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My Name is Khan has a lot riding on me: Karan Johar
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Marketing, structuring and pitching a films’ release has to be done with creativity and intelligence. In fact, we are still gaining ground in the world of marketing and many movies are still marketed in a wrong manner. There are two important factors: one is structure the film to demographics and secondly, understand the various tools to be used to leverage that demographic. You have to know where you core audience is, where it lies and how to achieve it. Evolutionary changes like social networking sites must also be understood and leveraged for certain urban-content films.
Critically, there is still a huge audience in the heart of the country that gives single screens a tremendous amount of business, a fact we had started denying, for no particular reason, believing that multiplexes
are everything.
Multiplex is just a glamorous term. There is still a large India whose thinking and sensibilities have not changed dramatically and we should not deny its existence.
In colloquial film parlance, audience is divided into A, B and C class. But we have a limited understanding of how to reach these markets. I think we did a better job a decade ago, catering to them. Today, we have stopped visiting single screens because we have stopped caring about them.
Because of the strong Islamic content in My Name is Khan, there is a connect for a large Muslim audience which, I feel, must watch this film and it is up to us to reach out to reach out to them effectively. It is about goodness and humanity, both universal concepts. And though, the story is based in the US and may have an international texture, its core and gut is Indian, which is why the pan-Indian audience.
Take a film like 3 Idiots, which is a pan-India film and can reach out to every home and audience. I think what Aamir did was clever... in that he connected to the core root of the country because the tonality of the film is far more pan-India then even the content. Its tone and texture was fantastically universal and it needed that kind of
connect. Something Aamir did so with Ghajini as well.
Critically, there is still a huge audience in the heart of the country that gives single screens a tremendous amount of business, a fact we had started denying, for no particular reason, believing that multiplexes
are everything.
Multiplex is just a glamorous term. There is still a large India whose thinking and sensibilities have not changed dramatically and we should not deny its existence.
In colloquial film parlance, audience is divided into A, B and C class. But we have a limited understanding of how to reach these markets. I think we did a better job a decade ago, catering to them. Today, we have stopped visiting single screens because we have stopped caring about them.
Because of the strong Islamic content in My Name is Khan, there is a connect for a large Muslim audience which, I feel, must watch this film and it is up to us to reach out to reach out to them effectively. It is about goodness and humanity, both universal concepts. And though, the story is based in the US and may have an international texture, its core and gut is Indian, which is why the pan-Indian audience.
Take a film like 3 Idiots, which is a pan-India film and can reach out to every home and audience. I think what Aamir did was clever... in that he connected to the core root of the country because the tonality of the film is far more pan-India then even the content. Its tone and texture was fantastically universal and it needed that kind of
connect. Something Aamir did so with Ghajini as well.
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