1920_Case (1).pdf

IMB 437

SUHRUTA KULKARNI, KARTHIKA A. S. AND U. DINESH KUMAR 1920 EVIL RETURNS

– BOLLYWOOD AND SOCIAL MEDIA MARKETING

Horror story tellers get a high out of the sensation they sell. Some people like to be the life of a party by making people laugh. In a group of people, there are some who onl y talk about tragic tra gic stuff and then there are a few like me who love to scare. I love to peddle fear. 1 Vikram Bhatt, The Times of India, September 8, 2012 People who love horror movies love talking about them and online social media provides the perfect faceless platform to carry out such discussions, which in turn also creates word-of-mouth word-of-mouth publicity for the film. We had seen an overwhelming overwhelming response to our social media campaign for 1920 Evil Returns and the film also turned out to be a box office hit. Ami Shah, IntelliAssist, July 2013 Ami Shah, founder of IntelliAssist, helped clients to create social media marketing strategies for their products or services and assisted them in the execution of these campaigns. ASA Productions & Enterprises Pvt. Ltd., a prominent production house, was one of her prestigious clients. In 2012, Shah had designed the social media marketing campaign for the movie “1920 Evil Returns”, which was a sequel to the movie 1920 that was released in 2008. The next movie in the 1920 franchise was expected to be released in 2014. Shah was sitting in front of piles of campaign data collected from sources such as Facebook Insights, YouTube Analytics, and Google Adwords. She was analyzing the impact of the campaign and wondered whether the right social media mix had been used. Shah was also concerned about the ever-changing dynamics of social media and asked herself whether the campaign catered to these dynamics. Shah was planning the social media campaign for the third film in the 1920 franchise that was tentatively tentatively titled 1920 London, which was slated for a 2014 release. According to Shah: Social media is measurable in terms of active enga gement and is one of th e fastest growing media platforms. Social media is also very cost-effective, cost-effective, for example, just one hoarding in Mumbai would cost around INR 4.5 million, while we did the entire social media campaign within INR 0.95 million. We are now trying to measure the return on investment on the spend of INR 0.95 million (USD 0.018 million) by studying the regional box-office collection data along with the social media engagement data. Also, we wish to understand if our campaigns that ran a cross India at the time of pr omotion had any impact on th e box-office collection.

100 YEARS OF INDIAN CINEMA 2

Indian cinema completed 100 years in 2013 and was a INR 112 billion (USD 2.2 billio billi on) industry; the industry was 3 expected to grow at around 12% to reach INR 194 billion (USD 3.52 billion) by 2017. Raja Harishchandra was the first film produced in India by Dhundiraj Govind Phalke (popularly known as “Dadasaheb” Phalke) in 1913 and was

1

Source: http://articles.timesofindia.indiatimes.com/2012-09-08/news-interviews/33678078_1_horror-films-love-stories-indian-films (Accessed in July 2013). 2 Conversion rate: 1 USD = 55 INR (a s of July 2013). 3 Source: Indian Media & Entertainment Industry to a chieve growth of 11.8% in 2013 and touch INR 917 Bn. FICCI-KPMG FICCI-KPMG Report , p. 1. (March 2013)

Suhruta Kulkarni and Karthika A. S. prepared this case under the guidance of U. Dinesh Kumar, Professor of Quantitative Methods and Information Systems prepared this case for class discussion. This case is not intended to serve as an endorsement, source of primary data, or to show the effective or inefficient handling of decision or business processes. Copyright © 2013 by the Indian Institute of Management Bangalore. No part of the publication may be reproduced or transmitted in any form or by any means—electronic, mechanical, photocopying, photocopying, recording, or otherwise (including the Internet)—without Internet)—without the pe rmission of Indian Institute of Management Bangalore.

1920 Evil Returns – Bollywood Bollywood and Social Social Media Media Marketing Marketing

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screened at Coronation Cinema in Mumbai. From this silent, black-and-white film, the Indian film industry had moved across color, talkies, and as of 2013, produced 3D (Three-Dimension), HD (High Definition), and highquality animation films as well. Alam Ara was the first talkies film and this was also screened in Mumbai at Majestic Cinema in 1931. The first color film was Kisan Kanya, which was made in 1937. By the late 1940s, the film industry flourished in the southern states of India and a large number of films were made in Tamil, Telugu, Kannada, and Malayalam. Cinema or filmed entertainment was generally classified under the Media and Entertainment (M&E) industry. The M&E industry was estimated to be worth around INR 820 billion billion (USD 14.90 billion) in 2013 (break-up provided in Exhibit 1). Films thus formed around 13.65% of the M&E industry; however, films were the source of the content that was used by other segments such as television, radio, and music. 4

