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Bollywood Box Office Unplugged-II: Winners and losers among the 2012 releases

Who were the Survivors (the workhorses), Fakestars (work for the industry too but not so much for the audience), Rockstars, (as they are low-budget winners) and the duds for the fist half of 2012 

 

In the first six months of 2012, 35 Hindi films were released, of which 33 reported their box office (BO) numbers and the remaining probably sank without a trace. As we pointed out in the first part, the frenzied hype that accompanies a movie’s release is purely commercial. Influencing reviews to get better ratings is a part of this. Let’s see how it works.

 

We analysed the movie ratings of as many as 33 reviewers for each movie. We then looked at the drop in BO business from the first week to the second as an indicator of public verdict. We then included a third dimension of total movie business to build a complete perspective on the movie in a single snapshot. (See graph: Jan-Jun 2012: Business, Reviews, People’s verdict) There is a whole alternate business revenue stream of music rights, satellite rights, merchandizing agreements, in-film advertising that is not the subject of this analysis.

 

We then classified the whole set. The Rockstars are those that were high on reviewers’ and peoples’ choice—they received high ratings and also sustained business in the second week (see graph). The Survivors are movies that received average ratings but survive to retain the audience interest and do not drop more than a third in the second week. The Duds are movies that simply fail to take off with both viewers and reviewers. And finally there are the Fakestars—which generate huge BO business in the first week, only to crash over 70% in the second week. These are over-hyped movies and, but a curious co-incidence, their names provide clues to this category. 

 

 

The viewers guide to the categories: Rockstars, Survivors, Fakestars and Duds

 

In terms of business for the entire industry, Survivors are the workhorses—they are not stars though, not high on critics list, but just good for an average laugh by the masses. Fakestars work for the industry too but not so much for the audience. Rockstars, especially as they are low-budget, are the ones we could do with more of. Duds—let us not waste time on them. 

 

 

Good, large production houses play safe with big movies to ensure they are Survivors—big bankable stars, tested formula, item songs, prime release dates, zero or low competition from other movies, secured by marketing, etc—all this often prevents them from being Duds by just a whisker.

 

The distribution channels

 

 

Based on channel structure, ownership, market size, local issues and movie-related factors there is a full treatise possible on territory level insights. We restrict our focus to the BO (Pie chart: Collections: Jan-Jun 2012), but even a quick glance shows heavy dependence on just two key regions in terms of revenues.

 

Corporate entry into Bollywood was expected to bring in such professionalism. It has indeed cured some ills but has also introduced others. We need introspection on how to connect the dots to create win-win movies. What good is a good Bollywood movie without a sequel?

 

In concluding part we look at movie reviewers and their performance. Which ones understand popular choice of movies and who are the ones that take viewers for a ride? Watch for the details.

(Sandeep Khurana is the founder and principal consultant, QuantLeap Consulting services, based at Hyderabad. An ex-army officer, he is well-read and experienced in government and corporate sectors. Sandeep holds a management degree from Indian School of Business. He has interest in social media, analytics and operations. He likes to watch all good movies. He can be reached at [email protected] or his twitter id is @IQnEQ.)

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COMMENTS

Devang

7 years ago

excellent observation.

Olympics: Vikas Gowda makes the cut for the discus throw final

Gowda is also only the second Indian to make the finals in track and field at the ongoing Games after Krishna Poonia, who eventually finished seventh in women's discus throw

 
London: India's Vikas Gowda became only the seventh Indian to qualify for the finals of the track and field event at the Olympic Games when he hurled the disc to 65.20 metres for an automatic selection, reports PTI.
 
Gowda, who trains in the United States, breached the 65m mark in his second attempt, having managed a throw of 63.52 m in his first throw. 
 
The automatic qualification standard for the discus final was set at 65m.
 
Iran's Ehsan Hadadi was just behind Gowda with a throw of 65.19m.
 
The finals will be held tomorrow at 07:45pm local time (Wednesday morning 12.15am IST).
 
Gowda is also only the second Indian to make the finals in track and field at the ongoing Games after Krishna Poonia, who eventually finished seventh in women's discus throw.
 
