Film Production
Despite lesser releases, Eros FY-2014 PAT up by 29 per cent to Rs 199.69 crore!
BENGALURU: It missed hitting Rs 200 crore PAT by just around Rs 31 lakh in the recently concluded FY-2014. The Sunil Lulla led Eros International Media Limited (Eros) belongs to a select league of a handful of publicly listed Indian media and entertainment companies that have only grown bigger and bigger in terms of bottom line as well as topline as compared to rest that have made it a norm to show blood across their balance sheets. And all this despite a 10.4 per cent drop in the number of films released to 69 in FY-2014 from 77 in FY-2013!
Last year, the company entered the Rs 1000 Total Income club. This year, it continued its membership in that select peerage and how! In FY-2014, Eros reported a growth of just 6.1 per cent in Total Income (Tot Inc) to Rs 1139.64 crore from Rs 1074.35 crore in FY-2013. As mentioned above, the company recorded a PAT of Rs 199.69 crore (17.5 per cent of Tot Inc) in FY-2014, which was a whopping 29.2 per cent more than the Rs 154.53 crore (14.4 per cent of Tot Inc) in FY-2013.
Note : (1)100,00,000=100 lakh = 1 crore = 10 million.
Eros released 30 Hindi films, 37 Tamil/Telugu films and 2 other regional language films in FY-2014 as compared to the 30 Hindi, 44 Tamil and 3 other regional language films in FY-2013.
Let us look at the other numbers reported by Eros in FY-2014 and Q4-2014
Tot Inc in Q4-2014 at Rs 280.97 crore was 8.9 per cent less than the Rs 308.36 crore in Q3-2014 and 83.3 per cent more than the year ago quarter Q4-2013.
PAT in Q4-2014 at Rs 34.54 crore (12.3 per cent of Tot Inc) was 31.2 per cent less than the Rs 50.18 crore (16.3 per cent of Tot Inc) in Q3-2014 and more than triple (3.6 times) the Rs 9.58 crore (6.2 per cent of Tot Inc) in Q4-2013.
Eros reported Total Expense (Tot Exp) for FY-2014 at Rs 641.44 crore (56.3 per cent of Tot Inc), which was 13.9 per cent lower than the Rs 744.81 crore (69.3 per cent of Tot Inc) in FY-2013. Eros Q4-2014 Tot Exp at Rs 209.86 crore (74.7 per cent of Tot Inc) was 4.4 per cent less than the Rs 219.47 crore (71.2 per cent of Tot Inc) in Q3-2014 and 54.1 per cent more than the Rs 136.20 crore (88.9 per cent of Tot Inc) in Q4-2013.
Eros Finance cost in FY-2014 was 3.48 times at Rs 32.71 crore (2.9 per cent of Tot Inc) as compared to the Rs 9.39 crore (0.9 per cent of Tot Inc) in FY-2013. The company’s finance cost in Q4-2014 at Rs 14.52 crore (5.2 per cent of Tot Inc) was almost double (1.97 times) the Rs.7.38 crore (2.4 per cent of Tot Inc) in Q3-2014 and 7.4 times the Rs 1.96 crore (1.3 per cent of Tot Inc) in Q4-2013.
The company’s trade payables and receivables have both gone down in FY-2014 as compared to FY-2013.
Here are the figures: Trade Payables FY-2014 – Rs 36.98 crore (3.2 per cent of Tot Inc) – down 15.5 per cent from Rs 43.74 crore (4.1 per cent of Tot Inc) in FY-2013.
Trade Receivables – FY-2014 – Rs 151.45 crore (13.3 per cent of Tot Inc) – down 11.1 per cent from Rs 170.44 crore (15.9 per cent of Tot Inc) in FY-2013.
In its press release, Eros has indicated the breakup of revenue for FY-2014 as: Theatrical revenue – Rs 474.9 crore (42 per cent of Total revenue); Overseas Revenue –Rs 293.4 crore (26 per cent of Total revenue) and Other Revenue –Rs 366.4 crore (32 per cent of Total Revenue).
Eros managing director Sunil Lulla said, “This has been an excellent year for the company with strong operational and financial performance. Our strategy to focus on a diversified mix of high, medium and low budget movies, emphasis on regional language films along with monetisation of our catalogue across various platforms has enabled us to deliver such strong performance.”
“We are confident that our leadership position within the industry, monetization of our extensive movie library and positive structural sector trends should enable us to create huge value for all stakeholders going forward. On the back of a well-funded movie slate scheduled for FY-2015, we expect to deliver yet another strong financial performance in the coming year,” added Lulla.
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Film Production
Priyanka Kaur Dhillon joins SVF Entertainment as lead for music distribution
A seasoned content dealmaker with 16 years in digital and satellite media joins the Bengali entertainment powerhouse as it pushes into the pan-India music market
Mumbai: Priyanka Kaur Dhillon has made her move. The content acquisitions and commercials veteran, most recently commercial manager at Sony Pictures Networks India, has joined SVF Entertainment as lead for music distribution, stepping into one of the more interesting briefs in regional entertainment right now.
SVF is no ordinary regional label. Over 30 years it has built a formidable legacy in Bengali cinema and music, driven by culturally resonant storytelling and a catalogue that consistently punches above its weight. Its recent success with Chiraiya underlines the point. But the Kolkata-based powerhouse now has its sights firmly set beyond Bengal, most visibly through Legacy, a rap reality series produced in collaboration with hip-hop label Kalamkaar that signals a deliberate push into the pan-India music ecosystem.
Dhillon brings precisely the kind of muscle SVF needs for that expansion. At Sony Pictures Networks India, she led film acquisition and commercials and handled music licensing across the entire satellite network. Before that, she spent nearly 15 years at Hungama, rising to assistant general manager and leading strategic content licensing for the platform’s digital entertainment business, with a particular focus on international markets. Her label relationships span the full roster: Sony Music, Universal Music, Warner Music, Believe International, Tunecore, The Orchard and a clutch of smaller aggregators. She has negotiated and closed deals with Hollywood studios, Bollywood production houses and regional content players alike, building pricing models and deal structures off data analysis rather than instinct.
Announcing the appointment, Dhillon said she was “thrilled to begin this journey with an iconic Bengali music label and content powerhouse,” adding that SVF’s “constant drive to push boundaries” was what drew her to the role.
SVF has spent three decades proving that regional does not mean limited. With a sharp commercial operator now steering its music distribution, its bid to go national just got a good deal more serious.
