Producer Naga Vamsi comments: Should ticket rates be an issue or not?
on Oct 14, 2024
Cinephiles or lovers of cinema, who always take cinema seriously, have been talking about the diminishing returns in terms of content for the money, efforts they put in to watch, love, analyse and decode movies. Their major problem with the current trend in cinema business is the overpricing of the tickets. They believe it is killing the business step-by-step and only big films can survive theatrically, killing any sort of chance for medium and small budget films to give a lasting theatrical experience.
The concern raises from the recent success percentage and failure of many films that aim for business more than the craft. In 1980's and 90's, when the commercialisation of filmmaking took its peak, the major concern had been similar stories being told back to back with same and different heroes in same mould. The arrival of "commercial formula" into movies for survival and sustenance of business started hurting development of overall filmmaking craft. In 90's, with arrival of Ram Gopal Varma, Mani Ratnam things did change but then the "formula" took over with several blockbusters re-packaging things in new style.
There is no wrong in turning something into a good business model but filmmaking sustains as a business with uniqueness at the core. Not all brains thinks alike and similarly, not every person's financial status remains same. In a successful business model, that too, when it is dependent on mass cosumption, one cannot eliminate or alienate good chunk of film watching enthusiasts with overpricing.
So, what price is perfect?
In recent interview, Producer Naga Vamsi of Sithara Entertainments, made some interesting comments. He said, "With Rs.250/- ticket rate, a family of four can watch a film and buy popcorn for Rs.500 and spend Rs.1500 to watch a film." He remarked it as "cheapest form of entertainment" as every other can cost more money. While, it is right from his POV, as every film costs crores in production, similarly the consumer, that is ticket purchaser, has all the rights to decide what is acceptable price for them to spend.
If a producer wants to recover their money as fast as they can, it is their right to decide. Similarly, it is a viewer's discretion, on how much they can spend on what film, too. An universal ticket rate doesn't prevail now-a-days. And it is important to understand that increase in ticket prices for first week or weekend or even for first day, will also kill the enthusiasm for a movie-lover to watch the film, immediately. Which would directly affect box office returns. If the solution for this problem is increasing price even further on the first day, then it would affect the business in long term killing any enthusiasm that any viewer would show ever.
Filmmaking is a mass consumer business and not aimed for short term gains ever. So, it would be better for producers to rationalise and think about either introduce flexible pricing even for big films after first weekend or first week or second weekend would be a welcome change. If a film like KGF Chapter 2 or Baahubali 2 can reduce prices during weekdays and have higher rates during weekends, that too, with respect to screen size and facilities available at a theatre, then the returns would mutliple.
A film like Devara will bring in more crowds during weekdays with lower prices while weekends it can play at slightly increased rates. For small budget films and medium budget films, the rates should be lesser so that the sustainable long run for these films is not killed by OTT release. If theatrical business needs to sustain, then a flexible ticketing system or at least a viable universal ticket pricing should be introduced. Maybe it is better to go the flexible rates way, as that would become an attraction for family audiences to give sustainable long run of 4-5 weeks with weekdays also performing well.
This would help theatres to stay in business as the increasing trend of footfall drops from first Monday, itself is killing the theatres. It would be difficult for audiences to think about theatrical visits if theatres cease to exist.
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