The other five Indians to make it to the final round of Olympic Games' track and field events are Milkha Singh (400m), Gurbachan Singh Randhawa (110m hurdles), Sriram Singh (800m), P T Usha (400m hurdles) and Anju Bobby George (Long Jump).
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Bollywood Box Office Unplugged-I: Why the first day and first week is make or break

Once, the barometer of success for films was platinum, golden and silver jubilees. How times change. Today, its the first week that matters for box office success  

Online bookings of new releases open Wednesday. But savvy marketers ensure that the excitement starts building weeks and months before ticketing action as the movie stars are in your face promoting the movie. They are at the mall next door, the pub downtown, gate-crashing weddings (yes, 3 idiots did it) – even the most uninitiated can predict whose movie is releasing next at the box-office. Then there is the music video launch, Page3 plugs, YouTube clips, fun-bites on Facebook, Twitter teasers, online trailers, video games and more. The idiot box joins the frenzy with Amitabh Bachchan turning up as guest anchor, Akshay and Sonakshi getting face time at a cricket match, or reality shows of all hues being invaded by your favourite stars. From neighbouring auntyjee to officewale Sharmajee and your teenager’s “Chhamak chhalo” grooves, the idea is to get everybody caught up in the frenzy before cash registers start ringing on Friday.

A few discerning ones wait to read the reviews or sneak previews. Enter the analysts. Taran Adarsh, Rajeev Masand, Anupama Chopra, Raja Sen, and many more—the list is long. Reviews pouring in on Friday. Rajeev Masand’s review is Googled more than say, “home loans” in India. Taran Adarsh and Rajeev Masand have over 150,000 followers each including many opinion–makers themselves among their followers. Anupama is not far behind either.

Since movies get booked well in advance, bookings for much-hyped movies happen before getting feedback from your trusted social circle. You bank on the stars promoting it and on analysts. An exhortation by Amitabh or SRK carries trust. Film reviewers, the pied pipers of cinemagoers in a star-crazy nation, carries credibility. Tragedy strikes when movie after movie, hyped by stars and reviewers turns out to be a disaster. Millions of hours wasted. Crores of rupees down the drain or into undeserving pockets! You wish the stars and reviewers had not lied and you had not trusted their hype.

Movie business for you- Reincarnated
Now for the dynamics of how it works. There was a time, when movies released in theatres could run for years, secure in the knowledge that nobody would steal the reels. That’s because you had to go to a theatre and couldn’t view it on your cable, notebook computer or smart phone. The barometer of success was platinum, golden and silver jubilees.

How times change. Today, movie releases need to beat the pirates by simultaneous release in as many theatres as possible. Only the rupee matters and this can also come from music rights, overseas distribution, satellite rights or video/web/YouTube releases, in-film advertising, etc. But this analysis will focus only on the box office for 33 recent releases.

Industry rides on blockbusters
In terms of budget of box-office (BO) collections, the film industry works due to blockbusters. Much like the US pharma industry, which survives on blockbuster drugs like Viagra, the film industry needs a booster dose of some mega success stories, to feel secure.

 
 
 

This sets in motion a sequence of desirable and undesirable actions. A lavishly mounted movie also needs a lavish marketing budget in order to recover costs. Distributors demand item songs which make cash registers ring and every cog in the wheel from stars to cinema hall owners work at making it succeed; and the first week is make-or-break time. With stakes so high, it also needs friendly reviewers to tailor ratings to suit the industry rather than the cine-goer who forks out just Rs200 for a ticket.

The mantra is simple—after the shoot, take what you can in the first week and scoot before word-of-mouth reality sinks in.

So “Sheela ki jawani” seduces you to theatres and it’s a while before the public discovers that Tees Maar Khan is not even a makkhi-maar. Katrina’s gyrations to Farah Khan’s direction collected a cool Rs49 crore this time, out of the movie’s total business of Rs61 crore. What does that tell you? Similarly, RA-One slumped from Rs91 crore in the first week to Rs15 crore in the second. Dhobi Ghat dropped 89% after hype that ensured some first week bookings had vanished. Budhdha hoga Tera Baap, Mausam last year were among the others which went the same way.

Now look at performances in the first half of the current year.

