Hindi
Lionsgate reports loss of $93.4 mn in 3Q
MUMBAI: US film studio Lionsgate has reported revenues of $324 million for the third fiscal quarter ended 31 December 31, 2008. This is an 8.4 per cent increase from $299 million for the prior year‘s third quarter.
Lionsgate, however, has posted a net loss of $93.4 million compared with income of $7.3 million in the same quarter for the previous fiscal.
EBITDA for the third quarter was a negative $88.9 million compared to a positive $11.7 million in the prior year‘s third quarter.
The loss was primarily attributable to the underperformance of theatrical wide releases in the quarter along with a reserve taken for the Company‘s HIT Entertainment North American DVD distribution deal due to several factors, including softness in the preschool non-theatrical retail market and unusually high returns from the field when Lionsgate took over distribution of the line. These losses more than offset gains in Lionsgate‘s television business.
Lionsgate co-chairman and CEO Jon Feltheimer says, “During the quarter, we were negatively impacted by some of the same broad economic factors reported by other companies in the media and entertainment sector. However, the primary factor contributing to this quarter‘s loss was the underperformance of our feature film slate. This will have a significant negative impact on our EBITDA and free cash flow for the whole year. Looking forward to fiscal 2010, with the solid performance of our television, home entertainment, international and library businesses, coupled with a smaller film slate and lower associated marketing costs, we anticipate significant positive EBITDA next year.”
The company‘s film backlog was $442.4 million at 31 December, 2008. Film backlog represents the amount of future revenue contracted but not yet recorded from the licensing of films and television product for television exhibition and in international markets.
Overall motion picture revenue for the quarter was $254.9 million, a decrease of two per cent from $261.0 million in the prior year‘s third quarter, as declines in home entertainment, international and Mandate Pictures offset growth in theatrical and television from motion pictures.
Theatrical revenue of $69.3 million increased nine per cent from $63.8 million in the prior year‘s third quarter. Saw V continued the strength of the Saw horror franchise and the documentary Religulous also performed well in platform release. The wide releases The Spirit, Punisher: War Zone and Transporter 3 compared unfavorably to releases in the prior year‘s third quarter.
Lionsgate‘s home entertainment revenue from all segments was $101.5 million, an 11 per cent decline compared to $114.6 million in the prior year‘s third quarter. There were no high-profile new theatrical releases on DVD in the quarter. Significant home entertainment titles in the quarter were Beer For My Horses and continued sales of Rambo, The Bank Job, Forbidden Kingdom and War, which were released in previous quarters. The Company has slated the releases of such major theatrical titles as Saw V, Tyler Perry‘s The Family That Preys, Bangkok Dangerous, My Best Friend‘s Girl and Transporter 3 for the fiscal fourth quarter to avoid the glut of major studio releases before the holidays, as it has done in the past.
Television revenue included in the motion picture segment was $39 million in the third quarter, a 25 per cent increase from $31.3 million in the prior year third quarter, led by titles such as Tyler Perry‘s Meet The Browns, Rambo, The Bank Job and The Eye.
Lionsgate‘s international revenue declined by eight per cent to $41.1 million in the third quarter compared to $44.6 million in the third quarter of the prior year. Principal revenue contributors in the quarter were Saw V, Punisher: War Zone, The Eye and Conan The Barbarian.
Television production revenue in the quarter was $69.2 million, an increase of 82 per cent from $38 million in the prior year‘s third quarter due to increases in domestic television series episodes delivered, $14.5 million of revenue generated from the company‘s joint venture with Ish Entertainment and revenue increases from the company‘s Debmar-Mercury television syndication business.
Primary contributors were deliveries of Mad Men Season 2 (AMC), Crash (Starz) and Scream Queens (VH1). After the end of the quarter, Turner Broadcasting ordered a total of 80 episodes of the House of Payne spin-off, Tyler Perry‘s Meet The Browns, to air on TBS this summer and in syndication next year. The television division remains on track to approach $250 million in revenues this year.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
