• English Vinglish

    Sridevi returns could easily have been the only focus of the communication overshadowing everything else but its wasn't done so. Content and the theme of the film became an equal partner in the pre release communication. Debutant director Gauri Shinde and creative producer R Balki were profiled with equal gusto. The seemingly low key but consistent communication was a part of the uniqueness that was designed for this film. It released in an environment where there were other highly billed women centric films. But English Vinglish scored critically as well as commercially.

  • Oh My God

    To educate the audience correctly about the genre of the film and build correct expectations was the primary task in OMG. A Paresh Rawal and Akshay Kumar film that has a strong concept at its core. The communication did not go into the preachy zone and OMG has become one of the biggest hits of 2012.

  • Ek Tha Tiger

    Salman Khan on Eid. A slightly different Salman Khan than that of Ready and Dabangg Anticipation and more anticipation was built through constant reminders. A record breaking opening was in sight but it had to be optimized through relentless efforts. Ek Tha Tiger surpassed all expectations of the opening day of the box office.

  • Gangs of Wasseypur 2

    The task was to differentiate between part one and part two, which was released shortly after. The high-decibel campain for part 1 was revived in a different context. It was a unique communication task, especially since it has not happened in Bollywood before. Perhaps for the first time we could empathize with the plight of being the son of a legendary father and having to live upto him. A unique identity of GoW part 2 was carved out and we got to learn a bit about � momentum marketing�.

  • Cocktail

    A delightfully fresh communication campaign targeted at the Indian youth made all the difference for Cocktail. A well orchestrated marketing campaign can achieve the unthinkable when it is supported by the promise of content, which was music in this case. Cocktail holds the record of fetching the biggest opening day box office numbers for a romantic film.

  • Gangs of Wasseypur

    Easily one of the most talked-about films of this year. An audacious and sensational public relations campaign was matched by the confidence of the film's content. The lack of star value didn�t come in the way of it becoming a big film. The brand rode high on enthusiasm and confidence of the film's promoters. The humble �gamcha� (cloth towel) was used as a promotional tool everywhere, including at the Cannes Film Festival where the film was screened. The scale and intentions never seemed small. In more ways than one, the marketing campaign of GoW was reminiscent of Ghajini.

  • Ferrari Ki Sawaari

    A lengthy campaign had already made the movie into an awaited one. The fact that it is an interesting film with a good story was established before its release. The credentials of the filmmakers were buzz points.

  • Ishaqzaade

    Arjun Kapoor and Parineeti Chopra were the mainstay of the campaign. One of the most compact and carefully constructed campaigns of this year, the pre-release communication created an urgency to see the two young actors on the screen. The pre-release buzz of Arjun Kapoor was very high, and his media introduction was carefully handled. Parineeti Chopra became a new story of hope for Bollywood. Audiences bought into the promise of two stars in the making -- and they delivered.

  • Ek Main Aur Ekk Tu

    Imran and Kareena�s fresh pairing for this film was much talked. Imran's interest in photography, which resulted in him taking pictures of Kareena during the shoot, became an element of communication. The uncnventional romcom opened to extraordinary reviews, especially because of its gentleness and sincerity, and was a commercial success.

  • Force

    John Abraham's body was back in the news after Dostana, albeit in a very different way. The ferocity of his body was communicated throughout the campaign of Force. Force was clearly an action film and it was talked about in those terms. It has become the biggest solo hit of John's career and perhaps for the first time, a John Abraham film did very well in smaller towns. Spice Bhasha, a division of Spice that spearheads the marketing and communications for films in heartland India, created a special communication campaign that carried Force deeper into smaller Indian towns.

  • Bodyguard

    We needed to communicate the assets of the film and the values that it stood for. Salman Khan coming back on Eid was perhaps enough to assure a successful film, but for it to become the biggest opener in history, we needed a groovy communication campaign. Shera, Salman Khan's personal bodyguard, became a communication high point. He communicated the values of loyalty, friendship and the significance of a bodyguard in the life of a superstar like Salman Khan. Spice Bhasha, a division of Spice focussed on communication to heartland India, added further layers to the communication.

  • Zindagi Na Milegi Dobara

    that was all that was being talked about in business circles when Zindagi Na Milegi Dobara (ZNMD), contrary to the initial trade predictions on the film, took a flying start at the box office. ZNMD is a classic case of a communication turnaround. The insiders would know that it wasn't just 'the road trip' which did the trick, but a body of sustained communication that came together in the end. The Mumbai-Delhi road trip, which the heavy-duty star cast of the film embarked on, is regarded as one of the most effective promotional ideas of recent times.

  • Delhi Belly

    The attitude of the film was made clear through its communication. The task here was to prepare the audience for a radically different experience called Delhi Belly. The challenge was to create an atmosphere where the audience is not only able to stomach this pungent dish but also one where they savour its taste and aftertaste. The irreverent music of the film was made the focus of the communication campaign. Delhi Belly was the first film that had a success party for its music. Few other firsts cannot be divulged.