On average, 1,000 films were produced in the Indian film industry compared to the 600-odd movies produced in Hollywoo Hollywood. Indian films were produced in more than 20 languages and were watched by around 3 billion people 5 annually. The Hindi film industry was popularly known as “Bollywood” since it mainly originated in Bombay, which was the former name of the city of Mumbai; Bollywood was a combination of Bombay and Hollywood. Bollywood was the largest contributor to industry revenues, followed by the South Indian movie industry and other regional language cinema industries such as the Bengali, Bhojpuri, Marathi, and Gujarati industries. Overall, the industry revenue size was small owing to low ticket prices and low occupancy, despite the Indian film industry being the largest film producer in the world. The key differential characteristic characteristic of the Indian film industry was its local consumption. Hollywood and other film industries relied on global consumption of films, while Indian films were typically produced for local and regional consumption, although there was a growing trend in producing films for the Indian diaspora and the global population in general. Around 60% of the revenues for a film was generated through ticket sales and the rest was generated through other sources such as the sale of satellite, home-video, mobile, and online rights. The digitization of content led to better distribution, thus enabling access to new revenue sources. International studios such as Warner Bros., Disney, Fox, DreamWorks, Eros, and so on had entered the Indian market. The film industry continued to be fragmented even after its corporatization. The major film studios and film producers in India were based in Mumbai and South India. As of 2013, films were made with a variety of themes, which not only represented the existing social environment but also ventured into the fan tasy and futuristic worlds. Films were were made across a cross a range of budgets, with upcoming actors as well as established actors, and were shot in local as well as foreign locales. Different distribution modes were used along with innovative marketing strategies. The Indian film industry had evolved to meet the local audience’s requirements and was also aspiring towards a global audience.

HORROR GENRE IN BOLLYWOOD Films consisted of several genres su s uch as drama, romance, action, animation, comedy, family, history, sci-fi, war, 6 horror, thriller, musical, and so on. Horror films portrayed negative emotions such as fear, hatred, terror, panic, rage, and depravity. Some studies indicated that people watched horror movies to feel the excitement and intense (negative) emotions, to get distracted from their routine life, and to se e violations from social norms. Horror films 7 generally appealed to males in the age group of 15 to 45 years. Plots of horror films generally involved supernatural elements, evil forces, ghosts, aliens, vampires, serial killers, haunted houses, and torture. Globally, horror films such as Paranormal Activities had achieved high commercial success and had been turned into successful sequels. Mahal (1940) was the first Indian horror movie, followed by movies such as Bees Saal Baad (1962), Gumnaam (1965), Bhoot Bungla (1965), and Do Gaz Zameen Ke Neeche (1972). All these movies had the traditional Bollywood characteristics of high-class music and a well-known star cast. In 1976, Nagin –a combination of horror and fantasy–became a box office hit; the low production costs and high revenues of this movie inspired several other horror movies. However, the quality deteriorated over time until a revival occurred in the twenty-first century. Raaz

4

Source: http://i n.reuters.com/article/2013/05/19/film-cannes-b n.reuters.com/article/2013/05/19/film-cannes-bollywood-idINDEE94I03Q201 ollywood-idINDEE94I03Q20130519 30519 (Accessed in July 2013). Young and LA India India Film Council . Source: Film Industry in India: New Horizons. Report by Ernst & Young 6 Source: http://www.imdb.com/genre/ (Accessed in July 2013). 7 Source: http://www.accessscience.com/studycenter.aspx?main=18&questionID=5338 (Accessed in July 2013). 5

1920 Evil Returns – Bollywood and Social Media Marketing

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(2002), Bhoot (2003), Darna Mana Hai (2003), and 1920 (2008) were some of the Bollywood horror films of the first decade of the twenty-first century; they went on to become box office successes and were g enerally followed by sequels (Exhibit 2). When you sell fear, you don't need an A-list star. People come to see fear and not the actor. The audience for my films is in single screens who want chudail and dayans (different types of female ghosts) and jadoo-tona (black magic). Vikram Bhatt, The Times of India, September 8, 2012 1920 Evil Returns

1920 Evil Returns was released on November 2, 2012 as the second film of the 1920 franchise. The film was produced by ASA Productions & Enterprises Pvt. Ltd., written by Vikram Bhatt and directed by Bhushan Patel. The star cast of the movie included Aftab Shivdasani, Tia Bajpai, Sharad Kelkar, and Vidya Malvade in the lead roles; the plot involved a possessed girl ( Exhibit 3). The film was made with a budget of INR 90 million (USD 1.63 million) and had box office collections of INR 218 million (USD 3.96 million) ( Exhibit 4); the movie was declared a hit at the box office.

Vikram Bhatt has been an Indian director, producer, and writer. He was the son of veteran cinematographer Pravin Bhatt and the grandson of late Vijay Bhatt, a noted producer–director–screenwriter of the golden era of Indian cinema. Vikram started his career in 1982 at the age o f 14 years and since then had directed 27 films, written 8 screenplays for 15 films/TV serials, and produced 8 films. He directed and/or produced several horror films such as Raaz (2002), 1920 (2008), Shaapit (2010), Haunted-3D (2011), Raaz 3 (2012), and 1920 Evil Returns. He diversified into different genres and languages through ASA Productions and Enterprises Pvt. Ltd., a company that was set up in 2006 in Mumbai to produce holistic entertainment. ASA Productions was in the business of pr oducing 9 films and music as well as film distribution. When asked to comment on 1920 London, Bhatt said: The tragedy of a franchise is that they have to be similarly different. It's again a period love story set in 1920, but the element of horror is different. While the previous two installments have explored possession, this is more about haunting. Sharman and Meera (Chopra) breathe a new life into the franchise. Vikram Bhatt , The Times of India, July 2013

