A Detailed Analysis on the Success and Failure Rate
in Entertainment Industry
Parth Sarthi Srivastava, Md.Waris Khan, Siddhanta Mishra, Sujay Hiremath
Reg. Nos. - 15BEE0142, 15BEE0092, 15BME0574, 15BCL0036
B.tech,, VIT University, Vellore-632014
Abstract: Making a successful blockbuster movie is the
ultimate in project management. Movies have long had a
mystique that has captivated many an audience. The work and
preparation that goes on behind the scenes to make a successful
movie is a model we could all learn from. Each year in India,
thousands of films are released to domestic audiences in the hope
that they will become the next “blockbuster.” The modern film
industry, a business of nearly 2.5 billion dollars per year, is a
cutthroat business. According to industry statistics, six or seven
of every ten films are unprofitable, making the business risky at
best. Given this inherent risk, how do film studios decide which
films to place their bets on? Are there common factors, such as
critical reviews, movie rating, or production budget, which
explain one film’s monetary success relative to another? This
question forms the basis of this research project. The interview of
few pioneers in this field have also been given in this research
project.
Keywords—Project Management, Blockbuster, Film Industry
I. INTRODUCTION
It is generally accepted that the project management
profession exists within a spectrum of industries, ranging from
engineering and construction to information technology and
manufacturing. Of course, other industries engage in project
management, but their practices may be less documented or
publicized. The motion picture industry, not often represented
in the project management discourse, is an industry that is
expected to provide a unique perspective for the study of
project management. Project Management at the Movies has a
people focus which is one of the most difficult aspects of
managing any project (Standish Group, 1995). We chose to
research film project management due to its wide appeal yet
limited presence among project management references,
academic sources, and published literature. A movie fits the
description of a project - Start, End, Unique Endeavour (PMI,
2004). But how often do we in the “real world”, detached from
the silver screen, consider what people in the movies do to
complete their projects. Movies however hold a mystique,
capture people's attention, motivate and excite. When you can
get people's attention they are better positioned to learn and
apply that learning. Examining project management from the
movie or feature film context can provide another valuable tool
in the development and adoption of project management
processes throughout organizations with the view to lifting
organizational project management maturity and increasing the
chances of successful delivery of projects that are deemed to be
successful. Moving forward we will associate a feature film or
large film production with the general term movie. This paper
seeks to provide an opportunity to explore practices and
processes utilized by movies, those that lead them and those
that participate in them by observing and commenting on what
makes them successful in meeting their goals and to uncover
and capture the significance of project management practices to
the motion picture industry. Our goal is to contribute these
findings to a wider project management community.
II. INDIA’S FILM INDUSTRY
The Indian film industry is the largest in the world in terms
of number of films produced within between 1,500 to 2,000
films produced every year in more than 20 languages.
Historically, the film industry in India has grown at a CAGR of
over 10%. Currently, the film industry grosses total revenue of
INR 138 billion ($2.1 billion). Going forward, the industry is
expected to grow at 11.5% year-on year reaching total gross
realization of INR 238 billion ($3.7 billion) by 2020. The key
growth drivers are expansion of multiplexes in smaller cities,
investments by foreign studios in domestic and regional
productions, growing popularity of niche movies. The domestic
box office contributes to the majority of the revenue,
representing 74% of the total industry. Cable and satellite
rights and online/ digital aggregation revenues are the fastest
growing segments. The Indian film industry is dominated by
Bollywood, the Hindi film industry, contributing 43% of the
revenue while regional and international films contribute the
remaining 50% and 7% respectively. Within the regional film
industry, Tamil and Telugu are the largest segments
comprising approximately 36% of net box office revenues
followed by Bengali, Kannada, and Malayalam films.
Currently, international films is a small, but growing segment,
driven by rising numbers of English and other foreign language
speakers, as well as rising numbers of international movies
witnessing dubbed releases across the country.

