Shreyans Hirawat, distributor of Tubelight on Salim and Salman Khan’s ethical move of sharing the losses of the film

From re-releasing legendary classics like Amar Akbar Anthony, to acquiring the negative rights of over 1,300 big films for satellite release and eventually consolidating its position as one of the biggest distribution houses in the trade, Narendra Hirawat’s NH Studioz, commands a formidable reputation in the business of films. Narendra Hirawat is now joined in his distribution business by his young and dynamic son, Shreyans Hirawat, who is eager to take the 37-year-old legacy forward, with his innovative business moves. In a brief chat, Shreyans recalls the challenges on the distribution scene and Salman’s generous gesture to refund the losses incurred by distributors in Tubelight. Read on for excerpts from an interview...

Considering that you are one of the biggest stakeholders in the distribution business, does star power weigh high in terms of the acquisition and pricing of a film?

Unfortunately, star power does play an important role though there are several factors that play a decisive role in acquisition, be it the director, production quality, previous products from the same banner, besides the story line of the film.

How far according to you does distribution strategy impact the success of a film?

A successful theatrical release definitely defines the fate of a film and that’s where the strategy matters. It is very important to serve the right product to the right audience. Three of the films we released are pointers in this direction, namely Pink, Dear Zindagi and Begum Jaan. In all the three films, the decision to target the right audiences and the strategy made a difference. In fact, Begum Jaan performed well, despite competition from the Hollywood franchise Fast and Furious.

How did it feel when hugely anticipated films like Tubelight and Jab Harry Met Sejal failed at the box office?

It was disappointing as we had huge stakes in both the films and the box-office collections were upsetting. I guess the audience had distinctive expectations from the super heroes of these films and the films were not in sync with their outlook. Interestingly, the base plot appeared to be perfect for both the films.

Salim Khan refunded distributors partially for Tubelight when the film did not live up to box-office expectations. Comment.

The very idea of them considering the losses came as a relief to us. Having said that, it was undoubtedly a humble and big-hearted gesture. They have set out an example for everyone. Salim Khan’s gesture is a sign of ethics and morality in today’s world.

Do you think producers whether stars or non-stars should compensate distributors when highly-priced films fail to live up to box-office hype?

The basic ups and downs in the trade are inevitable, but when some films meet with a disastrous response, it could prove to be a back-breaking experience and a challenge for the distributors of those films. In such cases, the producers should seriously look at compensating distributors to whatever extent they can.

Do you think moderately-budgeted films prove to be a safer bet at the box office?

Yes, definitely but let’s accept the fact that no film is a safe bet until Friday. Nevertheless, any film made in a safe and moderate budget has a fair chance of doing good. Also, the fate of a film lies to a great extent on its relativity to the audiences.

In the ‘90s distribution houses reigned supreme. Now, a majority of these distributors have shut shop. What do you think about this?

Until the late 90s, film distribution was a very safe and rewarding business. It was a win-win situation for both the producers and distributors, wherein both were judiciously rewarded for the risks and returns. Post that period, the corporate houses took over and it was a lopsided balance with higher risks and lesser returns.