SOCIAL MEDIA IN INDIA 10

According to a report pu blished by the Internet and Mobile Association of India (IAMAI), there were 80.2 million active Internet users in urban India in December 2012, an d 72% of these (58 million) used social media. Among the activities of these Internet users, email usage was the highest followed by social networking. Social networking penetration was highest among “young men” followed by “college-going” students. Of the active social media users, 34% were from the top 8 metros, while the remaining 66% belonged to smaller cities and towns. Of the 80 .2 million active Internet users, 39.7 million accessed the Internet from their m obile phones. Email and social networking were the most common activities of the mobile-phone Internet users as well. Facebook was used by 97% of the active Internet users, followed by Google+ (34%) and LinkedIn (17%). Using apps seemed to be the most prevalent activity on Facebook as of September 2012, followed by assessing groups and finding friends (Exhibit 5a-e). Social media had become a popular medium for marketing in India. The most popular example was the song Why This Kolaveri Di from the Tamil language movie 3. The video of the song had leaked to YouTube and sensing the popularity, an official version was uploaded by the movie’s production house. Within 3 weeks, the video received 11 19 million YouTube views and 6.5 million Facebook shares, and had more than 10, 000 tweets per day. The video received two awards from YouTube–Recently Popular Video (Gold) and Trending Video (Silver). The movie itself 8

Source: http://www.imdb.com/name/nm0080333/ (Accessed in July 2013). Source: http://www.asaproductions.in (Accessed in July 2013). 10 Social Media in India: 2012 (February 2013). Internet and Mobile Association of India (IAMAI) in association with IMRB International and eTech. 11 Source: http://businesstoday.intoday.in/story/kolaveri-di-success-case-study/1/22957.html (Accessed in July 2013). 9


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received average box office c ollections. Another instance in which significant buzz was created in the social media was during the broadcast of the talk show 12 Satyameva Jayate (English: Truth Alone Triumphs), hosted by the popular Bollywood actor, Aamir Khan. This show was broadcast on Sundays; the first episode was broadcast on May 6, 2013. A study conducted by Simplify 360° reported that the show had received 660,643 likes on Facebook, with 382,319 people talking about it on Facebook, 15,135 followers on Twitter, and 353,255 views on YouTube within 3 days of broadcast of the first episode. 1920 EVIL RETURNS–SOCIAL

MEDIA CAMPAIGN

Shah had used a mix of social media for conducting the 1920 Evil Returns campaign. She described the objectives of the 45-day digital marketing campaign: Primary objective was to create maximum video views for theatrical trailer and other videos. Secondary objective was to ensure that official posters get maximum attention and visibility. Last but not the least, community creation and engaging all horror fans, especially those who loved the prequel.

SOCIAL MEDIA CAMPAIGN EXECUTION An official Facebook page was launched on September 14, 2012 with the first look of the movie. To grow its fan base, IntelliAssist quickly started promoting the page to targeted audience in India in the age group of 18–35 years with an interest in horror with the help of Facebook ads and sponsored stories. On average, IntelliAssist posted three to four daily posts on the page. Content strategy revolved around announcements (news bytes, video uploads, and so on), sharing of movie stills, and creation of interesting polls. The objective of each post was to tell a story, ask a question, create a bond, or distinguish a fan. Custom apps such as the Exclusive Stills showcase and Top Fans dashboards (Exhibit 6a) were used to enhance engagement. A picture contest (based on audience voting) was announced to create a buzz and in crease the viral reach of the page. Active fans were identified and rewarded; this in turn motivated other fans to actively participate and contribute. Although these were usually considered harmful for a brand, several fan-created posters were shared on the page; this helped in increasing the feeling of belongingness and the community appreciated the same. Facebook served as a fantastic platform to test-market new creative ideas and validate that the art-work for a movie poster resonated well with its audience. An interesting fact that we wish to share is that one poster was created exclusively for Facebook; this featured entire team (cast and crew). It reached 1,27,482 people on the Facebook page within 2 days and spread virally to several other websites. The poster received encouraging feedback; this was eventually used in all print and outdoor media at the time of the movie release. [ Exhibit 6b] Ami Shah, IntelliAssist, July 2013 In 45 days, the 1920 Evil Returns Facebook page acquired over 65,000 page likes; 40% of the page likes were contributed by Facebook ads, while 60% of the page likes were received organically. The week that the movie was released, the page reached out to an average of 30,000 fans daily. Different post types such as Links, Photos, Questions, Status Updates and Videos were used and a change in engagement was observed with each t ype as shown in Exhibit 7. Additionally, Facebook Insights (the Facebook analysis tool) also provided page-level and post-level data (excerpts provided in Exhibit 8a and b). Facebook-promoted posts were used to promote YouTube videos. This strategy proved beneficial as one video had content meant for adult audiences and paid advertisements on YouTube were not possible for the same. (YouTube allowed uploading of adult content but did not allow paid promotion of the same.) Over 2,000 video views of one of the YouTube videos were contributed by Facebook (within 5hours of uploading the post). This initial start helped in increasing YouTube channel visitors and subscribers.

12

Source: http://www.satyamevjayate.in (Accessed in Jul y 2013).


