Time to up the Number Game: Need of more Screens for a boost to Indian Film Industry
Cinema has immense popularity in India, every year approximately 1600 films are produced in various languages of India. Though it is the lowest in the world in terms of screens per million people. It is 10 screens per million people as against 124 in the US and 90 in China.
Aamir Khan in a recent interview said that China has shown the way when it comes to taking the Entertainment Business forward. He hoped that the Indian government also promotes popular Art and Culture in a big way. China have about 45,000 screens whereas, in India, we barely have 8,000 screens for all languages. It is really something that we need to learn from them, he said:
“We need more theatres. I think that will really help the Indian Film Industry.” — Aamir Khan
Due to low number of theatres in India, cinema industry faces great difficulty in simultaneously releasing two Big- Budget films on the same day. It also affects box-office collections.
In a country where more than three-fourths of the Rs 13,000-crore Film Industry’s Revenues come from the Box Office and where Single Screens have been shutting down at an alarming rate, this delay in opening new properties is almost criminal. While multiplexes have been doing a good job, adding 150–200 screens every year, Single Screens have been shutting at twice that rate. From over 12,000 screens five years ago, there are now just about 9,800 left in India. Facing competition from multiplexes, the single-screen cinema halls in the country have been finding it increasingly difficult to squeeze out profits. The slowdown in business after demonetisation might just be the final nail for the cinema halls that are already weighed down by high entertainment tax and piracy.
“There are dozens of theatres like PVR, ready in various parts of the country, awaiting a licence to start. Getting permission to open a multiplex remains the single biggest challenge to expansion” — Rahul Puri, managing director, Mukta Arts, which owns 68 screens across the country.
The box office revenues were strongly affected in the years 2014–15–16. This is simply because there aren’t enough screens around.
Over the years, multiplex chains like PVR and Inox have grown at a fast pace. The initial growth that came from Metros and Large cities is now plateauing. More recently, the chains’ growth has come from consolidation, rising ticket prices and higher contribution by food & beverage sales and advertising. Average occupancy at multiplexes remains 30 per cent. For more than five years now the number of Indians watching films has fallen consistently — from 22.5 crore in 2010 to 31.10 crore in 2014 and just about 26.14 crore in 2016.
Without faster addition of screens, especially in small-towns and rural India where single screens are shutting down fast, the Indian film industry is up for some tough times, say analysts.
China had about 9,000 screens in 2011 when the government decided to push investments into building screens. By 2014, China had over 24,000 screens and its box office revenues — 90 per cent of all revenues — had more than doubled to $4.8 billion. It is now the world’s second largest film market after the United States.
The, “speed of (screen) growth has to increase,” says Alok Tandon, CEO, Inox Leisure. A jump of 10,000 screens will mean more than doubling of revenues and a more equitable distribution of money, especially among different genres instead of just Hindi, English, Telugu and Tamil.
Devang Sampat, business head, India strategic initiative, Cinepolis, points to Pune, Kochi or Thane where it has Megaplexes, theatres with 10 or more screens. Cinepolis has seen the share of regional and Hollywood films in its revenues rise in these markets because there are enough screens to play them long enough for word-of-mouth publicity.
This creates tremendous pressure on each screen. At over 1,700 films in 2014, there were about 30 releases every week. The pressure then means that for every Bajrangi Bhaijaan that grossed Rs 411 crore in theatrical revenues, there is the critically acclaimed Masaan that does not get enough time.
“If 9,000 single screens are converted into three-screeners, 27,000 screens can be added, in six months,” claims Nitin Datar, president, Cinema Owners and Exhibitors Association of India.
Retrofitting or turning single screens into two- or three-screen multiplexes costs Rs 40–75 lakh at the low-end, says Rajesh Mishra, CEO, UFO Moviez. The money, says Datar, could come from a tax holiday or subsidy or allowing single screen owners to have extra floor space index that can then finance the retrofit.
Multiplexes, with three and more screens are the only way forward, say analysts. The cost is about Rs 2.5 crore per screen in the metros and under Rs 2 crore in the non-metros, reckons Tandon. However, “Not all Single Screens can be converted into multiplexes. They are usually on a single plot of land, and underground parking, open areas around are all requisites. Often, they belong to families with splintered shareholding,” says Tandon.
“Multiplexes are the core of malls. The difference in average ticket price between a multiplex within and outside of a mall is 10–15 per cent. So there is pressure unless enough and more supply of malls is there,”says PVR’s Gianchandani.
Not everyone agrees. “A multiplex could come up next to a local supermarket or shopping area, next to a marriage hall. And it need not be a multiplex, could be a twin theatre system too,” says Saurabh Saxena, chief operating officer, Carnival. Of Carnival’s 327 screens, 60 per cent are in Tier two and three towns. And it liberally uses the non-mall approach wherever needed. The result: while average ticket prices are lower at Rs 126 in non-metros versus Rs 170 in the metros, the margins are the same. That is because the cost of running the multiplex is lower in small towns.
Ratan Jain, director, Gold Cinemas, which has 65 screens, says small towns need the twin-theatre approach — two screens with small capacities and lower prices. Gold, he claims, makes the bulk of its money from ticket sales and almost nothing from food & beverages. Its whole premise is offering the single screen audience a slightly better experience for a slightly higher price.
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