Hindi
Reliance greenlits 20 Hollywood projects
MUMBAI: A year after Reliance Big Entertainment announced it would flirt with Hollywood filmmakers, the Anil Ambani company has greenlit a slate of 20 projects outside its Spielberg deal.
“We have invested $10-15 million in the past one year in the developmental process of these Hollywood projects. We are now geared up for the next phase,” says a source in Reliance Big Entertainment.
The projects, involving nine Hollywood talents, have been approved and have entered various stages of script development. Reliance will provide a development fund silo for each of the production entities and it may also co-finance projects that emanate from these development deals.
Reliance will fund Nicolas Cage‘s Saturn Films action title Voodoo Child with writer John Collee and Jim Carrey‘s JC 23 Entertainment for the comedy O‘Gunn with writers Ed Cannistraci and Fred Seton.
Besides these, Reliance will also provide seed finance to three projects, to be produced under the Chris Columbus‘ 1492 Pictures banner. These are Things They Left Behind (based on Stephen King short story about 9/11 survivor), The Last Campaign (an adaptation of Thurston Clarke‘s book) and David Dorfman‘s script It‘s A Miserable Life.
Reliance will further fund Brett Ratner‘s Rat Entertainment to develop Youngblood, based on Rob Liefeld‘s iconic graphic novel ‘Infinity‘, with writer John Collee. The company will also develop John Delorean‘s project with James Toback. Meanwhile, Julia Roberts‘ Red Om Films will develop Dan Eldon‘s.
Says Reliance BIG Entertainment chairman Amit Khanna, “It has been a very active and satisfactory first year and we have been delighted by the quality of the individual projects being presented to us for development financing. There are many others in the evaluation/ negotiation stages and I‘m confident of moving into the filmmaking stage on several projects before the end of the year.”
Adding further Khanna says, “These creative partnerships call for Reliance to co-finance production for the US Studios where existing first-look deals are in place. From the conversations to date, we know that the respective studios welcome our development silos and our subsequent co-financing ability. We have broken completely new ground by empowering some of the best talent in Hollywood.”
Part of its long term strategy for media investments in Hollywood to build a fully integrated movie company with substantial holdings in production, distribution and exhibition, Reliance Big Entertainment sees these development deals as the first major building block in the creation of a virtual studio for Hollywood.
The deals also secure Indian rights for the films which Reliance co-finances. Additionally, through these deals, Reliance expects to attract suitable productions with appropriate incentives to India.
Creative Artists Agency (CAA) was instrumental in brokering the deals and is advising Reliance Big Entertainment on its Hollywood strategy.
Meanwhile, Reliance has already stiched a deal with Steven Spielberg to set up a $1.5 billion company that would finance 32 movies over six years.
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
