Explaining Here About The Film

Distribution Process in India

Distribution is the integral part of the Movie Business, it is the way a financier or a
film producer gets back their returns. This article gives you the complete
explanation about the Indian Film Distribution. Meanwhile, if you have any
doubts (or) Opinions related to this section, please ask in the comment section
below.

Glossary

Producer: A Person who Invest for making the Films is called Producer. They
invest in films under a “Production House” brand name: For an instance, the film
producer “Karan Johar” owned Dharma Productions he producing films under
that Brand name. A film Producer is responsible to manage all the expenses in
film such as payment for the artists, technicians and managing the daily expenses.

Cost Of The Film: pre-production+ Film Production+Post Production+

Advertisement Expenses (Condition: 2% to 4% of poster publicity expenses will be
debited from Exhibitors)

Distributor: A person who distributes the film through the theatres is called film
distributor. The distributor buys the “distribution rights” from the producer,
mostly in the very beginning itself (or) sometimes after previewing the final cut.
However, the pre-acquiring of film distribution right is based on the casting, crew,
director, story and the producer’s past success. Also, Now days it is a usual
tendency in film distribution in India that the producers itself, distributing the
films without a third party (or) an independent film producer. They were
implementing this method is because of avoiding the distributor expenses. On
the basis of entertainment tax and state-to-state connectivity, Film Distribution
Association of India divided the state provinces into 11 circuits for distributing the
films. Sometimes the distributors directly distribute films to all these Circuits,
while other times the main distributor rent (or) sell films to a local film distributor.

Exhibitors: According To Film Glossary, a person who owned theatre is called an

Exhibitor. There are two ways an exhibitor, getting right to display a film in their
theatre. The first method is, on the basis of a pre-agreement with a distributor
hire theatre to showcase their films. The Second method is, the releasing centres
(A Class Theatres) give advance money payment (theatre advance) to distributors
for getting the right to display that particular film in their theatre . Above, the
Secondly explained method of Film Releasing is dependable on the basis of cast
and crew; sometimes it is based on the tie-up between Film Distributor and
Exhibitor. Distributors get the return from the theatre and it is known as
“Distribution Right”. The ‘Distribution right’ is calculated on the basis of an
agreement with the theatre owner/Exhibitor Association and film distributor, as
the way below mentioned tabular column shows.
Indian Film Distribution system

Hold Over: If, a Film not earns 70% of revenue from all of its three theatrical
shows (A Day Count), then it is called as ‘Hold Over’. In such a case there will be a
10% less in Profit Percentage Sharing of distributors in the first week and 5% less
in next two weeks.

After Five-seven weeks, the producer also has right in the ‘Distribution Share’.
But, the condition is- if the distributor buy the film wholly from a producer, then
the producer is not entitled to get any theatrical distribution share and satellite
right (sometimes) from the distributor.

Every film can benefit from having a distribution strategy before its festival
premiere and before any rights are sold. A customized strategy can help you
maximize audience, revenues, impact, and career. This strategy should be
designed based on your goals, your film’s content, its core audiences, and the
opportunities in key avenues of distribution (from theatrical and television to
direct sales). If you have a customized strategy, you can look for distribution
partners who can help you implement your strategy. If not, your film may receive
a formulaic, one-size-fits-all release in which every film is distributed pretty much
the same way.

Goals

It is essential to be clear about the ultimate goals for your film when you design
your strategy. You can have multiple goals but should prioritize them. What is
most important: career? revenues? or changing the world? If you are clear about
your goals, you will have a useful framework for making choices as you move
through the stages of your distribution. You also need to be clear about your
festival goals. Your premiere festival launches your film into the world. It provides
a unique opportunity to build awareness among:

• film critics, bloggers, and other members of the media

• distributors

• colleagues, executives, and others who can help with future films

• the general public

Your screenings will give an immediate sense of how audiences are responding
and can create word-of-mouth within the festival. These screenings are an ideal
place for distributors to see your film for the first time (even if they discount
somewhat enthusiastic audience responses). Your film may also get its first
reviews and press mentions. It could also receive festival awards and generate
buzz online.

Most films are not sold at their first festival. While some distribution deals are
made mid-festival, the majority of them happen weeks or months later.
Distributors only attend a small number of festivals and there is little or no sales
activity at the rest. Be well-prepared for sales opportunities but be realistic. Don’t
focus on them to the exclusion of the need to market your film to the press, the
industry, and regular viewers.

Publicity

A publicist is essential at Sundance and

recommended at certain other festivals where the media turns out in

force. Your publicist will focus on critics and entertainment reporters

and may be able to help with social media. Make sure your website and

Facebook page are ready for prime time and that your team can execute a

coordinated social media effort.

Your publicist can help you

position your film, express what makes your film unique, and convey the
passion with which you made it. You should have a trailer, a teaser, or

at least a clip on your website and on Facebook, and it should be easily

shareable online.

