Showing posts with label PVR. Show all posts
Showing posts with label PVR. Show all posts
Gen Z is bringing audiences back to cinemas, says PVR Inox
9:23 AM
Regional films, sleeper hits help sustain multiplexes between tentpole productions
Javed Farooqui (THE ECONOMIC TIMES; June 12, 2026)
Mumbai: Young, particularly Gen Z, consumers are emerging as an increasingly important audience cohort for India's multiplex industry, as cinema chains seek to broaden footfalls beyond blockbuster releases. Younger audiences are returning to cinemas amid signs of digital fatigue, industry executives said. Also, regional films, Hollywood titles and sleeper hits are increasingly drawing audiences alongside marquee releases, helping sustain occupancies between tentpole films.
The trend comes as younger moviegoers assume a larger role in theatrical performance. According to Ormax Media's TOBAR 2026 report, consumers under 30 contribute 57% of Hindi box office collections and 70% of first-day revenues.
"Gen Z is driving admissions. They are back at cinemas and showing fatigue with the online world," said PVR Inox executive director Sanjeev Bijli.
Bijli cited the performance of Curry Barker's psychological horror film Obsession and Backrooms, directed by Kane Parsons, as examples of films resonating with younger audiences.
"These are original films and storylines. They are not superhero franchises or established IPs being remade or rebooted," he said, adding that both films had been made by young filmmakers and had connected with audiences globally.
Obsession, produced on an estimated budget of $750,000 to $1 million, has grossed over $234 million worldwide, according to box office trackers. A24's Backrooms, produced on a budget of about $10 million, has collected more than $221 million globally. Backrooms releases in India on June 12, while Obsession released on May 29.
Gen Z theatrical footfalls are rising as younger consumers increasingly seek in-person social experiences, said Rohit Dalmia, director at CineNow, a Rs. 1,350 crore film-focused fund based in the British Virgin Islands. "For younger audiences, cinemas offer a shared social experience with friends and close circles," he said.
Industry executives said premiumization, expansion into smaller towns and cities, and lower dependence on event films through a steady pipeline of sleeper hits are likely to remain key trends shaping the theatrical business.
Tech glitches hit Dhurandhar The Revenge’s paid previews
9:46 AM
Niharika Lal (BOMBAY TIMES; March 20, 2026)
The much-anticipated preview screenings of Dhurandhar The Revenge didn’t go as planned across multiple cities, with shows abruptly halting at interval as the second half failed to reach many cinemas. Disappointed moviegoers, who had booked the film’s previews in advance, had to either wait 1.5-2 hours for the film to start, watch it begin after the interval, or leave as the film failed to resume in most cinemas. “I had booked a 7.30 pm show in Noida, and when we came out during the interval at 8.30 pm, we found that moviegoers who had come for the 5pm show were also waiting for the post-interval version of the film,” a moviegoer shared.
‘It’s not that we don’t want to show a film; it’s just that we don’t have one’
When we spoke to the exhibitors, they refused to comment on the issue and said they had tried their best to ensure that moviegoers could watch the film, but it was not possible in some cases due to technical glitches.
At some screens, the situation turned almost humorous, as moviegoers actually called the police to complain that the film was not being played. Police officials had to intervene to calm down furious fans, telling them, “It’s not the cinema’s fault; they don’t have the film.” Hassled cinema managers claimed, “It’s not that we don’t want to show a film; it’s just that we don’t have one.”
Delays happened due to content-related challenges: PVR
Issuing a statement, PVR clarified, “To everyone who stayed back and watched the film despite the delays – thank you for your patience, warmth, and love for cinema. It truly means a lot to us. To those whose shows were delayed or cancelled, we sincerely apologize. We understand how disappointing it feels when something you were looking forward to doesn’t go as planned. We wanted to share a clearer update with you: Delays happened due to content-related challenges in certain locations beyond our control. Cancellations occurred as regional language versions were not made available by the production side, as also shared on their official platforms.”
Film reaches late, second half missing at many screens
The film didn’t reach most screens in time, leaving audiences angry. The delivery to digital service providers like UFO Moviez happened at the very last minute. Usually, it is done two days before. Insiders say there were multiple instances of things going wrong for the preview content not reaching in time and, in some cases, the second half of the film not reaching cinemas at all. The paid previews were scheduled to start at 5 pm, and digital cinema providers received the content post 1 pm.