Figure 1 : Film industry revenues ( INR BILLION)
Figure 2: Category-wise Break-up of Revenue
Source: Deloitte Report - Economic Contribution of the
Indian Motion Picture and Television Industry
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III. MOVIE PREPARATION IN PROJECT MANAGER’S VIEW
It is generally accepted that the project management
profession exists within a spectrum of industries, ranging from
engineering and construction to information technology and
manufacturing. Of course, other industries engage in project
management, but their practices may be less documented or
publicized.
The motion picture industry, not often represented in the
project management discourse, is an industry that is expected
to provide a unique perspective for the study of project
management. We chose to research film project management
due to its wide appeal yet limited presence among project
management references, academic sources, and published
literature. This paper attempts to uncover and capture the
significance of project management practices to the motion
picture industry. Our goal is to contribute these findings to a
wider project management community.
Project Scope
“Project scope management is primarily concerned with
defining and controlling what is and is not included in the
project.” (PMBOK Guide).
The movie projects begin with the initial idea inception stage
which leads to the full scripted storyline of the idea. This script
would then be pitched in front of Producers who would be
willing to finance this project. [Note: Unlike Hollywood, where
studio networks provide the funding, filmmaking in India is
primarily financed by individuals]
The definition of the scope of such a huge project is very
important as it clearly maps out what key activities should be
carried out for the planning, arranging, controlling and
implementing of the project successfully.
Hence, the scope of the project would involve activities which
would span from pre-production planning and arrangements,
scheduling and budgeting, to the actual shooting procedure, as
well as post-production activities. Further, in terms of the
business context, this project would necessarily aim at
producing the planned film (which is the end product) within
the scheduled time. Controlling the entire procedure of making
the film is divided into manageable sub-divisions and the crew
members are assigned their respective roles and responsibilities
e.g. Set Building is to be supervised by the Art Director,
Cinematography is to be handled by the Director of
Photography, who also co-ordinates with the related
departments like Sound, Lights etc.
Based upon the scope definition, the Work Breakdown
Structure (WBS) of the project is prepared, which enlists the
activities required to complete the project successfully. WBS is
just a list of activities and is not chronologically ordered as in
the case of Project Network Diagram. The possible WBS
diagram of this project is shown in Fig.3.
Fig3: Work Breakdown Structure of the Film Project
Project Stakeholders
“Project stakeholders are individuals and organizations that are
actively involved in the project, or whose interests may be
affected as a result of project execution or project completion.
They may also exert influence over the project’s objectives and
outcomes.” [PMBOK Guide] It is crucial to understand and
identify the stakeholders and determine their expectations and
requirements so as to ensure a successful project. The
stakeholders in this particular project can be:
a) Director / Writer: - He invests his idea, skill, time and
effort in bringing the project to life. He is the driving
force and the head of the creative department.
b) Producer(s):- They invest the money and take care of
the financial aspect of filmmaking. Right from the
location and equipment hires to paying bills for the
cast and crew members, they look over all of it.
Table1 : Success/Failure Analysis for Stakeholders
c) Cast/Crew: - The 300 strong cast/crew members
spend a long 6 month away from their families in a
remote location until they complete their task. They
are also the active participants and executers of the
project.
d) Local Population: - The local population is also
significantly affected by such a huge project being
undertaken in their vicinity.
e) Law and Order: - The law and order of the location is
also a stakeholder as it can affect the way the film is
produced. Any disruption to the environment, anti-
cruelty laws against animals etc are factors which
influence the project.
Movie Directors as Project Manager
When we think of movie directors, we think of the person
running the show. They often get top billing along with the star
actor and can be the difference between success and failure.
Who you have leading and directing and who you have
delivering the work is a critical success factor for a project. Is
the Movie Director the best person to describe as the project
manager for a movie?
In researching this topic we came to the view that the Director
has a strong visionary role, heads creativity, leads and directs,
uses many project management processes, tools and
techniques. We would best equate the Production Manager as
the person filling the role of the “Project Manager” and the
Producer as filling the role of the “Project Director, Executive
or Senior Organizational Manager”.
These three roles, Director, Producer and Production Manager
set the foundation for building a movie project and form the
initial team or “crew”. It does not mean that there will not be
examples of one person filling all three roles. However that
brings risk. In movies that are the result of major productions
we observe that the risk is mitigated by clearly separating the
roles, making sure they are resourced and having good
communication processes in place to deal with the number of
people involved.
When we consider the A Guide to the Project Management
Body of Knowledge (PMBOK® Guide) processes they are not
limited to use by the person assigned the role of the project
manager, but valuable and scalable for use by other key project
roles as outlined above.
The Person entrusted to deliver the movie, taking the planning
and making it a physical reality is the Production Manager.
This role best maps to responsibilities of a Project Manager in
non movie projects and so will be a key focus and centre of
learning for our paper.
IV. MOVIE PROJECT LIFE CYCLE
Like any other industry there are set Project Lifecycle
phases that are adopted and form the basis for making a movie.
There are set methods employed and processes used.
An indicative movie Project Life Cycle will have at least 3
Phases
 Pre-Production (Planning the Shoot)
 Production (The Shoot)
 Post Production (Editing and Revising the Shoot)
The “Shoot” refers to the period when we “shoot” film, the
traditional media for recording movie scenes. Thus we equate
