The last session of the day at NASSCOM Animation & Gaming Conclave day 1 was Local Content Firing Global Imagination. Presenters and speakers included Big Animation’s Ashish Kulkarni, Accel Animation’s N R Panicker, Krayon Pictures’ Nishith Takia and GreenGold Animation’s Rajiv Chilaka.
It must be mentioned here that it was a little odd that this was the last session of the day beginning around 5.45 pm, considering the theme on the NASSCOM backdrops and venue branding was original Indian characters and also considering that original IP and characters are the life of the industry.
Retaliating to certain statements made by earlier speakers, a super charged Ashish Kulkarni emphatically began, “If the Chhotas (Bheem) and the Littles (Krishna) were not created we would not be having this session. If this would not be the case then Indian characters would not be sharing proud space along with global characters at MIPCOM. I have a strong belief, in every single Indian animator who believes in telling stories to the world audience, stories of Indian characters that can travel global. We are blessed with stories of our 5000 year old heritage and we must bring them alive in animation as Indian character brands that can impact the international space.” He further stated that “ the October 2010 MIPCOM was a proud moment for Indian animation as Chhota Bheem, Little Krishna Indian Fables, Raju the Autorickshaw, Ghatothkach, Chor Police, Bal Ganesh and few more characters were distributed by several national and international distribution companies. This was the first time that over 10 animated products from India were simultaneously being distributed across the globe.
“With only 10 released IPs till date we have already managed to created a noise in both national and international market. Imagine what we can do if we make 100 Ip’s in the coming years, we can create a market so strong and self sustaining that the global eyeballs will be on us. The days are not far when Indian animation styles will also make its mark in the global animation arena. But to do that, we need not two but three legs for now to stand on a firm ground. The three pivotal models on which our industry must balance its growth – Outsourcing, Co- Production and IP Creation. And to give it a strong foundation we will also need a fourth leg of “Distribution” for our IP’s in the global arena. Only then, the dream of a robust Indian Animation Industry taking the world by
storm will be fulfilled”. He added.
Continued Kulkarni, “In the first 5-6 NASSCOM meets Mythology took the centre stage. Back then all of us shared a common thought that as Indian animation studios we need to tell the stories of our own heritage both to our national and global audience. Why are those same people shying away today?? We havestuck to our ground and produced “Little Krishna” that has truly traveled around the world bringing a sense of espectability towards Indian Animation that been long missing. “Little Krishna” has put Indian Animation on the global map. With a thorough introspection and research one could even see the glimpses of Indian mythology forming the core theme for international chartbusters like Avatar and Matrix. So my friends lets not blame and discourage the imagination, or the fact that we are drawing upon from our vast reservoir of stories. Native content will happen and will be big!! Rather lets learn how to tell those stories in today’s context creating maximum acceptance and impact.”
He further added that, “The sheer passion of the people is keeping this industry vibrant. What we really need to do is teach entrepreneurship to every single artist. Every time I interact with American artists that I meet, I see Entrepreneurship in them! They are so enterprising and they still humbly pitch their talent for further growth in spite of having reached success”. “It is also critical that we continue this process of telling stories. To develop our young talents, our artists in the art of ideation to script and script to screen, because regardless of the subject we choose, the success lies in effecting story
telling and we must accept and embrace that process.”
Giving the audience certain tips on how to go about the business of creating IP
Kulkarni shared,
1. You listen to the channels very carefully….take notes and study the ratings…
2. Don’t make pre-school properties for Indian broadcasting as there is no ratings for preschool properties in India
3. Don’t go overboard and complete producing the whole series without having a broadcasting partner in place. Invest in research and design. Invest in Pre-production. We feel there are areas of weakness in India in terms of animation script writing, so you might have to invest in International talent there. Also Invest in the bible and probably the promo, but don’t start production until the funding cycle is not complete.
Talking about the markets like MIPCOM, Kulkarni shared, “There is a lot of content available in every market toady, if you don’t go with more than 10-15 bibles to the market, you don’t know what will work and what wont.”
He pointed out that Little Krishna is doing very well in Indonesia, Turkey and Brazil and also shared news that Big Bees has been selected amongst the top 6 finalists in the super pitch at ATF. Up next, Accel Animation’s N R Panicker an accomplished veteran of the IT sector shared that he got into Animation 4 years back as an entrepreneur who started Accel Animation.
“The real problem in this industry is we don’t have a formula of how to create a successful animation company.” He said.
“Most of the efforts by Indian companies for the local markets are based on Indian folklore or Hindu Mythology. Due to budget constraints, the quality of many such shows did not come up to world standards. The Low cost model adopted by DVD publishers and TV channels did not allow serious content players. However there have been exceptions and we have had great quality and super hit shows such as Little Krishna, Chota Bheem, Karadi Tales, EK Tha Jungle” he pointed out.
“We released Tirukkal in Tamil TV channel and then it got picked up by Irish distributors. Ek Tha jungle is sold to Disney. Raju the Rickshaw has been made as an English property for which we have got a distributor –Cyber Group in France. To promote Raju the Autorickshaw in CANNES we will take a real rickshaw rthere and paint it up and create a lot of showbiz around it.” he said talking about IPs created by Accel that were finding success in India and abroad.
“Shaktimaan is the latest IP we are making a co production with BIG Animation. We are co producer and BIG is the main producer. It is being made as a global property. It will premiere on TV in 2011.” He shared the news with the audience.
He spoke about how co-productions too could sometime need a different approach in terms of finding revenues beyond TV, like L&M for example. Of course the L&M space in India needs to be really nurtured and grown.
