A man who is passionate about the business of film making and its marketing and distribution - as much as film makers are about films. Born in a "film family" and having worked with some of the top names in the Indian film industry, Shonjoy Bhattacharjii is a man "who knows the industry inside out." Nearly six months back, he had predicted that the film industry will give the television industry a run for its money and his predictions are coming true.

To add to this, Bhattacharjii's knowledge of the advertising film making business makes him a savvy marketer. After a stint in advertising with Far Productions (renowned ad film maker Kailash Surendranath), Bhattacharjii joined UTV in 1992. He handled the entire gamut - right from ad films to documentaries to TV serials. The next decade was full of "lights, camera and action" as his intensity and dedication went beyond the "just doing a job mentality".

In 1995, Bhattacharjii donned the mantle of heading the newly created films division - UTV Motion Pictures. He was involved in distribution of films, co production of domestic and foreign content. At present, he is now handling consultancy work independently for several top film producers, distributors and advertisers. While talking to Ashwin Kotian, Bhattacharjii talks about film marketing; studies the impact of recent spate of hit films on the television business and gives a sneak preview of things to come in the entertainment business. Excerpts:

Is the Indian film industry witnessing an upswing after a dismal 2002? Will this revival prove to be a threat to the television industry at least in the metros?
The recent spate of hit films - Andaz, Bhoot, Jism, Chalte Chalte - proves that audiences are returning to the theatres. This trend is more prominent in the big cities. The market share of cinema as a medium has shot up due to improved infrastructure in the existing theatres and advent of multiplexes.

More importantly, each of the above mentioned films belong to a different genre. People want new and different things or experiences.

Meanwhile, TV production has become as planned and methodical as ad film production - in terms of look, feel, characterisation, environment. Therefore, a certain amount of standardisation is bound to happen, but the 'smart audiences' will sense it and move away if they don't fancy it.

Indian audiences want to step out of their homes. Again, the learning is that good content always invites eyeballs irrespective of the medium. The point remains that consumers enjoy visiting multiplexes as it has become an in-thing - a great ambience with the restaurants, the multiple screens, entertainment options and shopping malls. The future looks bright with block buster movies such as Koi Mil Gaya, LOC, Lakhsya waiting on the sidelines.

What has contributed to this recent spate of hits in the Indian film industry?
The greatest change and opportunity in the Indian market is the vast improvement in the exhibition sector. Many corporates or entertainment chains - Adlabs, Shringar, Inox, Zee to name a few - have heavily invested in multiplexes in the last few years.

The benefits will manifest themselves in the next two or three years with 80-90 complexes containing 300 screens plus are up and running along with the existing stand alone theatres. This will create the kind of demand that hasn't been witnessed before - even for content. At present, film makers have been releasing around 300 prints. And in the future there will be more prints released.

More importantly, some of the above mentioned groups are venturing into 'B' and 'C' markets where they have plans to put digital projector screens. A DVD is anytime cheaper than the prints that cost anything between Rs 50,000 to Rs 75,000. Normally, film makers/distributors release their films in 'B' and 'C' class towns later due to a limited number of prints developed. In the near future, they can release DVDs of their films in the smaller towns and have a simultaneous all India release.

How has the distributor-producer relation changed?
The avenues for film makers have increased manifold. Sometime, in the near future, there won't be any problems linked to minimum guarantees as film makers will be able to leverage the multiple options. They can forge alliances with the corporates that have entered the exhibition sector directly rather than going through the distributor and exhibitor route.

There won't be any complaints linked to improper revenue declarations - a problem similar to that of broadcasters and cable operators in the television industry. Film makers will have so much clout that they will be able to bargain and negotiate the minimum guarantees with the various constituents of the distributor chain. This will result in mutually acceptable agreements.

With the number of prints increasing phenomenally and the ticket yield going up, a good Indian film has the potential to recover its monies in the first month itself - sometimes, even in the first week itself. Recent trends have shown that the business in the metropolitan cities have contributed immensely (up to 70 per cent) - in fact resulting in overflows. Several states in India have realised the potential of the entertainment industry and have offered sops. Well, although, all the demands of the film industry haven't been met, some concessions and tax breaks have been offered - especially the benefits to multiplexes and the theatre maintenance sops.

Some of the proprietary film makers are also changing the way in which they have been conducting business have distributed films all over the country through their own offices. Several distributors and exhibitors are getting into production and forging a two-way alliance. In the near future, one should see the emergence of five to seven big players and the smaller players will be affiliated to the giants.

How can the Indian film industry become a major player in global stakes?
Indian films need to take the proper entry route coupled with marketing and publicity. The marketing and advertising effort must be on the scale if not greater than what the bigger production houses such as 20th Century, Miramax amongst others do with their offerings in India.

Global audiences have to be made aware and briefed about the innate Indianness of films. In order to do this, one needs proper infrastructure in foreign markets. A hype has to created in those markets - easier said than done. One has to go beyond the ethnic Indian audience in foreign markets and tap westerners and Asians.

There have been cases in the past wherein a Hindi film has been in the Top 10 lists in the first week and totally disappeared from the theatres in foreign markets. A successful crossover film should transcend language barriers and must be a hit in all parts of the globe. Good cinema works in all markets and language is not a barrier in the west because the audiences there are familiar with sub-titled content.

There is a lot of potential to increase revenues with the average cost of the tickets between $5 and $8. In addition to that, we have the DVD market and 300 cable and terrestrial networks across the globe which has not yet been exploited. Over the years, one will see an increase in the number of prints released in the overseas - as compared to the sub-200 mark in terms of prints.

Do you watch television?
I watch programmes such as Kyunki…, Kahin Kissi Roz, CID and movie channels. I feel that channels must make an effort to develop more film-based programming content. There is an opportunity there. I am passionate about cricket and watch all the 'Big Ticket' matches.