The liquor business operates because of the weakness of alcoholics. Gambling clubs thrive because of the weakness of the players. Likewise, heroes thrive because of the weakness of the producers.
When producers lose a lot of money in a movie, they tend to earn double to cover the loss and compete with other producers for the heroes’ dates.
In the process, the heroes claim huge remunerations and the producers pay them advances, spending a long time paying interest.
The latest trend is to give the hero a huge margin of stock outside of the pay. The hero-centric, hero-centric industry is frequented by producers with their gaming mindset.
For argument and example, Sharwanand was with two flops when he signed Sreekaaram. Yet he asked for the remuneration of Rs 8 Cr.
The producers’ bargaining skills led the hero to agree to a pay of Rs 6 Cr and some incentives if the film works at the box office. But it is shocking to understand the confidence of the producers to give Sharwanand 6 Cr and market the film.
Today, the fate of several producers has changed. Income from non-theatrical activities has become significant. Almost 60% of the film’s production cost comes from non-cinematographic rights. But the heroes leave nothing to the producers.
Some heroes have gone so far as to claim the full non-theatrical rights as their share after taking the pay.
If the film works, then the producer will end up with a marginal profit. If that fails, then he has to burn his pockets to clear all interest and dues. Even then, there is no guarantee that the hero will save the producer by re-giving his dates at concessional rates.
The reason for this hostile atmosphere is none other than the game nature of the producers. As long as producers live without thorns like this, things never change but get worse for the producer community.
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