“I have 5 co-production proposals with me – 1 from LA, 1 from Quebec, 1 from Korea and 2 from France. It cost 8 Million Dollars to produce 26 x 22 minute episodes, but all the projections are showing a max recovery of 4 Million USD. They still cannot show profit. There is a big business in other areas; the same projections show 15 Million from Licensing. In India we need to learn how to license the characters, as character licensing is a big business internationally. “
Krayon Co Founder, the effervescent Nishith Takia speaking straight from the heart sprinkled with tongue in cheek humor emphatically said, “I want to see buyers who want to buy and pay money. TV channels and what they pay can take care only my office assistants salary. Since 3 years we are working only on 1 IP Our movie Delhi Safari and our CA is not too busy as we are not booking any profits” he said humorously but driving the point that creating IP needed deep pockets and lots of patience. It also needed conviction and most of all a belief system amongst distribution circles with regard to animation products.”
Giving his opinion on the Outsourcing business model, Nishith said, “I think it has been very good that people have been doing business in outsourcing. In IT Indian companies began by body shopping and today we are buying companies from all over the world. In animation I think we will grow more faster.”
“IT still does out sourcing, even though we might be as costly as anyone else in the world, it’s the delivery, the quality and scale as well that attracts work here. Doing outsourcing will give us money to make our own IP”
Putting things in perspective he shared, “I think we are all over the world. All the great content all over the world is produced in our backyard. India has the money to spend 150 Million USD to invest to make a movie. But there is no way to create the recovery model for recouping and that’s where we all have to work and find solutions”
He proudly shared that Krayons movie Delhi Safari was done completely out of India, including creative, technical, pipeline, story, characters, animation, voices, post, packaging; the works!
“90 films were announced after success of Hanuman, probably not even 9 released on the big screen. If we have survived this long without earning a single dollar, we are obviously committed to this business and the commitment that its leaders have to this industry will make it work!” he said.
“We just need to get one success story. The problem is that nobody has the belief system. We need to believe in ourselves more than waiting for someone else to come and give us an endorsement that we are good. We are bloody good and I am sure over the next 2 years we will see people coming here and asking to co-produce with us!” he emphatically added.
He then showcased the Delhi Safari promo which as always had the audience BELIEVE that YES, here is a true blue Indian Animated Bollywood film!
It was now time for the last presenter of the session. In a country like China, someone like him would have been called to deliver the keynote address! The unassuming, modest, super achiever of Indian animation, GreenGold Animation’s Rajiv Chilakalapudi was the last speaker of the day.
Since the past 9 years GreenGold has been serving up one animation series after another. Right from Bongo which aired on Doordarshan to Vikram Betal, Krishna and since several seasons now, Chhota Bheem which is already 82 episodes strong and another 39 ordered for 2011 and yet another 39 episodes booked for 2012.
Rajiv shared how stories are always about the world we live in and express the feelings of the present day and age. While stories can be told from generation to generation, every new retelling adds new layers and additions even as the source or story essence may remain similar.
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“Its all about richness in creative thinking,” he said, “ Rajneeti has been a big blockbuster…completely based on Mahabharata. You see the influence of epics on the writers mind, yet it is a great original film.”
Giving reasons why makers are influenced to think of Mythology and Epics, Rajiv shared, “It is easier to sell mythology to channels. When we were pitching one of our shows called Roma Romi no body was ready to listen to the pitch. Vikram Betaal instantly sold without even a pilot. Krishna too was instantly sold to the channel”
We have grown from a 4 people studio in 2001 to a 200 people company with facilities across Hyderabad, Kolkata and Warangal.” He pointed out. “Of course we have to listen to what the channel says. We have to keep paying salaries.”
“In India when we are doing our shows, we are competing with the best in the world. And so when we made Chhota Bheem the challenge was how do we beat Tom and Jerry? I must proudly share that Chhota Bheem was number 1 show for 48 out of 52 weeks during its first seasons” he added.
He also shared that Nickelodeon, Turner and Disney are buying Indian shows which is good news. However the challenge as earlier pointed out by the speakers of the session was in Monetizing the content created locally.
“You can only make 20-30% of the cost of your IP through television.” He shared. “We have now started an L&M business of our own. This happened when the distribution companies refused us proper audit or under declared things”
“In 2010, in 3 months we have sold 100,000 copies of Chhota Bheem and traditionally we are not distributors. We have learnt it thanks to the brand of Chhota Bheem. We have 36 sets of comics, we have done publishing. We are into exporting of TShirts of Chhota Bheem which are selling more in UK & Dubai and are grabbed up by international diaspora markets even before we place the product on Indian shelves.” Said Rajiv amidst roaring applause from the audience which could appreciate the kind of pioneering effort it takes to achieve all this break through.
Giving some more insights and tips, Rajiv shared, “When you pitch just make sure that the show you are pitching has strong characters and story line that have the potential for lasting several seasons”
He shared what according to him were some of the success factors of Chhota Bheem
– First movers in this area.
– Proven track record in this area due to Vikram Betaal and Krishna
– Not many Indian hero characters
– Very Simple Story Telling
– Kids are esily able to relate to it
– Kids want to be superheroes
“Bheem is not only powerful, but kind and good. His fans believe he is real. When you are making an animation series, it is very important to connect with the audience.”
”Connecting with the audience is the crux for success of any content. Mytho or not is not a debate, for the story is in its telling. Let’s believe in ourselves and let’s tell our stories.” That was what the collective message of all the four panelists in the session was.