Hindi
Oscar winning director Ang Lee to visit India for ‘Life Of Pi’
NEW DELHI: Academy Award Winning Director Ang Lee is coming to India as part of a grand promotional tour for 20th Century Fox’s Oscar buzz generating festive release ‘Life Of Pi’ directed by him.
Fox Star Studios have earlier hosted eminent personalities such as Danny Boyle, Hugh Jackman and Titanic‘s Jon Landau in India.
India will be the first country to be visited by Lee – the film has an Indian angle since it stars Suraj Sharma, Tabu and Irrfan Khan.
Lee will also be presenting exclusive and unseen 20 minutes of the film in stunning 3D to media and prominent Bollywood personalities to showcase the extraordinary experience of watching the celebrated novel come to life onscreen.
The man behind some of the most prestigious and acclaimed films such as Sense and Sensibility (1995), Crouching Tiger, Hidden Dragon (2000, which won the Academy Award for Best Foreign Language Film), Hulk (2003), and Brokeback Mountain (for which he won an Academy Award for Best Director), Ang Lee will visit Mumbai and Chennai along with David Lee (Co-Producer of Life Of Pi), main lead and debutante Suraj Sharma, Tabu and Irrfan Khan.
Fox Star Studios CEO Vijay Singh said, “Ang is scheduled to arrive in India on 28 October 2012 for a two-city Mumbai-Chennai visit where he will also showcase exclusive visuals from the film for a select audience. This visit will also kick start the extravagant scale of activities planned, building on the excitement and anticipation that has been growing for ‘Life of Pi‘ since its trailer launch. Not only is it a stunning showcase of the immense acting talent and breathtaking locales of our country, it is also one of those rare works of cinema that transcends boundaries with its universal appeal.”
‘Life of Pi’ 3D release is scheduled on 23 November in English, Hindi, Tamil and Telugu.
The film showcases stunning scenes with Sharma, and veterans Tabu and Khan in the film along with breathtakingly vibrant colours of Pondicherry and Munnar where the film was extensively shot.
From the Oscar winning director, Life of Pi 3D is the visually stunning tale of a boy who is adrift at sea in a lifeboat with a Bengal tiger after his family is drowned in a shipwreck. The Indian appeal of Ang Lee’s magnum opus is visible with every scene of the film right from the star cast to the locales and magical elements that combine to make this a special festive treat for fans!
The theatrical promo also featured the Indian stars, and the trailer immediately went viral with laudatory reactions pouring in on various social networking sites.
The film centers on Piscine Molitor Patel (Pi) who is raised in Pondicherry India with his family who run a zoo. They decide to immigrate to Canada, taking their animals along with them and set off on a huge freighter ship, steaming from India across the Pacific. But a terrible storm destroys the ship. The family and most of the animals perish. Pi survives, stranded on a lifeboat with several animals. Ultimately it is just Pi and a Bengal tiger who miraculously survive 227 days at sea.
Lee has shot ‘Life of Pi’ in 3D, utilising groundbreaking techniques to capture the story’s epic scope. India had much to rejoice when Lee chose 17-year-old newcomer Suraj Sharma to essay the role of Pi. Sharma lives with his mathematician parents in Delhi. He has no previous acting experience and was cast following an extensive, months-long search. Over 3000 young men auditioned for the part.
Not only is the film a global platform of Indian talent with its cast and crew, but some of India’s most scenic spots were tapped for the film, a first of its kind for a Hollywood film. Amidst racks of fabulous saris and colorful fabrics, many of which were used for the vibrant market scenes filmed in Pondicherry, India, where Pi spent his early years, there is a rich multicultural depth to the movie. One can see the countryside of Southern India in the hillside town of Munnar along with the French elegance of Pondicherry on 3D!
The film is based on Yann Martel’s book, one of the biggest publishing events of the past decade. The book has sold over seven million copies worldwide and continues to sell over 1,000 copies per week and has won the prestigious Mann Booker Prize, and was a New York Times bestseller for over a year.
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.
