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19 March, 2016 Vol. 7 Issue 28
India’s Premier Film Trade Magazine
www.boxofficeindia.co.in
BOI + BOXOFFICE!
Zootopia – A whole new world PAGE 22 >>
North America and UK BO
PAGE 23 >>
Handsome
Returns
Lions Of Punjab
Team Rocky Handsome – actor-producer John
Abraham, co-producer Sunir Kheterpal and
director Nishikant Kamat @BOI In conversation with Punjabi
superstar Diljit Dosanjh and
director Mandeep Kumar,
who have high expectations
from their upcoming
Ambarsariya PAGE 18 >>
PAGE 12 >>
TradeTrac
Scare Tactics
Horror film releases have dried up of late. What’s
scaring Indian filmmakers away from the genre?
PAGE 16 >>
Baaghi and Love Games enter
our charts
PAGE 7 >>
Volume 7 • Issue 28 • 19 March 2016
PUBLISHER
Nitin Tej Ahuja
nitin@boxofficeindia.co.in
EDITOR
Vajir Singh
vajir@boxofficeindia.co.in
CHIEF SUB-EDITOR
Carol Lobo
HEAD OF DESK
Shikha Saroj Gupta
shikha@boxofficeindia.co.in
PRINCIPAL CORRESPONDENT
Rohini Nag
rohini@boxofficeindia.co.in
CORRESPONDENT
Soumita Sengupta
soumita@boxofficeindia.co.in
Swagata Panjari
swagata@boxofficeindia.co.in
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Sajid Moinuddin
www.hbdesign.in
PHOTOGRAPHER
Yogen Shah
AD SALES & SUBSCRIPTION
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be liable for legal action.
J
ust days remain before two of the most iconic fictional characters of all time come face-to-face
on screen.
Batman v Superman: Dawn of Justice releases worldwide – including here in India – on
March 25 to great expectations. While a high-octane marketing campaign of the kind that major
Hollywood studios roll out for marquee releases has undoubtedly helped in ramping up the buzz, their
task has been aided massively by the fact that both the ‘Man Of Steel’ and the ‘Dark Knight’ enjoy a
huge global fan base as the most universally recognised superheroes.
What will be interesting to watch in the film is how the two title characters are pitched against each
other considering that decades have gone into building them both as protagonists firmly on the side of
the ‘good’ in the battle against evil. Who’s the hero? Who’s the villain? And, most importantly, how does
the film conclude restoring both to their ‘good super guy’ avatars so that they – and their rights holding
producers – can continue to fight another day? Because, if nothing else, you can bet your last rupee
that there is no way that this film is going to spell the end of either of these two box-office cash cows.
Yes, lucrative film franchises never die, even if the story they set out to tell has run its course. So
even if Harry Potter is done and dusted after eight very successful film appearances, Fantastic Beasts
And Where To Find Them, a spin-off series set in the same milieu, is already in production and the first
part scheduled for release later this year – much like how The Hobbit films followed in the footsteps of
the The Lord Of The Rings trilogy.
Milking film franchises is an art that Hollywood seems to have mastered. Indeed, the list of the Top
50 Hollywood grossers worldwide features only four films – Avatar, Titanic, Inside Out and Inception –
that are not part of a film series…yet! Three sequels have already been announced for Avatar and the
producers of Inside Out, which released only last year, haven’t ruled out exploring options to take the
story forward.
However, returning to Batman v Superman: Dawn of Justice, what makes it different from the usual
sequel or prequel is the way it has combined two huge and independent film franchises to create a
third. The commercial logic behind such a move is obvious and impeccable – tap into two large market
bases with a single product, which could mean not only a potentially a huge pay day but also help both
brands reach out to a new audience.
A parallel can be found in the The Avengers series where, besides instalments of the multisuperhero franchise, individual films on the constituent characters – Iron Man, Thor, Captain America
and The Incredible Hulk – also keep hitting the screens frequently. Similarly, the successful X-Men
series led to the Wolverine spin-off, and with the recent Deadpool proving a smash hit, surely another
reusable asset has been created from the mother lode.
Star Wars is another long-standing property that is constantly stretching and dissecting its universe
to churn out more films. Even as last Christmas’s blockbuster Episode VII – The Force Awakens,
continues to play in theatres, here’s what is planned for the space opera in the next few years: 2016
– a standalone story titled Star Wars: Rogue One; 2017 – Episode VIII; 2018 – a spin-off based on the
character Han Solo; 2019 – Episode IX; 2020 – spin-off based on the character Boba Fett. Whew! One
doubts the much-vaunted 5-year plans for the Indian economy were formulated with such precision!
Coming back to home ground, our industry has already woken up to the revenue-generating
potential of establishing film franchises, and since the last decade, sequels are constantly being
released and announced. How long will it be before, like Batman v Superman: Dawn of Justice, we see
two franchises come together in the same film?
It would be an interesting experiment and with tongue firmly in cheek, here are some mash-ups of
popular Indian film franchises that we would like to see:
Dhoom 4: Bringing Don To Justice – Jai Dixit and Ali’s latest assignment sees them entrusted with
the task of capturing master criminal Don. Will they succeed in achieving what the police forces of 11
nations have not?
Singhangg: Brawn And Justice – Bajirao Singham’s drive to root out police corruption brings him
head-to-head with Chulbul Pandey, who is not averse to wetting his beak occasionally. Who will emerge
victorious in this high-octane, action-packed clash of ideologies?
Robish: Lawns Of Justice – An evil builder resurrects Chitti, the robot gone bad, to usurp children’s
playgrounds for constructing highrises. Will Krrish, with a little help from Jaadu, be able to vanquish
this all-powerful android?
ABCD On!!: Dance For Judges – Aditya, Joe and KD desperately want to win an international rock
band contest as tribute to the late Rob. However, since the rules mandate dancing while singing, they
hire choreographers Vishnu and Gopi to coach them. Will this unlikely group be able to out-boogie and
out-croon the rest of the world?
Munnabhai Kare Golmaal: Con For Justice – Munnabhai and Circuit team up with Gopal & Gang
to set up a fake court that metes out unorthodox but effective judgments. A laugh riot with a social
message on our country’s legal system.
Any takers?!
REG: MAHENG/2009/56446
Nitin Tej Ahuja
19 March 2016
Box Office India
03
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GOLD REVIEWS
Kapoor & Sons
Banner: Dharma Productions
Producers: Hiroo Yash Johar,
Karan Johar, Apoorva Mehta
Director: Shakun Batra
Cast: Rishi Kapoor, Sidharth Malhotra,
Fawad Khan, Alia Bhatt,
Ratna Pathak Shah, Rajat Kapoor
Writers: Ayesha Devitre Dhillon,
Shakun Batra
Music: Amaal Mallik, Badshah,
Fazilpuria, Arko, Nucleya,
Benny Dayal, Tanishk Bagchi
F
or those who love watching family
dramas, here’s a refreshing
film, complete with superlative
performances, lots of colour and
emotion, and full-on drama. As the title
suggests, Kapoor & Sons is all about the
Kapoor family, their individual lives and
relationships with each other.
But if you walk into the auditorium
assuming that this is going to be ‘yet
another family saga’, you’re wrong. This
film will engross you from start to finish
as you identify with every character of the
Kapoor family, from the grandfather to
the parents and two grandchildren.
The film is also the perfect example
of how filmmaking is nothing but a team
effort. In Kapoor & Sons, it seems right
from the conception of the idea, to writing
it, to executing it blended with songs,
and superlative performances, everyone
associated with the film has given it one
hundred per cent.
Even though the basic premise is
not new – the family is grappling with a
problem that concerns all of them – the
way the film has been written and treated
makes it hatke. Although the film revolves
around the perception of each character
with regard to their problem, it has been
conveyed in a simple manner and not
once does the film becomes overly
dramatic or preachy. The film is impactful
and lingers long after the end credits roll.
The film is about Mr Kapoor (Rishi
Kapoor), who is unwell and his wish is to
have a family portrait. He wants all his
family members to unite to get this photo
clicked. The two grandchildren, Arjun
Kapoor (Sidharth Malhotra) and his elder
brother Rahul Kapoor (Fawad Khan),
return to Coonoor after five years.
While Arjun is not too happy to meet
his elder brother, Rahul is keeping
something from everyone. The reason
Arjun is not happy to meet Rahul and
the latter’s secret together throw in a
twist towards the climax. Also, Arjun
has always believed that his parents
consider Rahul the perfect son and that
they love him most. One thing leads to
another and Tia (Alia Bhatt) enters the
lives of both the brothers. Her presence
only heightens the conflict between the
two brothers. What follows forms the
crux of the film.
Unlike other family dramas, which are
overdramatised and the family dilemma
is introduced only after some buildup, in Kapoor & Sons, the audience is
introduced to the family conflict in the
very beginning. You then wonder what’s
next but some pretty clever writing keeps
you on the edge of your seat.
As mentioned earlier, this is among
the finest writing we have seen in the
recent past. It is the perfect example
of how Indian writers are taking up
the challenge of giving the audience
something solid rather than run-of-themill. If one scene makes you smile,
another one steals your heart with the
simplicity of every character. The film is
a joyride with dollops of emotion dished
out very generously.
Alia’s character, an outsider to the
Kapoor family, brings a twist to the story.
Likewise, the grandfather doesn’t want
to get into the middle of a family spat but
in his own way tries to tell them to be
happy. Kudos for these touching scenes.
Another plus is how both brothers,
despite their differences, behave like a
united family whenever needed.
This is the second outing for Shakun
Batra and he’s in his element as a writer
as well as a director. The way he has
handled the film proves he is among the
finest directors we have today. Along with
Ayesha Devitre Dhillon, he has written
every character in a way that takes the
film to an altogether different level. Also,
the songs are nicely woven into the script
and take the story forward. Editing by
Shivkumar V Panicker is superb but
he should have trimmed the second
half by 10 minutes and the pace drops
before the pre-climax. Background score
(Sameer Uddin) is fantastic.
Performance-wise, every actor has
given their best. Sidharth Malhotra
appears to have matured as an actor and
delivers his best to date. He’s fantastic in
every frame. Though his character is a
little difficult to essay, Fawad Khan does
it with elan. He delivers a superlative
performance and does a brilliant job
with the emotional scenes, especially the
ones with Ratna Pathak Shah towards
the end of the film.
Whenever Alia Bhatt appears on
screen, she brings a smile to your face.
She looks pretty and performs straight
from the heart. Rajat Kapoor once again
proves he’s one of the most talented
actors we have. And to watch Ratna
Pathak Shah perform is nothing less than
attending an acting school class. Rishi
Kapoor looks cute and is first rate. The
rest of the cast lends adequate support.
Verdict: A family film not to be missed
by anyone. Business will be best in
metro cities and word-of-mouth will help
collections grow in the next few days.
Karo Dil Ki
04
Box Office India 19 March 2016
Dare You
I
nspired by the recent rise in crimes
against women, Denis Serlarka and
Mehul Simaria’s Dare You projects
a very brutal and unrealistic solution to
the problem of rape. Set in Mumbai, the
film rides on the shoulders of newcomers
and is limited to the hostel life of students
from Churchill College.
A police inspector (Vikas Shrivastav)
tells a news reporter why he is admired
by students, which leads to him
recounting a case he recently solved.
He tells the story of a Kashmiri girl, Rani
Diwan (Alisha Seema Khan), who comes
to Mumbai to complete her graduation.
The film cuts back to the inspector’s
investigation, where it is revealed that
someone is murdering boys from
Churchill College. The boys are brutally
murdered, one after another, and they are
all part of a college group known as Dare
You. As the investigation progresses, it
is revealed that Rani Diwan, a member
of Dare You, was brutally gang raped
and she is taking revenge by killing all
the culprits. The film launches a debate
at the climax, asking whether the steps
taken by Rani were justifiable.
The film justifies it’s ‘A’ certification as
it portrays some rather brutal killings. The
director has done only an average job in
representing the sensitive subject. Pawan
Shrivastav has done a good job with the
editing. Cinematography doesn’t impress,
and the film doesn’t look like it has been
set in a Mumbai college.
Although the plot is interesting, the
script is lacklustre. The writer has limited
hostel life to parties and sex. Though
the group Dare You is said to consist
of friends, the bonhomie barely comes
across on screen. The film ends up
looking more like some uncensored
episodes of a crime series. Music and
choreography are also a major letdown.
Performances-wise, lead actor Vikas
Shrivastav doesn’t do justice to his
character of a tough cop and his acting
seems put on. Alisha Seema Khan, the
central character, fails to impress. Her
portrayal of a rape victim seeking revenge
is unappealing and unconvincing. The
supporting cast needs to work on their
acting skills and this too is one of the
biggest handicaps of this film.
Verdict: Dud.
PUBLIC NOTICE
This is to inform the people at large and more particularly in Film Trade that we have acquired Sole & Exclusive rights of the Film “GUDDU KI GUN” (Hindi) Starring: Kunal Khemu, Payal Sarkar, Aparna
Sharma and others and all the rights mentioned below shall commence with immediate effect for the territories of Whole World including India, Nepal, and Bhutan and free from all encumbrances from
its right holders M/s. Emenox Media Private Limited, Mumbai.
Rights & Territories: Sole and exclusive basis for distribution, exhibition and exploitation of commercial & non commercial for the territories of Whole World including India 1) DTH (Direct to Home) rights,
PPV & VOD Through DTH, Catch Up TV Rights and all rights incidental thereto including distribution, re-distribution, transmission, re-transmission, Simulcast rights through any and all medium, platform
for whole world; 2) All Video Copyrights in all formats including but not limited to Video-grams, Video Cassettes (VHS), Video Tapes, Video Compact Disc (VCD), Digital Versatile Disc (DVD), Laser Disc,
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Microchips, Multimedia Cards, rights for embedding & bundling directly or indirectly to any storage device and handheld device including phone, tablet device, phablets, video storage device, etc., IPOD
and all such other forms of data storage devices either now known or that may be developed in the future as a result of technological advancement or otherwise, Karaoke, or any other mode or format of
Video, Electronic Video projection rights, sideloading, and All Video Streaming rights; 3) All Mobile rights, Telephone Rights, Mobile T.V, Digital T.V and All Telecommunication Rights via any 3G, 4G, 5G or
any other technology, mode, medium and manner 4)Catch Up TV Rights; 5) All Airborne, High Seas, Railway & Surface Transport Rights; 6) All Video On Demand Rights including but not limited NVOD, MOD,
MVOD, TVOD, SVOD, AVOD, FVOD etc through any and all mediums, method and manner; 7) Dubbing Rights in all languages for the territories of Whole World including India for the rights assigned herein;
8)Subtitling Rights in any and all languages for the territories of Whole World including India for the rights assigned herein; 9) Gaming Rights on all formats, platforms, method, medium and manner; 10)
All Internet Rights including but not limited to YouTube, World Wide Web rights, Website, Internet Protocol Television (IPTV) Rights, OTT (Over the top), Broadband, Ethernet, Intranet, All Multimedia Rights,
All Video Streaming Rights; Video Downloading, and streaming through internet/broadband/IPTV/Mobile, digital TV, Downloading, EST; 11) Headend in the Sky Rights(HITS); 12) All Cable TV Rights in Pay,
free, demand rights in all formats, method, medium and manner including VOD and PPV; 13)Astro Satellite Channels rights only for the territories of Malaysia and Brunei and its feed reaches; 14) All Movie
and Movie character based game development rights, All Computer Games Rights; 15) All World Wide Terrestrial Television Rights and Doordarshan rights including all Prasar Bharti’s All Channels in India,
National Network and Doordarshan rights; All LPT Channels; 16) Hotel & Hospitals, Airports, Railway Stations, all Commercial Establishments Rights; 17) Clipping Rights & Scenes for all rights assigned;
18) Rental Rights & Publishing Rights; 19) Merchandising rights; 20) Non Theatrical Rights;21) Recording, Embodying, Communication, Processing, Mechanical Synchronization; andAnd all other rights in
all media and all formats, platforms whether now known or invented, discovered, developed and introduced during the contracted period.
Excluding Rights: 1) Theatrical rights for the territories of Whole World including India.2) World Song audio and audio visual song Rights on standalone basis for the territories of whole world; 3) All Satellite Broadcasting Rights, Satellite Pay TV Rights, Satellite Pay Per View, Satellite Pay Per Day, Satellite FTA (Free to Air) for the territories of Whole World including India save and except Astro Channel. 4)
Re-Making Rights of the Film; 5) Sequel and Prequel Rights.
Any person, firm or party having any claims or any objections of whatsoever nature against the aforesaid rights of the above film by way of assignment, pledge, gift, license, sale, transfer of any kind, reservation, or litigation of any nature etc., are required to inform in writing of any such claim or objection to us, Shemaroo Entertainment Ltd., at the address given below within 10 days of the public notification
hereof, along with documentary proof thereafter no claims of whatsoever nature shall be entertained and claims, if any, shall be deemed to have been waived off.
Shemaroo Entertainment Ltd. – CIN: L67190MH2005PLC158288
Dated 18 th March 2016
SHEMAROO ENTERTAINMENT LTD.
SHEMAROO HOUSE Plot No. 18,
Marol Co-op. Industrial Estate,
Off Andheri – Kurla Road,
Andheri (E), Mumbai – 400 059.