the production phase where people are actively setting up,
acting out and recording movie scenes to the “Shoot”.
The period prior to the start of pre-production is an
important time. We can refer to it as Pre-Pre Production and is
generally encapsulated in the overall Pre-Production Phase
when reported. The expected output of this period is a mandate
to proceed and get key personnel on board. It equates well to
the PMBOK® Guide process output of a Project Charter (PMI,
2004). One of the key people to be employed by the Producer
of the Movie during this period is the Production Manager,
which we assigned the role of project manager earlier.ar.
Project Network And Critical Path
The entire project can be further sub-divided into two major
subprojects. The first part is the Pre-Production Project, which
ends with the Beginning of the Shoot. The second part is the
Shooting and Post-Production which ends with the final
element of the project, the Release of the movie.
The structures in Fig.2 show various Stages of the Pre
Production phase of a Movie project lifecycle. It is depicted
here to provide an appreciation for the level and areas of
activity required to manage a pre production phase of a movie.
It has been constructed in a Work Breakdown Structure (WBS)
format (PMI, 2004, p379), to illustrate the power of visual
techniques, like a graphical WBS, in quickly grasping the big
picture aspect of what is required on a single page. The Visual
format allows individuals to focus on the area they are most
interested in whilst considering the overall production. This is a
very powerful planning technique.
Although, the project procedure begins with the Script Writing,
but from a management point of movie, the project initiation
start-point is after the Script is being given a go-ahead. The
Project Network shown in Figures gives a graphical idea of the
Project activities.
The critical activities are the ones which contribute the
highest to the risk factor of the entire project. These activities
typically involve high time and resource and rely a lot on other
uncertain factors like weather conditions, irreplaceable
resources (like the Technical crew, leading members of cast
etc.). Further, these could also be such activities which are
mandatory to be completed for any other activity else to begin.
Considering this, the following can be termed as critical
activities.
a) The appointment of the correct Cast and Crew
members for the project is the most crucial activity for the
project. Without the right minded resources, any project can
collapse and in case of this project, this is extremely essential.
b) The sheer size of such a project demands a proper
planning and scheduling to control the time and money
constraints effectively. Hence, project scheduling and planning
is one of the critical activities.
c) Location Amenities and Set Design: Without proper
amenities, the cast and crew member team cannot be kept on
location. Set Design on the other hand serves the backdrop of
the movie canvas which needs to be completed before the
movie begins.
d) Shooting: For obvious reasons, the shooting of the movie is
also one of the crucial activities because this is where all the
planning is being implemented.
The time scale shows the various activities and the time taken
by them.[Source:S.Bhatkal, The Sprit of Lagaan, 2001]
Based on this timescale [Gantt Chart, H.Maylor, Project
Management], the critical path (the longest path of planned
activities to the end of the project, and the earliest and latest
that each activity can start and finish without making the
project longer) for the project network can be deduced as
shown in the figure below.
Risk Analysis and Causal Map
On further analysis of the Project, the correlation between the
issues and risks can be determined. The causal map figure
(below) shows how the risks and issues are related to each
other.
[The blocks in blue denote the risks and issues faced by the
project. The pink blocks denote the measures taken by the
management to handle these risks and issues. ]
The management actions that would be undertaken to handle
these issues and risks are shown in pink blocks in the above
fig. They are listed below.
• Supervise Health, Safety and Security
• Extra Effort by Asst. Direction Team to Control Extras
• Customisation and Rework
• Negotiate with Law Administrators
• Hire New Equipment
• Control Budget for Post Production
V. INTERVIEW
After many failure trials to reach to pioneers of this field, we
got a chance to interview a theater and serial actor
Dr.Prasanna Ku. Mishra and Surya Rath a top leading director
and producer in Regional motion Industry.
Interview 1
Dr.Prasanna Ku. Mishra is a retired professor of OUAT(Orissa
University of Agriculture and Technology), Odisha and now
leading his passion of acting and through local theaters and
serial. His major roles in theaters like ‘Balika Badhu’,
‘Kaliyug Rabana’, ‘Abasara’ , ‘Patent Medicine’ , ‘Bandhya
Gandhari’ are famous and his direction in ‘Uttarapurusha’
brought the whole crew of the theater to get awards.
DR.PRASSANA KU. MISHRA
Data collected from the Interview
How much money is spent on promotion of the movie?
Promotion is one of the key factors to make a film hit or flop.
Generally, distributors spend 1-2 Cr . on the promotions. Now
the amount distributors paid to the producers and promotion
amount, Sum of the both is the new cost of the film.
How does producer of the film ensures its profit?
Sometimes producers themselves are the distributors of the
film. Sometimes Producers sell the film to the distributors and
secure their profit.
What type movie generally makes a good impact on audience?
A movie which makes you think, which leaves you in surprise
or which makes you slip into a feel or which makes you laugh
are the ones that will be successful. And many a times the
movie made on social cause and art also, becomes a hit.
Also type of audience and place greatly influences the success
type of movie like old people like the devotional movies
whereas a kid or the youth may not like such movies.
Major aspects in movie making?
 Story
 Screenplay
 Acting
 Casting of actors
 Direction
 Promotions
Are there any new marketing strategies that producers adopt
for success of their films?
If two or more films are releasing at the same time they try to
buy more screens to increase their profit.
How movie makers promote their movies?
 TV shows
 Trailers
 Press session
 Social media challenges
 Twitter
Interview II
Surya Rath is a top leading Producer and director of the
Regional Entertainment Industry. Some of his major works are
‘Rajakanya’, ‘Maa’, ‘Jeje Maa’ etc.
Actors are paid generally upon the reputation in the
industry, the entry level actor might get 20,000 per
episode while a good established actor might get 60,000
to 70,000 per episode.Supporting actors are paid 5-10k
per episode.

