atching a mo&ie+ Sihart sai L:e are looking at taking our
films to ifferent 'latforms, $ut there ma%$e so man% *a%s of e<'loiting the rights *e
alrea% ha&e that *e ma% not think of+ 7ike auio cinema - listening to the films
ialogues from $eginning to en, *e ne&er thought 'eo'le *oul *ant to o that+L
.ns*ering a =uestion a$out ine'enent films Sanjee& sai, LTechnolog% e<ists to let
%ou enjo% films in ifferent *a%s+ Theatrical cinema has $ecome an e&ent, *here
$igger films *ith $igger marketing $ugets o $etterK I think ine'enent films *ill
gra&itate a*a% from theatersL
Sanjee& mentione there *ere onl% C))) screens that *ere full% functional in Inia,
the rest $eing tea stalls *ith a small screen, among functional theaters more than ?)D
are in the Southern States, *hich are ominate $% regional films+ Siharth sai,
LThe e<hi$ition sector *ill nee to see returns to create igital screens an refur$ish
ol screens+ :e talk a$out cross o&er films, $ut the onl% films that ha&e crosse o&er
e&en to south Inia are the films *ith &isual elight *here language isn>t &er%
im'ortant+L Ka'il sai that in a %ear from no* *e coul e<'ect to see ?)) 'lus igital
screens in Inia+ -e also s'oke a$out ha&ing at least ()-?) screens in more countries
an mentione the15 screens in the ,S that are screening IP7 matches+
S'eaking a$out merchanising in Inia Sanjee& sai, LEilm merchanising is
im'ortant for @ to 1( %ear ols,
$ecause then %ou *ant to *ear %our
fa&orite film an for kis uner @ it>s
the mothers choice an after 1( it>s
more a$out collecta$les than an%thing %ou *oul use+ The 'ro$lem is the main source
of merchanising, animation films an se=uels ha&en>t taken off+ The to% an a''arel
inustries are unorgani6e+ So there are 'ro$lems in logistics, infrastructure an
content+L
- B( -
R)5*MM)ND"T-*NS
.s the current 'osition of the econom% is not hien form an%$o%, it is &er% much
o$&ious that $oll%*oo inustr% too is facing the $runt+ Proucers are tr%ing to curtail
their $uget an there$% tr%ing to increase their 'rofita$ilit%+ #ut this is $ecoming
ifficult a% $% a% $ecause of increasing no of films $eing 'rouce in a %ear+ !&er%
'roucer is tr%ing to attract the cro* to *atch their film an so the% are incurring a
lot of mone% in marketing the mo&ies+ Sometimes this marketing hel's the film o
goo $usiness an sometimes it oesnt+ There ha&e $een cases *herein the films $uilt
in a lot of e<'ectations an faile to eli&er at the $o< office+ .n these *ere the films
*hich actuall% o&ershot their marketing $ugets+
So toa% if a film *ants to stan out amongst the others then it has to ha&e a &er%
effecti&e marketing strateg% an the focus here shoul lie on reucing the cost of the
marketing acti&ities+ It is alright if there are less no of marketing acti&ities $ut these
fe* shoul $e so inno&ati&e that it hits the target com'letel%+ #ut along *ith this it is
&er% im'ortant that the film has a goo scri't *hich a''eals to the masses $ecause
'eo'le toa% eman =ualit% an this is one as'ect *hich shoul ne&er $e ignore $%
filmmakers+ Thats the reason *h% some of the lo* $uget mo&ies e&en though not
ha&ing a huge star cast *ork *ell just on the $asis of a strong stor% line+
- B5 -
5*N5;,S-*N
Marketing of mo&ies is surel% a ne* conce't in $oll%*oo $ut it is reall% catching
'ace no*+ :ith each an e&er% mo&ie $eing release ne* an inno&ati&e marketing
strategies are $eing introuce *hich are 'ro&ing $eneficial for them an are hel'ing
them in generating great re&enues+
Theatrical release of films no* has a shortene life s'an+ .lso *ith the amount of
noise an clutter, films loose their 2ne*ness3+ Correct 'ositioning an communication
hel's to ma<imise earnings throughout the lifec%cle of the 'roject, *hich is carrie on
to other eli&er% channels 0IVI, TV, etc+1
The onl% focus no* is to introuce ne* an ne* strategies *hich *oul $reak all
recors an generate re&enues for the inustr% as a *hole thus $enefiting our countr%+
Thus in the coming %ears the inustr% *ill *itness films *hich *oul $e markete in
a &er% inno&ati&e *a% an also ha&ing an a''ealing stor% line an a $len of talente
actors an not necessaril% $ig an esta$lishe stars $ecause the% are not the sole
reason of a films success+
- B8 -