Indian Cinema Through IMDb’s Lens
25 Years of Data, Stars & Storytelling with Yaminie Patodia
In this episode of The Media Room, host Vanita Kohli-Khandekar sits down with Yaminie Patodia, Head of IMDb India, to unpack how one of the world’s most influential entertainment databases sees Indian cinema, fandom and stardom. From IMDb’s journey as a 1990s passion project to a platform with over 14 million titles and 12 million names, Yaminie explains how IMDb acts as the “connective tissue” between fans and professionals—helping audiences discover what to watch while giving creators, actors and technicians global visibility and credit for their life’s work. Drawing on IMDb’s 25 Years of Indian Cinema report, they dive into what the data really shows: the rise of multiple male leads instead of a single superstar, why it’s time to stop searching for “the next Shah Rukh Khan,” how directors and storytellers are emerging as brands in their own right, and how regional and dubbed content are reshaping viewing patterns across India’s many languages. The conversation also explores how IMDb rankings and ratings are actually computed, how the platform detects and neutralises abuse and vote manipulation through weighted averages, why India is the only market with its own Top 250 list and weekly “most popular” charts, and how these tools spotlight a long tail of emerging talent far beyond just the usual big names. Along the way, they discuss the challenges of building an authoritative Indian database across languages and credit systems, the impact of streaming on global discovery of Indian films, and what rising international interest in Indian content really looks like through IMDb’s lens.
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NOTE: This transcript is done by a machine. Human eyes have gone through the script but there might still be errors in some of the text, so please refer to the audio in case you need to clarify any part. If you want to get in touch regarding any feedback, you can drop us a message on feedback@thecore.in.
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TRANSCRIPT
Vanita Kohli-Khandekar: Hello and welcome to the Media Room. The Internet Movie Database or IMDb as we know it originated in 1990. It was a private passion project of a gentleman called Kaul Needham who started with a private database of movies etc.
IMDb is now one of the world's largest sources on movies, TV shows, celebrities, their popularity and India is a huge component of what they do. They recently came out with a report on 25 years of Indian cinema and that analysis is really good and basis of that analysis I actually asked to speak to Yamini Pathodia who heads the business in India. Yamini, I mean I think we've waited for this conversation for more than two years so I cannot tell you how glad I am to see you on the show.
Likewise Vanita, very excited to be here. Thank you so much for being on the Media Room. I know you know everybody has this image of IMDb and you know people go when they see what is the IMDb rating for a film, what is this but could you give my listeners and my viewers a sense of what is the role IMDb plays in the media entertainment ecosystem?
Yaminie Patodia: Very simply put, IMDb has a very unique space in the entertainment space, in the entertainment industry and I think that is why it's sometimes hard to find a singular word to describe what kind of service it is. Our mission is to be a connective tissue between two constituents. There are fans of entertainment and then there are professionals who power the industry, the creators, the filmmakers and essentially the fans come to IMDb, you discover, decide and deepen their love for engagement.
So they look for content, they look for people that they like and then they discover and make choices and on the other hand we have creators, actors, filmmakers who are a looking to be discovered, who are looking to find their audience for the content that they create and we're looking for fellow collaborators and so we bring these two constituents together. You would have seen on our site, we have what we call title pages and main pages. So title when I want to talk about this because we sometimes just use it like everybody understands it but title pages are you know are representing all kinds of content that we have have in our database.
So they're everything from movies to tv shows to web series to podcasts, music videos, limited series, all of those are titles and names are basically everybody who powers the industry. So from actors, filmmakers, camera people, all the crew, they are names for us and together IMDb has served as the most authoritative entertainment information source for over 30 years and that means that we have by now 14 million title pages and 12 million name pages on the last count. It's constantly evolving.
Vanita Kohli-Khandekar: 14 million film and show titles or just film titles?
Yaminie Patodia: Everything together, everything that I said constitutes a content, 14 millions episodes are also included and what happens is when fans come to look and discover it actually starts a very powerful information cycle for us. We're able to see, we have a bird's eye view into what globally fans are interested in. You know all of these titles come from 100 plus industries, 100 plus companies, countries.
So what happens is when people are coming and looking up either names or titles, we're able to see what people are interested in. We're able to do better fan to fan connections because the behaviours of these fans in turn help us to better surface content to other fans. We're able to distil this information in terms of insights back to our professionals, the people who are creating this content.
They come to IMDb to see what is trending, what is resonating, what is being rated very well. There's a powerful cycle and then obviously when creators come to IMDb to also look for fellow collaborators. I really liked the writing in this.
