Hindi
Raymond Weil felicitates Prasoon joshi as part of its Global practice
MUMBAI: Well-known for its watchmaking excellence, creative design and high quality standards offered at unequalled price points, the famous independent Swiss watch Brand, RAYMOND WEIL strengthens its presence in Mumbai. As a Brand deeply involved in arts and music from which it draws its literary inspiration, the Swiss Brand felicitates the most celebrated lyricist, screenwriter and advertising guru- Prasoon Joshi -at the RAYMOND WEIL Boutique at Palladium,Mumbai, on May 2nd, 2014 (Today).
Prasoon Joshi is considered a legend in the Indian Bollywood industry and is known for his remarkable contributions in music in various Bollywoodmovies. He has also received the best film fare lyricist award 3 times in his tenure. Prasoon is also a proud recipient of the National award for best lyricist.
In the course of the felicitation, Mr. Olivier Bernheim, President of RAYMOND WEIL said: “We are extremely proud and feeling enthusiastic to celebrate our flourishing presence in Mumbaias we have the most iconic personality of the country with us today.At RAYMOND WEIL, it has always been our endeavour to cherish and share success. We would like to express our appreciation and seize the opportunity to bestow them with sober, yet elegant novelties from RAYMOND WEIL as a mark of appreciation to their contributions so far in the field of music”.
RAYMOND WEIL’s collections reflect both modern innovative design and the traditional values of the Brand while maintaining attractive price positioning. They clearly demonstrate the family understanding of clients’ expectations. Consumers will appreciate the wide range of watches offered by the Brand: the very elegant and classical, fully mechanical maestro collection, with chronograph, balancier or moon phase functions; the historic and noble parsifal collection; the stylish, powerful and sleek nabucco; the urban and contemporary, sober and elegant freelancer; or the full-bodied, opulent yet delicate feminine collection noemia and jasmine.
RAYMOND WEIL
Founded in Geneva in 1976, RAYMOND WEIL is one of the last remaining Swiss independent family-owned and family-operated watchmaking companies. Based in Geneva, home of Switzerland’s most prestigious watchmakers and of the industry’s topmost expertise in component and material supply, the Brand enjoys a unique position in the exclusive world of luxury with a collection of refined timepieces that embody an elegant and contemporary blend of elements inspiring emotions with both customers and partners.
Music has always been at the centre of the RAYMOND WEIL universe. This is borne out by the names of the Brand’s collections — taken from famous operas such as nabucco and parsifal, or with musical connotations, such as maestro or jasmine — and the various musical partnerships RAYMOND WEIL has signed with iconic musical venues, exclusive musical awards ceremonies, live music platforms and music related charities.
Emotions, precision, performance: these are the values common to music and watchmaking that RAYMOND WEIL wishes to share with its clients.
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.