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A Twitter handle was created and integrated with Facebook. Every post on Facebook was sent to Twitter. The Twitter handle was not actively promoted by means of paid advertisements or active tweeting. Awareness was created on the movie’s official Facebook page and the actor Aftab Shivdasani tweeted the handle a couple of times. The Twitter handle had 141 followers. When the theatrical trailer was uploaded on YouTube, the link was tweeted by Taran Adarsh (3,43,000 followers) of Bollywood Hungama and Aftab Shivdasani (77,000 followers). A new YouTube channel was created and the theatrical trailer (which received around 16,21,800 views) was uploaded during the campaign period (September 28–November 30, 2012);this was viewed for around 25,00,000 minutes. This video recorded an engagement of 2,267 Likes, 216 Dislikes, 724 Comments, 2,026 Shares, and 219 Favorites Added. Of the video views, 76% were contributed by males and the rest by females. A mix of advertising and content marketing was designed to promote the theatrical trailer and the video trended on YouTube for 2 days. Traffic towards the YouTube theatrical trailer was majorly from YouTube search (24%), YouTube homepage feeds and subscriptions (13%), YouTube suggested video (10%), Google search (6%), and YouTube advertising (2%). The remaining traffic was from a variety of sources such as Facebook, indiatimes.com, santabanta.com, Babylon Search, hindustantimes.com, rediff.com, and various other search engines. Exhibit 9 provides viewership statistics for the YouTube theatrical trailer and Exhibit 10a and b shows the demographics. Animated banner ads, video ads, page push, and expandable ads were placed on prominent entertainment sites, news sites, and general interest portals in the period leading to the release date in order to increase publicity in the digital media. Each advertisement received a different number of clicks and was priced differently, as shown in Exhibit 11.

CAMPAIGN ANALYSIS The social media campaign was very successful and Shah had the statistics to prove it. Active fan engagement and positive word-of-mouth also validated the success of the social media campaign. ASA Productions as well as Vikram Bhatt were happy with the campaign. However, Shah wondered whether she could have done it differently. Was the spending-mix ( Exhibit 12) effective? Shah wanted to measure the impact of social media marketing on revenues. Although it was difficult to estimate the conversion of social media activity (liking, sharing, commenting, and viewing trailers) into actual ticket sales, a pattern was observed between the activities and the ticket sales. Exhibit 13 provides data on region-wise box office collection along with the corresponding Facebook likes. Conventionally, almost 30–60% of the revenues for any Bollywood film was garnered from the city of Mumbai. However, the social media activity in Mumbai for the movie was very low as compared to the revenues, despite the high usage of social media in Mumbai. Sentiment analysis was conducted on all the comments, reviews, posts, etc. on the internet and the results are provided in Exhibit 14. Facebook Review

Facebook played a vital r ole in online engagements and also contributed 15,117 initial views of the theatrical trailer posted on YouTube, which helped in building the popularity of the video. Shah was satisfied with this aspect of Facebook; however, she was unhappy with the Facebook Ad Manager. She had observed that the Facebook ads were also served to those people who had already liked the page. This not only irritated the users but also resulted in wastage of money, since each click had to be paid for. Shah also observed that the number of page likes had increased from 65,000 at the end of the campaign to around 1,50,000 by July 2013. She wondered whether a majority of horror movie fans were missed out during the campaign period. Shah wondered whether she should have created a movie page or a franchise page, considering that another movie in the franchise was slated to be released in 2014. She was thinking of ways to leverage the engagement and the community built on the existing Facebook page for the next movie. YouTube Review

Shah had created a YouTube channel for ASA Productions and had uploaded the theatrical trailer and other videos on that channel. Some industry people would create separate channels for different movies, since they considered a


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movie brand to be larger than the production house’s brand. Separate ad spends would have to be done for each movie. Each movie would have a separate set of subscribers, which could not be used for the promotion of any future movie. According to some experts, this model worked well as the movie genres differed significantly and there was no point in having subscribers of other genres. Shah wondered whether she should continue with the single ASA Productions channel or whether she should create separate channels for different movies. Twitter Review

In India, people generally followed celebrities, not brands. Aftab Shivdasani, the key actor in the movie 1920 Evil Returns, had around 77,000 followers while other popular actors in India such as Shah Rukh Khan and Hrithik Roshan had around 4,565,600 and 3,768,800 followers, respectively. Since not many people were following the film’s actors, Twitter was not actively used in the campaign. Further, a movie would have a sh elf life of around 2–3 months; creating a buzz on Twitter would take as much time, which is why Twitter would be more suitable for longer lifecycle products. Industry data also suggested that that people in India used Twitter to get information, rather than to engage actively. Shah also observed that only 200 views (less than 1%) resulted from the two tweets of Taran Adarsh and Aftab Shivdasani who had a collective fan following of 4,20,000 people. However, with changing trends, Shah wondered whether she should use Twitter to promote the third movie in the franchise. The fact remained that the offering was for a niche market (horror fans) and the film would not have a popular star cast. Other Platforms

With the growing popularity of photo-sharing sites such as Pinterest and Instagram, should these be part of the social media mix? Should Google+ be also used to target the Indian audience? Based on the analysis of the campaign for 1920 Evil Returns and with the ever-changing dynamics of social media, Shah was wondering what strategy she should use for the third movie in the franchise, 1920 London.


