With cinemas set to reopen in India on 15th October, the question uppermost in people’s minds is: what will the cinemas release? While it is clear that producers of big-budgeted films will wait and watch whether people are returning to the cinemas in large numbers before they announce the release dates, the trade expects multiplexes and single-screen cinemas to fall back upon Hollywood films, their dubbed versions, regional films and those films, the runs of which were abruptly cut short in March due to the lockdown. And when one talks of Hollywood films, the first one which comes to mind is Christopher Nolan’s Tenet, which, incidentally, was also the film which kickstarted cinemas in many countries when they reopened after the pandemic lockdown. So, will Warner Bros.’ Tenet feed Indian cinemas from October 15?
According to an insider, Tenet is ready to hit the screens in India and it has been so since two months. Not just the original English version but the Hindi and South language dubbed versions are also ready. But the film might still not make it to the cinemas. And just why? Well, here’s the inside story.
Warner will wait for cinemas to reopen in major circuits like Bombay, Delhi-U.P., Mysore, Tamil Nadu and Andhra, where Hollywood fare is lapped up readily. While this is only one part of the hitch, the other is the point of revenue-sharing. It is now more than 45 days since Warner approached the exhibitors to discuss enhanced revenue-sharing terms for the eagerly anticipated film, as part of the global strategy. It may be mentioned here that Warner has taken 65% of the gross collections from all over the world as its share for Tenet instead of the usual 50%, in view of the risk it has taken to bring the film to the cinemas despite the fear of low attendance as people are still wary of visiting cinemas. However, the multiplexes and single-screen cinemas of India have not yet gotten back to the studio with either a “yes” or a “no” or even a counter-offer. Without a clarity on both the points — cinema reopening date in the aforementioned important territories, and the share which exhibitors would be willing to give Warner — it is unlikely that the Hollywood studio will announce a release date for the film in India in spite of the fact that it is completely ready for hitting the screens. Pertinent to note that when Information contacted representatives of the exhibition sector, they all denied that producers had been demanding a higher share of collections in the new scheme of things.
The multiplexes and single-screen cinemas of India have not yet gotten back to the studio with either a “yes” or a “no” or even a counter-offer.
The multiplexes and single-screen cinemas of India have not yet gotten back to the studio with either a “yes” or a “no” or even a counter-offer.
Says another inside source, “If the exhibitors think, producers will not ask for a higher share, they are being delusional. They themselves accept that in the initial months, it will be difficult to get high occupancy and hence business will be impacted adversely. In such a situation, should a producer take the risk of releasing his film theatrically if the exhibitors do not support him with a higher revenue share?”
“If the exhibitors think, producers will not ask for a higher share, they are being delusional.”
Another person, wishing to remain anonymous, remarked, “Most of the producers have gone the OTT route, without a thought about the cinemas, and yet, those who are willing to take the risk of releasing their films theatrically will be meted out the same treatment which the producer, who ‘strayed’, will get for his next film when it is released theatrically. Is that fair at all?” He adds, “Cinemas have also been steadily increasing their share in the pie by using the service tax route. So, actually, a producer makes more money by selling his film for premiere on OTT as the entire money agreed upon goes to the producer, there is no question of sharing. It is for this reason that internationally, more and more studios are looking at the direct-to-consumer route and cutting out the middlemen by premiering films on streaming platforms. In India, Khaali Peeli is the most recent example, Laxmmi Bomb and Coolie No. 1 would be the next big ones to be released on OTT. Our exhibitors have to wake up and smell the coffee. If exhibitors do not work in tandem with producers, film and cinema business won’t last for too long. Every constituent has to make profits and remain in good financial health if an industry is to survive and thrive.” He concludes, “If multiplexes remain stubborn and insist on not changing their rigid revenue-sharing terms, the option of going to OTT platforms is always available to studios and producers. In the long run, it will be the exhibition sector which will lose out.”