Agents and Reps

Separate your rights into two categories: North American and international.

Having a producer’s rep sell North American rights may or may not be necessary.
You may have a teammate (producer, consultant, attorney) with distribution
expertise who can help you field offers and negotiate deals.

If you decide to hire a producer’s rep, he or she should be on board for your first
domestic festival. Look for one who can help you implement your distribution
strategy and who comes highly recommended by other filmmakers. If you find an
excellent producer’s rep, decide which North American rights you want them to
sell, and which you want to retain (see below). Your rep should make clear to
potential distributors exactly which rights are available (excluding those you are
retaining) before negotiations begin.

Having an international sales agent sell rights outside North America is essential
but you don’t need to hire one before your first domestic festivals. You should
retain the rights to sell DVDs, downloads, and streams from your website
worldwide (excluding any territories where your sales agent makes exclusive
deals for these rights).

Documentary filmmakers should select an international sales agent who

specializes in TV sales and always attends MIP and MIPCOM. Have them handle
your international digital rights only if they have a track record selling these rights
successfully.

Hybrid Distribution

Hybrid distribution is the alternative to giving one company total distribution

control of your film for many years. It means splitting your rights among
distribution partners, while retaining the ability to sell DVDs and downloads
directly from your website.

Documentary filmmakers (and some fiction filmmakers) should consider making

hybrid distribution Plan A, with Plan B being making a more traditional deal with
one company. The hybrid approach enables you to choose the best partners for
key avenues of distribution. Splitting up rights will make it possible to implement
a customized strategy, refining it step-by-step. It also increases your chances of
building a long life for your film.
Due Diligence

For some films a more traditional deal may be the best option. However favorable
the deal terms, make sure the distributor can do a great job with your film. The
best source of information is other filmmakers whose films have been distributed
by that company. They will tell you off-the-record how effective and collaborative
the company is, as well as how reliably they report and pay. Do not make a deal
without doing serious research. While there will be limited time to do this if you
are making a deal at a festival, most deals will be made after the festival, with
ample time for due diligence.

Remember, no deal is better than a bad deal.

Rights to Retain

All filmmakers should try to retain (whether you make a multiple rights deal or
split up your rights):

Direct Digital – the rights to sell downloads and streams directly from your
website
Direct

DVD – the rights to sell DVDs from your website and at screenings. This

needs to be coupled with the right to buy DVDs from your DVD

distributor at cost or no more than $5.00

The distributor will

have all retail DVD and digital rights, allowing them to make deals with

Amazon, iTunes, Netflix, Hulu, and other companies and to sell directly

from their websites. Your right to sell from your website will

complement their rights. In many cases allowing filmmakers to sell from

their websites has incentivized them to promote their films extensively

through social media. This has increased retail sales, benefiting both

the distributor and the filmmakers.

Documentary filmmakers who make a multiple rights deal with one distributor
should also retain:
Educational

– the rights to sell educational copies to colleges and universities,

high schools, libraries, nonprofits, companies, and other organizations

and institutions

Semi-theatrical – the rights to rent the film

for single screenings (Note: you can share these rights non-exclusively

with your distributor)

Educational and semi-theatrical rights are

essential parts of a customized distribution strategy for a

documentary. You need to keep control of these rights so you can select

excellent distribution partners who specialize in these rights. If you

don’t retain them, the multiple rights distributor will end up with

rights it may have little interest in or ability to exploit.

Advances and Corridors

Consider the ultimate revenue split as well as the advance. Assuming you are
working with an honest company, it may be better to take a lower advance to get
a better split. If you are only offered a token amount, you may decide to take no
money upfront for a bigger percentage of the backend. The distributor will recoup
its advance from revenues before paying you any more. An advance gets you
money sooner, but in the end may cost you a substantial amount that you could
have made with a better revenue split. If the advance is big enough, it makes
sense to take the money and not worry about the backend. If the advance is
small, pay close attention to the split.

Request a revenue corridor so you will receive some money (e.g. 20% of
revenues) while the distributor is taking its distribution fees and recouping its
expenses and advance. While it may be difficult to get your distributor to agree to
a revenue corridor, without one you may receive no share of revenues for months
or years.

Direct Sales Rights

The value of digital rights is growing steadily. It is better to sell your retail digital
rights and your retail DVD rights to the same company. If you sell your digital
rights separately, it will be much harder to find a company willing to only
distribute your film on DVD. It is essential to retain the rights to sell your film
digitally (and on DVD) from your website for three reasons:
1. You will make more money on every direct sale than from any third party sale
since you will not be splitting the money with your distributor or producer’s rep.

2. You will have the opportunity to sell related products and create bundles that
are exclusively available from your website.

3. You will receive invaluable customer data (name, email address, zip code) that
you will not get from third party sales on iTunes, Amazon, or anywhere else. You
can add these customers to your mailing list, build ongoing relationships with
them, and hopefully turn them into valued patrons, who will support you
throughout your career.