  • Dum Maaro Dum

    One of the most sharply edgy motion picture brands in recent times, sleek, sexy, and seductive Dum Maaro Dum is a communication cocktail. The title song is perhaps one of the most talked about songs in recent times. Dum Maaro Dum has gone on to become one of the biggest successes for actor Abhishek Bachchan, besides Dhoom 2 and Dostana.

  • Tanu weds Manu

    By the shear ingenuity of marketing communication, this competitively small film was made into a big one prior to the release. The sharpness of communication took many by surprise and Tanu Weds Manu went on to become one of the biggest hits of 2011. Many consider this film�s success to be a miracle achieved by marketing and communication.

  • Do Dooni Chaar

    Content communication was key here. A middle class story communicated with as much conviction as it was made with. The return of Rishi Kapoor and Neetu Singh in Do Dooni Chaar became the buzz point of the film.

  • Khichdi

    The star cast of Khichdi launched the promotional campaign bang opposite Shahrukh Khan�s landmark residence in Bandra. Khichdi was the first ever television series to get made into a movie. Shahrukh recognized the sincerity of the efforts and officially met the cast and crew of the film at the release.

  • Robot

    Instead of being another Rajnikanth release, Robot was projected as the �biggest Indian film� ever attempted. The whole of India was gripped by Robot and Rajnikanth SMS jokes.

  • Peepli [Live]

    There was unprecedented buzz and anticipation for this different looking film with a raw rural background. It didn�t have the prettiest of faces and rumours of the film being based on the serious issue of farmer suicides didn�t help the cause either. The odds were stacked against the conventional route of marketing. The film�s principal character Natha endeared himself to the nation and his meeting with Bollywood star Deepika Padukone only enhanced his innocent appeal.

  • Udaan

    Udaan is another classic example of content communication. Prior to the film�s release, it was established that one should not miss this film if good cinema is what you look for. Udaan worked brilliantly for its makers and Vikramaditya Motwane became one of the most promising directors in Bollywood.

  • 3 idiots

    The biggest hit of Bollywood had its own challenges in terms of marketing and distribution. An English title, sophisticated content which was multiplex skewed, and the added pressure of beating Ghajini�s record which looked mammoth at that point in time. But every challenge was surmounted. We are proud to be associated with Bollywood�s highest grossing film to date, and also perhaps the finest film of contemporary times.

  • Quick Gun Murugun

    Quirky communication which was designed for this film caught the imagination of a large section of its target audience. Without a star cast of any pedigree in Hindi cinema, the film became an anticipated one. Quick Gun Murugun captured its own place under the sun of marketing.

  • Little Zizou

    Quaint Parsi story of a football loving kid became a respectable collector amongst niche films. The communication of the film was largely about the lovability of Parsi community. Their enduring idiosyncrasies and their food habits formed a large part of film's profiling.

  • Slumdog Millionaire

    We call it destiny marketing or even the marketing of destiny. The Indian communication of Slumdog Millionaire was a tough challenge. In its country of origin, Slumdog Millionaire faced most of its share of flack. However, one rickshaw ride by Bihar Chief Minister Nitish Kumar to watch the movie�s Hindi version changed a lot, both in terms of Indian connect and box office collections. Eight Oscar Awards further added to the glory and audience interest.

  • Dev D

    Not many people know that Dev.D was on the verge of getting scrapped for being non-viable. The challenge was to make the 55 year old story of Devdas appeal to today�s youth generation. The PR and communication division worked relentlessly towards this marketing objective. Dev.D�s marketing communication is regarded as the Ghajini of small and independent film marketing. The brand still resonates with the youth.

  • Ghajini

    If Hum Tum was the beginning of a modern approach towards film communication, Ghajini marked the arrival of its second level. The brand/marketing world, and perhaps the nation, was shocked at the sophistication of Ghajini�s marketing strategy. Till date it remains a case study in various IIMs. Aamir Khan giving Ghajini haircuts to common people in a crowded Bengali market area of New Delhi has become a legendary act in marketing folklore.

    A press conference inside a gym, a personalized press kit on �how Aamir remembers you?�, multiplex ushers donning Ghajini haircuts on the release of a big Shahrukh Khan movie (Rab Ne Bana Di Jodi), Ghajini was a stunning display of simple, yet ferociously effective ideas.

  • Oye Lucky ! Lucky Oye !

    A path breaking film which pre-warned all of us of Abhay Deol�s talent and stardom, the film was communicated as a sharp comedy with black undertones based on the real life story of a Delhi thug, Bunty. Though it was released, very unfortunately, two days after the tragic events of 26/11 which shook the entire nation, the film�s communication went a long way in making it a DVD and satellite success.

  • Fashion

    This film became one of the rare examples of a woman-oriented subject succeeding at the box office. It released on a crowded Friday, but caught the maximum attention.

  • Welcome to Sajjanpur

    The challenge was to convey a Shyam Benegal film as a new age multiplex comedy. The movie had a quaint appeal. Shreyas Talpade, the main protagonist of movie, sat outside Mumbai GPO and wrote letters for those unable to write themselves.