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Exhibit 1 Media & Entertainment–Overall industry size and projections (INR billion) Industry

2007

2008

2009

2010

2011

2012

Calendar Year Television Print Films Radio Music Out-of-Home Animation & VFX Gaming Digital Advertising Total

211.0 160.0 92.7 7.4 7.4 14.0 14.0 4.0 4.0 514.5

241.0 172.0 104.4 8.4 7.4 16.1 17.5 7.0 6.0 579.8

257.0 175.2 89.3 8.3 7.8 13.7 20.1 8.0 8.0 587.4

297.0 192.9 83.3 10.0 8.6 16.5 23.6 10.0 10.0 651.9

329.0 208.8 92.9 11.5 9.0 17.8 31.0 13.0 15.4 728.4

370.1 224.1 112.4 12.7 10.6 18.2 35.3 15.3 21.7 820.5

2017 (Projection)

847.6 340.2 193.3 27.4 22.5 27.3 73.5 42.1 87.2 1661.1

CAGR (2012–2017)

18.0% 8.7% 11.5% 16.6% 16.2% 8.4% 15.8% 22.4% 32.1% 15.2%

Source: Indian Media & Entertainment Industry to achieve growth of 11.8% in 2013 and touch INR 917 Bn. FICCI-KPMG Report , p. 1 (March 2013).

Exhibit 2 Bollywood movies and sequels Movie Name (Year) 1920 (2008) Aashiqui (1990) Bheja Fry (2007) Bhoot (2003) Dabanng (2010) Darna Mana Hai (2003) Dhamaal (2007) Dhoom (2004) Don (2006) Golmaal: Fun Unlimited (2006) Hera Pheri (2000) Housefull (2010) Jannat (2008) Jewel Thief (1967) Jism (2003) Koi Mil Gaya (2003) Malamaal Weekly (2006) Munnabhai M.B.B.S. (2003) Murder (2004) Nagina (1976) Once Upon A Time in Mumbai (2010) Race Rakta Charitra: Part I (2010) Raaz (2002) Shootout at Lokhandwala (2007) Vaastav (1999) Sarkar (2005)

Sequel Name (Year) 1920 Evil Returns (2012) Aashiqui 2 (2013) Bheja Fry 2 (2011) Bhoot Returns (2012) Dabanng 2 (2012) Darna Zaroori Hai (2006) Dhamaal 2 (2011) Dhoom 2 (2006), Dhoom 3 (to be released in 2013) Don 2 (2011) Golmaal Returns (2008), Golmaal 3 (2010) Phir Hera Pheri (2006) Housefull 2 (2012) Jannat 2 (2012) The Return of Jewel Thief (1996) Jism 2 (2012) Krrish (2006), Krrish 3 (to be released in 2013) Kamaal Dhamaal Malamaal (2012) Lage Raho Munnabhai (2006) Murder 2 (2011) Nigahen (1989) Once Upon A Time in Mumbai Dobaara! (2013) Race 2 (2013) Rakta Charitra: Part II (2010) Raaz 2 (2009), Raaz 3: The Third Dimension (2012) Shootout at Wadala (2012) Hathyar (2002) Sarkar Raj (2008)

Source: http://www.bollywoodhungama.com/movies/features/type/view/id/4492

Genre Horror Romance Comedy Horror Action Horror Comedy Action Action Comedy Comedy Comedy Crime Crime Thriller Sci-Fi Comedy Comedy Horror/Thriller Horror Crime Thriller Biographical Horror Crime Thriller Crime Drama Drama Thriller


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Exhibit 3 Movie details of 1920

Evil Returns

Producer: ASA Productions & Enterprises Pvt. Ltd. Director: Bhushan Patel Writers: Vikram Bhatt and Amin Hajee Screenplay Writer: Rensil D’Silva Music: Chirantan Bhatt Cinematography: Naren Gedia Editor: Swapnil Raj Actors: Aftab Shivdasani, Tia Bajpai, Sharad Kelkar, Vidya Malvade Plot Synopsis