Q. How do channels and serial earn through TV series?

 TV serial producer have to give money to channel for
display of serial.
 If serial are of 30 minute, 10 mint advertising takes.

If TRP of serial is more, there will be more advertiser and

hence the serial will earn.Hence the money flow between
channel, producer of serial and advertiser.The money paid by
the advertiser is divided between the serial producer and the
channel in some ratio.

Q. How much advertisers are ready to pay for advertisement?

Generally it depends upon time and day when the
advertisement has to be broadcasted and the trp of TV serials
also matters. On day of cricket match they are ready to pay
around 3.5L to 4.5L for 10s

By doing some research online we got some data on

SURYA RATH advertisement

Q. What is budget allocation of regional serials?

Channel slat rate (local) 39,600.
Pre-production
Script writer with dialogs= 5,500.
Lyrics=1,000 - 7,000
Director=24,000.
Asst director=5,000-19,000
Music=14,000

Production
Location charges=14,500
Costumes charges =8,500.
Camera = 10,000
Asst camera = 1,250
Lightings = 2,500 - 12,250
Transport charges=6,000 VI. STRUCTURES AND METHODS FOR GOVERNANCE
Make up man with material=2,750 AND MANAGEMENT OF PROJECT
Food charges for around 30 members
Including snacks=5,150. The scope of a movie project is very large, and hence, each
activity has to be treated as a mini-project. Special care has to
Post- production be taken to ensure that the project was being run on schedule.
Graphic design and title=4,000. For this, call sheets were utilised to track records of attendance
Editing including Rerecording charges=10,000. of cast on time. Precise timings for breaks were allotted and
Producer margin 15%. 34,000 each activity was given a deadline. Project Scheduling,
Detailed Budgeting and Resource Controlling are
(All the above data is given per episode)
implemented to manage the project. Besides that, checkpoints
at strategic points are used to monitor the progress of the
Q. Generally how much actors are paid? movie.