Tel. : +91 – 22 4031 9911
Fax : +91 – 22 4031 9794
Website : www.shemarooent.com
WAP site : wap.shemaroo.com
19 March 2016 Box Office India
05
PUBLIC NOTICE
Banners: Red Berry Entertainment,
Blue Berry Films
Producers: Red Berry Entertainment,
Blue Berry Films
Directors: Denis Serlarka,
Mehul Simaria
Cast: Alisha Seema Khan,
Vikas Shrivastava
Writers: Denis Serlarka,
Mehul Simaria
Music: Ripul Sharma
NEXT ATTRACTION
MAR 2016 - DEC 2017
Mar 25, 2016
Rocky Handsome
Apr 01, 2016
Ki & Ka
Apr 08, 2016
Love Games
Apr 15, 2016
FAN
Apr 22, 2016
1920 London
Nil Battey Sannata
Santa Banta Pvt Ltd
Yeh Laal Rang
One Night Stand
Apr 29, 2016
Baaghi
FAN
SULTAN
KI & KA
JAGGA JASOOS
DISHOOM
Waiting
Traffic
May 06, 2016
7 Hours To Go
Madari
Cabaret
May 13, 2016
Azhar
May 20, 2016
Sarbjit
TE3N
Saat Kadam
May 27, 2016
Phobia
June 03, 2016 Jagga Jasoos
Housefull 3
HOUSEFULL 3
Raaz Reboot
Sep 09, 2016
Baar Baar Dekho
Sep 23, 2016
Manmarziyan
Sep 30, 2016
Rangoon
Oct 07, 2016
Mirzya
Oct 28, 2016
Ae Dil Hai Mushkil
June 10, 2016 Do Lafzon Ki Kahani
June 17, 2016 Udta Punjab
June 24, 2016 Junooniyat
Eid, 2016
Raees
Shivaay
Sultan
Nov 11, 2016
Rock On 2
July 15, 2016
Happy Bhaag Jayegi
Nov 18, 2016
Tum Bin 2
July 29, 2016
Dishoom
Nov 25, 2016
Force 2
Aug 12, 2016
Mohenjo Daro
Dec 02, 2016
Wajah Tum Ho
Dec 09, 2016
Befikre
Rustom
Aug 19, 2016
Bombay Mumbai
Banjo
Christmas, 2016 Dangal
Jan 26, 2017
Baadshaho
Feb 10, 2017
Raabta
Apr 28, 2017
Half Girlfriend
Son Of Sardaar 2
Aug 25, 2016
A Flying Jatt
Sep 02, 2016
M.S. Dhoni: The Diwali, 2017
Untold Story
Christmas, 2017 Aanand L Rai’s Next
06
ROCKY HANDSOME
Box Office India
19 March 2016
Last Week
Release Date
Movies
March 18, 2016 Kapoor & Sons
March 25, 2016 Rocky Handsome
April 1, 2016
April 8, 2016
Ki & Ka
Love Games
Current Week
Box Office
Exh
Dist
Bookies
Exh
Dist
Bookies
Exh
Dist
Bookies
Weekend
24
25
23
21
23
22
-3
-2
-1
First Week
36
39
34
30
32
32
-6
-7
-2
Total
43
48
43
38
40
40
-5
-8
-3
Weekend
25
30
30
30
30
32
5
0
2
First Week
37
45
44
37
45
48
0
0
4
Total
40
55
52
42
55
54
2
0
2
Weekend
38
40
35
38
40
35
0
0
0
First Week
56
60
55
56
60
55
0
0
0
Total
82
83
80
80
80
75
-2
-3
-5
Weekend
6
7
6
First Week
8
9
8
8.5
10
9
Total
April 15, 2016
April 29, 2016
Fan
Baaghi
Weekly Change
Weekend
49
52
51
49
52
51
0
0
0
First Week
82
88
88
82
88
88
0
0
0
Total
122
150
125
125
150
130
3
0
5
Weekend
25
26
25
First Week
40
42
40
Total
55
58
55
PUBLIC NOTICE
TO WHOMSOEVER IT MAY CONCERN
Notice is hereby given that we, i.e. Clean Slate Films Private Limited are in the process of acquiring the rights including all underlying rights and
the script (as written by Mr. Navdeep Singh and Mr. S. A. Thanikachalam) of a film titled “Basra” (“Film”). We have been given to understand that
the Film and all rights in relation thereto including but not limited to the script are free from any encumbrance, claims and/or demands.
However, should any person(s) have claim against, to, or in respect of the Film and/or rights mentioned herein in any manner including by way of
any sale, lease, assignment, license or otherwise, such person(s) are hereby required to make the same known in writing to the undersigned at the
address given below within 15 days from the date of publication hereof failing which the transaction will be completed without reference to such
claims, and the same, if any, will be deemed to have been waived.
Dated 19th March 2016
Place: Mumbai
Kindly respond on the following address:
Ashni Parekh
61 Rewa Apartments
Bhulabhai Desai Road
Mumbai 400 026
19 March 2016
Box Office India
07
TRADE TRAC
All figures in crores (rupees)
PUBLIC NOTICE
Dynamic Trade Estimate of Box Office
TRADE GUP
Ranveer-Alia In Zoya’s Next?
A
fter the success of Dil Dhadakne Do, director Zoya Akhtar took some
time off but now we hear the director has locked her next script.
There was buzz that she was talking to Ranveer Singh and Alia Bhatt
for her next film. Apparently, Singh had said ‘yes’ to Akhtar after she
narrated a one-line story to him.
A source close to the director reveals, “Zoya recently finished the rough
draft and when she narrated it to Alia, the actress agreed to do the film and
will soon sign on the dotted line. But the film will start only at the end of this year
as Bhatt will first wrap Gauri Shinde’s next with Shah Rukh Khan, and Shashank
Khaitan’s Badrinath Ki Dulhania with Varun Dhawan by September. For his part,
Singh will finish Aditya Chopra’s Befikre as he is doing only one film at a time.
He will then start Akhtar’s next. Till then, the director and her writers will finish
writing the final draft of the film.”
Since this is a two-hero love story based on travel, Akhtar is also in talks
with another leading man. One thing is certain, it will be interesting to see the
sheer energy of Bhatt and Singh come alive on screen.
Kangana In
Adajania’s Next
AAZ To Turn Producer
A
li Abbas Zafar is shooting with Salman Khan and
Anushka Sharma for his next, Sultan, which is all set
to release on Eid this year. The film is produced by Yash
Raj Films, with whom Zafar has been working ever since he
started out as an assistant director and went on to become
a writer-director. With Sultan, the director concludes this
three-film deal with YRF but, needless to say, he will
continue to work with the banner. However, we also hear
that Zafar wants to take the plunge as producer.
He will soon float his own production banner, under
which he will launch Karan Kashyap, who has been a script
supervisor on films such as Saathiya and Lakshya, and
assistant director in Chak De! India. Kashyap and Zafar have
been friends for a long time and they will finally be working
together. In all probability, Amit Sadh and Taapsee Pannu
will be seen playing lead roles in the film.
H
omi Adajania is busy with the
production of Dinesh Vijan’s Raabta,
which starts rolling at the end of March
in Budapest. Adajania has also finished
writing his next directorial venture,
which will see a unique pairing. Yes, the
director has signed Sushant Singh Rajput
and Irrfan, who will be seen on screen
alongside Kangana Ranaut. A source
close to the film reveals, “Homi recently
narrated the story to Kangana and she
loved it as it’s a character-oriented script.
The film will start rolling by the end of this
year.” Our source says the three actors
are yet to sign on the dotted line.
Morocco In
Mumbai
A
s we all know, the team of Jagga Jasoos will not
be heading to Morocco. Instead, a set depicting
Morocco will be built in Mumbai. The reason, of
course, is to rein in spending. A source close to the
film reveals, “Director Anurag Basu recently went to
Morocco for a recce but he realised that they would
spend a little too much if they shoot overseas. Also,
frequent delays in the film have not helped matters.
Actor Ranbir Kapoor, who is also a producer on Jagga
Jasoos along with Basu, has agreed that the film should
be shot in Mumbai to keep the budget in check.”
Basu is currently switching between the shoot and
the edit. The film’s shoot is expected to wrap up by the
end of May.
For more trade news please log on to www.boxofficeindia.co.in
08
Box Office India
19 March 2016
November:
Month Of
Sequels
T
he first half of the year is a
time when we usually see the
release of small-budget films starring
newcomers. It is only after Eid, when
the festival season starts in the second
half of the year and all the big releases
are lined up, that the crescendo starts
to build. Now call it coincidence but
November is going to be a month
of sequels this year. Check this out:
Rock On 2 releases on November 11,
followed by Tum Bin 2 on November
18 and Force 2 on November 25.
Second Innings
A
nurag Singh made his directorial
debut in 2009 with Yash Raj Films’
Dil Bole Hadippa starring Rani Mukerji
and Shahid Kapoor. Singh recently locked
the script of his second film, a new-age
love story with a twist. We also hear that
the director wanted to finish the script and
get the green light from Aditya Chopra, so
that he could start casting. Now that he
has got the thumbs-up from Chopra, the
director will soon start pitching the film
to actors. Initially, the film was to feature
newcomers but Chopra decided to go with
big names and they are in the process
of finalising the actors. Will he or won’t
he cast Shahid Kapoor in his next? We’ll
know soon.
To Celebrate
‘Work’
U
nlike other people who throw parties
or take a holiday after they make a
successful film, Himesh Reshammiya will
celebrate the success of Teraa Surroor
(thanks to its constrained budget) by
recording of 15 new dance tracks that he
recently composed. Reshammiya plans
to have these songs played at parties and
clubs everywhere by the end of the year.
Each track will be remixed by at least 10
DJs from across the world and each video
will sport a grand look and be promoted
like a film. Reshammiya will be travelling to
Stockholm soon to shoot the first single.
Last but not least, Reshammiya is in for a
new makeover for his next films as an actor.
Guess Who?
‘C
hance’ and ‘luck’ are the prerogative of destiny but one doesn’t
always get what one wants. There’s this director who, ever since
his first film, has always been lucky to get a big star cast although
none of his films have done well at the box office. The critics and the
audience have always trashed his films but, somehow, he has always got
a producer on board and good actors too.
Since he has delivered so many flops, all eyes are on his next film,
which he recently finished shooting. Everyone was excited because the
script was very promising. The actor in this film has also worked really
hard considering that only a handful of his recent films have worked at
the box office. So when this actor recently watched a portion of the film,
he was shocked. He has asked the director to include more emotional
scenes so that the audience connects with his character. This is one
more film to get last-minute ‘patchwork’ treatment. Oops!
Guess Who?
T
his industry kid, who belongs to a legendary film family, got his first film as a director after his fair share of struggle. The film
didn’t do well at the ticket counter but received good reviews. But there was nothing from him after that, and, as they say,
a director is only as good as his last film. So, for years, he struggled to get his second film on track and was finally signed by a
reputed production house.
All was well and the film started rolling but the producer realised that the ‘director’ didn’t know his job and this didn’t go down
well with the unit. Everybody was complaining to the producer about this ‘incompetent’ director. When the producer arrived on the
sets, he was horrified to learn that an entire schedule had gone to waste because the footage that had been shot was useless. As
of now, the producer has cancelled the schedule and decided to take matters in his own hands.
19 March 2016
Box Office India
09
TRADE QUIZ
The Hollywood-Bollywood Special Quiz
Q VIVECK VASWANI
1
Which star from ‘Enter the
Dragon’, Bruce Lee’s last film
and a runaway cult film acted
in a major role in a Hindi
film?
Om Puri acted in which film with Jack Nicolson?
2
Sir Richard
Attenborough, the
famous director of
‘Gandhi’ acted in
which Hindi film?
3
4
Which famous superstar
worked continuously with
an Indo British team in
several of their international
productions? Name the
superstar as well as the Indo
British team.
5
Which late
legendary comic
actor from Indian
films worked with David Lean,
the great British director, and
in which film?
6
Which late legendary actor,
famous for his negative as
well as positive roles in Indian
films, worked with Steven
Spielberg, and in which film?
10
Box Office India
19 March 2016
19 March 2016
Box Office India
11
1. John Saxon, who acted with Dharmendra in ‘Shalimar’.
2. Sir Richard Attenborough acted in Satyajit Rays first Hindi film,
‘Shatranj Ke Khilari.’
3. Om Puri and Jack Nicholson acted together in ‘Wolf’.
4. Shashi Kapoor worked through his life with the Indo British
film makers Ismail Merchant and James Ivory in their company,
Merchant Ivory productions.
5. IS Johar worked with the legendary David lean in ‘Lawrence Of
Arabia’.
Which late Indian
director started making
films first in Hollywood,
and then came and
stayed to make films in
India?
10
6. Amrish Puri worked with Steven Spielberg in ‘Indiana Jones and
the Temple of Doom.’
9
7. Ismat Chugtai the famous writer worked with Pearl Padamsee
the famous English theatre director and Jennifer Kendal, the
famous British actress in Shyam Benegal’s classic film ‘Junoon’.
8. Gregory Peck and Roger Moore shot for ‘The Sea Wolves’ in
Goa.
9. Irrfan worked with this year’s Oscar winner (for ‘Amy’) Asif
Kapadia in his film ‘The Warrior’.
10. Jagmohan Mundhra.
ANSWERS
Irrfan played the lead
in a film directed by
one of this year’s Oscar
winners. Name the
director and the film?
Which famous female
legendary vitriolic writer
acted with a famous
female Mumbai English
theatre director in a Hindi
film with a legendary
female English theatre and
film actor? Name all three
doyennes and name the
film.
7
8
Gregory Peck the famous Hollywood actor shot
with Roger Moore for a film in Goa. Name the film?
@BOI
Handsome Returns
Team Rocky Handsome – John Abraham, Sunir Kheterpal and Nishikant
Kamat – in conversation with Team Box Office India
Box Office India (BOI): How did Rocky
Handsome came about?
Sunir Kheterpal (SK): It’s fairly simple.
We were starting Azure Entertainment
and we wanted to do a film that would
raise the bar of at least one element.
So we bought the remake rights of this
Korean film, John Abraham got into it,
Nishi (Nishikant Kamat) got into it and
adapted it in his way. And that’s how
Rocky Handsome happened.
John Abraham (JA): I fell in love with
the story and, I always say this being
a fan of Nishi… he is one director who
handles emotion very well. That is very
apparent when you watch Dombivali Fast
or Mumbai Meri Jaan, and all his other
films. I think the three people seated
here have been taking all the decisions
while making the film. If we have to
give credit to anybody for how Rocky
Handsome happened, it’s the three of
us.
Whether or not it becomes a huge
success, doesn’t matter. Making the
film happen was the most challenging
part. All three of us have literally driven
the film right from the beginning
to it marketing strategies. Azure
Entertainment has been absolutely
fantastic. Sunir has that thing… he
listens to you, then he offers ‘the point of
view’. And he has done a fantastic job.
And I believe it’s his first baby, so it’s
very close to his heart, which is why he
is pampering it a lot. And with Nishi, it’s
12
like sitting in a Rolls-Royce. It’s like, you
have a good director, so enjoy the ride
now.
BOI: Whose idea was it to call the film
‘Rocky Handsome’?
JA: Nishi’s.
Nishikant Kamat (NK): It all started when
we were doing the costume trials. I saw
him (Abraham) in a black suit and told
him ‘Yaar John, you are looking very
handsome.’ So it all started with the word
‘handsome’. There was a film called
‘Johnny Handsome’ in the late ‘70s. But
then ‘Johnny’ and ‘John’ were too similar.
One day, the name ‘Rocky’ came to mind
and it was an apt rhyme… ‘JohnnyRocky’. And he (John) is a big fan of the
Rocky film series, so he loved the title.
But Sunir was quite apprehensive about
it. (Laughs)
JA: I think the time clicked for all of us.
NK: That is also an integral part of the
story. Like the neighbour’s girl, a kid who
always calls him ‘handsome’. He doesn’t
talk to anyone, doesn’t interact with
anyone. So she keeps talking to him and
saying, ‘handsome, call me’, ‘handsome,
get me this, get me that’. So the word
‘handsome’ works as a synonym for the
film. Then there is another world, he is a
very strong man, he is a kill machine, he
is a tough man. In that world, people call
him ‘Rocky’. So both words were apt and
that’s how ‘Rocky Handsome’ became
the title of our film.
BOI: This film is an official remake of
a Korean film. What changes have you
made to adapt it to the Indian audience?
NK: When you make a remake it has
to match the taste of Indian audience.
You have to think pan-India. Then there
are tons of changes you have to make
so that the film appeals to Indian tastes
and sensibilities. It’s not easy to take a
film and make it in Hindi. You can’t just
translate the language and make a film…
the emotions and the background, every
aspect, has to do justice to the film.
We all want the film to do well in West
Bengal and in Gujarat, in Jaipur, the
South, everywhere.
Like, when I did Drishyam, it was
a Malayalam film. Vajir (Singh),
remember, I had spoken to you about
it? I had to change the story completely
as I was catering to 24 states. It was
a region-specific film, and we made a
whole lot of changes to make it a panIndia film. If you are making an official
adaptation, you need to spend time on
the story and give it its due respect.
Since someone else has made the film,
we should not go wrong.
BOI: John, you play a dual role in the film,
in terms of being the actor and also its
producer. How did you juggle both tasks
and where did you make the switch?
JA: To be very honest, when the script
came to me, I wanted to be part of
this film as the producer. Sunir and
Box Office India
19 March 2016
I were fortunate enough to have an
understanding on the things we wanted
to do. Then I became the actor in the
film. And Sunir actively produced the
film. After that, with the marketing
strategies, all of us stepped in.
BOI: There is a lot of hand-to-hand
combat in the film. Where did that come
from and was there a lot of thought that
went into making that decision?
NK: Definitely, a lot of thought went
into the action. John and I made Force
in 2010 and it did pretty well. And we
used a particular kind of action. For this
film we needed to use that action as
a yardstick and ask ourselves how we
could come up with a new kind of action.
We finally concluded that that best action
India had not yet seen was hand-to-hand
combat. We decided to use a mixture
of martial arts in a serious zone. We
didn’t want to use cars or villains flying
in the air. I am not saying that is wrong;
I did that in Lai Bhaari but I wanted to
showcase a new form of action. That’s
how we locked the action.
It was Sunir who mentioned this team
in Thailand who did this kind of martial
arts. He showed us their show reel, and
after watching it, I told him to call them.
They are called Zaika Stunts; Kesha is the
main guy, who teaches. I told him about
my film, the story and the kind of action
I wanted. He asked for a week's time
after which he would send us a video. He
went back and choreographed five action
sequences that I wanted in a particular
style. They shot it with their fighters and
sent it to me. Then I met John and told
him, ‘You have to do this.’
JA: (Cuts in) And I was, like, you want me
to do all this?
NK: (Laughs) Yes, that’s when the hard
work started for him (John), more than
for me. I was adamant about the action
as it looked brilliant but I was also
wondering how he would achieve it. He
went to Thailand and attended a rigorous
workshop there. He totally learnt it and
even got injured in the process. But when
he returned, he looked like a macho
19 March 2016
Box Office India
man. Then the team too came over here.
But when we started shooting, we had
to train an Indian team of fighters and an
Indian fight master because the film is
Indian. It’s been a labour of hard work.
We set out to achieve something and we
have.
