Hollywood has decided to marry Bollywood.

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Hollywood has decided to marry Bollywood. It’s a deal that will help both. Now, SRK may star in an English flick, and Brad Pitt in an Indian movie. By PALLAVI SRIVASTAVA

Move over Tom Cruise and Brad Pitt. Welcome SRK and Aamir Khan. Bollywood stars are set to take global audiences by storm. And this isn’t a claim made by Indian producers, but this is what is being planned in the huge studios in Hollywood. The recent movie, Saawariya, marked the beginning of a second revolution in Bollywood. Mumbai. After initial experiments of co-production with foreign filmmakers and production houses decades ago, this film marked a second wave, when international studios decided to join reels to produce local content in India.

Sony Pictures Entertainment co-produced Saawariya with the iconic Director, Sanjay Leela Bhansali, and it was the opening of the first innings for Sony. And it turned out to be a decent opening stand. The movie grossed about Rs.120 million. Feels Deborah Schindler, President, International Motion Picture Production Group, Sony Pictures Entertainment, “In the next couple of years, we would like to make about four-six movies a year in India. So, our larger focus won’t be the number of movies; rather it would be making movies that we care about.”

Warner Brothers and Walt Disney are the other elite names who are busy shooting their strategies to produce Indian movies. Warner Brothers is banking on the Khiladi, Akshay Kumar for its first movie, Made in China. On the contrary, Walt Disney plans to concentrate on animation movies in India. It has tied-up with Yash Raj Films, and the first movie from the co-production stable will be Roadside Romeo. Paramount Pictures International is also contemplating Indian productions. The list goes on.

There are three major factors that are wooing the huge Hollywood studios to cross the seven seas and set up bases in Bollywood. The first is the possible arbitrage opportunity, given the ever-expanding growth in the Indian entertainment sector. The second is the fact that the Indian film industry is largely driven by domestic business and, hence, one has to be in India to take advantage of the potential market. In fact, Hollywood films account for less than 10% of the overall annual revenues earned by movies in India. Finally, there is growing attractiveness for Indian films globally.

“To say that India is growing rapidly is definitely an understatement,” says Kunal Kohli, Film Critic and Director of movies like Fanaa. According to the 2007 annual edition of the FICCI - PricewaterhouseCoopers report on the Indian Entertainment and Media Industry - A Growth Story Unfolds, the Indian film industry is expected to grow at a CAGR of 16% to Rs.175 billion by 2011. Such a market is seducing global players to join the Bollywood bandwagon. Not to forget that Bollywood is the largest market with over 1,000 movies released every year, and 3.7 billion tickets sold annually. Although these numbers don’t stand too tall in front of Hollywood grossers in terms of revenues, things have begun to change rapidly in the past few years.

As Amit Kumar, Media Analyst, Kotak Securities, points out, “In terms of eyeballs and footfalls, the Indian movie market is the largest in the world; however, in terms of value, it is still minuscule. This fact itself asserts that there is a huge scope for growth in the industry. On the contrary, the US and European markets are becoming saturated by the day.” Moreover, the demographics of India hint at an even more rapidly growing film viewership in the near future. Shyam Benegal, renowned filmmaker, explains, “Largely, those who watch movies are in the age group of 10-40 years and this profile is growing like never before. If statistics are to be believed, they will continue to grow for many more years. This will definitely scale up the revenues of the industry and this lures the global studios.”

It would have been ideal for global players to market Hollywood movies in India. This strategy would have allowed them to rake in moolah without any major investments. But those who watch English movies constitute a minority. In addition, the Indian movie market is largely driven by local content. To cite statistics, Indian films accounted for 95% of the country’s total box-office sales in 2006, according to the Indian Entertainment and Media Industry report by FICCI- PwC. Nowhere in the world, except for the US, is the market so skewed in favour of domestic movies. So, if you need to fish in Indian film waters, you need a bait that’s local. That’s possible only through local content.

For more articles, Click on IIPM Article.

Source : IIPM Editorial, 2008

An Initiative of IIPM, Malay Chaudhuri and Arindam chaudhuri (Renowned Management Guru and Economist).

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World history has witnessed a trend of few leading nations dictating world policy and future and many followers supporting those policies, sacrificing their national, regional and racial interest. But last century has given birth of many emerging giants like Korea, China & India who have become a certain threat to that trend, raising many uncertainties for global stability. China is now single largest investment destination, India & Korea are more in the forefront of the world, in terms of trade, which was unimaginable few decades ago. Total FDI from Europe to China is $35 billion, till date. And the West has continued dictating global trade policies through creating many institutions like the World Bank, IMF, GATT & IEA. But with emergence of new giants, these institutions have become ineffective, inefficient & outdated. As history suggests that in times of crisis, it is the West which has stabilised hostility and brought peace and institutionalised nations, for peace and constancy with advanced and suitable policies. Should not they again come forward, actively thinking that individual emerging giants can’t control instability? Let’s wait for their response.