Jaidev Verma (Aftab Shivdasani) is a famous poet who lives the life of a l oner as he is unable to be with the love of his life, Smruti (Tia Bajpai). They get to know each other through an exchange of letters and slowly fell in love with each other. One day, Jaidev receives a letter informing him that Smruti had an accident and is dead. His sister Karuna (Vidya Malvade) is his only support system. Jaidev finds an unconscious girl near a lake and brings her home. After returning to her senses, she is not able to remember anything from her past life except Jaidev's poems. Karuna is skeptical of her presence in the house, especially when the keeper of the cemetery warns them of an evil spirit inside her. However, Jaidev is insistent on keeping her at home since he feels a connection with her. He even names her Sangeeta. Strange and spooky things start happening such as Sangeeta vomiting iron nails and seeing ghosts in her room. On their way to see a doctor, Sangeeta gets completely possessed by the ghost. The only person Jaidev can turn to in order to save her is the cemetery keeper. Slowly, Jaidev gets to know that Sangeeta is actually his lost love Smruti. He goes to Smruti's old residence to find the truth. There, he discovers that Karuna had come before, asking about Smriti. Jaidev returns home and finds that Karuna is missing. He finds Karuna's body hanging in the forest with suicide notes around it. From Karuna's letters he comes t o know that his best friend Amar (Sharad Kelkar), who was always jealous of Jaidev's success, had exploited Karuna to obtain his revenge. When Amar discovered that Jaidev loved Smruti, he went to Smruti posing as Jaidev, and took her to Shimla. He tried to exploit her but he dies in the process. Jaidev now has to take the possessed Smruti to Shimla to face the final battle of good vs. evil. As they are preparing to take Smruti, the cemetery keeper warns Jaidev that the spirit possessing Smruti is very vengeful and has to be deceitfully taken to Amar's residence. Once Smruti touches Amar's corpse (even unwillingly), the spirit of Amar will have to leave Smruti's body and return to Amar's corpse. The corpse can then be set on fire, releasing Amar's spirit. While doing this, Smruti must not know where she is being taken, else the spirit residing in her will also know, and may try to flee from the spot. Therefore, she is kept unconscious and completely enveloped in a sacred cloth from head to toe. Eventually, they reach the designated place, but the cemetery keeper stumbles and drops Smruti's unconscious body, moving the sacred cloth away from her face, awakening the spirit in her. The possessed Smruti unleashes mayhem on all four people and in a matter of time, all of them except Jaidev are brutally killed. Jaidev is badly injured and the possessed Smruti burns the corpse of Amar. Jaidev lies on the floor helpless, pleading with the spirit possessing Smruti to kill him so as to release him from the agony of living without Smruti. The spirit refuses, saying this i s exactly what it wants and that Jaidev should suffer. As the possessed Smruti is within Jaidev's reach, he cuts a rope attached to the loft in the ceiling. The loft's door opens and a corpse falls on to the possessed Smruti. A flashback reveals that this is the real corpse of Amar that Jaidev had hidden in the loft. The corpse comes alive as the spirit is forced to return to its original body once the corpse touches Smruti's body (when it fell on her). The enraged spirit tries to kill Smruti by jumping with her into the fire that had been lit by the spirit earlier. Jaidev thrusts an axe into the corpse, making it fall back into the fire. Jaidev saves Smruti and they live happily with each other. Source: http:// www.asaproductions.in


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Exhibit 4 Revenue break-up for 1920

Evil Returns

Net Revenues (INR) Mumbai

1st Week

2nd Week

3rd Week

4th Week

5th Week

Total

55,005,772

14,392,676

505,761

151,928

0

70,056,138

Regionwise %age 32.20%

Delhi/UP

34,607,364

9,927,757

272,764

139,449

283,269

45,230,603

20.79%

East Punjab

13,039,686

4,045,881

51,406

56,500

0

17,193,472

7.90%

CP

11,437,729

2,707,019

79,938

0

0

14,224,686

6.54%

CI

8,894,966

1,700,205

0

0

0

10,595,171

4.87%

Rajasthan

9,906,825

2,028,005

0

0

0

11,934,830

5.49%

AP/Nizam

11,826,040

3,112,344

45,715

0

0

14,984,099

6.89%

Mysore

3,702,102

2,074,544

147,083

0

0

5,923,729

2.72%

TNK

1,034,155

448,583

0

0

0

1,482,738

0.68%

West Bengal Assam

10,849,648

3,669,519

166,173

245,731

143,293

15,074,364

6.93%

1,726,448

600,357

0

44,535

0

2,371,340

1.09%

Odisha

1,812,107

486,983

15,326

14,516

0

2,328,932

1.07%

Bihar

5,213,407

952,527

0

0

0

6,165,934

2.83%

Total

169,056,249

46,146,401

1,284,166

652,658

426,562

217,566,036

77.70%

21.21%

0.59%

0.30%

0.20%

100.00%

Week-wise %age

Source: Information from Ami Shah

Exhibit 4 (Continued) Region Mumbai Delhi/UP East Punjab CP CI Rajasthan AP/Nizam Mysore TNK West Bengal Assam Odisha Bihar

Region Description Mumbai city and suburbs, Gujarat, Goa, parts of Maharashtra and parts of Karnataka Delhi city, Uttar Pradesh (UP), and Uttarakhand Punjab, Haryana, Himachal Pradesh, Kashmir Parts of Maharashtra, parts of Madhya Pradesh, and parts of Chhattisgarh Parts of Madhya Pradesh Rajasthan Andhra Pradesh (including Hyderabad) and parts of Maharashtra Parts of Karnataka (including Bangalore) Tamil Nadu and Kerala West Bengal Assam Odisha Bihar

Source: http:// www.boxofficeindia.com

100.00%


Page 10 of 24

Exhibit 5a Social media market in India Urban India Internet Landscape

June 2012 Active Internet Users

December 2012 84 million

80.2 million

June 2013 (estimated) 89 million

Exhibit 5a (Continued)

email

80%

social networking

72%

entertainment

60%

gaming

59%

browsing

56%

utility

43%

chatting

41% 0%

20%

40%

60%

80%

100%

Base: 80.2 Million active internet users in Urban India, (s ource: IMRB I-cube; 2012)

Source: Social Media in India: 2012 . Internet and Mobile Association of India in association with IMRB international and eTech.