SK: Not to take any credit away
from Nishi but whenever we made
suggestions, he would only buy into the
one where he saw logic. All three of us
were working for the film. I was familiar
with Zaika Stunts because I had worked
with them in Billa 2, where it was all
hand-to-hand combat. He is also a very
meticulous director, which is why John
went to Thailand to learn the action, so
that once we started shooting, he would
know the moves.
get-up, I couldn’t recognise him and
wondered whether he was the one who
would be going up against me in the film.
Suddenly, I realised it was Nishi! When
you see Nishi in the film, you will realise
he is outstanding. He has a killer look on
screen. I think it is even more exciting to
have an antagonist that is so dangerous.
BOI: Nishikant, you play the main villain
in the film. First, how did you step in?
And, second, will we see you two doing
some action together?
NK: That’s the trick I played, I write my
own scripts. (Laughs)
BOI: Sunir, were you excited as you got
the villain for free?
SK: I was very excited. The action was
sorted, we had a hero and everything was
moving as planned. So when he agreed
to play the villain, I was happy that we
had saved money and also because he
is a very good actor. Plus there was no
need to be worry about dates. You don’t
see him doing any action but what he
does is outstanding. He had been true to
the character while creating it, so when
he had to play the part, he did full justice
to it. A lot of people who have watched
the rushes of the film ask, ‘Who’s this
guy?’ Imagine their surprise when we tell
them it’s Nishi!
BOI: But wasn’t your casting very lastminute?
NK: Yes, I was cast purely by accident.
One of my friends has a very unique look;
he is not an actor but his look caught my
eye. I approached him and he agreed
but developed cold feet and backed out.
I couldn’t get angry with him as he was
a friend. Since we were about to start
shooting in Hyderabad, I didn’t have the
time to return to Mumbai and audition
again.
Also, every time a film of mine
releases, I shave my head and Lai Bhaari
had released four days earlier. The
moment I walked onto the sets of Rocky
Handsome, my assistant said, ‘Sir, aap
hi kyun nahi kar lete? ’ I gave it a lot of
thought but somebody had to play the
part, and we were to start shooting in two
days. I had dates from all the actors. It is
very scary to act and direct at the same
time and would not do it again. So, things
kind of just fell into place.
JA: When I first time saw him in his
BOI: This is the second film for both
of you. How much easier is it to work
together, second time around?
NK: John and I have been friends since
2006-2007 and had been planning to
do a film together since then. Then Force
happened, and we shot for around 100
days. We were like husband and wife!
When you hit it off, you form a solid
friendship. So, after Force, we became
very close pals.
That’s why, when we worked together
this time, we dispensed with the
formalities. For instance, he didn’t have
to treat me as a director and I didn’t have
to treat him as an actor or producer.
After every shot, he knew if I needed
another take by simply reading my
expression. Since he knew what I wanted
from every shot, I didn’t have to narrate
entire scenes to him, just two lines were
sufficient. It’s the kind of relationship that
grows over time. It’s been a decade.
JA: What he said is very interesting
because, when he used to walk from
13
@BOI
assist to the sets after one take, I knew
whether he was okay with it or not from his
expression. We were on auto-pilot. There
is a scene that only Nishi and I could have
pulled off the way we did. It’s our song
Aye khuda, where I am crying. We must
have shot it in just five minutes because
the light was fading. Shruti (Haasan) was
flying out on that day, so we had very little
time. So we shot that song in five minutes
and today everyone says it's looking very
nice. The credit goes to the director as he
knows how to handle me.
BOI: John, you are both an actor and a
producer. How do you decide which films
to act in and which to produce?
JA: There are two verticals – content
and the director. These are the most
two important factors in any film.
You need to get your content right
and get a fantastic director. I have
been fortunate in this regard.
With Rocky Handsome, I have Sunir
as a co-producer and he has been the
driving force behind this film. And I can
say on Sunir’s behalf as well that we are
very lucky to have got Nishi.
BOI: Is it very difficult to get Nishikant?
JA: There are only a few honest directors
left and Nishi is one of them. He is very
honest, he is clean, he is unadulterated,
he has not been corrupted by the system.
I say this as an actor because I have
seen directors who are corrupted; they
move on; they fall badly; and then they
move away. Nishi is not corrupted, which
explains his track record, his credibility,
and the kind of films he directs.
BOI: John, you have been labelled as an
‘action star’. Does that worry you?
JA: In our country, we are terrified
of being typecast. So, let me put it
this way. Internationally, the biggest
action stars are stars who can barely
do any action, honestly but they have
the best attitude. Whether Bruce
Willis or Arnold Schwarzenegger…
Bruce Willis saying ‘Go ahead, make
my day’; or Arnold Schwarzenegger’s
famous line ‘I’ll be back’.
14
NK: (Cuts in) Even Vin Diesel.
JA: Yes, Vin Diesel, also The Rock. Being
an ‘action star’, I take pride in getting the
attitude of the action hero right. There is
a certain physicality that comes to play
but it also calls for the right attitude. I
think that is most important.
BOI: Do you deliberately seek out roles
that are not action-based?
JA: No, I go purely by content. If the
content excites me, I will do it. Honestly,
I am a big fan of slapstick comedy, which
is why I liked doing Welcome Back. I
love it when an immigration officer at the
airport says to me, ‘Sir, kya hasaya apne,
woh kabristan wala scene main itna maza
aya.’ But, as a producer, I concentrate
on content. The content should be
credible because you are either an actor
who is a flash-in-the-pan producer who
centres everything on himself or you
are a producer who creates content for
other actors. I am probably the latter kind
because l like to create content for other
actors, I like to present Nishi with a script
where he says, ‘The guy we cast will fit
in really well in it.’ I would like to be a
producer on movies like that.
BOI: You did Vicky Donor.
JA: Yes, and I would like to do a film like
that in future too.
SK: When this film releases, people will
say ‘we haven’t seen this kind of action
before’. I don’t think we have had a
Hindi film with real hand to hand action.
What is going to surprise people is the
emotional quotient of the film. I don’t
think I have seen a film where action and
emotions coexist.
NK: I mean, just watch Rahat’s (Fateh Ali
Khan) song. I think that’s the scene he
is talking about, the one when the song
starts.
SK: It is not just an action film. Action is
definitely an integral part of the film but
it is very emotionally charged too. In fact,
the handful of friends of mine who have
watched the film came out heavy hearted
and said, ‘Arey tune toh bola tha action,
yeh toh badi emotional film hai.’ The
emotional content is very important as it
sustains the action. Otherwise, bam bam
action after while just falls flat.
BOI: Since the songs and promos of
the film have released, what kind of
feedback have you received?
JA: I know this is going to sound very
clichéd but I am very grateful that
everybody who has watched it loves the
teaser, the trailer, the songs, the digital
campaign, the press. There is nothing
that people have not liked. It is scary
when I have to make a statement and
say, ‘With due respect to the teaser and
trailer, the film is far better than this.’
I hope people don’t think I am being
overconfident because it is just my
belief in the film. I have my co-producer
Sheel Kumar, who is hard as nails and
was ready to smash the monitor while
watching the film. He stopped and he
cried. When a film can get you down, you
know you have done a good job.
NK: We have done an incredible job.
BOI: And you are lucky to get a solo
release.
NK: Actually, we were very adamant that
we would release on March 25. In fact,
when we started, there were two or three
films… there was Superman and another
one.
JA: But we stuck to our guns.
NK: We said that, with due respect to the
other films, we were very confident about
our film as long as we were not clashing
with very big Hindi films. In this case,
we are releasing alongside Superman V
Batman: Dawn of Justice. That film has
a niche audience and we will still have
the entire family audience, so it will not
impact us. I have a very strong feeling
that apart from watching Superman, they
will still watch this film. Yes, it is good to
have a solo release.
SK: Coming back to marketing, if five
people say nice things about the film
to John or me, we would feel happy
because of the blood and sweat that went
into making the film. But I think the most
unadulterated feedback comes from one
section – the YouTube views for our films.
Our average ratings is in the range of 96
Box Office India
19 March 2016
likes and 4 dislikes. I have watched a lot
of campaigns but it is very difficult for a
film to continuously score that well at the
teaser level. After the teaser, the trailer
releases and you go from 90 seconds to
125 seconds. I think that speaks for itself
because it is not unadulterated, it is not
fabricated.
Second, we also believe that the
exhibitor is in closest proximity to the
audience. So we monitor exhibitor
feedback, and sometimes they say, ‘Arey
woh poster lagao.’ We take that feedback
into account because we are distributing
the film on our own and are directly in
touch with them.
JA: Sunir is right. Even the feedback from
the trade is very encouraging. Let’s put
it this way, we are on a positive track
and I don’t think, at least in terms of our
strategy, we have taken a misstep. There
was a poster that I liked and I said ‘this is
the best poster’.
NK: (Cuts in) It’s our favourite poster.
JA: It was my favourite poster and it came
out now, so I was, like, next time I’ll do
what my gut tells me. So Sunir’s reaction
was, I was saving the best for last.
SK: I was driving and I had parked my
car to send John a text message. The
guy in the car next to mine said, ‘Koi baat
nahi, aap kyun takleef le rahein hai, ghar
jake kar dena message. I was, like, ‘No.’
We had just left and, I am not kidding,
this is what I did, I was typing, ‘John,
there is a strategy…’ For every strategy,
there is a long-term, and a medium- to
short-term thing. You have to build your
campaign and peak at the right time.
JA: This poster has become epic in
North India and has been loved by the
audience. People are crazy about it. And
it was my choice, but Sunir didn’t listen to
me. Half the things should have come a
little earlier.
SK: Sometimes, we go wrong; all of us
do, so it’s fine. What is important is to
stay focused on the feedback.
JA: (Laughs) No, he has been absolutely
fantastic!
SK: No, I am sure something will go
wrong, this is my disclaimer… that
19 March 2016
Box Office India
something will go wrong and he will come
back and say ‘I told you,’ right?
BOI: What is Azure Entertainment like as
a production house?
NK: Superb and we had a lot of fun.
Honestly, Sunir has been very supportive
because, in between, I did Drishyam.
After I had shot 70 per cent of Rocky
Handsome, there was a month-long gap
and Ajay (Devgn) asked me if I would do
Drishyam. I asked John if it would be all
right to postpone the film by two months
and he said ‘Yes, no problem.’ I was,
like, ‘Drishyam will be a quickie, ho jayegi
and I will immediately resume Rocky
Handsome, I promise.’ And he was all
right with that.
In this business, this is the kind of
support you need. This is the kind of
thing that makes the rumour mills spin.
People start talking, ‘Arey yeh kya ho
gaya, kaise ho gaya, yeh kyun rukhi
hai.’ But, here, I requested two months
and fortunately Sunir supported me.
In fact, we had a big set… fortunately,
John didn’t get into the production side
because he was concentrating on acting.
Sunir hardly visited the set, I think he
must have done that five or six times
only.
JA: Twice in Mumbai.
NK: He came on the set twice and was
always on the phone.
SK: We had people who were experts
at their jobs. I don’t believe that the
producer should be visible. I chose
what value I could add after the script
was locked and after everything was
confirmed. There are people who are
handling specific things. As a director,
Nishi knew exactly how things would pan
out 24 months ago, when we started the
shoot. He is fantastic.
NK: When the break happened, he said,
‘Okay’. Then he came back and would
tell me, ‘Meri film, meri film.’
SK: John used to say ‘Welcome Back,
Welcome Back.’ (Laughs). But you work
as a team. Once you started working, it is
important to give each other space. They
knew what they were doing.
JA: The two of us would literally message
each other 10 times a day. We discussed
the digital campaign way before it started.
NK: After the film was ready, all three of
us sat for three to four hours planning
what we would do till March 25.
Everything had gone according to plan.
SK: Except that we didn’t go into details
about the poster… which poster would
release and when.
JA: No, but we worked as a team.
SK: When two or three people together
oversee a film, there is a particular
vision, a particular story and a particular
approach. Obviously, we are handling
marketing and distribution but he has
a background in marketing. It would be
stupid not to take inputs from him. After
all, it is everybody’s film. Besides, one
has to improvise all the time because new
things keep cropping up. It is good to see
the lead actor of your film spreading that
kind of enthusiasm.
BOI: So, will we see Rocky Handsome 2
in the coming years?
JA: I swear that, on the way here, I asked
Nishi the same question. Without batting
an eye, he said, ‘Yes.’ I asked why and
he said ‘because now Rocky has to solve
larger problems in the world.’
SK: As far as we are concerned, we are
very clear that, whatever the numbers
are, those numbers are going to be on
the opening day. People will watch the
film and say good things about it. I have
no doubts in terms of the likeability of the
film. We don’t have any doubts about the
emotional and action aspects of the film,
the songs are doing well. Sometimes, to
do the bigger things, you need to push
the envelope. This is our first film and we
want our film to be grander, the best in
action etc.
So we pushed the envelope and have
tried to make this a franchise character.
It will not be the same kind of franchise
like Jurassic Park 1, 2, 3 or Dhoom 1, 2
and 3, where everything is different. As
far as Rocky Handsome is concerned,
the name ‘Rocky Handsome’ is a
franchisable character.
15
RIGHT NEWS RIGHT NOW
Alone
Raaz 3
Khamoshiyan
Ragini MMS
Scare Tactics
1920
Why Indian filmmakers shrink away from attempting the horror genre
Q SOUMITA SENGUPTA
A
s a genre, horror typically stirs
a very base, primal fear instinct
in the human psyche. This is
especially true of Indian cinema, where
filmmakers usually weave their stories
around a ghost or a spirit to scare the
audience. This approach has worked
whenever a story was well told, which
is not very often!
In 2010, as many as 10 horror films hit
the marquee, the maximum for a single
year. Since none of these films did great
business at the box office, filmmakers did
not follow the trend.
From 2011, there have been three
to four horror films releasing every year
(not counting low-budget, horror-erotica
films). But 2015 saw only two – Alone and
Khamoshiyan – and neither did well at
the box office. This year too we have only
Vikram Bhatt’s Raaz Reboot and 1920
London (which has been on hold for the
last two years) up for release, whereas from
the roster of films that has already been
announced for 2017, none is a horror film.
As a genre, horror doesn’t seem to
capture the imagination of the Indian
audience. Filmmakers cite many reasons
for the lack of popularity of this genre,
including ill-timed releases, dearth of
an audience, and lack of good content.
Vikram Bhatt, who has never been afraid
to experiment with this genre, says the
perception of these films as ‘B’ grade
cinema has kept stars away from it, which
has further hurt its cause.
Also, he points out, Indian audiences are
still stuck on love stories and don’t really
have an appetite for horror. “We have a
very loyal audience for horror films but it
is very niche. So if we provide them good
content, they do watch our films,” Bhatt
says. The director adds that promotional
16
budgets have increased so much that
recovery is not what one excepts even if
the budget of a horror film is very low.
This week, we asked industrywallahs
why they think the horror genre is not
popular among filmmakers and whether
the genre will soon disappear in India.
VIKRAM BHATT
DIRECTOR
In India, horror is
considered a ‘B’ grade
genre. Movie-goers will
watch Hollywood films
with blood squirting and
eyes popping out but the
same content is not accepted when made
in Hindi. Second, I don’t think the critics
here really understand horror, so the big
stars stay away from this genre. Since 90
per cent of people in the industry want to
work only with stars, we would have to
exclude this 90 per cent. The remaining 10
per cent, who opt for horror, don’t make it
frightening enough; sometimes, it’s funny
rather than scary.
Also, our industry has a herd mentality.
So everyone makes biopics when they
believe biopics are doing well. Then, if a
Hate Story does well, everyone suddenly
wants to make erotic thrillers. But when
poor films are made and they don’t
perform at the box office, even fewer
filmmakers, and consequently fewer
investors, are interested in the genre. It’s
a downward spiral. So, in India, horror
will remain a very niche genre. One
might assume that horror films can be
made on a tight budget but one ends up
spending as much as one does on other
genres, on exhibition and promotion,
leaving wafer-thin margins.
There are cultures that love horror films,
like Japan, Korea, Hong Kong and Latin
America. Then there are cultures which
don’t love horror films, and we are among
them. That’s why we have a loyal but very
niche audience for horror films. Romance
and love stories appeal to the Indian
audience and, since multiplexes became
the norm, even action films have become
less popular as they say action films work
better in single screens.
NITESH TIWARI
DIRECTOR
Today, when people have
easy access to quality
horror content from
around the world, their
expectations from horror
films have gone through
a quantum change. So, unless the horror
genre in Bollywood steps up its game, it
will be difficult to please the audience. I
don’t think the audience has gone
anywhere. I myself am a big fan of horror
films and wouldn’t mind stepping into a
cinema hall for a good Bollywood horror
film, or for that matter, making one myself
if a good story comes my way.
RENSIL D’SILVA
WRITER-DIRECTOR
No genre dies in
Bollywood, we just wait
for that one hit film and
then we see 10 others
being made in the same
genre. Nothing lasts
forever here; we always follow trends. So,
for instance, biopics are the current trend.
Horror is a very dicey genre in India
because the Indian audience doesn’t like
to get scared; they prefer to be entertained.
So, even if it is an emotional story, they
Box Office India
19 March 2016
look for emotions and entertainment. Life is
tough in India and, naturally, movie-goers
don’t want to spend three hours getting
scared. That’s why we saw some erotic
horror films in between.
In Hollywood, in the ‘70s, they did
not give the horror any importance until
The Exorcist and the Omen released.
That’s when the genre started racking
up the desired numbers. I would
attribute that to cultural difference
between the West and India.
PAWAN KRIPALANI
DIRECTOR
As a director, I totally love
the horror genre. In fact,
I started my career with
a horror film, Ragini
MMS and will continue
to make movies in this
genre. It’s a very tricky genre but one that
is universal as you don’t really need to
understand the language. Unfortunately, in
India, horror is considered a ‘B’ grade
genre, and that’s why you don’t see the big
directors or production houses easily
dabbling in it. I don’t believe the genre has
died or will die because nothing really dies.
All we need to do is stop being repetitive
with our content and encourage the
audience to watch a never-seen-before
kind of horror film.
Actually, there was a time when horror
films were the safest to make, prompting
many directors to throw their hats into
the ring. Since they are made on small
budgets, recovery is much easier. Horror
can be divided into many sub genres, like
comedy-horror, and social issues too can
be raised through these films. What we
need are good stories to make it work.