  • A Wednesday

    A common man�s uncommon success at the box office, Naseeruddin Shah and Anupam Kher, two of the finest actors in Indian cinema, were the highlights of the communication around this racy thriller.

  • Singh is King

    Singh is Kinng was communicated as an extravaganza. Special stories that had a lasting impact in terms of brand building were put out. Research shows that it is one of the highest recalled successes of actor Akshay Kumar.

  • Aamir

    A film high in content riding on the shoulders of popular TV actor Rajeev Khandelwal, Aamir was pitched in the realms of quality content.

  • Jaane Tu

    This film released alongside the big budget film Love Story 2050, but Jaane Tu... took a flying start. At the box office, it turned out to be one of the biggest hits of 2008. Imran Khan, who was launched in this film, didn�t give a single interview during the pre-release campaign of the movie.

  • Welcome

  • Taare Zameen Pe

    Aamir Khan makes an entry into the movie exactly at interval point. The child actor Darsheel Safary was put ahead of a mega star in the film�s communication. Childhood and school became the primary elements of the brand Taare Zameen Par. After its release, the film acquired the status of a modern classic which not only entertained people but deeply impacted society. Dyslexia was an element of communication only post the film�s release.

  • Life in a... Metro

    Multiple star cast, multiple stories and multiple PR streams, that�s what Metro was all about. The film�s music was strongly integrated into the PR plan.

  • Bheja Fry

    A movie made on a budget of Rs 50 lakh grossed more than Rs 20 crore. Perhaps the single most important �small� film from the point of view of the trade. This had a short but highly intense communication window. The communication began on Fool�s Day (April 1) 2007. Vinay Pathak and Rajat Kapoor�s film, shot in one room, was promoted with much gusto and zeal.

  • namastey london

    A long calendar of communication was followed which established the theme of the film much before film�s release period. Just before this film, Akshay Kumar and Katrina Kaif had an unsuccessful outing with Humko Deewana Kar Gaye but they were positioned out there with confidence and this became the starting point of their pair being referred to as a �golden� one.

  • Pyaar ke side effect

    The pairing of the odd couple � the scandalous Mallika Sherawat and the cerebral Rahul Bose -- was the core communication for this film.

  • Khosla Ka Ghosla

    Small films were never seen as small after the release of Khosla Ka Ghosla. It was an actual orbit breaking film which marked the arrival of the genre of �multiplex movies�. It became big because it was never treated as small even before the release. At the very first press conference the film was shown to the media, a rare practice in Bollywood.

  • Fanna

    The uniqueness of Kajol and Aamir Khan working together for the first time in Fanaa was the message. The sheer magic of these two strong screen personalities was the only element that we chose to convey about this dramatic love story which had other volatile elements including terrorism and Kashmir.

  • being cyrus

    A pathbreaking communication programme which didn�t shy away from the quirks of the movie. This was the first time an intelligent movie actually claimed to be intelligent. The message that followed was if you were not interested in this film then you didn�t belong to a certain set.

  • Mixed Doubles

    A small but very meaningful indicator of things to come, a potentially sleazy subject was handled as a thinking man�s comedy

  • Rang De Basanti

    One of the strongest movies as a brand to have emerged in 21st century India, pop-patriotism, youth activism and many such phrases were attributed to this film in which Aamir Khan chose not to give a single interview prior to its release. The big decision in this was not to reveal the period portions of the film even though a large section of the media was aware of it.

  • parineeta

    The challenge was to make a remake of Saratchandra�s classic story set in Calcutta of the 60s appeal to a new audience. The communication, again, had overtones of quality. A special stream of communication was designed to convey the unique aesthetic.

  • Hazaro Khwaishein Aisi

    According to many opinions, this was the best movie ever made in its genre. The emphasis of communication was on the quality of the film and the era it revisited. Prominent personalities of the Emergency era were invited for the premier of movie.

  • salaam namaste

    Chic, savvy and big on style quotient was the communication high point, Salaam Namaste was regarded as another fine example of finesse in marketing and communication.

  • Bunty Aur Bubbli

    Film communication turned smarter with lead actors Abhishek Bachchan and Rani Mukherji reading the 9 pm news bulletin on NDTV. This was a historic moment in motion picture PR and marketing and is one of the most referred to examples of innovation in PR

  • Veer Zara

    The film didn�t have a name two months prior to its release. And when it was named, that became the communication high point. .

  • Dhoom

    The brief from Yash Raj Films was bikes and babes and ultimately that�s what it became. A brand was created before the release of film. Dhoom was one of the first instances of a promotional video shoot (for a Tata Young song) and the way it was communicated and pitched, placed the brand exactly where it belonged.

  • Hum Tum

    Hum Tum was the first movie project for Spice. Hum Tum can be clearly classified as the starting point of a film marketing model. This new approach of communicating a film took many by surprise. The success of this film established Saif Ali Khan as one of the most bankable stars in the industry and marked a new chapter in innovative approaches to film marketing.