•Markers for Success
Listed below are some of the key areas that we have identified
that have a strong focus in Movie projects and are markers for
success.
Clear understanding of the vision - it's a movie
A Story
A detailed Script - which can act as a pseudo Work
Breakdown Structure (Written WBS)
Passion and Buy-in for the project
Clear roles and responsibilities
A story board - acting as visual guide of what is expected to be
created (Visual WBS)
Focus on the Financials
Cross Plotting (Resource allocation and utilization)
Detailed Scheduling - Role of the 1st Assistant Director (AD)
- a powerful and dedicated resource and dedicated scheduler
Change Management (what is the impact and flow on effect)
Practical Risk Management -related back to the scope of the
Movie
We will look to explore some of these in more detail and
provide points for contemplation and learning. By no means
are these the only areas that would need to be covered to allow
success. But we will limit our scope to these to illustrate that
we can look to movie projects for guidance and analogy
The list above has a central theme of “People”. We will
explore the following in more detail:
A Story
Clear understanding of the vision - it's a movie
A detailed Script - which can act as a pseudo Work
Breakdown Structure (Written WBS)
•“Why” a Story?
“Because” people remember them and have had experience in
interpreting them since a young age. Story telling has been
engrained in many cultures for centuries. We like stories, they
are one of the most basic but powerful communication
vehicles that we can use to sustain our message and meet our
goals, especially when dealing with large numbers of people.
You can't have a movie without a story and similarly if you
can't tell the story of what your project is about in an IT or
Business project you are already setting yourself up for
failure.
Understanding the story and being able to tell it to a varied
audience will be one of the over riding success measures you
can apply. The better you can tell it, the more engaged your
audience and the more likely your stakeholders are to
remember your message, and act in your interests.
The story is an integral part in people accepting the “Pitch” -
The pitch can be described as the movie Business Case or
Proposal that outlines the movie in terms that a movie investor
can understand and be in a position to assess the merits of the
movie with the view of providing financial support or deciding
not to proceed.
A good story, whether it is the basis for a movie, solution
offering by a consultancy firm or sales pitch for a new brand
of washing detergent, needs to be easily understood, address
the needs or wants of its audience and make sense. If the story
holds together and exhibits these characteristics then decisions
can be made more readily and risks can be reduced through
better understanding of the objectives and what may affect
those objectives. People are trained to listen to stories from a
very young age and are good at retaining information more
readily when they can recognize the pattern of a story within
the material they are presented. The concept of a movie
project is founded on the idea of a story. The story is what
allows movie projects to engage the entire cast and crew and
wider stakeholders groups in a common and non complex
way, ensuring everyone is on the same page. If we know the
story we can foresee the ending and what needs to be done to
get us there. If everyone can see the happy ending then there is
a better chance of one becoming reality.
“…whatever the production, the medium, and the tools are not
the issue, it is the story that counts.” (Strain, 1998)
Annabelle Sheehan - Head of Film and Television AFTRS
wrote:
“…Film and television productions that are successful have
been so because every crew member took on the story as their
ruler, their map, for every creative decision. (2003)”
•“Why” a Clear understanding of the vision?
“Because” to be engaged and motivated people seek to
understand the vision so they can make sense of what they are
contributing to and so feel that their endeavors are worth
something to them. The vision is based on the leaders’
interpretation of the goal and we need to consciously and
subconsciously decide if we will follow and how we can best
do that. Knowledge with commitment is a model for success.
•“Why” a detailed script?
“Because” without breaking the story down into smaller
pieces that we can structure and derive what we and others
need to do, by when and at what cost, we can't see the forest
for the trees and we roam in the wilderness lost. Note that you
need a story to break down. We don't start with individual
pieces acted out in a random fashion. Well successful project
don't.
An approach to solving many large problems is to break them
down into smaller parts. This approach is used in many areas
of project management. I most associate it with the term
decomposition (PMI, 2004, p358) and very evident when
creating work break down structures (WBS) to identify and
organise the project deliverables to define the total scope of a
project (PMI, 2004, p379). As with our PMBOK® Guide view
of the WBS as the corner stone to any project the Script plays
a similar role in movie projects.