VIVEK AGNIHOTRI
DIRECTOR
I don’t think we have
been able to do justice
to horror. We are still
stuck with creaky doors,
old bungalows, bad
make-up with wigs and
with overacting. When I started doing TV,
there was only the one Zee Horror Show. I
introduced X Zone. It pushed the
envelope and gave the genre a new
treatment and stories. Horror is one of the
most-watched genres in the world. The
problem is, in India, stars do not like to
work in this genre hence it ends up being
cheap and tacky. Ram Gopal Verma tried
to change it with Bhoot and many other
films. Erotica is the antidote to horror. You
can’t separate the two.
RAJ NIDIMORU
DIRECTOR
We have not experimented enough with
the horror genre in India. That’s why,
19 March 2016
Box Office India
when we made Go Goa
Gone, only a certain
section of the audience
accepted the film. I don’t
think the Indian audience
does not want to watch
horror films. A good Hollywood horror film
is equally loved. What we need to do is
educate our audience about horror and
make some films with good content. In
India, horror is synonymous with dead
bodies and tacky make-up. We need to
experiment and deliver good content.
Lately, horror has been mixed with erotica
and it worked for a while but then it didn’t.
That’s why, in India, many count horror
films as ‘B’ grade films.
BHUSHAN PATEL
DIRECTOR
Horror is a tricky genre
and the audience for it
is restricted. That’s why
not everyone is ready to
explore the genre. Very
few producers risk
making horror films while, actually, it’s
the safest bet. These films are made on
small budgets and recovery is quick. But
not many writers are ready to experiment
with this genre. As a director, I started
my career with horror films and I will
continue to make them. I mean,
someone needs to take the genre
forward. Vikram sir (Bhatt) has
constantly been experimenting with the
genre, whether it has worked or not, and
he keeps on coming up with new ideas.
DEVANG SAMPAT
BUSINESS HEAD/STRATEGIC
INITIATIVES, CINEPOLIS
I suppose converting
horror into erotica was a
big mistake. Any product
needs time to mature
and we converted the
genre ahead of its time.
Alternatively, many new genres are
experiencing huge success because of the
platform being provided by multiplexes.
Another factor holding back the horror
genre is the ‘A’ certification, which keeps
the youth away. I believe it is just a matter
of time before one quality movie with the
right marketing changes the perception of
this genre in India. AVINASH SINGH
DIRECTOR, APR CINEMAS
Horror is a genre that has
never worked in Bihar, at
least. Although not horror
films per se but having
ghosts as their backdrop,
films like Talaash and
Bhoothnath, which featured big stars,
didn’t do great business. Indian audiences
reject the genre, probably because they
don’t scare easily. Audiences prefer fresh
content, and films that make them happy.
In between, many producers tried their
hand at erotic horror but even that wasn’t
very successful because when you make a
film without known faces, you need to
spend a lot of money on marketing it.
Thus, horror is a not a commercial genre in
our industry. Even Hollywood horror films
are not very successful.
ANAND LOHIYA
OWNER, EYELEX
Horror films can be
made on a small budget
but because they use
new faces, not ‘A’ list
actors, one needs to
spend a lot of money on
promotions. As a result, recovery is way
below expectations for the producer. That’s
one reason the number of horror films
releasing in India is smaller every
consecutive year. Second, in our country,
horror films are watched in ‘B’ and ‘C’
cities, whereas the urban multiplex
audience looks forward to movies with big
stars and fresh stories. Even Hollywood
horror films don’t work in India because
Hollywood films business from English is
15 per cent and rest 85 per cent comes
from Hindi dubbed films. And horror is not
widely accepted in India. The audience
doesn’t seem to spend money on watching
a horror film as the content is also available
on the Internet.
RAJESH MAKHIJA
AVP SALES AND MARKETING,
CARNIVAL CINEMAS
Last year in Bollywood
we had only seen Alone
and Khamoshiyan in the
horror genre but there
were many good
Hollywood horror films.
This year should be called the year of
sequels as our patrons, including me, are
eagerly waiting for Hollywood films - The
Conjuring 2, The Purge 3, Ouija 2, The
Ring 3, Saw 8, Unfriended 2 and Raaz 4
from our own Vikram Bhatt. The Indian
audience is game for horror films
regardless of whether it is an Indian
production or an international one, as long
as they are consuming good content. Films
are not just about story telling these days,
they are a wholesome experience which
include a good storyline, better sound and
never seen before VFX. With huge budgets
and advanced technology, Hollywood has
gone far beyond the imagination and
Bollywood will take some more time and
budget to reach there but this genre is not
going to vanish anytime soon, that I am
sure of. We also need more creative minds
like the Bhatts.
17
DESI TADKA
Lions Of Punjab
Punjabi superstar Diljit Dosanjh and director Mandeep Kumar discuss their new film
Ambarsariya with Team Box Office India
Box Office India (BOI): Diljit, what was
your reaction when you read the script of
Ambarsariya?
Diljit Dosanjh (DD): My reaction was
positive. I have never done a film like this
before. I share a good comfort level with
Dheeraj paaji, who has written all my
Punjabi films and I had been trying to get
Mandeep paaji to do a Punjabi film with
me for a long time. Finally, we got the
script of Ambarsariya. The name is really
nice too!
BOI: How is it different from your earlier
films?
DD: I play the role of an insurance agent
and, aaj ki insurance kal ki muskaan,
that’s the crux of this film. The way this
story is narrated in the film is perhaps a
first in Punjabi cinema. As a movie-goer,
you will relate to the film and will not once
question the proceedings. The film will
stay with you.
BOI: You did a film called Punjab 1984,
which is considered a film that started a
new culture. Also, with Jatt & Juliet, you
kicked off a trend in sequels in Punjabi
cinema. What novel factor are you
introducing with this film in the Punjabi
film industry?
DD: Punjab 1984 was a period film. We
were talking about that particular era and
it was a serious subject. The J&J series
were rom-coms and movies like those
18
had not been made in Punjab before
that. The films were mainly action-based.
I even introduced a fantasy world with
Sardaarji. I liked that and am thinking of
doing something on the same lines. As
for the subject of this film, I don’t know
very much about the genre, so I too was
asking Manjeet paaji about it.
Mandeep Kumar (MK): It is a comic
thriller and hasn’t been explored much
in Punjab.
BOI: This film has three actresses...
MK: (Cuts in) Their roles are very
interesting. One may assume that they
are meant to be just eye candy in the film
as there is only one hero and three girls.
But it’s not like that as each of them has
a very substantial part. Navneet (Kaur
Dhillon) has done a splendid job and
Monica (Gill) and Lauren (Gottlieb) are
also seasoned performers. Everybody
is uniquely placed in the film, which of
course revolves around one person, Diljit.
BOI: Will we see you romancing all three
actresses?
DD: Haanji, bilkul.
BOI: Mandeep, you have directed one
Hindi film Tere Naal Love Ho Gaya, and
you (Diljit) will soon make your debut in
the Hindi film industry. Why didn’t you
collaborate for this film in Hindi?
DD: The effort that went into making this
film is similar to that of a Hindi film. In
fact, it takes more energy to position a
Punjabi film to the audience and
make sure they accept it. And as
far as doing Hindi films is concerned, that
will happen when we want it to happen.
BOI: Also both languages are quite
different.
DD: That makes our job difficult because
our audience is very emotional. They
won’t accept just about anything you
offer them. Punjabis are more emotional
than the Hindi film audience. Dil se
sochte hain sab, so there is that linguistic
barrier. It is a challenge as you have to
make sure to cater to your audience.
MK: If we had made this film in
Hindi, we would have had to make
several changes as it is a deeprooted, hardcore Punjabi film.
BOI: Diljit, how have you seen film
marketing change over the years in
Punjabi cinema?
DD: Social media is very strong, and
will witness immense growth. Now with
Netflix coming in, it is going to only get
stronger. Besides, there are new apps
introduced almost every day, and that
helps a lot too.
BOI: Punjabi films, or any regional film,
for that matter, are marketed only in that
particular circuit but will you promote
Ambarsariya in Mumbai or any other city?
Box Office India
19 March 2016
DD: Since I am not a producer, I can’t
really answer this question. This is my
second film with Tips and I have a lot
of respect for Kumarji (Taurani) as he
supported us with this subject. I will try
to promote my upcoming films in new
cities but when I do my shows, there are
many Punjabis who say they weren’t able
to catch the film a couple of week after
its release. So I will try to make more
Punjabi films and tap more territories and
increase the reach of our films.
The impact will be lost. We can play
Punjabi films on television and people
will get to watch a new story but it won’t
be the same. They won’t be half the
fun as there is an element of fun in the
Punjabi language. It would require a
dedicated team if this has to be done.
MK: It is a very different business model.
In fact, Tips had tried it with their Punjabi
film Dil Apna Punjabi. The film did well in
Punjab, and they dubbed it and released
it on TV but as paaji said, the flavour is
missing. It’s actually the same thing with
dubbed South films.
BOI: Since you are multi-talented, how
do you balance your work commitments
while making sure that one doesn’t clash
with the other?
DD: It comes naturally to me. I was doing
shows for the last three days and, when
I was on stage, it felt as if I had been
doing just this for the last 10 to 12 years.
After those three days, when I returned
for dubbing, I didn’t look back at my
performance on stage. So, when I work, I
tend to focus on one thing at a time.
MK: It is a very professional way of
working.
DD: It is a problem but it also helps me.
For instance, when I went to Kerala, it
was as if I belonged there and I forgot
everything else. Some people get angry
and say that I am patthar dil!
MK: It is not like that.
DD: No, it’s true, but being patthar dil
helps me.
BOI: When Udta Punjab was offered to
you, did you jump at the chance to make
your Hindi film debut or was it the script
that made you sign the film?
DD: I had received a few Hindi film offers
before that but they were for a couple of
songs and few scenes only and I didn’t
like the roles I was offered. But when
they narrated this role to me, I felt it
was meant for me. If they had offered
me Shahidji’s (Kapoor) role, I would
have turned them down, because I
didn’t connect with it. Thank goodness I
didn’t have to play the role of a guy from
Mumbai or the South, in Udta Punjab
my character is a Punjabi boy who ties
a turban, just like me. I even asked
Abhishekji (Chaubey, director) whether
he had named my character ‘Sartaaj’
after getting me on board or before that.
So I knew nobody else could do this
role but me. There was a time when I
used to think that I wouldn’t get work in
the Hindi film industry because of my
turban but, with this film, I landed the
part because of it. When I went for the
narration, Vikramaditya Motwane sir,
Anurag Kashyapji and Honey Trehan sir,
who had done the casting, and Abhishek
sir were there. When we were talking
about costumes and look, Abhishek sir
said they wouldn’t have to work on my
look and body language as they wanted
a Sikh boy for this role.
BOI: Does it help you with your films
as well, like when you switch from one
character to another?
DD: I had difficulty with only one movie,
Punjab 1984. It took me two to three
months to get out of that character.
BOI: According to both of you, what can
the Punjabi film industry learn from the
Hindi film industry and vice-versa?
DD: Lots of things as each industry as
its pros and cons. One thing that can
be learnt from the Hindi film industry is
the way it caters to a large audience all
at once. It is a very commendable thing,
to have a wide release or an overseas
release. Also, the satellites rights of Hindi
films are bought at much higher rates
than for our Punjabi films.
MK: It is really very sad that the TV rights
don’t command higher rates.
DD: For Hindi cinema, recovering
investments comes from television, so
our Punjabi channels too should support
our films. There are good Punjabi
channels and new channels should
support Punjabi films just like Hindi
channels do. That’s one area where I
believe we are lagging. And if the Hindi
industry has to learn anything from us,
they could learn how to love something
from the heart, or think with the heart
19 March 2016
Box Office India
or even how to do something from
the heart. No doubt, every filmmaker
makes films from the heart but I love
my audience a lot and am part of that
audience because they think from the
heart. If the Punjabi audience likes a film,
they will even condone a few mistakes in
the film.
BOI: But it could also get you typecast.
DD: No, we will see after people see my
work. Even in Punjab, people used to tell
me that since I tie a turban, city girls and
boys of other castes won’t look at me.
MK: Nowadays, there aren’t many people
who tie turbans, even in Punjab.
DD: But they are the ones who
watch most of the Punjabi films
and love it the most too. So I
believe everything will change after
people see me in Bollywood.
BOI: Like South films, is it possible to
have dubbed Punjabi films for Hindi
television channels?
DD: It can be done but Punjabi punch
lines are very difficult to dub in Hindi.
BOI: What was Diljit like earlier and what
is he like now? How has he grown as an
actor and as a person?
MK: As an actor, he has grown by leaps
and bounds. Earlier, in Jihne Mera Dil
19
DESI TADKA
Luteya, he had done a cameo and I was
an associate director on that film.
DD: (Cuts in) Yes and I thought he was
the director. On the first day, paaji came
to meet me in the vanity van and briefed
me about the shot, and I gave the shot.
After that, Jaggi paaji, who had sent me
for this project, asked me if I had met
the director, and I said, ‘Yes, the director
is very nice, lambe se kadd ke hain, kaafi
badiya hai.’ And he was, like, ‘Nahin yaar
woh thode hi director hai.’
MK: That’s exactly how it happened. I
still remember that film worked well in
cinemas and whenever paaji used to
appear on screen, people would clap
and whistle. He was a natural and has
a huge fan following. He works a lot
but there are some people who don’t
have to make much of an effort as they
understand the language and the mood
of the scene. So, he has grown a lot
in terms of acting but as a person he
hasn’t changed at all. He is still the same
person I had met him earlier, extremely
down-to-earth. Khara sona jise hum
bolte hain. I love that attribute in this
man, he is very grounded.
BOI: What do you have to say about
Mandeep?
DD: Amazing! As I said in another
20
interview as well, my first shot was with
paaji. When I was asked for Jihne Mera
Dil Luteya, I didn’t want to do the film
because, in the end, Neeru (Bajwa)
goes with Gippy (Grewal) and not
with me.
MK: Ladki kaun chodta hai?! (Laughs)
DD: Yes, even my fans were annoyed
with him (Mandeep) for a long time but
that film was good for me. And paaji had
told me that I wouldn’t be disappointed
with this film. After that, I have realised
that there are very few directors with
whom you don’t have to worry about
the fate of the film. All you have to
do is concentrate on your work. With
Mandeep paaji, I knew the film would do
well and that he would personally look
after every aspect, whether dubbing or
lighting. Mandeep paaji loves his work
and he is very calm and collected.
Anurag paaji (Singh) would tell me that if
he had even half the qualities Mandeep
has, then he would make better films!
MK: Thank you, ji.
BOI: How involved were you in the
creative process – scripting-wise?
DD: I wasn’t. After I learnt that Mandeep
paaji was on board, I had no worries
about Ambarsariya. All I had to do was
focus on acting.
MK: If you’ve written a scene and you
know the actor can carry it off, then
there is no limit to what you can write.
Here, even before I wrote the script,
I knew he was more than capable of
carrying off the script and more. You
can be dead sure that he will always
improve a scene that you have written. It
is very rare to meet actors like this and
I am very fortunate to get a chance to
work with such an actor.
BOI: What’s next for you?
MK: We will give it our best shot while
trying to reach out to the audience. Tips
is on board and Kumarji is very excited,
so let’s wait and watch. I am hoping the
audience loves the film; the rest is in the
hands of God. We will do some Hindi
(films) but, first, let’s release this one.
DD: First, there’s Ambarsariya on March
25 and then Sardaarji, the shoot of
which is complete and it releases in
June. In Hindi, there is Udta Punjab but
I have no idea when it releases.
MK: It releases on June 17, a week
before Sardaarji.
DD: Oh okay, it will be great if they
advance or postpone the release as our
Sardaarji’s release date is locked. But it’s
okay, the zones are different, and so are
the audience and genres.
Box Office India
19 March 2016
PARTY
WHAT: Special Screenings Of Kapoor & Sons
Shakun Batra and Sidharth Malhotra
Fawad Khan
and Alia Bhatt
Farhan Akhtar
R Balki and Gauri
Shinde
Karuna Dhawan Bobby Deol
Karan Johar
Vikas Bahl
Soni Razdan
Naseeruddin and
Ratna Pathak Shah
Homi Adajania
Abhishek
Chaubey
Aamir Khan
Maria Goretti and
Arshad Warsi
Asha Parekh
Rajkumar
Hirani
Ranbir Kapoor
Sushant Singh
Rajput
Masaba Gupta and
Madhu Mantena
David Dhawan
Varun Dhawan
Tisca Chopra
Athiya Shetty
Waheeda
Rehman
Helen
Salim Khan
Reema Kapoor
FRAME2FRAME
Aamir Khan celebrates his 51st birthday with media
19 March 2016
Box Office India
Himesh Reshammiya visits
Siddhivinayak temple
Krishika Lulla, Mimal Sheikh, Abhay Deol, Diana
Penty and Aanand L Rai at the wrap up party of their
film Happy Bhaag Jayegi
21
Pictures: Yogen Shah
Sajid Nadiadwala, Tiger Shroff, Shraddha Kapoor, Sabbir Khan and Siddharth Roy Kapur at the trailer launch of
their upcoming film Baaghi
NEWS, ANALYSIS AND RESULTS FROM NORTH AMERICA
www.boxoffice.com
A WHOLE NEW
WORLD
Animals rule the world in Disney’s latest
animated adventure
by Daniel Loria
Dumbo, Bambi, Baloo—take your pick. If you grew up watching
movies, chances are there’s a talking cartoon animal that lives in
your fondest memories. Indeed, anthropomorphic animals are
a mainstay of, if not synonymous with, Walt Disney Animation
Studios. John Lasseter, chief creative officer of Disney and
Pixar Animation Studios decided to tweak that winning and
beloved legacy with this spring’s Zootopia. His challenge to his
filmmakers: Imagine an entire city built and inhabited by animals.
What would it look like? How would it suit mice and elephants?
What if humans didn’t exist at all? As the title makes clear,
Zootopia scraps the notion of an animal kingdom dominated
by humans in favor of a modern society built and populated
exclusively by animals.
n “John got very excited about us doing it and totally supported us, but he
made it very clear that we had to do something different. We couldn’t just
rely on what had come before,” says Byron Howard, who shared directing duties with Rich Moore on Zootopia. As Moore puts it, “There
have been films about animals in an animal word, animals in a
human world, but not animals in a modern world.”