An insider says, “Content was delivered somewhere around noon yesterday, and shows were meant to start at 5 pm. The fact that shows could happen at many places at 5 pm itself is a miracle. It speaks volumes about the efforts and hustle that the distribution team and digital cinema providers put in to maximize the number of shows that could at least play.”
Another industry source added, “With just a 4-5 hour lead time between when the content was provided and the release, it had to be distributed across more than 6,000 screens in less than five hours something that can only be described as extremely challenging.”
Moviegoers across cities say that it was chaotic as they had to wait for long hours for the film to start after interval or for the refund. A manager shares, “Fans were not leaving even after being told that we were issuing refunds. Some moviegoers waited for over five hours for the post-interval screening.”
In Mumbai, most Hindi paid preview shows of Dhurandhar 2 at 5 pm on Wednesday were cancelled, and the 5.30 pm ones were delayed by 40 minutes. A source told us, “Most theatres didn’t receive content and Key Delivery Message (KDM), a security file often referred to as a digital ‘passcode’ required to play the digital movie files in theatres on time. The Hindi ones were delivered by 6 pm, after which most shows started.”
Manoj Desai, Executive Director of G7 and Maratha Mandir, said, “It’s strange that they weren’t prepared even though they had opened advanced bookings for paid previews days ago. The south centres will get to see the dubbed versions a day after the film’s worldwide release. How were they not prepared? This inconvenienced the audience a lot. The crowd was angry at our staff because the shows were cancelled, but we had nothing to do with it.”
While there were delays and cancellations, exhibitor Raj Bansal says the paid previews have earned over Rs. 42 crore.
Last-minute cancellations left us confused: Audiences
Confusion and delays were reported across several locations. Jothika M Joshi, a PhD student in Chennai, says, “The show was scheduled for 5 pm, but we waited outside the theatre for nearly 30 minutes. Even after taking our seats, there was another delay before the film began. No one offered any explanation, and we were left waiting without knowing if the film would be screened at all.”
Another moviegoer Divya Reddy says, “We reached the theatre around 5.40 pm only to be told that it was cancelled due to a ‘screening issue.’ By then, a crowd had gathered near the concession area, many having travelled long distances. What made it more confusing was that while booking, the platform carried a disclaimer that even IMAX shows would run in a regular format. Yet at the theatre, we were told only IMAX screenings would go ahead. The lack of clarity and last-minute cancellation left people confused and disappointed.”
Paid preview shows of Tamil, Kannada versions cancelled
The paid preview shows of the film in Tamil Nadu, Andhra Pradesh, and Telangana were cancelled due to the unavailability of dubbed language versions.
Exhibitor Akkshay Rathie said, “The Hindi version is out there now. Every cinema, every property, every screen that was meant to play the Hindi version is now active. The South Indian language versions will hopefully be available in 1-2 days. But as far as Hindi is concerned, every screen meant to play it is now running shows.”
– With inputs from Renuka Vyavahare and Roopa Radhakrishnan
Would moviegoing be incomplete without the ads? Experts share their views
8:38 AM
Would moviegoing be incomplete without the ads played before a film and during the interval? A theatre chain has set in motion a debate around its feasibility and if it will really raise footfall
Navya Kharbanda (HINDUSTAN TIMES; April 28, 2024)
Recently, PVR INOX launched an ad-free movies policy in select luxury screens across Delhi, Gurugram, Bengaluru and Mumbai, amid declining theatre footfalls. Also, it is believed that weak box-office collections of even the big-budget films have affected the theatre business in the last quarter.
Cutting down the length of the ads slotted before a movie from 35 minutes to 10 minutes, the theatre chain is looking to add extra shows. Can this practice actually increase footfalls? Will it change the experience for moviegoers in any way? Will the time buffer that these ads allow audiences to reach the cinemas, render it counter-intuitive?
“One of the things that the consumers expressed is that when they get in, they have to wait 15-20 minutes as a pre-show. So, they’d like it if the ad time was a bit shorter. Another set of audience expressed that they don’t mind if we scrapped the ads and charge them a little more. We aim to get the right balance between the number of ads playing and the overall experience,” says Gautam Dutta, CEO-Revenue and Operations, PVR INOX Limited, adding, “We will see if people will pay a little extra for a more premium experience, or if we are able to get one extra show in.”
Will more theatres follow suit?
Negating the query that they will anytime adopt the no-ad policy and emphasising the value of ad revenue, Devang Sampat, CEO, Cinepolis, shares: “In the past, advertisers looked at blockbusters, but that is changing. They’re now advertising throughout the year, no matter how well the movie performs.”
