With a massive viewership at its disposal and broadcasters willing to shell out megabucks to buy satellite rights, television has always been the most important source of earning non-theatrical revenues for film producers. But in the last three years, more than 200 films including biggies like Barfi!, Heroine and Teri Meri Kahaani have not seen a television premiere due to several reasons. Jayantilal Gada, CMD, Pen India Pvt Ltd., who handles acquisition for Zee Network that bought only Agneepath and English Vinglish last year, says, “Channels are not willing to take the risk of buying films without knowing what the content is. The two main criteria taken into account before acquiring a film is whether it is a family film and if it has a repeat value.” Moreover, films like Delhi Belly, Gangs Of Wasseypur, Saheb Biwi Aur Gangster, Yeh Saali Zindagi that were released with an A-certificate have found no takers on television. “Even if a film is recertified to U/A with cuts, the essence of the film is lost, so we lose interest in acquiring films that have adult ratings,” he adds.
With channels pulling up the socks on film acquisitions, the changing scenario has largely affected producers who make small and medium budget ventures as opposed to bigger studios who produce star-studded films. Gada adds, “Independent producers will face more losses than the studios.
For studios, satellite rights are a part of their profits but independent producers depend\ on satellite revenues for recovering a part of their costs,” he