Latest news with #SiddharthRoyKapur
Mint
24-05-2025
- Entertainment
- Mint
What Siddharth Roy Kapur wants: Fresh stories told in unique voices
Siddharth Roy Kapur's work cabin is an ode to the films he grew up on. Nestled in a bustling corner of Mumbai's Khar area, with an entire wall taken up by a window that overlooks the street below, it's hard to miss the iconic movie posters on the walls—Mughal-e-Azam, Pyaasa and Sholay. And then there is the prized possession: a poster of the 2023 film Napoleon, signed by the director, Ridley Scott, himself. It's a space Roy Kapur, 50, says he worked closely with the designer on when he started his independent production company Roy Kapur Films after leaving the Walt Disney Co. India, where he served as managing director until 2016. The content studio has churned out films like Deva (2025), Pippa (2023) and The Sky is Pink (2019) besides web originals such as Yeh Ballet (2020), Aranyak (2021) and Rocket Boys (2022), keeping the pipeline steady though not cluttered. After a manic couple of years at Disney where he oversaw everything from the studio business to the broadcast network and the consumer products vertical, all at the same time, it is easy to see why Roy Kapur is taking it slow. 'In the last two to three years, there has been a slowdown in terms of the number of films and shows getting made (across the industry). While it's very easy to have a lot of activity going on (in terms of new announcements), I feel it makes sense to take a breath, look at the landscape, really focus on development, and then make the things worth making," Roy Kapur says. The studio is currently filming a project called Matka King starring Vijay Varma for Amazon Prime Video to be directed by Nagraj Manjule and has announced a web series adaptation of William Dalrymple's book The Anarchy, to be directed by Stephen Frears. He isn't oblivious to the current challenges in the Indian entertainment industry, particularly the theatrical film business. According to media consulting firm Ormax, Hindi cinema saw collections drop from ₹5,380 crore in 2023 to ₹4,679 crore in 2024. Notably, 31% of Hindi cinema's collections came from dubbed versions of south Indian films. If only original Hindi language films are considered, the decline in box office was a steep 37%. The year registered 883 million footfalls, reflecting a 6% decline from 2023. Footfalls in 2024 were lower than the last two years, and continue to remain lower than the pre-pandemic levels. 'I don't think anyone has ever had a clue. The best you can do is guess," says Roy Kapur when asked if the Hindi film business is in a crisis. 'We've come out of it but we're still facing some of the repercussions of what covid did to the industry. ...a lot of consumer habits and attitudes have changed. Attention spans are lower, people are more distracted, you have to grab their attention much more than earlier. Because of the easy accessibility to content that you could not have imagined having 10 years ago, when you had to make an appointment to view something, we've all forgotten what it is to tune into a show (at a particular time) and wait for a rerun or rent a DVD if you missed something. Your content has to be far more compelling to now be able to draw people in and we as content creators have to accept that's where we are now," he says. Also read: Why Diageo's Hina Nagarajan is leaving on a high At the same time, there is potential for higher rewards, he's quick to point out. More films have crossed the ₹500-crore mark at the box office in the last two years than ever before. 'That potential is there, people have the money, and they want experiences. So if you're able to give them something that draws them in, they will come in large numbers. And the flip side is if it doesn't work, they won't come at all, regardless of the star. To me, that's an opportunity as well because it tells me if you're really convinced about the content, it could work. For the longest time, we would bemoan the fact that our business is star-driven but now there is an opportunity to do stuff without big stars," Roy Kapur says, referring to films such as 12th Fail and Munjya that have worked without popular faces. Roy Kapur, who believes producers need to look at commerce and creativity as two sides of the same coin, says there are several takeaways from his four-year stint at Disney India that have spilled over into his current role. 'The institutionalisation of creativity without diluting it (has been the biggest learning). Pixar (the animation studio, a subsidiary of Walt Disney) was able to make movies consistently and maintain artistic creativity, while working within a global corporation and not being laissez-faire about it. They were very clear about feedback loops and sessions where creative conversations were very intense. But they had also institutionalised the process where they would not be making one movie every five years. That balance is beautiful, which is why they had the track record they did," Roy Kapur explains. Given that he was leaving at the top of his game, Roy Kapur's was an exit widely discussed in media and entertainment circles back in 2016. But it made sense to him. 'For me, it felt like a natural progression. After three years of running India operations at Disney, perhaps the next step would have been to go to another geography or move to the head office in Burbank (California) because when you're with a global corporation, that's how you grow. But that was the opposite of what I wanted to do," he says. I already know why because only 10 minutes ago, he's narrated the story of how he was on the next flight home from Hong Kong when mentor Ronnie Screwvala had offered him a marketing job while founding UTV Motion Pictures in 2004. Roy Kapur, with Star India since the early 2000s, was sent to participate in the News Corp Executive Development Program for a few years—News Corp. (now Fox Corp.) then owned a majority stake in Star India. Obsessed far more with the Indian content and entertainment scene, Roy Kapur, in his own words, felt 'in exile" and couldn't wait to return to India. 'It was a great experience to learn as an executive and gain exposure to things at the macro level but I kept feeling India was where the action was and those five years outside the country had taught me this is where I wanted to be," Roy Kapur says, adding that the part of the role at Disney that really got him ticking was content creation. 