Addressing the reasoning for such a step being footfall, he continues, “Footfalls are only improving every year. You never know which film would work. So, advertisers and brands are now looking at continuing campaigns running round the year.”
On the other hand, Rajan Gupta, owner, Liberty Cinema, says, “At Liberty, we haven’t been showing ads for years. We are anti-ads. I am really surprised that it has taken them this long to figure it out. You might be making money from ads, but it is taking away from the viewers’ experience.”
To show or not to show?
The high-end properties where this has been announced have tickets priced at around Rs. 1,500, so ad revenue is a fraction of the revenue that comes to the cinemas. But for theatres where the price of tickets is Rs. 150-200, if there are no advertisements, it becomes infeasible for the projection systems to be deployed and ticket cost to be justified. For this larger demographic, 10-15 minutes of advertisements don’t really spoil the movie-going experience.
Experts speak
Akshaye Rathi, film exhibitor: If you really have a flow of great movies that can entertain, no one cares about ads or no ads. In the last few months, there has been a decrease in footfall because of the inconsistency in the quality of content. Give me a Jawan, Pathaan, Gadar or The Kerala Story every second week, and the footfalls will skyrocket.
Girish Johar, producer and film trade analyst: The issue on ground is that this is happening only in the metros. They will ask for an extra amount on the ticket price for this premium offering. It’s a good marketing tool to be explored, but it should give them a couple of hours to add another show on their screens.
When Titanic was released in 1997, there was only one print in entire Delhi-Sanjeev Kumar Bijli
8:33 AM
By Sanjeev Kumar Bijli, Executive Director, PVR Inox Ltd (BOMBAY TIMES; April 20, 2024)
There was a time, not so long ago, when only Hindi movies used to play at the single screen cinemas in India. The ’80s and early ’90s were decades dominated by films with Amitabh Bachchan, Rishi Kapoor and Jeetendra to name a few. If we wanted to watch a Hollywood film, we either had to wait for months for it to release at the cinemas, or drive to obscure places to rent it on VHS. Hollywood studios usually gave India a miss in their overall release plan, as there just weren’t enough cinemas and business to justify the cost of releasing it here.
With the advent of multiplexes though in the late ’90s and early 2000, things began to change. The proliferation of new and premium screens gave rise to both demand and supply for English films. And from a gap of months from US release, films were released within a couple of weeks. Sometimes even on the same day as the US release.
Liberalization, rising middle class and incomes, proliferation of satellite channels and the internet, all contributed to the discovery and consumption of English films. I remember, in 1997, when Titanic was released, it was nothing short of a momentous event in India. We were operating only two properties in Delhi at the time, a four screen multiplex and a single screen. The studio, 20th Century Fox, wanted to release only one print in the entire city, and we had to choose where to play the film. We decided to play it at a single-screen cinema. Such was the euphoria and anticipation around the film, that we had the entire cinema decked up by an eminent designer.
The landscape of cinema, consumer taste and preference has evolved over the years. A day and date in sync the US release of a Hollywood film is now standard, and so is a wide release with over 500 prints or more of commercial films. The list of blockbusters that have surpassed the 50 crore to 100 crore box-office collections is long and impressive with recent hits like Oppenheimer, Barbie, Avatar proving that English films can be as big as Indian films.
But what has also emerged in the last few years is the penchant for foreign language films. The Indian audience has become extremely discerning and receptive to consuming content in foreign languages. We are travelling more, getting exposed to different cultures and watching foreign language content on streaming platforms.
A couple of years ago, through social listening, we inferred there was a huge demand for Japanese anime films. We started to distribute and screen them, and the response was phenomenal. Films like Suzume and Demon Slayer did a box office of 10 crores and 6 crores respectively. Not just anime films, other foreign language films have also done exceedingly well at the box office. Buoyed by the Oscar recognition, films like Parasite and most recently Anatomy Of A Fall did a business of 7 crores and 1.5 crores respectively.
With globalization and increased awareness, I am certain this is just the tip of the iceberg, and foreign language films have found an audience in one of the largest cinema markets in the world!
PVR INOX-KFPA dispute leads to stalling of Malayalam releases in India
11:30 PM
Neeshita Nyayapati (HINDUSTAN TIMES; April 13, 2024)
Amid Eid festivities PVR INOX has stopped screening Malayalam films across the country due to a dispute with the Kerala Film Producers Association (KFPA). New releases like Aavesham, Varshangalkk Shesham, Jai Ganesh and many more have been removed from screens in Kerala and other states across India.