A WBS can be used to lead to decisions regarding, resources
both human and equipment and their location. Identify risks
and leads to the create of workable and logical schedule and
validates then sets a realistic budge to meet the agreed scope it
defines.
So does a Script lead to decisions involving Cast and Crew,
equipment, Locations, Budgets for Production and ability to
set a schedule. I wish to note that the WBS and a Script are not
substitutes for one another. You can have a script and also
create a dedicated WBS that includes other movie deliverables
that are not directly evident in the script. These are planning
tools; you are free to use them in many different ways for the
best benefit of your project. As with a WBS, a script does not
have to be so detailed that every possible deliverable is listed
and catalogued. They are tools in their respective areas of use
that can assist us to define what it is we are delivering and
how it fits together. I would also note that though we can more
than likely equate the Script to a Project Scope Statement
(PMI, 2004, p370) as they share similar characteristics. I
would for the benefits we gain by analogy equate it more to
the WBS for its work package/planning item like structure (A
scene being equated to a WBS Work package and or WBS
planning item, depending on the level of detail).
A Script can drive the creation of a WBS; it can be an input to
the Create WBS process and an output of Scope Definition
(PMI, 2004, p49) which will lead to eventual development of
a schedule. In movies the Script acts a pseudo WBS that helps
to identify activities in order to deliver the footage for a scene,
guide the sequencing of those activities based on the
dependencies identified relating to the scene, estimating the
resources needed to carry out the required activities and
depending on the availability of the resources estimating the
duration required to carry out filming of the scene. These
processes outlined align with those we recognize in the
PMBOK® Guide, (PMI, 2004, p70).
The power of the script lies in the fact that it is already a story.
It lays out scene by scene what is needed to complete the story
and allows the reader to extract the information they need to
do their part.
This is how we would like Project Managers to view the use
of a WBS. The WBS should always tell the story of what is
being created, it can be scaled and set at different levels
depending on the phase of the project but must maintain its
cohesive story.
•Clear understanding of the vision
As with the story, understanding the vision is a key success
measure in any project. The fact that the central premise of
movie projects is a movie means that it is an easier sell to get
people to understand what you are trying to achieve and get
them on board.
Project managers, Executives and leaders of all shapes and
sizes often struggle to convey and maintain a consistent vision
of what the project is about which outlines where it is at
present and where it is heading. To be engaged and motivated
people seek to understand the vision so they can make sense of
what they are contributing to and so feel that their endeavours
are worth something to them. Regular communication of a
vision, allows participants to re-evaluate their commitment, re-
enforce it or remove it. Providing a controlled vehicle for this
communication will allow the correct messages to be sent and
received as intended allowing the participant to make a choice.
There is a communications exercise that simulates a project,
assigning roles and responsibilities to the participants whilst
hindering the ability to communicate through the various
communication paths by restricting communication via a
designated path and only allowing written communication via
notes to be passed through a central point. No verbal
communication is allowed. The project has an achievable goal
and is time limited.
In my experience observing and debriefing participants, one of
the key lessons that this exercise highlights is that people
working in projects regardless of the rhetoric they speak,
experienced or novice in the field of projects, behave in
similar ways. People seek out information that provides a
context to the engagement that will allow them in the first
instance to make a decision as to whether they wish to
contribute. If this information is lacking or not clear, their
ability or willingness to contribute to the goal is hampered.
Lack of the communication of a clear vision can result in un-
focused enthusiastic or disgruntled activity in some cases;
apathetic inactivity in others.
VII. CONCLUSION
Project Management at the Movies examined what movies do
to run their projects, considering some key markers that we can
look for to signal a good chance of successful delivery of the
movie. However like movies, having the film wrapped up and
in the can, distributed and in the theatre does not mean it will
be accepted and the investors will get the return on investment.
Its can be a difficult world out there.
Similarly when we manage our projects we should keep in
mind that just running the project and ticking all the boxes,
“doing the right thing; does not always bring success. It is a
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