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Mirroring The Industry: How OTT players are taking calls on casting, release date, production, and more?
Our take on this lies in the fact that it’s time for the producers to take the risks, make content that they believe in, rather than curating content based on the demands of digital players. Details
The last two years have seen blockbusters of epic proportions like Pathaan, Gadar 2, Jawan, Animal, and Stree 2 among others taking the box office by storm. However, there is a big issue deep-rooted in the film fraternity, and the conversations are gaining momentum in the producer officers. Most in the fraternity are hit by the tantrums of a self-created devil named “OTT” i.e. the digital players. According to multiple insiders, the calls around the content creation of the film is largely driven by the digital players.
An insider shares, “The OTT players are asking the producers to make certain kind of content, which is palatable for their audience. Well, that’s a valid point, to buy what works best for them. But this is forcing the producers to curate content based on their needs. In an ideal world, the power of creating content was with the producers and the sale of digital rights came into the picture at a later stage, but now, the power of driving creatives is also shifting to OTT.” With this, some directors whose careers have been filled with theatrical flops, are now getting the chance to make more and more films, and some of the commercial film directors are struggling, as OTT is not interested in their format of story-telling for the big screen.
That’s not all, premiums for feature films are offered based on combinations. “One of the upcoming film is being made because the OTT platform promised a premium price if the producer got together a director (known for niche films) with an actor – the reason being, the last film of the director and actor individually, which were direct to digital release, did well for the platform. Guess what? Based on the lucrative deal from digital player, the filmmaker actually got the combo of actor and director in motion to get a premium price.”
The source further informs that corruption has come in the thought process of casting as well. “So many film casting is happening now based on the digital value of star. While the actor may or may not suit the world/character, but he/she is being cast because his addition to the ensemble might fetch the producer a crore or two more. And this isn’t about the male or female leads, it’s about the actors in the ensemble,” the source informs.
The release calendar of the film fraternity has also gone for a toss due to absurd terms and conditions by the OTT players. “In order to keep their content planning in check, there are clauses of releasing the film on an aforementioned date. Today, if the same platform has acquired two films – they can’t arrive on the same date, as that would in turn result in a clash on digital world. However, if film A is with player X, and film B is with player Y, they can clash. Today, Singham Again and Bhool Bhulaiyaa 3 are clashing because one film is with Amazon and other is with Netflix. Even if one wants to move, the OTT player might act as the devil’s advocate, as rather than being accommodative, they could re-negotiate the price, as delay from the committed date makes way for a new contract,” the source says.
Today, Devara is arriving solo because the two leading players didn’t allow two tentpole films to arrive on the 2nd October date, as that could spoil their “release calendar”. A source tells, “If you release on October 2, we will part ways, as we also have Devara premiering on our platform in similar time frame. While it made business decision to arrive on a national holiday like October 2, the terms and conditions imposed by digital players made it impossible to rework.”
Interestingly, these OTT players are in favour of the clashes with films acquired by rival players. “It’s simple – if two big films clash, they will underperform and then in turn fetch bigger viewership on digital world. A clash benefits during the digital release of the film. With the box office clause in place, the clash also poses a chance for the digital player to rework the monies involve and fetch the film at a lower cost. It’s a subtle attack on the power dynamic of producers, and an attempt to call the shots on all content being made. Eventually, it’s the case of subtly taking over the theatrical medium, and unfortunately, many are not able to gauge the larger game plan of the NRI-run digital platforms.”
Sadly, the smaller and mid-sized producers are also suffering due to the absurd terms of sticking to the timelines. “A lot of films go in the pre-stage, after signing digital deals. At times, production delays happen, and in those times, the digital players abruptly back off saying, ‘You promised delivery on X date, and now there is a 2-month delay. We don’t have the window to screen the film’. It’s a sad state, and unfortunately, the industry is silent and not addressing it. If this continues, we are headed for a dooms-day,” the insider concludes.
Our take on this lies in the fact that it’s time for the producers to take the risks, make content that they believe in, rather than curating content based on the demands of digital players. They could push content that would work for their platform, but probably and definitely not that has the meat to excite the cinema-going audience. Back the directors who have it to make a theatrical film, and not the ones who have delivered prestige content for digital. Homegrown directors, writers, and producers would know better about the theatrical medium, than the ones sitting in offices greenlighting content that can be consumed for free on TV or mobile phone.
The OTT players are doing well to push their brand, and full marks to them, but it's the producers who are failing to be truthful and honest to the demands of their cinema-going audience, as also their script. That aside, it's time for actors to support the producers in taking the risk, by cutting down on their up-front acting fees, as also the never-ending entourage cost. A team effort to own the content by the actual creators is the need of the hour, as for the producer to show his power, the backend support of actors is also a must. Let's hope for a brighter future of the Hindi Film Industry, where the key in power position come together, and get back in the groove.
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