THE TRUTH ABOUT MULTIPLEXES part -II Multiplexes Multi storied complexes, known famously as multiplexes ushered a major change in theater business. In a scenario where single screen theaters have been ruling the cityscape for almost three decades, complexes like Devi Theater, which housed one big screen and couple of small screens have started to emerge. These complex theaters received overwhelming response from the public since they had modern technology as they were new. Complex theaters were providing convenience to the public that even if the targeted film tickets were sold out viewing a second movie in the same complex was possible. As a result, almost all major cities in Tamil Nadu saw the emergence of at least one complex theater or renewal of an existing single screen into one. Tamil cinema theaters, thus were moving on with gala and festivity, were deserted in the 90s due to the bad era prevailed in Tamil film industry. Theaters where once people swarmed were shut down. Hope was down and theaters were left to reduce to nothing with poor maintenance and no shows anymore. Many theaters were demolished to make way for Marriage halls or godowns or residential buildings. In a juncture like this, in the early 2000s, Tamil Nadu witnessed the arrival of multi storey theaters called multiplexes. They brought in people from various walks of life by attracting them with movie screens, shopping centers, indoor casinos and food courts, thus bringing in multiple entertainment options under one roof. Multiplexes attracted more visitors from upper middle class of the society. Targeting this class of audience, Hindi films industry started making non-linear small budget films and fairly succeeded too. Multiplexes gave importance to the viewers’ comfort features such as good audio and video systems, hygienic toilet facilities, clean air, superior air conditioning, congestion–free ticketing, facilities for Internet booking and even privilege membership facility to attract viewers to the theaters. Thus they strengthened their presence in the theater business. Viewers, though they have to shell out extra money for multiplex, as they get completely satisfactory viewing experience in return, they do not mind those extra bucks. As the liking towards them kept growing all over the state, multiplexes started to appear all over Tamil Nadu by demolishing or modifying old theaters or complex theaters. They were even created with five or six screens in the new upcoming malls. All these multiplexes are very successful. Multiplexes brought customers back to theaters. Due to their higher entry tariff, distributors saw increased collections. Thus, multiplexes grappled their support also. When Mayajal was starting its operations with six screens, the prevailing opinion was that it was too far from the happening place of city and there is not even remote possibility to successfully screen any film there. But I was very confident that within a year’s time, Mayajal would win a place for its own. But that Multiplex was smarter than I thought! Within six months, producers have made an agreement with Mayajal to release their films with it on agreement percentage. That brings us to the discussion on multiplex agreements. Is share agreement for a multiplex different from single screen theaters? Certainly! It was so critical once that for a period of three years Hindi distributors were against the multiplex owners’ percentage claims and protesting against them not giving any movies to them. Not budging, multiplex owners screened old films in their screens. There is a difference between the agreements of single screen or complex theaters and multiplexes. The owners cite the superior audio and video experience, comfortable seating, toilets and good advertisements and capital to establish multiplexes in big commercial complexes as the reason. A multiplex would not allow any distributor to screen his film in MG, advance or hire routes. Always they follow percentage basis screening called Terms only. Unlike other theaters that follow first week 60-40, next week 50-50 followed by 40-60 in the third week, their sharing methodology is totally reverse. Multiplexes follow 70-30 (70% to multiplex; 30% to distributor) for first three weeks and later on adopt 75-25 ratio. Majority collection is taken by the multiplex! So how does a distributor accept this ratio? People love multiplexes for incomparable viewing experience; added to that entry fee is higher than any other theaters. Thus, multiplexes are capable of returning huge collections in short frame of time. This lucrative collection makes distributor crave for screening his movie at least for one show in any of the multiplexes in the city. According to my memory, the average hit Siva Manasula Sakthi was screened in one of Sathyam’s screens. It was screened for a period of seven weeks as four, three and even single show per day. The total collection stood at 35 lakhs. When we consider the distributor’s share of 25%, it is evident that he gets more in multiplex compared to other theaters. As many multiplex theaters are coming up, all theaters providing good amenities and maintenance, it is very obvious there would be immense competition prevailing to protect their share among the public and retain their clientele. ..to be continued Respond to sankara4@gmail Thanks behindwoods
Posted on: Tue, 11 Jun 2013 13:34:49 +0000
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