Reportedly, the KFPA started a new content-providing company, asking theatres in Kerala to take films through this venture. However, PVR INOX raised objections to this and stopped the screening of not just Malayalam films in Kerala but also their dubbed releases in other states.
Filmmakers and distributors alike raised concern about this. Sashidhar Reddy of Mythri Movies, said, “It is unfair to stop shows like this when they’re collecting good money.”
Meanwhile, Kamal Gianchandani, CEO of PVR Pictures Limited, put out a statement on X: “Such an action of forcing an exhibitor to procure content from only one source is anti-competitive in nature and prohibited under the law. As a law-abiding member of the Indian film industry, we are unable to comply with this advice.”
PVR Inox records Rs 41 crore net profit in Q3
8:24 AM
THE ECONOMIC TIMES (February 1, 2024)
Cinema exhibitor PVR Inox's net profit soared more than 11 times in the December quarter to Rs 41.2 crore from Rs 3.6 crore a year ago as a sharp reduction in corporate tax helped to offset a drop in movie releases during the period marked by the Cricket World Cup.
Revenue grew 6.4% from a year in the quarter to Rs 1,569 crore while expenses increased 7.8% to Rs 1,343 crore. Corporate tax fell 78.5% to Rs 14.2 crore from Rs 66.2 crore a year earlier.
The quarter saw a 41% drop in film releases due to the Cricket World Cup.
The company said the results are not entirely comparable as the merger of PVR and Inox Leisure became effective on February 6, 2023.
"October and November were muted due to the World Cup and the fact that the movie supply had stopped. The moment the World Cup finished, we had the best month ever in December post-Covid. This shows that the appetite to go out and watch movies is there," PVR Inox executive director Sanjeev Bijli said.
According to the company, the gross box office collections grew by 12% to Rs 987.2 crore from Rs 883 crore. During the quarter, 209 films were released compared to 352 in the same period last fiscal.
Animal, Tiger 3, Salaar, and Dunki were the highest-grossing films. "Even mid-budget films like Sam Bahadur, 12th Fail did very well and contributed to the overall box office," Bijli said.
Total admits declined 2% to 36.5 million in Q3 FY24 from 37.1 million in the previous fiscal. The average ticket price (ATP) rose 14% to Rs 271 while the food & beverage spend per head (SPH) increased 8% to Rs 132.
The company added 29 new screens across seven properties during the quarter, taking the total to 1,712 screens across 360 cinemas in 113 cities.
During the first nine months of FY24, PVR Inox opened 97 new screens while it shuttered 62 screens. The net screen edition in the first nine months stood at 35 against the fiscal target of 160-170 screens.
The company intends to exit 15 more screens in the fourth quarter taking the total number of screens it had exited to 77 in FY24.
"We will open 72 screens in Q4 of which four have already opened," Bijli said.
On the closure of screens, he said these screens had come to the end of their life cycle. "These screens were opened 25 years ago which are in malls that have reached the end of their life cycles," he said.
Regional movies hold promise for PVR amid lack of Hindi blockbusters
3:27 PM
Box office collections fall 23% sequentially on poor performance of mid-and small-budget films and absence of major titles; likely boost this calendar year to keep stock on Street radar
Rajesh Naidu (THE TIMES OF INDIA; January 17, 2024)
ET Intelligence Group: The stock of PVR, India’s largest multiplex company, has lost 15% over the past month notwithstanding the bullish sentiment in the broader market. The stock has lost momentum following an estimated sequential fall in the box office collection for the December quarter.
Analysts point out that only a few big-budget films worked at the box office during the quarter compared with the previous quarter which had successful films released in Hindi, English and regional languages. Poor performance of mid-and-small budget films -- fourteen such films were released in the December quarter-- added to the woes of multiplexes.
According to the estimates released by trade portal Sacnilk Technologies and compiled by Kotak Institutional Equities, the net box office collections in the December 2023 quarter fell by nearly 23% to Rs. 2,324 crore sequentially. On a year-on-year basis, they grew by 73% since fewer films were released in the December 2022 quarter.
The absence of major movie titles in the early part of 2024 is another reason for the underperformance of PVR’s stock. According to trade analysts, 2024 is expected to be a year of mid-and-small budget films. Till date, there has been no announcement of big-budget star-studded films in 2024. Given the poor performance of recent mid-budget films, 2024 may produce fewer money-spinners when compared with 2023.