'While I enjoyed running the broadcast network, the consumer products vertical, the digital and live entertainment businesses, it was content that really did the trick for me and it just felt like a natural next step. With the experience that I had and the relationships that I had been able to build, it felt like the right time to go to the next place," he says. Cinema and the arts had been a crucial part of his life growing up. While mother Salome Roy Kapur was a choreographer who had appeared in a film called Tu Hi Meri Zindagi way back in 1965, his paternal grandfather Raghupat Roy Kapur had produced a string of movies like Shahenshah Akbar and Zanjeer in the 1940s. Going to the cinema was a regular feature as a child, especially with his maternal grandfather who lived right opposite The Strand Cinema in Mumbai's Colaba area. A bachelor's degree in commerce from Sydenham College, and a master's degree in management studies from Jamnalal Bajaj Institute of Management Studies was followed by a brief stint at Procter & Gamble where he realised he needed to have a strong emotional connection to what he was selling or marketing in order to do it well. 'There are some people who are just happy marketing—be it a toothpaste, car or film, they enjoy the act. For me, what I was marketing was very important. I couldn't bring myself to care for a cold remedy or a detergent as many of my peers, who were so passionate about it, did. And that I thought was a disservice to the job," he says. That explains the move to Star India, where he was involved in the launch of shows like Kaun Banega Crorepati, followed by the UTV and Disney stints. Over a decade later, with Roy Kapur Films, life has come full circle. Much like UTV Motion Pictures, where Roy Kapur and Screwvala produced experimental, content-driven sleeper hits such as Rang de Basanti, Khosla ka Ghosla! and A Wednesday!, the idea at Roy Kapur Films is to back new and fresh stories. It's not like he hasn't backed commercial mainstream blockbusters—UTV also co-produced hits like Chennai Express and Yeh Jawaani hai Deewani while the Disney stint saw the success of Dangal, the highest grossing Hindi film of the time. 'It does feel like life has come full circle and that is the north star of what one wants to keep doing. Which is to keep backing great voices that want to tell unique stories and try to make them as commercially engaging as possible so that you're able to take them to as wide an audience as you can," he says. With titles like Rocket Boys, for example, a more nuanced, subtle form of storytelling is being encouraged by makers like Roy Kapur, while their season renewals ensure customer stickiness for OTT platforms. The idea at UTV back in the mid-2000s was simple too. 'Because we were not the manor born and had come from the outside, we didn't have a relationship with the stars and the entrenched system. Those had to be built and we decided to be director-driven than actor-driven. So we picked directors who like us, had a point of view," says Roy Kapur, adding that director Dibakar Banerjee's debut Khosla ka Ghosla, for instance, had done the rounds in the industry with a scratchy semi-ready version that nobody had picked up. UTV picked it up, finishing and releasing it with a marketing budget higher than the production cost. The rest, of course, is history. Roy Kapur, who doesn't believe in work-life balance and endorses the idea of doing what you love so the two weave into each other, says the other big learning over the years has been to not take failure or success too easily. 'Both are fleeting. Have a thick skin when there is a failure and take success with a pinch of salt as well. Enjoy or grieve depending on the situation, but then move on. I've seen a lot of people fall into either despair or hubris depending on how their careers go and that can really trap you," he says. Also read: Why Rashesh Shah of Edelweiss loves running metaphors
Pink Villa
16-05-2025
- Business
- Pink Villa
Salman Khan, Shah Rukh Khan, Aamir Khan take 40% of film budget as fees? Siddharth Roy Kapur spills industry truths
Siddharth Roy Kapur, the producer behind acclaimed films such as Barfi, Haider, and Dangal, recently shared insights into the financial workings of the Hindi film industry. During a conversation with CNBC-TV18, he explained that casting top-tier stars in large-scale productions often requires dedicating 30 to 40 percent of the total budget to their compensation. However, he also observed a shift in approach, with many actors now choosing to accept lower initial fees in exchange for a percentage of the film's profits. Siddharth Roy Kapur explained that for major projects, as much as 30 to 40 percent of the budget often goes toward the lead actor's fee. He compared this to Hollywood, citing Tom Cruise's earnings for Top Gun: Maverick, where a significant portion of the budget was allocated to the star because his presence guarantees a huge opening. Similarly, Siddharth noted that in Indian cinema, stars like Salman Khan, Aamir Khan, Shah Rukh Khan, or Hrithik Roshan heavily influence a film's financial structure due to their strong box office pull. When questioned about whether leading actors are accepting salary reductions, Siddharth Roy Kapur responded that it wasn't exactly a pay cut. Instead, he explained that actors are increasingly opting to take a smaller upfront fee and instead earn more through profit sharing. This approach allows them to benefit directly from the film's success, making revenue sharing a growing trend in the industry moving forward. Siddharth Roy Kapur explained that a portion of the actor's compensation is typically included in the production budget as a fixed fee. However, many actors are now opting to take a smaller fee upfront in order to help manage overall costs. In return, they receive a share of the profits if the film succeeds. He noted that this profit-sharing model is becoming increasingly common in the industry. The veteran producer highlighted that profit-sharing is gaining popularity in Bollywood, benefiting both actors and producers by making projects more financially rewarding for all parties involved.