That’s precisely the charm of a film like Zootopia, which
imagines different animal neighborhoods to accommodate
different cultures and climates. Sahara Square provides a
warm, dry home for desert animals, while Tundratown keeps
the temperature cool for snow-loving mammals. Bunnyburrow
is a bit like an outer-ring suburb and not nearly as diverse a
part of town as the humid Rain Forest District. Little Rodentia,
described by Byron Howard as a “two-foot-high Greenwich
Village” provides a home for city-smart mice, but the most urban
setting is Savanna Central—a meeting point for animals from every
district.
The concept set off an 18-month research phase, including several fact-finding missions to get an up-close
look at the animated characters’ real-world counterparts. “We went to the Animal Kingdom Lodge down
in Florida, to Wild Animal Park in San Diego,” says art
director Cory Loftis. “We got to see some cheetahs run.
We got really close to the animals, a lot closer than a Google
image search or a book, but you’re still seeing animals in a
zoo setting.” To remedy that situation, the production sent
team members to Kenya for two weeks in order to get a
better feel for animals’ movements in the wild. “That trip
changed a lot of what I thought the movie should be,”
says Renato dos Anjos, head of animation. “Just being
around animals in their own space, doing their own thing,
and interacting with each other and different species—it’s
absolutely amazing.”
“We really got to see how they interact with each other, little quirks in their behavior. All the departments took
something away from it—animation, lighting, environments,” says
Loftis. That attention to detail made it back to the studio; features
like shadows or the way trees sway in the wind might be merely background to anyone but the most eagle-eyed viewers, but compounded
they enhance the film’s overall atmosphere. Viewers might not notice it,
but they’ll certain feel it. That’s crucial for a film that hopes to create a
fully immersive, functioning society inhabited by animals.
“The premise is only funny if you believe in it,” says Matthias Lechner, the art director of environments on Zootopia. That’s why, while
many of the film’s most charming visual cues are taken from the wild,
designers also incorporated references to cities around the world—to
make the setting relatable to the human audience. “We looked at
Dubai for Sahara Square and incorporated some Las Vegas into it, but
we never wanted anything to feel too much like one specific place,”
explains screenwriter and co-director Jared Bush. In other words,
22
BXIndia_19Mar.indd 2
Zootopia is meant to evoke the real world rather than mimic it. It also opens the
door for hidden gags throughout the film, like newsstands that carry publications such as Gnusweek, Ellephant, and Vanity Fur.
For those gags to work, however, the production team had to solve a surprisingly complicated problem. “We quickly found that scale was going to be an
issue in the world of Zootopia,” says Dave Komorowski, head of characters
and tech animation. “Our smallest critter is a mouse and our tallest animal
is a giraffe. It would take at least 97 mice to reach the top of a giraffe’s head.
We needed to create a world that would work for both of them. We needed
to come up with cars that would work for mice as well as giraffes.” Directors
Howard and Moore decided to approach the problem as pragmatically as
they could, consulting with designers familiar with ADA regulations to help
conceive how the logistics of scale would work in a place like Zootopia. In the
end they were so successful that they had too many environments for the final
cut, and some—Outback Islands, Meadowlands (the home of the sheep), and a
nocturnal district for bats and their nighttime friends—had to go.
Setting alone doesn’t make a movie. Anchoring the film are the characters of
Judy Hopps (voiced by Ginnifer Goodwyn), a rookie cop and the first bunny
in the history of the Zootopia Police Department. Like our modern society,
Zootopia’s animal world is full of stereotypes—an elephant’s memory is infallible and foxes can’t be trusted—but Judy’s not the sort of bunny to succumb
to bigotry. Judy meets her match in Nick Wilde (voiced by Jason Bateman), a
smooth-talking fox with all the traits of an experienced
con artist. “In Nick’s mind, you are who you are: he’s
a fox and everyone is going to look at him as sort of a
sneaky guy, and no one is ever going to change their perception of that, so why try? Judy believes anyone can be anything at all,” says Bush. Despite their mismatch, a series of events
brings Judy and Nick together in an unlikely partnership that will take
them through Zootopia’s many neighborhoods in search of justice. “Zootopia
sprang from the film’s two main characters, and from the desire to
have a predator-and-prey buddy movie,” says Howard. “What is
the world that is going to support these two teaming up? Every
decision that’s made in the film branches out from that relationship,”
“When we really try to think about what’s memorable about Disney
characters, it’s not the character design but the strong personality those animal
characters have,” says Loftis. “You remember what a faithful friend Baloo was,
what a heroic father figure Mufasa was, what a sweet child Dumbo was. I
wanted to make sure we could get those same memorable characters from
Zootopia. I personally always like having them recognizable as Disney. I
like having that legacy all the way back to Snow White, that history of
Disney characters. I didn’t want them to lose all of that, but at the same
time we wanted to have fun creating something new—you don’t want to
spend time making something that has already been done. So that personality from the old Disney characters always creeps in, but we tried to
invent new shapes, new body types, new ways of moving and acting.”
Judy and Nick are joined by a quirky ensemble that includes the
tough Buffalo head of police, Chief Bogo (Idris Elba), the loquacious Mayor Leodore Lionheart (J.K. Simmons), and the socially
conscious pop superstar Gazelle (Shakira). Although
these denizens of Zootopia share a lineage with Donald Duck, they have one burden that older Disney
animals haven’t had to worry about. “In Zootopia they
have to wear pants,” says Loftis. “These are characters that
get up every morning, get a coffee, and ride the bus to work. It’s
a real world, so our characters need to look convincing in those
pants. That led to our first tough design choice. Clothes need to feel
natural.”
That’s easier said than done when you’re animating a quadruped that’s
evolved into an upright walking, talking, smartphone-staring citizen of
Zootopia. The production team embraced that challenge, however, even
excluding apes in the film since they share so many traits with humans. Other
human qualities, perhaps not our best, do creep up in scenes throughout the
film—heady issues like stereotypes and prejudice. “In some ways, at least in
these types of movies, I’m writing for my kids,” says Phil Johnston, who shares
a screenwriting credit on the film. “But if I’m going to sit through a movie
with my kids, I’d like to be entertained myself. I don’t believe in talking down
to kids; we don’t give them enough credit for understanding deeper themes.”
It’s what makes the Judy and Nick pairing in the film so captivating for a
family film, their ability to accept their differences and look past them as
they work together for a mutual goal. Rich Moore encapsulates that theme
when describing the film’s central message: “You define you. The world has
an opinion of who you are, but you define yourself—not the world.” n
MARCH 19, 2016 BOXOFFICE
3/18/16 7:44 AM
BXIn
:44 AM
ZOOTOPIA
TOP 10 GROSSING FILMS IN NORTH AMERICA
Weekend of Mar. 11–13, 2016
(U.S. Dollars)
TITLE (Distributor)
WEEKEND
GROSS
1 ZOOTOPIA (Disney)
$51,339,887
3,827
2 10 CLOVERFIELD LANE (Paramount)
$24,702,752
3,391
$7,285
3 DEADPOOL (Fox)
$10,942,304
3,331
$3,285 $328,219,729
4 LONDON HAS FALLEN (Focus / Gramercy)
$10,836,078
3,492
$3,103
$39,018,130
5 WHISKEY TANGO FOXTROT (Paramount)
$4,665,013
2,413
$1,933
$14,636,916
6 THE PERFECT MATCH (Lionsgate / Codeblack Films)
$4,294,232
925
$4,642
$4,294,232
7 THE YOUNG MESSIAH (Focus)
$3,294,876
1,761
$1,871
$3,294,876
8 THE BROTHERS GRIMSBY (Sony / Columbia)
$3,258,327
2,235
$1,458
$3,258,327
9 GODS OF EGYPT (Lionsgate / Summit)
$2,546,473
2,306
$1,104
$27,359,362
10 RISEN (Sony / Columbia)
$2,282,208
2,095
$1,089
$32,427,969
TOP 10 GROSSING FILMS IN UNITED KINGDOM
TITLE (Distributor)
LOCATION LOCATION CUMULATIVE
COUNT AVERAGE
GROSS
$13,415 $143,955,013
Weekend of Mar. 11–13, 2016
WEEKEND
GROSS
$24,702,752
(U.S. Dollars)
LOCATION LOCATION CUMULATIVE
COUNT AVERAGE
GROSS
1 KUNG FU PANDA 3 (Fox)
$4,532,313
1,019
$4,448
$6,785,835
2 LONDON HAS FALLEN (Lionsgate UK)
$2,569,968
517
$4,971
$9,111,646
3 THE DIVERGENT SERIES: ALLEGIANT (E1 Films)
$2,242,831
557
$4,027
$2,242,831
4 DEADPOOL (Fox)
$1,374,198
469
$2,930
$51,214,499
5 HAIL, CAESAR! (Universal Pictures)
$1,224,855
500
$2,450
$4,607,641
6 GRIMSBY (Sony)
$677,909
353
$1,920
$6,252,725
7 THE WITCH (Universal Pictures)
$621,401
180
$3,452
$621,401
8 HOW TO BE SINGLE (Warner Bros.)
$476,367
365
$1,305
$7,694,699
9 ALVIN AND THE CHIP-MUNKS: ROAD CHIP (Fox)
$421,765
488
$864
$22,511,508
10 ANOMALISA (Other)
$273,579
80
$3,420
$273,579
MARCH 19, 2016 BOXOFFICE
BXIndia_19Mar.indd 3
23
3/18/16 7:44 AM
SOUND BOX
Bringing On The Uptown Funk
Album: Ki & Ka
Banners: Eros International,
Hope Productions
Producers: Sunil Lulla, Rakesh
Jhunjhunwala, RK Damani, R Balki
Music Directors: Ilayaraja, Mithoon,
Meet Bros, Yo Yo Honey Singh
Lyrics: Kumaar, Amitabh Bhattacharya,
Sayeed Quadri
Music Label: T-Series
R
Balki’s films are known for
their unusual concepts but not
so much their soundtracks.
However, this time around, with Ki &
Ka, the director has offered a funky,
groovy soundtrack. The five-track
album features a brigade of composers,
namely Mithoon, Meet Bros, Yo Yo
Honey Singh and Balki’s long-time
collaborator, music maestro Ilayaraja.
The film’s trailer has already offered
a glimpse of the album’s opening track
High heels te nachche. The Punjabi
club track can be tagged as Meet
Bros’ recreation of Jaz Dhami and Yo
Yo Honey Singh’s 2012 High heels but
with a new catch phrase and is equally
addictive. Going along with the energetic
tune, the song gets a good lyrical boost
by Kumaar, replacing the unwarranted
electronic beats of the original track.
With the vocals of Meet Bros, Jaz Dhami
and Yo Yo Honey Singh, Aditi Singh
Sharma has managed to hold her own
for the female vocals in this track.
The flavour of the album changes
instantly with Mithoon’s soulful
composition Ji huzoori. The poignant
track is laden with compelling musical
arrangements and is perfectly
supplemented by Sayeed Quadri’s
words. Mithoon has collaborated with
Deepali for this duet and has done an
admirable job.
The lyrical genius of Kumaar comes
into play with the track Most wanted
munda. The catchy song follows the
signature whacky club tunes of Meet
Bros, highlighting the fact that they
have been masters in composing quirky
tunes. However, the varying sound
and beats of this song sound like the
composition of another track altogether.
Though the composers have tried to
experiment, it doesn’t work well with
this track and it would have been better
if they had stuck to their club-dance
tunes. The second version of the track
Kabir most wanted munda features
added Punjabi beats. The song gets
Arjun Kapoor on the vocals in place of
Earl Edgar. The actor-singer has done
an admirable job and has received
great support from Palak Muchhal.
Thankfully, the revised version doesn’t
feature varying beats and is a complete
club song. This version might work
well in clubs during the highly popular
‘Bollywood Nights’.
Illayaraja is back with the peppy
romantic track Foolishq sung by Armaan
Malik and Shreya Ghoshal. The song
immediately attracts listeners’ attention
with its musical arrangement, which mainly
features a combination of gritty guitar riffs
and a flute melody. Unfortunately, the song
lacks spunk as there is no modification in
terms of singing.
Meet Bros end the album on a
high note with the dance track Pump
it (The Workout Song). The musical
arrangement is a typical Bollywood
track filled with electronic club
beats. The lyrics go well with the
title of the track.
Verdict: A thematic soundtrack.
Musical Mission
Ankit Tiwari on composing as well as singing for Rocky Handsome
and Baaghi
Q SWAGATA PANJARI
O
ver the years, composer Ankit
Tiwari has proved his mettle
when it comes to belting out
chartbusters that follow the demands of
various directors. After delivering hits like
Sunn raha hai (Aashiqui 2), Galliyan (Ek
Villian), Dil darbadar (PK), Tu hai ki nahin
(Roy) and Dil cheez tujhe de di (Airlift),
Tiwari is looking forward to offering us
some unforgettable tracks with upcoming
films, Rocky Handsome and Baaghi.
The singer has composed and sung
Alfazon ki tarah for John Abraham’s Rocky
Handsome. The track is said to be the
most crucial number in the film and is
penned by Abhendra Kumar Upadhyay
“Producer Sunir Khetrapal approached
me for this film. I am also working on one
of his other projects and while we were
24
discussing it, he told me about this project
too. He was searching for a song which
could summarise the the whole story of the
film in four and half minutes,” says Tiwari.
The composer went through several
sittings as it was a challenge to capture the
feel and flavour of the film in just one track.
“Generally, we get a situation to compose
a track but here there was the whole film
to replicate through my music. There are
two versions of the song, one of them is
the unplugged version sung by Shreya
(Ghoshal) and me. The placement of the
music video is also interesting and will be
another surprise,” he adds.
On his next project, Baaghi, directed
by Sabbir Khan and produced by Sajid
Nadiadwala, Tiwari says, “I was having a
few song sittings for another project when
Sajid bhai selected this song and decided
to use it for the film. I am also singing the
track.”
Commenting on how producers and
directors now prefer to have multiple
composers on an album, Tiwari says,
“They feel that with multi-composers,
they will generate competition and they
will get the best of the lot. Also, with
many composers working on an album
simultaneously, the final output is ready
much sooner and they save a lot of time.
This also helps in terms of promotion.”
Box Office India
19 March 2016
REGIONAL TIMES
PUNJABI
Last Week
Last Week
ARDAAS
LOVE PUNJAB
March 11, 2016
March 11, 2016
Banners: Humble Motion Pictures,
Aman Khatkar Arsara Films
Producers: Sukhjinder Bhachu,
Pushpinder Happy, Aditya Singh,
Aman Khatkar
Director: Gippy Grewal
Cast: Ammy Virk, Gurpreet Ghuggi,
BN Sharma
Verdict: Average
Banners: Rhythm Boyz Entertainment,
Dara Productions, J Studio
Producers: Amarbir Singh Sandhu,
Jaspal Singh Sandhu, Karaj Gill
Director: Rajiv Dhingra
Cast: Amrinder Gill, Sargun Mehta,
Binnu Dhillon
Verdict: Hit
TELUGU
Last Week
Last Week
TUNTARI
THULASIDALAM
March 11, 2016
March 11, 2016
Banner: Sri Keerthi Films
Producers: Ashok, Nagarjun
Director: Kumar Nagendra
Cast: Nara Rohit, Latha Hegde,
Kabir Duhan Singh
Banner: Colours Entertainment
Producer: Colours Entertainment
Director: RP Patnaik
Cast: Nischal, Vandana Gupta,
Brahmanandam
TAMIL
Last Week
Last Week
KADHALUM
KADANTHU POGUM
MAPLA SINGAM
March 11, 2016
March 11, 2016
Banner: Thirukumaran
Entertainment
Producer: CV Kumar
Director: Nalan Kumarasamy
Cast: Vijay Sethupathi,
Madonna Sebastian, Samuthirakani
Banner: Escape Artists Motion
Pictures
Producer: P Madhan
Director: Rajasekhar
Cast: Vimal, Anjali, Soori
MARATHI
Last Week
Last Week
ANURAAG
PHUNTROO
March 11, 2016
March 11, 2016
Banner: Mrunmayee Deshpande
Creations
Producers: Aparna Darak,
RRP Corporations
Director: Ambarish Darak
Cast: Mrunmayee Deshpande,
Dharmendra Gohil
Verdict: Flop
Banners: Eros International, Spice
Studios & Entertainment,
V Patke Films
Producer: Krishika Lulla
Director: Sujay S Dahake
Cast: Ketaki Mategaonkar, Madan
Deodhar, Shivraj Waikar
Verdict: Average
– Compiled by Rohini Nag
19 March 2016
Box Office India
25
HUNT IS OVER
Tropical
Beauty
Venezuela in South America offers exotic natural landscapes and world-class
technical facilities for film production
Q ROHINI NAG
T
he Gateway to South America,
Venezuela offers filmmakers a
great number of crystal-water
exotic beaches, where the sky mixes
with the huge Caribbean Sea and golden
sands to create perfect harmony with the
radiant tropical sun.
It is a land of contrasts, where you can
touch the sky while filming in the Andes
and their over-15,000-foot-high peaks,
walk through the plains, plough through
26
sand dunes that end in the sea or return
to the origins of this land by exploring
the amazing Venezuelan tropical forest,
where you can find the highest waterfall
on the planet, Kerepakupai Vena or Angel
Falls. In every corner of Venezuela, there
is a mix of flavours, rhythm, joy, history,
traditions and hospitality.
Venezuela is a treasure of nature, a
veritable paradise for those who seek
exotic locations and uncommonly
beautiful natural settings. It is a place
to make films, and that includes its
well-developed film services industry,
its world-class technology, talent and
technical and professional personnel, all
within the context a modern legal and
regulatory framework.
In addition to its natural beauties,
Venezuela is an ideal place for film and
audio-visual productions because it offers
foreign producers:
Box Office India
19 March 2016
•Good production companies
•Film studios, sound stages and
locations with old style architecture
perfect for period pieces
•World-class laboratories and postproduction facilities
•Digital production and editing
•A first-rate technology platform with
experienced sound technicians
•High quality and competitively priced
computerised video animation
capabilities
•Lighting systems for both studio and
location shooting
•Insurance for audio-visual productions
that covers equipment, negatives and
policies against loss or damage of
equipment, third party liability and loss
or damage while in local transit
CLIMATE
Venezuela’s geographical location, near
the equator, gives it a moderate tropical
climate, with temperature variations
depending on altitude. Temperatures
thus range from 24ºC to 27ºC, with 12
hours of sunlight year round. The climate
is warm-to-hot all year, with averages
somewhat lower in the dry season.