Skipping Festivals

Films with strong core audiences may decide to skip festivals entirely. Many genre
films don’t go to festivals, while others focus on genre festivals or target festivals
with strong genre sections.

Some of the most successful documentaries (ranging from THE SECRET to

HUNGRY FOR CHANGE) have made no efforts to go to festivals. Instead they have
trusted their ability to reach their large core audiences directly.
Your Role in Distribution

Fiction filmmakers are more likely to seek a multiple rights deal with one
distributor while documentary filmmakers are more likely to take a hybrid
approach working with several distributors. In both cases you need to be
significantly involved in your distribution.

You should approach it as a partnership. Distributors bring expertise,

relationships, and resources and you bring the passion with which you made the
film, your team, and a knowledge of and connection with core audiences.
Working together in a complementary way will achieve the best results.

By being directly involved, you will gain a much deeper understanding of the
complex New World of Distribution. This will empower you for your next films and
hopefully enable you to build a sustainable career.
B2

Kerala Malayalam Theatrical Rights @ 10.50 Crore to Global Distributors

Tamil Theatrical Rights @ 45 Crore to Jazz Cinema

Overseas @ 50 Crore sought

Hindi Dub Main Fight is between Yash Raj Banner , Dharma, Fox Star & Eros

Asking cost is 130 – 140 crores.

B1 –

Hindi Market – Theatrical Box office 120 Crores plus

Satellite TV – Telugu 25 Crores (Maa TV) , Tamil 25 crore, Hindi 23 Crores.

Malayalam – Mazhavil Manorama

Sony MAX – Hindi Rights 23 Crores –

Andhra+Telangana = 235crores

Tamil Nadu = 98 crores

Karnataka = 95 crores

Kerala = 32 crores

North India =140crores (West, East, Central India & North)

list of all-time top 10 Telugu movies TRP ratings. This figures are gathered from
various reports and they may not match with the real numbers.

Rank MovieTRP Ratings TV Channel

1 Baahubali 35-40 MAA

2 Temper 26.5 Gemini

3 Gabbar Singh 24 Gemini

4 Magadheera 22 MAA

5 Seethamma Vakitlo Sirimalle chettu 20 MAA

6 Attarintiki Daredi 19.04 MAA

7 Robo 19 Gemini

8 Manam 15.62 Gemini

9 Legend 11.27 Gemini

10 Yevadu 10.14 MAA

Baahubali: The Beginning Cost of Production = Rs. 120 Crores

Hindi Dub Release Theatrical Revenues

Dear Devashish,

Baahubali: The Beginning Produced by Arka Media Works and Directed by

S.S.Rajamouli was released on July 10th 2015 has a Resounding success on all
verticals of Film Release. Brief of Baahubali Success as Below –

Baahubali: The Beginning was made on Budget of 120 Crore

Its Rights were sold as below –

Satellite TV Rights

Telugu 25 Crores (Maa TV),

Tamil 25 crore,

Sony MAX – Hindi Rights 23 Crores

Malayalam – Mazhavil Manorama – Rs 15 Crores

Rs 88 Crores from Satellite TV Rights.

Box office Collections Pan India Theatricals

Andhra+Telangana = 235crores

Tamil Nadu = 98 crores

Karnataka = 95 crores

Kerala = 32 crores

North India =140crores (West, East, Central India & North)

Rs 600 Crores from Theatrical Release.

Only Kabali has beaten this Record last week by Kabali with (650 Crores Box Office
Collections) has even beaten Bajrangi Bhaijaan Now occupies 2nd Spot after PK
(735 Crores). But Baahubali: The Beginning has Chinese release with 6000 screens
and if this collection is added then Baahubali: The Beginning would beat PK and
Kabali to become Number 1 Movie of All Time.

The World Premier on TV Channels too Baahubali: The Beginning generated

highest TRP’s till date.

List of all-time top 10 Telugu movies TRP ratings. This figures are gathered from
various reports and they may not match with the real numbers.

Rank MovieTRP Ratings TV Channel

1 Baahubali 35-40 MAA

2 Temper 26.5 Gemini

3 Gabbar Singh 24 Gemini

4 Magadheera 22 MAA

5 Seethamma Vakitlo Sirimalle chettu 20 MAA

6 Attarintiki Daredi 19.04 MAA

7 Robo 19 Gemini

8 Manam 15.62 Gemini

9 Legend 11.27 Gemini

10 Yevadu 10.14 MAA

Now a Bigger Property has been generated Baahubali: The Conclusion has the
highest anticipation lavels thus Distribution Houses and Satellite Tv Channels
putting their best pocket rights of the sequel.

Currently for Hindi Dub rights Yash Raj Banner , Dharma, Fox Star & Eros have
pitched in proposals.

Asking cost is 130 – 140 crores.

Awaiting for your nod to place our proposition.