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Source : IIPM Editorial, 2008

An Initiative of IIPM, Malay Chaudhuri and Arindam chaudhuri (Renowned Management Guru and Economist).

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One is the son of a retired college principal while the other is the son of one of the finest theatre personalities of India. One topped engineering in Delhi and then pursued acting while the other dreamt of becoming an actor for as long as he can remember. One has barely ever shaken a leg on-screen while the other has taken dance lessons from Shiamak Davar. But one aspect that is common to both these fine actors is their ability to deliver stellar performances and the knack to better the same with each movie. Yes, this is the father and son duo of Pankaj Kapoor and Shahid Kapoor.

Having completed his engineering with first rank from New Delhi in 1973, Pankaj Kapoor joined the prestigious National School of Drama in 1976, where he bagged the Best Actor Award in his batch. After doing theatre for four years, his silver-screen break came with Arohan, after which he grabbed the role of Mahatama Gandhi’s secretary, Pyarelal in Richard Attenborough’s Gandhi. He then acted in a variety of films like Kundan Shah’s comedy classic Jaane Bhi Do Yaaro, Vidhu Vinod Chopra’s suspense thriller Khamosh, Shyam Benegal’s Mandi, Mohan Joshi’s Hazir Ho, Mrinal Sen’s Khandhar, and then came his much talked about characterisation of an educated cross-border terrorist in Roja. He also did a handful of television series that he is probably remembered most for, like Karamchand and recently as Musaddi Lal from Office Office. In the days when parallel cinema was at its peak, in 70s-80s, actors such as Naseeruddin Shah, Farukh Sheikh and Pankaj Kapoor carved a niche for themselves. This versatile actor stayed true to his roots in theatre by acting in and directing more than 74 plays and serials. But with Raakh, he bagged what he claims his dearest award of all, his first National Award in 1989.


This was followed by one of his most satirical roles with his bewildering portrayal of a scientist in Ek Doctor Ki Maut, which fetched him his second National Award in 1991 and the third came in 2004 for his depiction of a don in Vishal Bhardwaj’s Maqbool. To portray the roles that this legend has portrayed on-screen is a dream of any new generation actor. And what has come to be expected of Pankaj Kapoor is… everything! But, if one may ask, is being a legend, hereditary? For Pankaj’s consistent strife for the untouched and for the impossible and his knack of making the imperfect perfect, can all be seen in Shahid’s endeavours as well. From being a perfectionist to understanding time’s criticality, Shahid has all too well inherited his father’s professionalism. He started out with T.V. commercials, music videos and also made an appearance as a back-up dancer in Subhash Ghai’s Taal.

In a time when established actors go to unthinkable lengths to give their kids a great launch, we asked Pankaj Kapoor whether it is easy for these star kids to break into Bollywood. “Nothing is easy,” he said after a moment’s thought. “Not for an outsider or for star kids. Being a star kid makes it easy to get an opportunity to act while success is governed by your own hard work, individual abilities and by your destiny. The most successful in this line are all from outside – Dev Anand, Shahrukh Khan, Amitabh Bachchan etc.”

On being probed about the challenges created by expectations for actors like Shahid, he was quick to point out, “If one is born of certain parents, people are going to expect you to come up to their standard and certainly become better than them. It then becomes a challenge and an inspiration.” So true are these words in his and Shahid’s case. But is this another Kapoor clan in the making? “I think this thought is so ridiculous. I treat myself, my family and children as individuals in their own right. If you are talking about the other Kapoors, then they have been here for four generations. Let’s all survive on our own abilities and merits,” reasons Pankaj.

But if it is just about getting the initial opportunity, then one might wonder why children of acclaimed actors take up acting naturally. “I cannot comment on this, as my family was not into films, but as for Shahid, the only help he got was the knowledge about how this industry works and the rest was for him to figure out through first-hand experience.”

So here it is. The man who never basks in his glory and is almost always restless to better his best. Never treating awards as anything more than mere milestones. Always his own best critic. Probably this is the rarest gift a father can give to his son – the gift of a legacy.

B&E edit bureau: Ashish Pratap Singh with inputs from Prasidha Menon

For more articles, Click on IIPM Article.

Source : IIPM Editorial, 2008

An Initiative of IIPM, Malay Chaudhuri and Arindam chaudhuri (Renowned Management Guru and Economist).

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