Transcript (PROP)_INDIA_SONY_GROUPS (Dec 2007)

MOVIEGOERS IN INDIA
CONSUMER INSIGHT
QUALITATIVE FOCUS GROUPS
1
THE OPPORTUNITY FOR US STUDIOS IN INDIA
In the last decade, India has emerged as a rapidly growing world economy. This has owed
much to IT and other related service industries creating jobs, boosting disposable income
for India’s particularly young, stay at home, population (as of 2005, 70% were aged less
than 34 years and 47% less than 20 years).
While statistics on theatrical admissions and revenue are less reliable than more
developed markets, there is broad industry agreement that this young, buoyant economy
offers a cinema market with strong potential. Consequently, India has been classified in
the four BRIC markets (Brazil, India, China and Russia), offering the strongest international
growth potential for the film industry.
In terms of product, it is estimated that the Hindi, Mumbai based, Bollywood productions
have a 40% share of the market, while non-Indian films in 2006 achieved only a tenth of
this (4%). These market trends suggest that the biggest opportunities for US studios will
be co-financing local productions, though there is also huge potential for US product, as
long as the local language needs are well served:
“Over the past three years, we have seen tremendous potential for Hollywood films
in India. It is our endeavour to expand the market for Hollywood in India and to
provide the best entertainment available to the family audiences in a language that
cuts across all audiences.”
THE HINDU (12/30/06): George John (Marketing Manager)
commenting on the 2006 Indian release of NIGHT AT THE MUSEUM
2
CONSUMER INSIGHT IN EMERGING MARKETS: FIRST MOVIES’ EXPERIENCE
First Movies has strong experience in exploring what makes
moviegoers ‘tick’ in developing markets.
A recent example of this is the qualitative consumer insight work undertaken for Sony in
2006 in Russia and the Ukraine, which spanned five cities and a broad spectrum of age and
gender groups.
As with the Russia project, we would schedule in visits to local multiplexes between the
groups, to get first hand experience of audiences in India and we would collect articles to
provide a ‘living snapshot’ through which to illustrate focus group findings.
3
UNDERSTANDING INDIAN MOVIEGOERS: QUALITATIVE FOCUS GROUPS
First Movies propose a series of focus group discussions to help Sony better understand Indian
audiences, focusing on the following topics of discussion:
HOW DOES MOVIEGOING FIT INTO INDIAN LIFE?
THE CINEMA EXPERIENCE
HOW DO MOVIEGOERS FIND OUT ABOUT FILMS?
GENERAL FILM TASTES / ATTITUDES
TO AMERICAN AND INDIAN FILMS
PIRACY
NEW MEDIA CONSUMPTION
4
UNDERSTANDING INDIAN
1 MOVIEGOERS: QUALITATIVE FOCUS GROUPS
More specifically, discussion topics could cover the following areas, to help elicit a deeper
understanding about Indian moviegoers. Findings from the U&A study would steer the content:
HOW DOES MOVIEGOING FIT INTO INDIAN LIFE?
o
o
o
o
How do group members spend their time?
What are the baits and barriers to going to the cinema?
How does it compete with other leisure options?
How do they ‘consume’ cinema, via descriptions of a typical visit?
THE CINEMA EXPERIENCE
o Attitudes to ticket prices and the effect of price upon their cinema-going frequency
o Whether they’d be willing to pay more for a more modern cinema experience (with
surround sound, better seats, etc.)
o How do the facilities on offer affect cinema-going, both in terms of quality and location?
o What kinds of concessions to they buy? ... How often? ... If not very often, does cost limit
purchases or are there other reasons?
5
UNDERSTANDING INDIAN MOVIEGOERS: QUALITATIVE FOCUS GROUPS
HOW DO MOVIEGOERS FIND OUT ABOUT FILMS?
o Where exactly do they find out about films? (trailers; billboards; TV spots; radio; incinema promotions; the Internet; radio; newspapers; magazines; outdoor?)
o Which sources generally are most important when making a decision about which film to
see at the cinema? ... Does this differ by genre?
o What movie advertising sticks in their minds and why?