Lowest temperatures are found
on the snowy Andean peaks, where
temperatures drop below 0°C in the
coldest months. The highest averages,
topping 38°C, register in some lowland
cities such as Maracaibo. Rainfall varies
from a minimum of 400 mm a year in
some coastal areas, to 4,000 mm a year
in the Amazonian forest of Venezuela’s far
south.
WHY VENEZUELA?
Production
Venezuela is a privileged place for a
film producer from various viewpoints:
geography, talent, professional ability to
production platforms. The advantages
can be summed up in a few key
concepts: availability, adaptability,
versatility and competitiveness.
Permits
The basic forms for requesting
permission for audio-visual production
are few and easily procured but they vary
and become more complex according to
the kind of production.
The most important permit for a
foreign production is the General
shooting permit granted by Centro
Nacional Autónomo de Cinematografía –
CNAC (National Film Board) – followed
by permissions given by local or national
authorities according to the site chosen
for filming.
All persons coming to Venezuela to
work on an audio-visual job need a visa
which must be secured in his or her
country of origin.
Other Permits
In general, given their advantages
in handling local codes and their
experience in the country, it is required
to contract the production services of a
Venezuelan company, a local producer
or agent, to undertake the filming
permission procedures.
The Venezuelan Film Commission
is in a position to orient producers in
everything concerning changes in steps
required for permits, as well as new
procedures in transactions and to direct
producers new to Venezuela to the local
producers with experience in the area.
Films Shot In Venezuela
Fact File
Capital:
Caracas
Currency:
1 Venezuelan Bolivar
Fuerte (VEF) = 10.59
Indian Rupee (INR)
Area:
9,16,445 sq kms
Population:
3,09,33,000
19 March 2016
Services
Venezuela has a well-developed services
infrastructure, including excellent land
and air transportation and a good
hotel network, telephone and radio
communications throughout the country
and offices for assistance and general
information.
It is worth remembering that
Venezuela’s technical staff will be most
beneficial to a foreign production. And
in all cases, the presence of a local
producer, fixer or representative is
required.
Box Office India
Green Mansions (1959)
Papillon (1973)
Volunteers (1985)
Jungle 2 Jungle (1997)
What Dreams May Come (1998)
Dragonfly (2002)
The Motorcycle Diaries (2004)
Point Break (2015)
27
WORLD CINEMA
Date Of
Release
Country/
Language
Movie/Genre
Cast
Director
First Weekend
March 9, 2016
France (French)
DieuMerci! - Thank
God (Comedy)
Lucien Jean-Baptiste,
Baptiste Lecaplain,
Delphine Théodore
Lucien JeanBaptiste
Opened at 402 theatres with
the screen average of $3,286
Total: $13,20,898
March 10, 2016
South Korea (Korean)
Hiya (Drama)
Ahn Bo-Hyun, Park
Chul-Min, Hoya
Kim Ji-Yeon
Opened at 267 theatres with
the screen average of $9,943
Total: $26,54,843
March 10, 2016
Germany (German)
Babai - Father (Drama)
Val Maloku, Astrit
Kabashi, Adriana
Matoshi
Visar Morina
Opened at 258 theatres with
the screen average of $2,979
Total: $7,68,493
March 11, 2016
Turkey (Turkish)
Annemin Yarası - My
Mother's Wound
(Drama)
Bora Akkas, Belçim
Bilgin, Mehmet Ergen
Ozan Aciktan
Opened at 706 theatres with
the screen average of $5,388
Total: $38,03,910
March 12, 2016
Japan (Japanese)
Kazoku Wa Tsurai
Yo - What A Wonderful
Family (Comedy)
Isao Hashizume, Kazuko
Yoshiyuki, Masahiko
Nishimura
Yoji Yamada
Opened at 295 theatres with
the screen average of $1,197
Total: $3,53,260
For more cinema news please log on to www.boxofficeindia.co.in
SYNOPSIS
The film follows an
unexpected encounter
between a middle-aged
French-African ex-con
Dieumerci who dreams of
becoming an actor, and
Clément a young, spoilt,
untalented acting student.
Dieumerci decides to follow
the straight and narrow
while Clément is his exact
opposite. What happens
when their paths cross?
Jin-Sang is suspected of
fraud and murder and has
the police on his tail. His
younger brother Jin-Ho
hates him and dreams of
becoming a singer but he
keeps failing his auditions.
Young Nori and his father
Gezim sell cigarettes on
the streets of Kosovo to eke
out a living. A few years
later, after the fall of the
Berlin Wall, Gezim leaves
his son behind and travels
to Germany, in search of
a new life. Nori embarks
on a dangerous journey
in search of his father.
On turning 18, Salih leaves
the orphanage to find his
lost family and begins
working on a Serbian farm.
He has thus found a home
but will he ever be able to
let go of the ghosts of his
past? The film follows Salih
as he searches for a trail of
hope among war-torn lives.
A couple has been married
for 50 years. When the
husband asks the wife
what she wants for her
birthday present, she
replies that she wants a
divorce. The lady's divorce
announcement sends the
entire family into chaos.
– Compiled by Rohini Nag
28
19 March 2016
Box Office India
APRIL 1-10, 2016
FLORIDA, US
WHAT’S IT ALL ABOUT?
In its 18th edition, Sarasota Film Festival
(SFF) feature film line-up boasts 251
films ranging from documentary features
to shorts. The festival aims to continue
its goals to bring the best of new
and veteran independent filmmakers
together with local and child-friendly
programs that showcase the Gulf Coast
community. This year, the festival will
kick off by honouring Academy Awardwinning actress Sophia Loren with its
Legend Award.
The 18th edition will also host special
events such as talks, revival screenings and
tributes, attracting the interest of several
filmmaking communities. With several
campaigns focusing on mental health, this
year’s edition will feature films on the topic.
Indian Connect
Ginger Shankar’s directorial Nari will be the
Spotlight film of the festival. Ginger, daughter
of legendary musician Ravi Shankar, has
portrayed their story through a multimedia
installation combining documentary film and
live performance. The documentary was first
showcased at the Sundance 2016 Festival.
Driving With Selvi is shortlisted to be
featured in the Documentary section.
Directed by Elisa Paloschi, the film is
the struggle of a young Indian girl Selvi,
who is forced to marry at the age of 14.
Selvi finds herself determined to leave an
increasingly destructive situation and start
a new life by becoming South India’s first
female taxi driver. The film focusses on
the challenges faced by Selvi and other
women living in India.
The festival will also feature Sahadev
Kelvadi’s short film Kenda in its Shorts
category.
WATCH OUT FOR!
OPENING NIGHT GALA
Other People
Chris Kelly’s Other People was also the
opening film for the Sundance festival
this year. It is a story of a struggling
comedy writer David, who is having the
worst year of his life and recently ended
a relationship. He returns to Sacramento
to care for his dying mother Joanna. Life
gets complicated as David has to face
his conservative family and his father’s
refusal to accept his sexuality.
NARATIVE FEATURES
•Between Sea and Land
•Little Men
•Louder Than Bombs
•Chevalier
•The Fits
•Miss Sharon Jones!
The Seeker
DOCUMENTARY
•Driving With Selvi
•All These Sleepless Nights
•Cameraperson
•Weiner
•Tickled
•Nari
•Kate Plays Christine
CENTERPIECE GALA
Five Nights In Maine
Starring David Oyelowo and Rosie Perez,
the film is the story of a young AfricanAmerican man reeling from the tragic loss
of his wife. He travels to rural Maine to
seek answers from his estranged motherin-law, who is herself confronting guilt and
grief over her daughter’s death.
Unlocking The Cage
Chris Hegedus and DA Pennebaker’s
documentary follows animal rights lawyer
Nari
Steven Wise in his unprecedented
challenge to break down the legal wall
that separates animals from humans and
establish legal person-hood for apes,
elephants and cetaceans in the US.
SFF FOCUS: MENTAL HEALTH
•Touched With Fire
•Borderline
•Disorder
•Mad
•Off the Rails
•In Pursuit of Silence
•The Brainwashing of My Dad
•Split
•Tony Robbins: I Am Not Your Guru
•Crossing Bhutan
SHORTS
•Sonita
•Kenda
•Boys
•Killer
CLOSING NIGHT GALA
The Congressman
Robert J Mrazek and Jared Martin’s
The Congressman revolves around
congressman Charlie Winship (Treat
Williams) retreating to an island off
the coast of Maine to escape an angry
ex-wife and a scathing smear by the
media. On his retreat, he tries to find
his footing once again and get back to
fighting the good fight.
– Swagata Panjari
TOUR GUIDE
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29
AWAY & BEYOND
Sarasota Film Festival
LIGHTS CAMERA ACTION
Sarbjit
T
Sultan
A
nother schedule of Yash Raj Films’ Sultan is under way in Mumbai. Produced
by Aditya Chopra and directed by Ali Abbas Zafar, the film stars Salman Khan
and Anushka Sharma.
Pink
T
he first schedule of Rising Sun Films and Rashmi Sharma Films’ Pink is under
way in Delhi. Produced by Shoojit Sircar, Ronnie Lahiri, Rashmi Sharma, and
directed by Aniruddha Roy Chowdhury, the film features Amitabh Bachchan,
Taapsee Pannu, Kirti Kulhari and Andrea Tariang.
Baa Baaa Black Sheep
T
he last schedule of Agastya Films’ Baa Baaa Black Sheep is currently on in
Goa. Produced by Anand Swarup Agarwal and Krishna Datla, and directed by
Vishwas Paandya, the film features Manish Paul, Manjari Fadnis, Anupam Kher and
Annu Kapoor.
Manmarziyan
T
he first schedule of Colour Yellow Productions and Eros International’s
Manmarziyan is under way in Amritsar. Produced by Eros International and
Aanand L Rai, and directed by Sameer Sharma, the film features Ayushmann
Khuranna, Bhumi Pednekar and Vicky Kaushal.
1920 London
T
he Digital Intermediate of Phantom Films’ 1920 London is under way at Pixel
Digital Studios. Directed by Tinu Suresh Desai, the film features Sharman Joshi,
Diganth and Meera Chopra.
Love Games
T
he VFX of Vishesh Films’ Love Games is in progress at Pixel Digital Studios.
Produced by Mukesh Bhatt, Mahesh Bhatt, Bhushan Kumar and Krishan
Kumar, and directed by Vikram Bhatt, the film features Gaurav Arora, Patralekhaa
and Tara Alisha Berry.
30
he last schedule of T-Series, Pooja
Entertainment and Films and Legend
Studios’ Sarbjit recently concluded in
Mumbai. Produced by Vashu Bhagnani,
Bhushan Kumar, Sandeep Singh and
Omung Kumar, who has also directed the
film, Sarbjit stars Aishwarya Rai Bachchan,
Randeep Hooda, Richa Chadda and
Darshan Kumaar.
Saat Kadam
T
he last schedule of Eros
International’s Saat Kadam recently
concluded in Pune. Produced by Sunil
Lulla and directed by Mohit Kumar Jha,
the film features Amit Sadh, Ronit Roy
and Deeksha Seth.
Commando 2
T
he first schedule of Sunshine
Pictures’ Commando 2 is
underway in Mumbai. Produced by
Vipul Shah and directed by Deven
Bhojani, the film features Vidyut
Jammwal as the lead actor.
Full 2 Jugadu
T
he first schedule of White Fox Media’s
Full 2 Jugadu recently commenced
in Mumbai. Produced by Vandana
Mahar and G Mashooq , and directed by
Ashok Kondke, the film features Krushna
Abhishek, Niharika Raijada and Govind
Namdeo in lead roles.
3 Storeys
T
he Digital Intermediate of Excel
Entertainment, Open Air Films,
B4U Films’ 3 Storeys is in progress
at Pixel Digital Studios. Produced by
Farhan Akhtar, Ritesh Sidhwani, Priya
Sreedharan, and directed by Arjun
Mukerjee, the film features, Sharman
Joshi, Masumeh , Pulkit Samrat, Renuka
Shahane, Ankit Rathi , Aisha Ahmed and
Richa Chadha.
Box Office India
19 March 2016
Banjo
A
nother schedule of Eros International’s Banjo is in progress in Mumbai. Produced
by Krishika Lulla and directed by Ravi Jadhav, the film features Riteish Deshmukh
and Nargis Fakhri in the lead. Music: Vishal-Shekhar.
Ok Jaanu
T
he first schedule of Dharma Productions’ Ok Jaanu recently commenced in Mumbai.
Produced by Hiroo Johar and Karan Johar, and directed by Shaad Ali, the film stars
Aditya Roy Kapur and Shraddha Kapoor.
Happy Bhaag
Jayegi
3 Dev
T
he last schedule of Colour Yellow
Productions, Eros International’s
Happy Bhaag Jayegi recently concluded in
Amritsar. Produced by Eros International,
Aanand L Rai and directed by Mudassar
Aziz, the film features Abhay Deol and
Diana Penty.
T
he Digital Intermediate of R2Phillum Productions 3 Dev is under way at Pixel Digital
Studios. Produced by Chintan Rana and directed Ankoosh Bhatt, the film features
Karan Singh Grover, Ravi Dubey, Kunal Roy Kapoor, KK Menon, Raima Sen, Prosenjit
Chaterjee, Poonam Kaur, Priya Banerjee and Tisca Chopra.
Vol. 7
h, 2016
5 Marc
Issue 26
`200
ry, 2016
27 Februa
Vol. 7
Issue 25
`200
ry, 2016
20 Februa
Vol. 7
.co.in
oxofficeindia
www.b
OFFICE!
+ BOX
BOI
:
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media buzz
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coup and
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BOXOFF
releases
– March
Preview
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PAGE 24
ry, 2016
13 Februa
ld!
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Law An
Magazine
Vol. 7
Issue 23
`200
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India’s
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BOI +
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6 Februa
PAGE 26
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PAGE 29
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Ki & Ka
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tournaments with
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few month
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With three
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scheduled
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>>
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PAGE 21
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and Pradh
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PAGE 22
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Vol. 7
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PAGE 17
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PAGE 20
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30 Janua
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12 Marc
STRAIGHT NEWS
WWI
Launches
PKSBE
W
histling Woods International
has collaborated with advertising expert Prahlad Kakar to launch a new
institute, the Prahlad Kakar School of Branding & Entrepreneurship (PKSBE)
and introduce a Business Entrepreneurship & Leadership programme to aspiring
students. PKSBE aims to inculcate an extraordinary concept of education that
goes by the tagline, ‘Beyond Fear’. The enterprise aims to focus on making
students industry-ready through their unique style of training. PKSBE will also
provide its students several opportunities through activities like scuba diving,
sky diving, mountaineering, global community programs, horse riding, golf, boot
camps, reptile sensitisation and more as part of the curriculum.
Drishyam Enters Distribution
A
Mover & Shaker
Nonita Kalra
Appointed
T
he India Today Group has
appointed Nonita Kalra as editor
of its fashion magazine Harper’s
Bazaar. The appointment is effective
from this month. Kalra was editorin-chief of ELLE India for almost
13 years and has held consultancy
assignments with Godrej Consumer
Products and FDCI. She has over
two decades of experience in print
media and television, having worked
with brands such as Business
World, UTV, BiTV, and Man’s World.
She was also a regular columnist of
The Indian Express, The Economic
Times, Forbes Life and DailyO.
fter producing acclaimed films like Ankhon Dekhi, Masaan, Dhanak, Waiting
and Umrika, Drishyam Films is foraying into film distribution with a Kannada
thriller, U-Turn. Directed and produced by Pawan Kumar, who shot to fame with
the hit film, Lucia, U-Turn is the first film to be produced by Pawan Kumar Studios
and stars Shraddha Srinath, Radhika Chetan, Dilip Raj and Roger Narayanan.
Drishyam Films will be distributing the film across India, except Karnataka. The
film will be screened with English subtitles.
Dish TV-Panasonic Joins Hands
D
ish TV has joined hands with Panasonic India to make the HDTV viewing
experience larger than life for new subscribers. The association will allow
Panasonic customers to avail the new Dish HD+ connection at a special price of
`999 with a one-month free subscription of New Super Family/ Jumbo Family Pack
+ Full on HD Pack. This special offer is available on all Panasonic TV sets above 19
inches and outlets across the country. This combo offer will provide 45 HD channels
and additionally, Dish TV will offer free viewing of ongoing cricketing events for its
new subscribers, even if they have not subscribed to sports channels.
Viacom18 Announces
V
iacom18 Digital Ventures recently announced a line-up of technical partners
for its soon-to-launch over-the-top (OTT) streaming service platform Voot.
Kaltura, a global major in OTT and video streaming services, is on board as the
platform provider. The company is building several customised features for Voot, to
be unique and relevant for the Indian market.
NSD Expands Across India
D
elhi-based National School of Drama (NSD) is all set to get five regional
centres in different parts of the country. This follows the recommendations
made by the Broad Based Committee to open five regional centres. The school
has proposed to establish one regional centre each in Kolkata, Mumbai/Goa,
Jammu & Kashmir, and the North-East besides upgrading the existing Regional
Resource Centre (RRC) at Bengaluru to become a full-fledged regional centre.
Also under the consolidation of the Out-Reach Program in the North-East Region,
NSD has opened centres in Sikkim and Tripura.
32
Vistara
Integrates With
Ki & Ka
V
istara, the new airlines that entered
the Indian market last year, has
tied up with R Balki’s upcoming
film Ki & Ka. Starring Kareena Kapoor
Khan and Arjun Kapoor, the film is
scheduled to release on April 1, 2016.
As part of the association, snippets of
Vistara’s exemplary on-ground and onboard experience have been integrated
in the film. Vistara is also promoting
the film and has launched an ad film
featuring the lead pair.