Time of India
16-05-2025
- Business
- Time of India
Siddharth Roy Kapur reveals actors like Shah Rukh Khan, Salman Khan, Aamir Khan are reducing their fee for share in film's profit: 'If Tom Cruise is doing Top Gun: Maverick...'
Siddharth Roy Kapur reveals that Bollywood's financial landscape is evolving, with top stars increasingly opting for profit-sharing models over hefty upfront fees. This shift allows producers to manage budgets more effectively, while actors benefit directly from a film's success, creating a win-win situation that is becoming more prevalent in the industry. Producer Siddharth Roy Kapur , known for acclaimed films like Barfi!, Haider, and Dangal, recently shed light on the financial dynamics of Bollywood. He recently revealed that casting top stars in big-budget films often requires allocating 30–40% of the budget to their fees. However, he noted a shift in this trend, with many actors now opting to lower their upfront charges in exchange for a share of the film's profits. Star Power Still Commands Big Budgets Speaking with CNBC-TV18, the producer explained that for big projects, actor fees can take up as much as 30–40% of the budget, a trend similar to Hollywood. He compared it to films like Top Gun: Maverick , where a significant portion of the budget goes to Tom Cruise because his presence guarantees a strong box office opening. Similarly, in Bollywood, the involvement of major stars like Salman Khan , Aamir Khan , Shah Rukh Khan , or Hrithik Roshan heavily influences the film's financial structure and economics. From Upfront Fees to Revenue Sharing When questioned about whether top actors are taking salary cuts, Siddharth clarified that it's not exactly a pay cut but rather a shift in payment structure. He explained that many actors are now opting to take a smaller upfront fee and instead share in the film's profits, allowing them to benefit directly from the movie's success. This move toward revenue-sharing is expected to become more common in the industry going forward. A Win-Win for Actors and Producers Siddharth further explained that the current trend involves a two-part compensation model — a fixed fee built into the project's cost and a share in the profits. By lowering the upfront fee, the overall budget becomes more manageable, and if the film performs well, everyone benefits. He noted this approach is becoming increasingly common in the industry. The seasoned producer highlighted that profit sharing is emerging as a significant trend in Bollywood, offering a win-win scenario — it not only eases production costs but also ensures greater financial rewards for both actors and producers when a film succeeds.
NDTV
24-04-2025
- Entertainment
- NDTV
William Dalrymple's The Anarchy Series Adaptation To Be Backed By Roy Kapur Films
New Delhi: Siddharth Roy Kapur's Production house Roy Kapur Films has backed some of the biggest commercial blockbusters such as Dangal and Chennai Express, and critically acclaimed films like Kai Po Che, Barfi!, and Haider, to name a few. Expanding his role as a global storyteller, Siddharth Roy Kapur has now received the rights for the series adaptation of acclaimed author Willaim Dalrymple's book The Anarchy: The Relentless Rise of the East India Company. British filmmaker Stephen Frears has been onboarded to direct this ambitious project. For the unversed, Stephen Frears is known for his stellar work in The Queen, Dangerous Liaisons, Philomena, Victoria and Abdul, My Beautiful Laundrette, The Grifters, High Fidelity, The Regime and A Very English Scandal. The series is being mounted as an international co-production between US-based studio wiip and Roy Kapur Films. Set against the backdrop of the 18th century, the story of The Anarchy is extremely relevant today, in a world where corporate giants possess the undeterred power to shape the destinies of entire nations. The plot explores the British East India Company's commercial ambitions in India, which concluded in taking over an entire subcontinent. The rights acquisition of William Dalrymple's bestselling book was believed to have been amongst the most sought-after book-to-TV rights deals in India. Roy Kapur Films has finally bagged it and the show is touted to be produced on a massive scale. The Anarchy will be shot across the UK and Asia. Stephen Frears reacted to the development, as he said, "This is the most contemporary of themes, a ruthless businessman and his corporation seizing power, a group of oligarchs taking over a chunk of the world, asset-stripping, looting, manipulating the stock market, destroying whole economies for their profit. The East India Company stealing India in the 18th Century." Siddharth Roy Kapur, expressing his delight, added, "Stephen's range as a filmmaker is simply unmatched. He has directed some of the most beloved films of the last four decades, including some of my personal favourites, and to have him come on board to helm this project is an absolute dream come true. Collaborating with our production partners at wiip has been an incredibly enriching experience. This is a story that demanded scale, depth, and ambition, and I am proud that we have brought an extraordinary team together to bring it to life for a global audience." Dalrymple's book was longlisted for the Baillie Gifford Prize and named one of Barack Obama's top 10 books of the year. The upcoming series adaptation is a bold step in the world of entertainment, and worth looking forward to.