Non-Hindi movie releases, however, may offer a ray of hope for exhibitors in 2024. Films of regional stars who have a proven box office record in pan-India distribution territories such as Allu Arjun (Pushpa 2 - The Rule), Rajinikanth (Lal Salaam), and Kamal Haasan (Indian 2) are expected to generate high footfalls in theatres.
Besides this, after over six-month strike by Writers Guild of America (WGA) over sharing of residuals (income from reruns on various platforms) and guarantee of minimum wages for writers in the US, the release of spectacle and franchise films from Hollywood is expected to boost the net box office collections in 2024. This may help PVR to stay on investors’ radar.
On the valuation front, based on the FY25 estimates, PVR’s enterprise value (EV) is nine times the earnings before interest, depreciation, tax, and amortisation (EBITDA) compared with the EV/EBITDA of 21.6 in FY23.
Lamhaa producer Bunty Walia booked by CBI for cheating bank of Rs. 15 crores
8:12 AM
Vijay V Singh (THE TIMES OF INDIA; May 29, 2023)
Mumbai: The CBI has registered a case of cheating and forgery against film producer Jaspreet Singh Walia aka Bunty Walia, his brother, their production house GS Entertainment, it’s CA, and others, over a complaint of IDBI bank for causing a loss of Rs 15 crores.
The CBI had last week carried out searches at the premises of GS Entertainment directors Bunty Walia and Guneet Singh Walia (Jassi Walia) and Stany Saldanha (CA).
It is alleged that the production house had in 2009 taken a loan for the making of Sanjay Dutt starrer movie Lamhaa, but the film did not release. The CBI FIR stated that GS Entertainment had taken a credit from IDBI bank. The budget of the film was around Rs 30 crores, of which Rs. 15 crores was bank loan and the rest was arranged by the production house.
Subsequently, the movie was released in 2010 by PVR through a tripartite agreement with G S Entertainment and the bank but they too suffered a loss. The bank alleged that the production house benefited from the deal. The bank took the responsibility of releasing the film after appointing PVR as sole distributor for its worldwide release.
There was a commitment from PVR to invest Rs 8 crores for expenditure on publicity and completion of the balance post-production work. However, PVR failed to honour its commitment as it had supposedly incurred a loss of Rs 83.9 lakhs.
Bunty Walia denied the allegation stating that it’s fabricated, as they suffered heavy loss in the film and despite sharing all the details the bank officials kept on insisting him to “settle the issue”.
He said, “There was a collision between a bank official and their appointed auditor to declare me willful defaulter, so that they can approach the CBI. I had not received any money out of the movie. The auditor gave a fabricated report against me. The bank has been threatening me to settle the issue or they will approach the CBI. Even the auditor insisted on settlement which we refused. So they filed a case.”
Raising ticket prices by 23% helped PVR clock revenue of over Rs. 1000 crores in Q1, says Gautam Dutta
8:40 AM
Faizan Haidar (ECONOMIC TIMES; July 27, 2022)
India’s largest multiplex chain, PVR, raised ticket prices by up to 23% on account of inflation, cost of labour and redevelopment costs, helping the company post its best ever quarterly revenues that crossed the Rs 1,000-crore threshold, CEO Gautam Dutta told ET.
"Every year, we used to hike the prices by 5–7%, but we couldn’t do that in the last two and a half years. During this time, electricity costs, rent and maintenance charges have gone up, so we had to hike the prices," said Dutta.
The CEO said he expected growth to continue even as footfalls at cinemas are yet to reach the pre-Covid levels.
The movie chain also expects to generate pre-pandemic level advertising revenues by Q3 FY23 as it plans to roll out new ways of audience engagement within theatres, Dutta said.
Revenue from advertising currently stands at 68% of the pre-pandemic level.
About 11% of the company’s revenue used to come from advertising, which dipped significantly during the pandemic, and PVR expects to reach that number by Q3 FY 2023.
It has introduced 270-degree on-screen experiential in-cinema advertising for the first time in India to drive higher excitement for brands.
"We are confident that this innovative method of advertising, which is ideal for product debuts, will help brands make a lasting impression on theatregoers' emotions. PVR is really looking forward to collaborating with more brands and advertisers to revolutionize in-cinema advertising," Dutta added.
After the pandemic, PVR has been trying hard to break the inertia of inaction on advertising and film promotions.
