Real stardom is measured by theatrical performance of films, not by digital deals or hype.
Even when a star delivers a flop, the film still collects some money in theatres. That basic pull shows the real connection the star has with audiences.
Based on that, film budgets must be planned carefully, keeping theatrical returns as the main base.
In recent times, many stars are judging themselves based on OTT deals. But even OTT platforms are not blindly paying big amounts anymore.
They are fixing prices based on expected theatrical performance, often after tough negotiations before release.
A popular hit of a star hero this year was initially expected to get Rs 70 crore from OTT rights. Later, it was reported to have closed at Rs 56 crore, but in reality it closed at Rs 32 crore. After the film crossed a box office marker, another Rs 5 crore was added, making it Rs 37 crore in total. This shows that even the biggest hits depend on theatre performance for OTT value.
With such trends, expecting huge OTT money is risky. Many films are delaying releases due to difficult negotiations with platforms. Budget control has become very important.
How to control the budget and what star heroes and producers and directors should understand!?
For example, a recent film of a big star grossed around Rs 90 crore at the box office and was still declared a disaster. This means it brought a share of about Rs 45 crore to the producers, yet it failed commercially.
The reason is simple. The making cost itself was more than Rs 150 crore, which made recovery impossible.
So, in actual terms, the true budget worth of that hero is only around Rs 45 crore, including remunerations, making costs, promotion and release costs, and not a rupee beyond that. This is the realistic ceiling based on theatrical returns, not on assumptions or inflated expectations.
If films are planned within this range, even if the film turns out to be a flop and OTT rights are minimal, the producers can still remain safe. Scaling should follow this practical approach to avoid heavy losses and bring stability to film production.
Directors and heroes can come on board as shareholders, sharing in the profits if the film becomes a hit and earns well.
This kind of model reduces the initial burden on producers and aligns everyone toward success, much like how Ranveer Singh is said to have structured his involvement in Dhurandhar 1 and Dhurandhar 2.
Well, Tollywood star heroes and directors may argue that making films with stars at Rs 50 crore or below is impossible. But then, how was Dhurandhar made with so many stars at a combined cost of around Rs 280 crore for two parts together?
That clearly shows there is room for better planning and cost control. Instead of simply arguing, they need to reassess their approach and understand where adjustments can be made.