To understand why a specific source is important, we would ask group members to take part in
a ranking exercise, moving cards up and down a scale, asking them to justify their choices:
Most important
TV COMMERICALS
TRAILERS
RADIO
BILLBOARDS
“I want to get a taste
for the type of story
and music in the film,
but I don’t want to
know too much”.
IN-CINEMA PROMOTIONS
Least important
6
1
GENERAL FILM TASTES / ATTITUDES TO AMERICAN AND INDIAN FILMS
o
o
o
o
o
o
o
What types of films do they generally see at the cinema? .... Why do they warrant a big
screen experience? ... What are the key ingredients of a ‘must see’ film?
How often do they see American and Indian films?
What do they like and dislike about American / Indian films? … What are the baits and
barriers to viewing each type of movie at the cinema?
Do they think there are common themes and values across American movies? … Are
these liked?
Beyond language, what marks American films as being different to Indian films? … What
are the commonalities? … Which type is their preference?
How does American comedy translate for them? … Are there any particularly good or bad
examples?
Which actors are hot (and not) right now? (discussing Indian and American talent
separately) and how important is talent when deciding to go to the cinema
PIRACY
o What pirate DVDs have group members purchased?
o What motivates the purchase of pirate DVDs? (to see before release;
convenience; social reasons; kudos?)
o What are the drawbacks of pirated DVDs and how strong is each drawback?
7
1
o Whether the film would still be seen theatrically, or the legitimate DVD bought when
a pirated copy had been acquired
o Where are pirated copies generally purchased?
 On the street; through friends; online download?
 Are some types of movies easier to get than others?
 How does availability of US product compare to Indian?
o To what extent is it seen as illegal?
o What would persuade moviegoers to stop purchasing pirated product? (messages
about poor quality; funding organised crime; punitive sentences?)
NEW MEDIA CONSUMPTION
o Do they have mobile phones? ... If so, do they use them for purposes other than making
calls: texting; WAP; downloading?
o How ‘glued to the hip’ is their mobile phone?
o What do they think their mobile phone will be used for in the near future?
o How many use the Internet, where do they use it and what do they use it for? ... Which
sites are popular?
o What other new media devices do they know of and/or do they use?
8
RESEARCH DESIGN
FOCUS GROUPS
LOCATIONS:
1
To get a representative read on Grade A and Grade B locations, we
recommend running the groups in the following three cities:
Mumbai: The home of Hindi / Bollywood film productions
Delhi: The capital city of India and political and financial hub of the market
Ahmedabad: A significant area for the countries burgeoning IT service
industry, with an ever increasing number of multiplexes
2 SAMPLE
DEFINITION:
1. To see a Hindi or English language film at a permanently fixed multiplex
cinema at least once every three months, on average
2. No direct contact with the film industry and/ or the fields of journalism
and market research
QUOTAS:
15-20
21-24
25-34
35-49
Males
GROUP 1
Females
GROUP 2
GROUP 3
(mixed)
GROUP 4
(mixed)
GROUP 5
(mixed)
SAMPLE SIZE:
5 groups per city (thus, 15 groups in total) with 8-10 members per group
GROUP LENGTH:
90 minutes
9
FOCUS GROUPS
FEES AND TIMINGS
£37,200
$77,376 at an exchange rate of
£1 = $2.08
Discussion guide approval
Day 1
Delivery of stimulus material
Day 2
Fieldwork
Day 3-15
Including travel across cities
Full report
Day 20
Includes all project set-up and design, all group costs and management in-market (15 groups over a
12 day period), analysis and reporting . Excludes accommodation, travel and expenses for one First
Movies exec, which will be billed separately, at cost
10
Contacts
For more information, please contact Adam, Stephen or Louise:
Adam Sheridan
VP, Research
Tel: +44 (0)207 292 7399
E-mail: [email protected]
Stephen Palmer
SVP, Research
Tel: +1 310 927 8298
E-mail: [email protected]
Louise Chater
CEO
Tel: +44 (0)207 292 8360
E-mail: [email protected]
11