 


The high first weekend collection is projected as validation of film’s BO superiority. This happens occasionally, like with 3 idiots, but in most cases, the hype about the opening weekend is entirely fake or good marketing. On the way out of the theatre, many people realize they have been had, but since it is all about entertainment, the reaction is amusement rather than outrage. The following two charts, based on BO collections, show how much is at stake. (Only Hindi movies released in first half of the year, between Jan-Jun 2012 and surviving at least a week at box-office are considered. There is a whole alternate business revenue stream of music rights, satellite rights, merchandizing agreements, in-film advertising is not the subject of this analysis.)
A week is a long time in Hindi films. Especially, if it is the first week. It is analyzed down to each day by film trade analysts and watched for its trending collections. We notice some very interesting insights and trends.
 

On an average, two-third of a movie’s BO collection is done before business before the second week begins. On an average, a movie’s BO collection drops to one third of the previous week, every week, till it disappears into oblivion—this is the one-third rule. The graph above shows aggregate week-wise collections post-release.  Movies that beat this rule are the winners. For instance, a dark horse like Vicky Donor could see collections drop just 5% less in week two. A movie whose BO collections drop 65%-70% in a week is primarily rejected by audience; that an Agneepath still earns Rs100 crore is due, in no small measure, to the inability to cancel bookings made before its Friday. They are still trade hits but not by popular choice.

Here is a plan that seems to work. If viewers are numbed by a blast of star power and publicity blitz to ensure that first week plans are full before reviews, social media feedback or word-of-mouth reach them, the producer can make a killing. This explains why they pull out all the stops and plan a release with such care. For a good movie, the progress path is altogether different—we will examine this in the next part.

I often wonder what is “the first day first show” business all about? Why are we willing to risk viewing a film without reading the reviews? Does the early bird catch the worm or is it that the early worm gets caught?

COMING NEXT: Releasing tomorrow is part II of this three-episode article. We analyse the BO performance of all Bollywood movies released in first half of 2012 to show which ones tricked you into buying a ticket with their marketing hype and which ones were genuine hits.

(Sandeep Khurana is the founder and principal consultant, QuantLeap Consulting services, based at Hyderabad. An ex-army officer, he is well-read and experienced in government and corporate sectors. Sandeep holds a management degree from Indian School of Business. He has interest in social media, analytics and operations. He likes to watch all good movies. He can be reached at [email protected] or his twitter id is @IQnEQ.)

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COMMENTS

KAPIL B KHANNA

7 years ago

Dear Sandeepji...Its great analysis and a few words of caution for small time film makers..Creative people like me are very much enthusiastic about visual art but have no muscles to pull it off in the vast ocean..we will be torn to pieces bits by bits..In India , film making has no future as its totally controlled by a few like our stock market..Remakes and publicity is what has remained of filmmaking.. Its being run by MBA's and not creative people...These MBA's are not concerned about creativity but money..hence so much fuss, publicity stunts etc..What was an undisputable art of visual story telling has come down to an art of disrepute,controversies and almost porn material just to sell and make collections...!! Whatever good movies are being made is because of low budget and corporate help..

REPLY

Sandeep Khurana

In Reply to KAPIL B KHANNA 7 years ago

Appreciate your feedback and fully empathize with your concerns. Please await a followup series with insights on how to think out of the box n take constructive steps. Slow change but it's happening already. Signs are positive. And good thing is good cinema is such a win-win for everybody-viewers, producers, distributors etc.

KAPIL B KHANNA

In Reply to Sandeep Khurana 7 years ago

Sure Sandeepji...If we give up who will encourage the others..?? I guess its our moral responsibility of writers and makers to keep up the hopes and keep the lights alive..People surely look upto us to deliver..If there will be no heroic stories of a maker there will be no makers at all..Thanks for your reply..Will surely look forward to your following insights..Have a great day..

shubh

7 years ago

Cool

Firdaus Khan

7 years ago

Great read & unequivocal analysis, esp. the chart about 2nd week collections in comparison to week 1. Should put an end to ridiculous claims about sub-standard movies being runaway hits of the year.....its rather insulting to India's sensitivity to & pride in cinema. Corporatization of Bollywood has ushered in spin masters that play the short term game of cashing in early. Tele rights, having lost their margin, could be another push factor.

Will be interesting to progress with your perspective (parts 2 & 3)to probably validate the truism that 'quality sells itself' (aka the new trend of independent cinema)

Timely analysis Mr. Khurana!

- Firdaus Khan
Faculty, ICBM-SBE, Hyd.

REPLY

Sandeep Khurana

In Reply to Firdaus Khan 7 years ago

Thanks, Firdaus.

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