Box Office India 19 March 2016
FILM
(DISTRIBUTOR)
TERAA SURROOR
(RAKSHA ENTERTAINMENT)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(SHRINGAR FILM PVT. LTD)
WEEKS COLLECTIONS THEATRES
1
3,70,00,000
503
TOTAL
COLLECTIONS
3,70,00,000
2
2,05,00,000
420
9,10,00,000
4
1,60,00,000
230
21,07,00,000
EAST PUNJAB
FILM
(DISTRIBUTOR)
TERAA SURROOR
(AA FILMS)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(NARSIMHA ENTERPRISES)
CI
FILM
(DISTRIBUTOR)
TERAA SURROOR
(MARUDHAR ENTERTAINMEN)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(SUNIL ENTERPRISES)
NIZAM-AP
FILM
(DISTRIBUTOR)
TERAA SURROOR
(INDRA FILMS)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(INDRA FILMS)
WEEKS COLLECTIONS THEATRES
1
63,00,000
65
TOTAL
COLLECTIONS
63,00,000
2
63,00,000
95
2,68,00,000
4
50,50,000
72
7,83,50,000
WEEKS COLLECTIONS THEATRES
1
38,00,000
78
TOTAL
COLLECTIONS
38,00,000
2
34,00,000
56
1,57,00,000
4
19,50,000
20
1,88,50,000
WEEKS COLLECTIONS THEATRES
1
57,00,000
58
TOTAL
COLLECTIONS
57,00,000
2
23,00,000
40
1,25,00,000
4
16,00,000
32
2,60,00,000
WEST BENGAL
FILM
(DISTRIBUTOR)
TERAA SURROOR
(AUM MOVIEZ)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(SHREE VENKATESH FILMS)
ASSAM
FILM
(DISTRIBUTOR)
TERAA SURROOR
(AUM MOVIEZ)
JAI GANGAAJAL
(SONAM PICTURES )
NEERJA
(SHREE VENKATESH FILMS)
WEEKS COLLECTIONS THEATRES
1
54,00,000
60
TOTAL
COLLECTIONS
54,00,000
2
32,00,000
70
1,52,00,000
4
25,50,000
33
4,12,50,000
WEEKS COLLECTIONS THEATRES
1
12,00,000
40
TOTAL
COLLECTIONS
12,00,000
2
7,00,000
40
34,00,000
4
2,25,000
4
32,00,000
DELHI - UP
FILM
(DISTRIBUTOR)
TERAA SURROOR
(AA FILMS)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(FOX STAR STUDIOS)
CP
FILM
(DISTRIBUTOR)
TERAA SURROOR
(MARUDHAR ENTERTAINMENT)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(RAJSHRI PRODUCTIONS)
RAJASTHAN
FILM
(DISTRIBUTOR)
TERAA SURROOR
(MARUDHAR ENTERTAINMENT)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(MARUDHAR ENTERTAINMENT)
MYSORE
FILM
(DISTRIBUTOR)
TERAA SURROOR
(BAHAR ENTERPRISES)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(GOLDIE FILMS)
FILM
(DISTRIBUTOR)
TERAA SURROOR
(AUM MOVIEZ)
JAI GANGAAJAL
(AA FILMS)
NEERJA
(SHREE VENKATESH FILMS)
ORISSA
FILM
(DISTRIBUTOR)
TERAA SURROOR
(RAJDHANI FILMS)
JAI GANGAAJAL
(RAJDHANI FILMS)
NEERJA
(RAJSHRI PRODUCTIONS)
h, 2016
5 Marc
19 March 2016
Box Office India
WEEKS COLLECTIONS THEATRES
1
21,00,000
20
TOTAL
COLLECTIONS
21,00,000
2
10,00,000
11
50,00,000
4
9,00,000
18
1,02,00,000
1
1,98,00,000
189
TOTAL
COLLECTIONS
1,98,00,000
2
1,58,00,000
158
6,26,00,000
4
1,24,00,000
95
15,90,00,000
WEEKS COLLECTIONS THEATRES
1
69,00,000
88
TOTAL
COLLECTIONS
69,00,000
2
42,50,000
78
1,92,50,000
4
17,00,000
22
2,70,00,000
WEEKS COLLECTIONS THEATRES
1
52,00,000
56
TOTAL
COLLECTIONS
52,00,000
2
38,50,000
46
1,65,50,000
4
15,25,000
30
3,23,25,000
WEEKS COLLECTIONS THEATRES
1
50,00,000
40
TOTAL
COLLECTIONS
50,00,000
2
20,00,000
17
1,35,00,000
4
38,25,000
28
5,41,25,000
BIHAR & JHARKHAND
TNK
FILM
(DISTRIBUTOR)
TERAA SURROOR
(SPI CINEMAS-JAWAHAR FILMS)
JAI GANGAAJAL
(SPI CINEMAS-JAWAHAR FILMS)
NEERJA
(SPI CINEMAS )
WEEKS COLLECTIONS THEATRES
Vol. 7
Issue
26
WEEKS COLLECTIONS THEATRES
1
48,00,000
72
TOTAL
COLLECTIONS
48,00,000
2
21,00,000
87
89,00,000
4
2,25,000
8
82,25,000
WEEKS COLLECTIONS THEATRES
1
16,00,000
46
TOTAL
COLLECTIONS
16,00,000
2
8,00,000
36
43,00,000
4
4,50,000
5
46,75,000
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Log on to
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33
BOX OFFICE COLLECTION
MUMBAI
BOX OFFICE COLLECTION
FILM
PRODUCER
WEEK
NETT. LAST WEEK THEATRES
TOTAL NETT.
Teraa Surroor
Vipin Reshammiya, Sonia Kapoor, T-Series Films
1
10,48,00,000
1,315
10,48,00,000
Global Baba
Vijay Bansal, Priya Bansal
1
7,28,074
88
7,28,074
Murari - The Mad Gentleman
Kishore N Patel
1
2,23,107
19
2,23,107
Dirty Boss
Kukku Films
1
50,000
5
50,000
Kya Farak Padta Hai
Jassal Films Austria
1
10,000
1
10,000
Jai GangaaJal
Prakash Jha Productions, PLAY Entertainment
2
6,62,00,000
1,154
29,47,00,000
Zubaan
Guneet Monga, Shaan Vyas, Mozez Singh
2
5,72,210
40
43,86,946
London Has Fallen*
Mark Gill, Danny Lerner, Alan Siegel
2
10,00,000
120
5,02,00,000
Tere Bin Laden - Dead Or Alive
Pooja Shetty Deora, Aarti Shetty
3
2,12,625
19
2,76,85,125
Aligarh
Eros International, Karma Pictures
3
11,73,094
42
2,43,79,970
Bollywood Diaries
Dr Sattar Diwan
3
2,21,295
19
36,91,512
Neerja
Fox Star Studios, Atul Kasbekar, Shanti Sivaram Maini
4
4,84,00,000
597
67,39,00,000
Loveshhuda
Vijay Galani
4
1,35,776
14
3,09,08,001
Sanam Re
Bhushan Kumar, Krishan Kumar
5
1,39,204
12
25,87,48,548
Airlift
Bhushan Kumar, Krishan Kumar, Aruna Bhatia, Nikkhil Advani,
Monisha Advani, Madhu G Bhojwani, Vikram Malhotra
8
5,35,854
28
1,24,81,35,255
*Including dubbed versions
PVR CINEMAX
FROM MARCH 11TH TO MARCH 17TH, 2016
444
501 SCREENS
NO
FILMS
(COLLECTION FROM 115 STATIONS)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
1
TERAA SURROOR
3678
68719
73,47,807
1,03,78,237
1,03,78,237
1
2
GLOBAL BABA
25
350
33,364
49,468
49,468
1
3
JAI GANGAAJAL
2658
109936
1,41,40,098
1,98,48,383
8,18,40,075
2
4
NEERJA
2259
96656
1,33,32,895
1,52,69,525
22,77,28,408
4
FROM MARCH 11TH TO MARCH 17TH, 2016
INOX
402 SCREENS
NO
FILMS
1
TERAA SURROOR
(COLLECTION FROM 102 STATIONS)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
3816
68970
73,68,054
99,83,718
99,83,718
1
2
GLOBAL BABA
207
1656
1,82,193
2,56,935
2,56,935
1
3
JAI GANGAAJAL
2354
85673
1,05,25,108
1,41,31,134
5,69,01,881
2
4
NEERJA
2375
85575
1,14,00,658
1,33,06,723
17,48,02,328
4
FROM MARCH 11TH TO MARCH 17TH, 2016
CARNIVAL / BIG / GLITZ
349 SCREENS
NO
FILMS
1
TERAA SURROOR
2
GLOBAL BABA
(COLLECTION FROM 123 STATIONS)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
3371
65309
54,93,911
82,19,890
82,19,890
WEEK
1
135
838
54,666
86,232
86,232
1
3
JAI GANGAAJAL
1985
59460
61,62,586
89,16,427
3,74,40,121
2
4
NEERJA
1129
34233
39,95,396
45,26,898
7,62,25,635
4
34
Box Office India
19 March 2016
FROM MARCH 11TH TO MARCH 17TH, 2016
FUN CINEMAS
82 SCREENS
NO
1
4
5
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SHOWS
761
505
284
AUDIENCE
16999
20090
10198
NETT
19,43,850
25,30,754
12,88,734
59 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
SHOWS
859
3
418
362
AUDIENCE
17279
45
16138
10016
NETT
15,43,355
2,679
15,43,798
10,09,834
35 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
SHOWS
518
21
266
248
AUDIENCE
15119
162
13055
9838
NETT
-
SHOWS
179
105
148
NETT
2,79,356
4,52,877
9,24,134
SHOWS
327
21
223
167
AUDIENCE
2400
149
6127
6256
NETT
4,65,925
37,462
12,90,280
13,57,362
SHOWS
388
269
176
NETT
3,73,025
5,19,662
3,02,380
SHOWS
317
6
174
45
AUDIENCE
7,876
140
5,511
1,558
NETT
6,90,552
7,506
5,12,665
1,15,742
19 March 2016
Box Office India
SHOWS
89
105
97
WEEK
1
2
4
(COLLECTION FROM 7 STATIONS)
GROSS TOTAL
6,48,839
54,560
77,35,098
2,92,73,358
WEEK
1
1
2
4
GROSS
-
(COLLECTION FROM 13 STATIONS)
GROSS TOTAL
3,73,025
20,72,042
43,05,725
WEEK
1
2
4
GROSS
9,88,760
14,610
7,56,510
1,64,132
(COLLECTION FROM 24 STATIONS)
GROSS TOTAL
9,88,760
14,610
30,39,150
28,51,140
WEEK
1
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
30 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
GROSS
6,48,839
54,560
18,28,903
14,32,562
E-SQUARE
NO
1
3
4
(COLLECTION FROM 10 STATIONS)
GROSS TOTAL
4,21,605
37,68,675
1,33,21,730
FROM MARCH 11TH TO MARCH 17TH, 2016
37 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
GROSS
4,21,605
6,76,655
9,94,550
AUDIENCE
5759
6424
3479
GOLD CINEMA
NO
1
2
3
4
WEEK
1
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
36 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
(COLLECTION FROM 10 STATIONS)
GROSS TOTAL
23,97,802
28,740
1,03,80,017
2,24,05,221
MUKTA A2
NO
1
2
3
WEEK
1
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
29 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
GROSS
23,97,802
28,740
21,68,943
11,74,629
AUDIENCE
3177
4698
7808
DT CINEMAS
NO
1
2
3
4
(COLLECTION FROM 21 STATIONS)
GROSS TOTAL
24,74,743
5,140
1,05,19,255
2,07,44,609
FROM MARCH 11TH TO MARCH 17TH, 2016
30 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
GROSS
24,74,743
5,140
25,60,228
11,77,015
CITY PRIDE
NO
1
2
3
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
WAVE INC.
NO
1
2
3
4
GROSS TOTAL
27,92,600
2,98,39,734
4,15,15,864
FROM MARCH 11TH TO MARCH 17TH, 2016
SRS CINEMAS
NO
1
2
3
4
GROSS
27,92,600
34,22,264
14,38,185
(COLLECTION FROM 24 STATIONS)
AUDIENCE
3111
4882
5729
NETT
233457.1
8,61,538
5,94,374
GROSS
3,75,270
7,02,710
6,45,935
(COLLECTION FROM 11 STATIONS)
GROSS TOTAL
3,75,270
33,00,700
1,04,65,332
WEEK
1
2
4
35
BOX OFFICE COLLECTION
FROM MARCH 11TH TO MARCH 17TH, 2016
SILVER CITY
10 SCREENS
NO
1
2
3
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SHOWS
-
AUDIENCE
-
NETT
2,82,092
2,09,446
1,08,377
29 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SHOWS
345
222
217
AUDIENCE
5075
4538
4910
NETT
4,46,126
4,59,177
5,16,732
5 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SHOWS
56
14
28
NETT
1,02,447
55,821
2,31,643
Cinemas
NO
1
2
3
4
AUDIENCE
983
242
2320
3048
NETT
1,34,460
32,382
3,36,510
4,21,242
19 SCREENS
SHOWS
163
2
131
94
NETT
4,54,624
1,182
5,27,509
4,54,243
AUDIENCE
13732
8939
2896
NETT
9,70,160
7,27,907
2,73,825
SHOWS
119
7
98
21
AUDIENCE
3543
94
3157
1020
NETT
3,05,430
4,846
2,92,970
1,10,202
WEEK
1
1
2
4
GROSS
6,19,586
1,800
7,13,268
4,90,480
(COLLECTION FROM 4 STATIONS)
GROSS TOTAL
6,19,586
1,800
27,51,378
46,67,370
WEEK
1
1
2
4
SHOWS
31
22
GROSS
13,60,350
9,70,772
2,90,455
(COLLECTION FROM 20 STATIONS)
GROSS TOTAL
13,60,350
50,97,432
94,02,151
WEEK
1
2
4
GROSS
5,09,050
16,410
3,05,772
1,10,202
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
5,09,050
16,410
16,26,212
20,10,956
WEEK
1
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
8 SCREENS
36
GROSS TOTAL
2,24,100
53,970
21,14,950
54,16,412
KT VISION
FILMS
TERAA SURROOR
JAI GANGAAJAL
(COLLECTION FROM 2 STATIONS)
FROM MARCH 11TH TO MARCH 17TH, 2016
5 SCREENS
NO
1
2
GROSS
2,24,100
53,970
5,60,850
4,21,242
SHOWS
567
295
106
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
IP CINEMAS
NO
1
2
3
4
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
1,02,447
5,30,001
32,63,508
AUDIENCE
4003
9
4489
3577
52 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
MAXUS CINEMA
MIRAJ
NO
1
2
3
GROSS
-
SHOWS
56
21
49
42
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
(COLLECTION FROM 9 STATIONS)
GROSS TOTAL
6,15,040
33,37,384
1,06,72,861
FROM MARCH 11TH TO MARCH 17TH, 2016
10 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
GROSS
6,15,040
6,50,990
5,30,830
AUDIENCE
761
389
1625
SPICE
NO
1
2
3
4
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
M2K CINEMAS
NO
1
2
3
GROSS TOTAL
2,82,092
8,50,330
17,24,319
FROM MARCH 11TH TO MARCH 17TH, 2016
MOVIE TIME
NO
1
2
3
GROSS
-
(COLLECTION FROM 3 STATIONS)
AUDIENCE
922
441
NETT
50,819
25,711
GROSS
71,172
36,005
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
71,172
1,92,436
Box Office India
WEEK
1
2
19 March 2016
FROM MARCH 11TH TO MARCH 17TH, 2016
Q CINEMAS
18 SCREENS
NO
1
2
3
FILMS
TERAA SURROOR
GLOBAL BABA
NEERJA
SHOWS
40
21
14
AUDIENCE
206
171
353
NETT
23,864
12,399
50,776
19 SCREENS
FILMS
1
2
3
4
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
AUDIENCE
NETT
GROSS
GROSS TOTAL
148
1
134
105
4314
4
4678
4504
3,59,033
435
4,32,517
4,71,020
4,98,936
600
5,95,766
5,33,142
4,98,936
600
24,20,468
37,87,098
SHOWS
28
28
14
AUDIENCE
1118
711
900
NETT
1,46,223
45,607
94,204
9 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
SHOWS
55
3
52
14
AUDIENCE
1581
46
1665
384
NETT
1,86,436
6,052
21,280
47,324
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
NETT
GROSS
GROSS TOTAL
1,60,695
27,768
1,30,740
77,916
3,00,540
54,770
2,61,480
88,104
3,00,540
54,770
11,06,010
88,104
AUDIENCE
11080
5116
1831
NETT
7,17,720
4,30,461
1,70,884
Box Office India
1
1
2
4
GROSS
9,84,352
5,98,482
1,85,784
(COLLECTION FROM 7 STATIONS)
GROSS TOTAL
9,84,352
29,90,760
48,13,536
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
SHOWS
137
81
13
AUDIENCE
2844
2156
376
NETT
2,75,055
2,16,000
39,096
SHOWS
7
5
12
20
GROSS
3,35,172
2,74,505
53,839
(COLLECTION FROM 4 STATIONS)
GROSS TOTAL
3,35,172
13,59,553
11,87,707
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
20 SCREENS
19 March 2016
WEEK
FROM MARCH 11TH TO MARCH 17TH, 2016
K SERA SERA
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
WEEK
1
1
2
4
(COLLECTION FROM 5 STATIONS)
2181
566
1716
1132
8 SCREENS
NO
1
2
3
4
GROSS TOTAL
2,45,506
8,210
9,42,602
19,40,024
AUDIENCE
SHOWS
274
142
51
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
GROSS
2,45,506
8,210
2,80,470
52,700
103
73
91
42
SUNCITY
NO
1
2
3
WEEK
1
2
4
(COLLECTION FROM 2 STATIONS)
SHOWS
20 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
GROSS TOTAL
2,06,174
3,04,050
7,21,846
RAJHANS
NO
1
2
3
(COLLECTION FROM 1 STATIONS)
FROM MARCH 11TH TO MARCH 17TH, 2016
12 SCREENS
NO
GROSS
2,06,174
60,810
94,204
STAR WORLD
1
2
3
4
1
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
WIDE ANGLE
NO
1
2
3
4
WEEK
FROM MARCH 11TH TO MARCH 17TH, 2016
5 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
WEEK
1
1
4
(COLLECTION FROM 5 STATIONS)
SHOWS
CITY PULSE
NO
1
2
3
GROSS TOTAL
31,650
16,120
67,420
FROM MARCH 11TH TO MARCH 17TH, 2016
CITY GOLD
NO
GROSS
31,650
16,120
67,420
(COLLECTION FROM 5 STATIONS)
AUDIENCE
34
42
17
441
NETT
3,625
62,00
7,430
40,446
GROSS
5,250
62,00
10,650
46,620
(COLLECTION FROM 9 STATIONS)
GROSS TOTAL
5,250
6,200
4,96,910
46,620
WEEK
1
1
2
4
37
BOX OFFICE COLLECTION
FROM MARCH 11TH TO MARCH 17TH, 2016
OHM CINEMA
2 SCREENS
NO
1
2
FILMS
TERAA SURROOR
JAI GANGAAJAL
SHOWS
17
12
AUDIENCE
226
264
NETT
21,537
30,986
CINEMARC
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SHOWS
124
119
126
AUDIENCE
3132
3691