Page 11 of 24

Exhibit 5b Social media usage across different locations

Top 8 metros Small metros

24% 35%

non metros 11% 12%

18%

small towns(2-5 lakhs) small towns(less than 2 lakh)

Base: 57.9 Active Internet users accessing social networking in urban India (Source: IMRB I-cube, June 2012)

Exhibit 5b (Continued) Top 4 metros Mumbai Delhi Kolkata Chennai

Next 4 metros Bangalore Hyderabad Ahmedabad Pune

Top 35 Cities in India Small metros Coimbatore Jaipur Lucknow Ludhiana Vishakhapatnam Patna Guwahati Kochi Vadodara Indore Surat Nagpur

Non metros Aurangabad Belgaum Aligarh Bhubaneswar Raipur

Small towns Alappuzha Ujjain Sambalpur Faizabad Panipat Kolaghat Baleshwar Philbit Amreli Chickamagalur



Page 12 of 24

Exhibit 5c Social media usage across different age groups

82% 68%

84% 65% 52%

55%

School going(15 College Young men(24.2 Older men(11.5 Working Non-working Mn) going(14.9 Mn) Mn) Mn) women(4.6 Mn) women(10 Mn) Social Networking Profile By Demographic Segments Base: 80.2 Million active Internet users in urban India, (Source: IMRB I-cube, June 2012)

Exhibit 5c (Continued) Demographic Segments

School-going children College-going students

Young men Non-working women

Working women Older men

Definition

Children studying in school and above 8 years of age; they were in the age group 8–17 years, although a small portion could be over 18 years. Youths studying in college (graduate, post-graduate, and doctoral students); most students were in the age group of 18–25 years, although a small proportion could be below 18 and over 25 years. Men in the age group of 21–35 years who are not school- or college-going students; this segment included all those who are employed as well as unemployed. Women in the age group of 25–38 years and are not working; this segment included housewives as well as non-working young women who were n ot schoolor college-going students. Women in the age group of 21–58 years and employed outside home. Men in the age group of 36–58 years, employed or otherwise.



Page 13 of 24

Exhibit 5d Activities of mobile internet users (top 35 Indian cities) 90%

83% 77%

80%

65%

70% 60%

44%

50%

40%

40% 30%

32%

28%

33%

24%

20% 10%

10% email

Social Networking

text chat

7%

5%

0%

portal wbsites

all activities

4%

0%

information online games online news search

main activities


Exhibit 5e Top activities on Facebook

Search 4% chatting/messaging

11%

Watching videos

11%

Watching photos

21%

Finding friends

34%

Accessing groups

47%

Using apps

73% 0%

20%

40%

60%

80%

Base: 34.8 Million users in Facebook for September 2012



Exhibit 6a Facebook Custom Apps

Page 14 of 24


Exhibit 6b Posters created for Facebook

Page 15 of 24


Page 16 of 24

Exhibit 7 Facebook insights for the official page of 1920

Type of Post

Average Lifetime Post Total Reach

Evil Returns

Average Lifetime Engaged Users

Links

16,824

558

Photos

24,527

3,102

Questions

15,399

917

Status Updates

24,442

1,252

Videos

27,426

2,394

Source: Facebook Insights for 1920 Evil Returns Official page

Exhibit 8a Region-wise Facebook Likes* Region

Agra, Uttar Pradesh, India Ahmedabad, Gujarat, India Ahmednagar, Maharashtra, India /Mumbai Territory Akurdi, Maharashtra, India /Mumbai Territory Aligarh, Uttar Pradesh, India Allahabad, Uttar Pradesh, India Amravati, Maharashtra, India Amritsar, Punjab, India Amsterdam, NY Asansol, West Bengal, India Ashdod, HaDarom, Israel Athgarh, Odisha, India Aurangabad, Maharashtra, India Balasore, Odisha, India Bangalore, Karnataka, India Barabanki, Uttar Pradesh, India Bareilly, Uttar Pradesh, India Baroda, Gujarat, India Batala, Punjab, India Behrampur, Odisha, India Bhilai, Chhattisgarh, India Bhopal, Madhya Pradesh, India Bhubaneshwar, Odisha, India Bhubaneswar, Odisha, India Bologna, Emilia-Romagna, Italy Calcutta, West Bengal, India Calicut, Kerala, India

Bollywood Territory Delhi/UP Mumbai Mumbai

Likes*

Region

85,471 294,870 104,816

Dhaka, Bangladesh Dubai, United Arab Emirates Durgapur, West Bengal, India

W. Bengal

621,176 333,906 315,030

Faridabad, Haryana, India

E. Punjab

117,783

Gandhinagar, Gujarat, India Ghaziabad, Uttar Pradesh, India Gidderbaha, Punjab, India Gingoog City, Gingoog, Philippines

Mumbai Delhi/UP E. Punjab

176,624 97,397 95,364 156,667

Delhi/UP E. Punjab Assam CI W. Bengal Nizam/And hra CI CP Rajasthan Rajasthan E. Punjab Bihar

91,959 117,273 34,939 35,813 11,973 11,527

Mumbai

97,150

Delhi/UP Delhi/UP CP E. Punjab

259,375 131,448 175,965 151,358

W. Bengal Odisha Mumbai Odisha Mysore Delhi/UP Delhi/UP Mumbai E. Punjab Odisha CP CI Odisha Odisha W. Bengal TNK

278,693 575,250 345,914 223,954 137,506 121,964 189,588 160,178 113,175 86,318 108,825 147,139 340,377 251,296 128,698 187,084 178,806 169,324 90,037