"We play close to about 16–18 minutes of advertising. Now, within that, there are certain brands which are saying, I really need to pop out, and I've got a big launch. So can you make it more impactful for me? So we did this exercise, and you will never imagine that the sidewalls of a cinema would also light up. It clearly means better engagement, better impact, and more recall for advertisers, and that's exactly what we tried," Dutta said.
As part of experiential advertising, the side walls, roof, and seats of the theatre can be used for advertising by extra projectors.
PVR has planned to open about 100-110 screens in 2022-23, which is more than the 80–90 screens on an average in the year before the pandemic. This fiscal year, the company intends to invest Rs 400 crore, a large portion of which will go toward redeveloping the existing theatre.
PVR reported losses of Rs 748 crore in FY21 and Rs 488 crore in FY22 as cinema operations were impacted due to restrictions imposed by various state governments to curb the spread of the Covid-19 pandemic in March 2020.
Footfalls at theatres are at 87% of the pre-Covid levels, and the company plans to enter seven new cities this year.
Strong movie runs, non-Hindi genre to boost multiplexes
8:35 AM
Top lines of PVR, Inox Leisure projected to grow 18-20% in FY24; restoration of 8-week exhibition timeline bodes well
Rajesh Naidu (THE ECONOMIC TIMES; July 19, 2022)
ET Intelligence Group: Multiplexes are likely to record higher growth in revenue than broadcast (channels) companies following a strong line-up of movies and rising popularity of non-Hindi releases. In contrast, channel broadcasters are expected to face headwinds of dwindling advertising revenue amid high production costs. Analysts expect multiplex companies including PVR and Inox Leisure to record 18-20% top-line growth for FY24 compared with the FY23 estimated numbers.
The top-line growth is expected to pick up for multiplexes in the second half of FY23 given a large number of big-budget, star-studded, and spectacle films in Hindi, regional languages and English. Films such as Laal Singh Chaddha, Shamshera, Brahmastra (Part I), Liger, Adipurush, Avatar: The Way Of Water and Black Panther: Wakanda Forever are expected to generate high footfalls in theatres.
Besides, multiplexes are expected to benefit from a longer run of movies at theatres before debuting on over-the-top (OTT) streaming services. Before the Coronavirus pandemic, movies were released on OTT after completing eight weeks of theatrical exhibition. During the pandemic, the time frame was shortened to four weeks amid falling footfalls at the movie halls and improving reach of streaming services.
Now that the ticket sales at theatres are improving as demonstrated by some of the recent hit movies, filmmakers, distributors and exhibitors have decided to restore the eight-week time frame starting August 1. This augurs well for multiplexes given a strong line-up of movies and the ensuing festive season. The move will provide more weeks of collections for multiplexes boosting their revenues in the coming quarters.
The rising popularity of regional content is another positive factor. According to a distributor who requested anonymity, audiences are more open to films in regional and English languages as they are available with subtitles or dubbed. “Multiplexes no longer have a very high dependence on Hindi films for collections. Most blockbusters in recent months have been either in regional or English language,” he added.
On the other hand, the revenue of broadcast companies may fall or show lower growth because of the slowdown in advertising from FMCG, auto and new-age technology sectors, and high production and marketing expenses arising from inflation.
PVR puts up unauthorized poster of Tiger Shroff's Heropanti; makers surprised
8:11 AM
Asira Tarannum (MID-DAY; December 10, 2013)
An unauthorised poster of Sabbir Khan’s upcoming film Heropanti (
which marks the debut of Jackie Shroff’s son Tiger) has been put up at
the PVR multiplex in Juhu and Andheri. The matter was brought to the
notice of the makers when an onlooker noticed that the poster appeared
fake as the names of the producer and director were not on it.The poster, which has been put on a plasma slide, has been apparently lifted from the Internet. Ved Sharma, manager, Andheri PVR says, “I am not aware about any such poster. The Delhi team will be able to help with this.” While the manager for the Juhu PVR, Munda, was equally clueless.
However Ashish Suri, PVR’s marketing head explained, “It has been picked from the Internet, but we always get posters from the production houses.” When told that it was unauthorised, he said, “I will have to check with the team which manages social media.”
Director Sabbir Khan pointed out, “I am not aware about it as the first look of the film is not yet out. The poster and artwork is still being worked on . Also, picking it up from the Internet, which has probably been made by a fan, is inappropriate and surprises me.”
A source close to the production house said, “We will try to get to the bottom of this matter. It is highly irresponsible for an established multiplex chain to do something like this.”
Subscribe to:
Posts (Atom)