Unbelievable: Stars’ Screen Time Deciding OTT Deals
It might seem unusual, but streaming platforms now exert considerable power over film production. Many filmmakers are proceeding with their projects only after securing profitable deals for digital rights. This strategy helps protect them from financial losses should a movie perform poorly during its theatrical run.
Film budgets are increasingly designed to ensure producers are financially secure through OTT rights, regardless of box office performance. Digital partners often determine release dates and frequently impose various conditions before closing a deal.
While the film industry continues its internal discussion about the growing influence of streaming platforms on movie creation, a surprising new detail recently came to light. Popular Malayalam actor and producer Dulquer Salmaan shared this during a recent roundtable conference, offering a glimpse into current industry practices.
Speaking about his recent blockbuster, Lokah Chapter 1, Dulquer revealed the initial difficulty in finding an OTT partner due to its unfamiliar cast. To attract digital platforms, he then made a cameo appearance alongside Tovino Thomas. He further explained that streaming players are now closely examining the screen time of stars in films before deciding on the final price of a deal.
Dulquer specifically noted that Lokah Chapter 1 did not fetch the desired price. Digital partners were reluctant to pay more because both he and Tovino Thomas appeared for a brief time, rather than in full-length roles. This candid statement from Dulquer came as a significant shock to everyone else participating in the conversation.
The fundamental metrics of film production have completely changed. Streaming platforms are now heavily involved in many aspects, from deciding release dates and participating in script and story discussions to finalizing acquisition deals based on the amount of screen time actors receive. This level of intervention sets an unhealthy precedent for the future of filmmaking.