Gorakhpur, Uttar Pradesh, India Gurgaon, Haryana, India Guwahati, Assam, India Gwalior, Madhya Pradesh Howrah, West Bengal, India Hyderabad, Andhra Pradesh, India Indore, Madhya Pradesh, India Jabalpur, Madhya Pradesh, India Jaipur, Rajasthan, India Jaipur City, Rajasthan, India Jalandhar, Punjab, India Jamshedpur, Jharkhand, India Jeddah, Makkah, Saudi Arabia Jhansi, Uttar Pradesh, India Jodhpur City, Rajasthan, India Kalyan-West, Maharashtra, India Kanpur, Uttar Pradesh, India Karachi, Sindh, Pakistan

Bollywood Territory

Delhi/UP Rajasthan Mumbai Delhi/UP

Likes*

9,239 815 2,534 2 1,631 5 2 1 1 2 1,331 333


Region

Bollywood Territory

Likes*

Region

173,511

Kashimpur, Bangladesh Kota, Rajasthan, India Lucknow City, Uttar Pradesh, India Ludhiana, Punjab, India Mumbai (Bombay), Maharashtra, India Mumbai, Maharashtra, India Nagpur, Maharashtra, India New Delhi, Delhi, India Pune, Maharashtra, India

Cartagena, Norte de Santander, Colombia Chandigarh, India Chennai, Tamil Nadu, India

E. Punjab TNK

252,319 131,525

Cochin, Kerala, India Coimbatore, Tamil Nadu, India

TNK TNK

162,231 260,281

Odisha Delhi/UP Delhi/UP

192,774 190,185 574,670 359,813

Colombo, Sri Lanka Cuttack, Odisha, India Dehradun, Uttarakhand, India Delhi, India

Page 17 of 24

Bollywood Territory

Likes*

2 Rajasthan Delhi/UP

651 2,762

E. Punjab Mumbai

1,357 14

Mumbai CP Delhi/UP Mumbai

7,886 1,300 7,907 2,918

* Likes comprises of likes obtained for all types of posts such as links, photos, questions, status updates, videos and also the likes obtained on posts shared by any user

Exhibit 8b Facebook insights for the 1920

Evil Returns Page


Exhibit 8b (Contd.)

Page 18 of 24


Exhibit 9 Statistics of theatrical trailer on YouTube

Page 19 of 24


Exhibit 9 (Contd.)

Page 20 of 24


Page 21 of 24

Exhibit 10a YouTube Views—Mean view percent among female viewers of varying age range

Exhibit 10b YouTube Views—Mean view percent among male viewers of varying age range


Page 22 of 24

Exhibit 11 Impact of Google Ads on trailer viewership Average cost for the most important advertisements:

Promoted Videos - 1920 Evil Returns

27748.87

TrueView In_Display - 1920 Evil Returns

27157.74

Ad name: Click To Play Video; 300 x 250

4016.76

Ad name: InVideo Static Image; 480 x 70

12695.17

Ad name: 1920 Evil Returns; 300 x 250

26716.9

0

5000

10000

15000

20000

25000

30000

Number of clicks received for each ad:

Promoted Videos - 1920 Evil Returns

13282

TrueView In_Display - 1920 Evil Returns

12982

Ad name: Click To Play Video; 300 x 250

294

Ad name: InVideo Static Image; 480 x 70

6103

Ad name: 1920 Evil Returns; 300 x 250

5907

0

2000

4000

6000

8000

10000

12000

14000


Page 23 of 24

Exhibit 12 Digital ad spends Channels

Amount (INR)

%age

Facebook

1,00,000

10.5%

YouTube

3,00,000

31.6%

Bollywood Hungama

2,05,000

21.6%

The Times of India

1,00,000

10.5%

95,000

10.0%

1,00,000

10.5%

50,000

5.3%

Hindustan Times Rediff.com SantaBanta.com Total

9,50,000

Exhibit 13 Region-wise box office collection and Facebook Likes* Territory

Cumulative Likes*

Revenue (INR)

Mumbai Territory

908104

70,056,138

1885487

45,230,603

East Punjab

845910

17,193,472

West Bengal

1071577

15,074,364

5

6,165,934

Rajasthan

3188

11,934,830

Nizam/AP

11527

14,984,099

Mysore

189588

5,923,729

Assam

34939

2,371,340

Odisha

999024

2,328,932

TNK

644074

1482738

CP

482457

14,224,686

CI

296348

10,595,171

Delhi/UP

Bihar

* “Likes” comprises likes obtained for all types of posts such as links, photos, questions, status updates, videos and also the likes obtained on posts shared by any user.


Page 24 of 24

Exhibit 14 Sentiment analysis: Positive, negative and neutral sentiments

13

Exhibit 14 Continued (sample comments)

13

The sentiment analysis r eport was generated by using MeshLabseZiCORE™ Text analytics engine. MeshLabseZi CORE™ Text Analytics Engine delivers features such as meta-information extraction including entities, relationships, concepts, and themes, auto-categorization, sentiment analysis, rec ommendation, and summarization from text-based big data. The company MeshLabs, is a developer of text analytics software that combines advanced linguistics, statistics, and semantics to solve information management, customer experience management, BI, and regulatory compliance problems. This effort was supported by from MeshLabs end by its cofounder Shantanu Gudihal. For more information visit http://www.meshlabsinc.com.

1920_Case (1).pdf

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