3303
NETT
1,94,790
2,58,533
2,46,754
3 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
AUDIENCE
1048
768
NETT
58,934
47,638
SHOWS
23
15
NETT
81,022
31,028
SHOWS
16
7
NETT
26,722
59,321
SHOWS
107
56
77
49
AUDIENCE
2051
426
2200
3386
SHOWS
-
AUDIENCE
-
NETT
2,49,214
SHOWS
AUDIENCE
NETT
4,58,828
38
SHOWS
44
5
21
14
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
26,722
5,16,705
WEEK
1
2
GROSS
1,97,127
47,432
2,50,000
3,90,032
(COLLECTION FROM 9 STATIONS)
GROSS TOTAL
1,97,127
47,432
8,65,363
30,97,291
WEEK
1
1
2
4
GROSS
-
(COLLECTION FROM 3 STATIONS)
GROSS TOTAL
2,49,214
WEEK
1
GROSS
GROSS TOTAL
4,58,828
WEEK
1
FROM MARCH 11TH TO MARCH 17TH, 2016
4 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
GROSS
-
(Collection from 15 stations)
SSR RUPASI
NO
1
2
3
4
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
23 screens
FILMS
TERAA SURROOR
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
1,01,278
38,786
EYLEX FUN N FILMS
NO
1
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
8 SCREENS
FILMS
JAI GANGAAJAL
GROSS
1,01,278
38,786
NETT
1,51,592
36,474
1,92,253
2,99,648
MOVIE WORLD
NO
1
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
88,340
2,57,580
FROM MARCH 11TH TO MARCH 17TH, 2016
11 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
GROSS
88,340
70,300
AUDIENCE
230
464
PRIYA ENTERTAINMENTS
NO
1
2
3
4
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
4 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
GROSS TOTAL
2,63,082
11,80,260
21,60,390
AUDIENCE
1243
451
PICCADILY SQUARE
NO
1
2
(COLLECTION FROM 2 STATIONS)
FROM MARCH 11TH TO MARCH 17TH, 2016
6 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
GROSS
2,63,082
3,41,096
2,61,788
SHOWS
40
33
CINE PARK
NO
1
2
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
DEVI
NO
1
2
GROSS TOTAL
25,249
2,18,102
FROM MARCH 11TH TO MARCH 17TH, 2016
7 SCREENS
NO
1
2
3
GROSS
25,249
33,307
(COLLECTION FROM 1 STATIONS)
AUDIENCE
916
58
883
653
NETT
1,06,256
7,888
95,996
60,076
GROSS
1,37,400
10,200
1,24,410
78,360
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
1,37,4000
10,200
4,23,960
8,14,920
Box Office India
WEEK
1
1
2
4
19 March 2016
TOP 3
NO
FILMS
1
TERAA SURROOR
FROM MARCH 11TH TO MARCH 17TH, 2016
TOP 3
7 SCREENS
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
28
-
1,28,245
1,80,826
1,80,826
4 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SHOWS
28
29
10
NETT
1,10,,456
48,037
19,627
AUDIENCE
720
472
175
NETT
1,01,936
70,625
13,450
2 SCREENS
AUDIENCE
544
17
NETT
49,083
1,122
SHOWS
49
56
21
NETT
1,97,589
2,61,522
54,286
GROSS
-
AUDIENCE
404
208
NETT
31,731
18,222
2 SCREENS
SHOWS
35
14
GROSS
2,46,988
3,26,904
54,286
GROSS
45,320
25,690
NETT
38,038
9,059
GROSS
47,548
11,324
SHOWS
14
AUDIENCE
301
NETT
-
SHOWS
124
92
NETT
7,06,383
2,83,375
(COLLECTION FROM 4 STATIONS)
GROSS TOTAL
33,130
WEEK
1
GROSS
7,67,808
3,08,016
(COLLECTION FROM 5 STATIONS)
GROSS TOTAL
7,67,808
3,08,016
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
5 SCREENS
SHOWS
27
7
GROSS
33,130
AUDIENCE
8928
4968
REDROCK
Box Office India
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
8 SCREENS
19 March 2016
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
47,548
11,324
FILMS
TERAA SURROOR
FILMS
TERAA SURROOR
JAI GANGAAJAL
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
EOS CINEMAS
NO
1
2
WEEK
1
2
4
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
45,320
1,34,400
8 SCREENS
FILMS
TERA SUROOR
JAI GANGAJAL
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
2,46,988
10,75,836
54,286
AUDIENCE
633
149
SURYA CINEMAS
NO
1
2
WEEK
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
MOVIEPLEX
NO
1
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
49,083
1,122
SHOWS
19
9
FILMS
TERAA SURROOR
JAI GANGAAJAL
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
2 screens
NO
1
2
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
1,27,420
4,16,684
5,58,420
AUDIENCE
1483
1804
421
BALAJI
FILMS
TERAA SURROOR
JAI GANGAAJAL
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
5 SCREENS
NO
1
2
GROSS
1,27,420
88,282
13,450
SHOWS
13
1
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
GROSS TOTAL
1,55,742
3,33,412
4,58,817
FROM MARCH 11TH TO MARCH 17TH, 2016
SURAJ
COSMOPLEX
NO
1
2
3
GROSS
1,55,742
67,732
19,627
(COLLECTION FROM 1 STATIONS)
SHOWS
27
15
7
FILMS
JAI GANGAAJAL
NEERJA
1
FROM MARCH 11TH TO MARCH 17TH, 2016
2 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SURAJ
OM
NO
1
2
OM
OM
NO
1
2
3
AUDIENCE
726
1821
182
WEEK
FROM MARCH 11TH TO MARCH 17TH, 2016
SEVEN SKY MULTIPLEX
NO
1
2
3
(COLLECTION FROM 1 STATIONS)
AUDIENCE
240
41
NETT
26,300
4,670
GROSS
36,200
6,150
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
36,200
1,89,400
WEEK
1
2
39
BOX OFFICE COLLECTION
FROM MARCH 11TH TO MARCH 17TH, 2016
SM5
5 SCREENS
NO
1
2
3
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SHOWS
31
23
20
AUDIENCE
909
645
392
NETT
74,879
55,150
57,780
PDR
FILMS
TERAA SURROOR
JAI GANGAAJAL
SHOWS
-
AUDIENCE
-
NETT
64,779
34,713
2 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
ROLLING
OMREELS
NO
1
2
3
SHOWS
-
NETT
2,08,842
1,54,426
NETT
82,514
76,091
12,663
SHOWS
-
AUDIENCE
-
NETT
68,613
4,998
47,400
NO
1
2
NO
1
2
3
NO
1
2
NO
1
M4U
OM
SHOWS
-
OM
RAGINI
OM
OM
40
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
82,514
2,56,753
4,44,478
WEEK
1
2
4
GROSS
-
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
68,613
4,998
1,73,436
WEEK
1
1
4
GROSS
-
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
15,659
1,53,230
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
SHOWS
AUDIENCE
-
-
NETT
2,619
9,411
GROSS
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
2,619
33,378
-
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
STAR X
2 SCREENS
SHOWS
AUDIENCE
-
-
NETT
43,322
41,835
37,740
GROSS
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
43,322
1,64,477
4,69,260
-
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
RAGINI
2 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
FILMS
TERAA SURROOR
NETT
15,659
41,279
2 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
GROSS
-
AUDIENCE
-
M4U
FILMS
GLOBAL BABA
JAI GANGAAJAL
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
2 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
2,08,842
5,81,914
MOVIE LOUNGE
NO
1
2
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
3 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
NEERJA
GROSS
-
AUDIENCE
-
PACIFIC
NO
1
2
3
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
64,779
1,44,612
FROM MARCH 11TH TO MARCH 17TH, 2016
3 SCREENS
SHOWS
-
GROSS
-
AUDIENCE
-
ROLLING REELS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
BMG CINEMA
NO
1
2
GROSS TOTAL
1,13,470
3,54,320
10,22,008
FROM MARCH 11TH TO MARCH 17TH, 2016
2 SCREENS
NO
1
2
GROSS
1,13,470
83,340
61,504
(COLLECTION FROM 1 STATIONS)
SHOWS
28
7
AUDIENCE
816
272
NETT
73,179
24,393
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
92,067
1,53,445
WEEK
1
2
FROM MARCH 11TH TO MARCH 17TH, 2016
MAHARAJA
2 SCREENS
SHOWS
-
GROSS
92,067
30,689
AUDIENCE
-
NETT
25,713
GROSS
36,255
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
36,255
Box Office India
WEEK
1
19 March 2016
OM
NO
FILMS
1
TERAA SURROOR
2
JAI GANGAAJAL
FROM MARCH 11TH TO MARCH 17TH, 2016
MAXX
2 SCREENS
SHOWS
AUDIENCE
NETT
-
-
47,910
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
SHOWS
35
21
14
40,288
1
-
2,52,013
2
AUDIENCE
1347
334
291
NETT
1,19,625
34,187
32,688
OM
3 SCREENS
FILMS
TERAA SURROOR
JAI GANGAAJAL
NEERJA
GROSS
1,49,532
42,734
33,266
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
1,49,532
2,65,330
3,34,530
SHOWS
35
28
7
AUDIENCE
218
286
50
NETT
25,245
34,967
6,597
WEEK
1
2
4
SHOWS
14
3
28
32
GROSS
32,820
45,460
6,597
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
32,820
1,79,820
3,14,874
WEEK
1
2
4
FROM MARCH 11TH TO MARCH 17TH, 2016
2 SCREENS
FILMS
TERAA SURROOR
GLOBAL BABA
JAI GANGAAJAL
NEERJA
WEEK
FROM MARCH 11TH TO MARCH 17TH, 2016
FUN STAR
LONDON PARIS
NO
1
2
3
4
GROSS TOTAL
FROM MARCH 11TH TO MARCH 17TH, 2016
2 SCREENS
NO
1
2
3
GROSS
40,288
VINAY CINE COMPLEX
NO
1
2
3
(COLLECTION FROM 1 STATIONS)
AUDIENCE
116
11
757
599
NETT
16,991
1,244
1,03,792
74,128
GROSS
22,310
1,650
1,37,419
98,350
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
22,310
1,650
3,15,939
8,53,958
WEEK
1
1
2
4
TERAA SURROOR - DAYWISE COLLECTION
TERAA SURROOR
1st Day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st Week
MUM
62,00,000
71,00,000
83,00,000
42,00,000
40,00,000
38,00,000
36,00,000
3,70,00,000
DUP
34,00,000
40,00,000
45,50,000
23,00,000
22,00,000
20,00,000
18,00,000
1,98,00,000
EP
8,00,000
13,50,000
15,25,000
8,00,000
7,00,000
6,00,000
5,00,000
63,00,000
CP
10,00,000
14,00,000
17,00,000
8,50,000
7,50,000
6,50,000
5,50,000
69,00,000
CI
8,50,000
7,50,000
10,00,000
5,00,000
5,00,000
4,00,000
4,00,000
38,00,000
RAJ
7,00,000
5,00,000
14,00,000
7,00,000
7,00,000
6,00,000
5,00,000
52,00,000
NIZ-AP
12,00,000
10,00,000
14,00,000
6,00,000
5,00,000
5,00,000
5,00,000
57,00,000
MYS
4,50,000
12,00,000
15,00,000
6,00,000
5,00,000
5,00,000
4,00,000
50,00,000
WB
7,00,000
11,25,000
12,25,000
6,50,000
6,50,000
5,50,000
5,00,000
54,00,000
B&J
7,50,000
11,50,000
10,00,000
5,00,000
5,00,000
4,50,000
4,00,000
48,00,000
ASM
2,50,000
1,75,000
3,00,000
1,50,000
1,50,000
1,00,000
1,00,000
12,00,000
ORI
3,00,000
2,50,000
4,00,000
2,00,000
2,00,000
1,50,000
1,50,000
16,00,000
TNK
2,00,000
5,00,000
5,00,000
2,50,000
2,50,000
2,00,000
2,00,000
21,00,000
Total
1,68,00,00
2,05,00,000
2,48,00,000
1,23,00,000
1,16,00,000
1,05,00,000
96,00,000
10,48,00,000
19 March 2016
Box Office India
41
BOX OFFICE COLLECTION
NEERJA - DAYWISE COLLECTION
NEERJA
1st week
2nd week
3rd Week
22nd Day
23rd Day
24th Day
25th Day
26th Day
27th Day
28th Day
4th Week
Grand Total
MUM
10,40,00,000 6,50,00,000
2,57,00,000
18,00,000
36,00,000
40,00,000
18,00,000
17,00,000
16,00,000
15,00,000
1,60,00,000
21,07,00,000
DUP
7,35,00,000
5,60,00,000
1,71,00,000
15,00,000
30,00,000
32,00,000
14,00,000
12,00,000
11,00,000
10,00,000
1,24,00,000
15,90,00,000
EP
3,92,00,000
2,50,00,000
91,00,000
6,00,000
12,00,000
13,50,000
6,00,000
5,00,000
4,00,000
4,00,000
50,50,000
7,83,50,000
CP
1,35,00,000
75,00,000
43,00,000
2,00,000
4,00,000
4,50,000
2,00,000
1,50,000
1,50,000
1,50,000
17,00,000
2,70,00,000
CI
91,00,000
53,00,000
25,00,000
2,00,000
4,00,000
3,50,000
1,50,000
1,50,000
1,50,000
1,50,000
19,50,000
1,88,50,000
RAJ
1,82,00,000
95,00,000
31,00,000
1,00,000
2,00,000
3,00,000
1,25,000
1,00,000
1,00,000
1,00,000
15,25,000
3,23,25,000
NIZ-AP
1,35,00,000
65,00,000
44,00,000
2,00,000
4,00,000
4,50,000
2,00,000
1,50,000
1,00,000
1,00,000
16,00,000
2,60,00,000
MYS
2,60,00,000
1,50,00,000
93,00,000
5,00,000
10,00,000
9,50,000
4,25,000
3,50,000
3,00,000
3,00,000
38,25,000
5,41,25,000
WB
2,10,00,000
1,07,00,000
70,00,000
4,00,000
7,00,000
7,50,000
3,00,000
2,00,000
1,00,000
1,00,000
25,50,000
4,12,50,000
B&J
60,00,000
10,00,000
10,00,000
25,000
50,000
50,000
25,000
25,000
25,000
25,000
2,25,000
82,25,000
ASM
20,00,000
5,00,000
4,75,000
25,000
50,000
50,000
25,000
25,000
25,000
25,000
2,25,000
32,00,000
ORI
30,00,000
6,00,000
6,25,000
50,000
1,00,000
1,00,000
50,000
50,000
50,000
50,000
4,50,000
46,75,000
TNK
50,00,000
22,00,000
21,00,000
1,00,000
2,00,000
2,00,000
1,00,000
1,00,000
1,00,000
1,00,000
9,00,000
1,02,00,000
33,40,00,000 20,48,00,000 8,67,00,000
57,00,000
1,13,00,000
1,22,00,000
54,00,000
47,00,000
42,00,000
40,00,000
4,84,00,000
67,39,00,000
Total
JAI GANGAAJAL - DAYWISE COLLECTION
JAI GANGAAJAL
1st Week
8th Day
9th Day
10th Day
11th Day
12th Day
13th Day
14th Day
2nd Week
Grand Total
MUM
7,05,00,000
30,00,000
40,00,000
46,00,000
26,00,000
23,00,000
20,00,000
19,00,000
2,05,00,000
9,10,00,000
DUP
4,68,00,000
21,00,000
26,00,000
32,00,000
20,00,000
18,00,000
16,00,000
15,00,000
1,58,00,000
6,26,00,000
EP
2,05,00,000
10,00,000
11,00,000
14,00,000
6,00,000
5,00,000
4,00,000
3,00,000
63,00,000
2,68,00,000
CP
1,50,00,000
6,00,000
7,00,000
10,00,000
5,50,000
5,00,000
4,00,000
3,00,000
42,50,000
1,92,50,000
CI
1,23,00,000
5,00,000
6,00,000
7,00,000
4,00,000
3,50,000
3,50,000
3,00,000
34,00,000
1,57,00,000
RAJ
1,27,00,000
5,00,000
7,00,000
7,00,000
4,00,000
3,00,000
3,00,000
2,50,000
38,50,000
1,65,50,000
NIZ-AP
1,02,00,000
4,00,000
5,00,000
6,00,000
2,50,000
2,00,000
2,00,000
1,50,000
23,00,000
1,25,00,000
MYS
1,15,00,000
3,00,000
7,00,000
5,00,000
2,00,000
1,00,000
1,00,000
1,00,000
20,00,000
1,35,00,000
WB
1,20,00,000
6,00,000
6,00,000
7,00,000
3,00,000
2,50,000
2,00,000
1,50,000
32,00,000
1,52,00,000
B&J
68,00,000
3,00,000
3,00,000
4,00,000
3,00,000
3,00,000
3,00,000
3,00,000
21,00,000
89,00,000
ASM
27,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
7,00,000
34,00,000
ORI
35,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
8,00,000
43,00,000
TNK
40,00,000
1,00,000
2,00,000
2,00,000
2,00,000
2,00,000
2,00,000
2,00,000
10,00,000
50,00,000
Total
22,85,00,000
96,00,000
1,22,00,000
1,42,00,000
80,00,000
70,00,000
63,00,000
57,00,000
6,62,00,000
29,47,00,000
DISCLAIMER: Box Office Information/Figures/Collections contained in this magazine are compiled from a number of sources, including our own research. While every effort is made to ensure completeness and authenticity
of data/figures/information, Box Office India makes no Representation about the accuracy and reliability of the data. Box Office India, Select Publishing Company, Select Media Holdings Private Limited or their affiliates
shall not be liable for any damages whatsoever arising from use of the information contained in the magazine or the website.
42
Box Office India
19 March 2016
Post Regn. No: MCN/293/2015-2017 Published every Saturday. Posted on every Saturday/Monday at Azad Nagar, Mumbai - 400053.
REG: MAHENG/2009/56446