I really liked the cinematography. Then they come and look the filmography and then they find fellow collaborators. Which is the IMDb pro and equally the credits are also available.
So I started by saying we want to be this connective tissue and basically there is fan to fan connections, the fan to professionals and the professional to professional. That is the continuum that IMDb sort of occupies. How is pro different?
Vanita Kohli-Khandekar: Just quickly, you know.
Yaminie Patodia: Pro sits on top. It is powered by the same database and then it has additional tools, very powerful tools for professionals to find other professionals. So there is advanced search that you can use to find very specific categories by location, by gender, by country.
You can manage your profile better, what you are known for, your profile picture and then there are other tools.
Vanita Kohli-Khandekar: Tracking agents and stuff like that.
Yaminie Patodia: Well, the information like a contact information is only visible to professionals who are members.
Vanita Kohli-Khandekar: How does the ranking work? Quickly for my viewers and then I'll ask you.
Yaminie Patodia: Absolutely, ranking is a very important part of what IMDb delivers to customers in India. Indian customers are one of the most engaged ones with both rating and rankings in India. Globally a lot of people also use IMDb to figure out who's that person, where have I seen this before.
But in India, the predominant use case that I saw happening before was looking at a title's rating or looking at the rank list. So the best of thing that we do towards the end of the year was so popular that it propelled us to start doing more specific lists for India, like the top 50 web series, the 100 celebrities. We also have specific rankings as a product only for India.
So the most anticipated list on our web is only available for the specific Indian title.
Vanita Kohli-Khandekar: Because I had a question about the differences between India market and let's say some of the stuff.
Yaminie Patodia: So we have our global charts but we've done some of these specifically for India because we recognise how different and diverse the Indian customer is and their interest in content that is developed locally is very high. So it necessitates for us to be able to present both options, let's see what is trending globally but let's also see what specific Indian content is also visible. So coming back, so we do most anticipated, we do the top 250 which is an India version, it has a global version and the only other country that has one is India.
Vanita Kohli-Khandekar: Oh you don't have it for other countries?
Yaminie Patodia: Not for other countries. Because I think is the difference that India has a stronger local industry, 90% of our strong and diverse and a very large customer fan base. We also launched three specific widgets that are weekly only for India.
So we have a most popular Indian celebrity, most popular Indian movies and most popular Indian TV shows, all of those only update weekly only for Indian content and I mean we have the global lists, this is an addition that exists. So coming back to what you were saying, it is powered by page views primarily, it is not a statistical sampling of users and it builds in other statistical indicators like frequency, how many people have come and all of that comes into, builds a star metre algorithm which is our people's chart and the movie metre or the TV metre which is our titles chart and then it refreshes weekly depending on all of these titles. So that's how it's simply powered, it indicates who people are interested in at any given week on IMDb, that's what we are representing by those ranked charts.
Vanita Kohli-Khandekar: So I have two quick questions here, one suppose you say like last year's I remember there was Deepika and Shah Rukh and Tripti Dimri on popular charts. Now these people have got the maximum page views, how does that happen?
Yaminie Patodia: So I think the distinguishing fact is about our list that it's global, the fans from India and France from everywhere else who are interested in Tripti or Shah Rukh or a whole host of Indian stars, specifically for a yearly list we look at who's consistently popular through the year. So it's not just a mathematical total of their page views because we release this data weekly, we look at an aggregate consistent popularity through the year. So really it's as simple as that.
Vanita Kohli-Khandekar: And when you say 250 million page views, this is global.
Yaminie Patodia: 250 million monthly active users.
Vanita Kohli-Khandekar: Which is global, yes. Of this would you know in India?
Yaminie Patodia: India is the second largest country.
Vanita Kohli-Khandekar: But you know when we talk about uniques and page views, especially page views as a metric to measure popularity and this I'm sure you faced this question before, how do you ensure that the data is not, you know like there are farms sitting out of Jalandhar and ensuring that singers hit top of the charts? How do you ensure that there are no, there aren't like tonnes of people being paid to ensure that the page views for x movie or x star or something goes? How do you?
Yaminie Patodia: So Manita, our superpower is our scale, you know and the scale at which IMDb operates. I think it is makes our data very persistent and difficult to, you know at any point we're very, we're able to represent the collective interest very accurately. And when it comes to maybe ratings, sometimes we are able to, you know we when we detect patterns of abuse, you know which are coded efforts to either inflate or deflate the rating.
We work on what we call a weighted average and you'll see it on the IMDb ratings page. You'll see that the weighted average is different from and we display the mathematical average and a weighted average basically is all we are algorithms and systems are always looking for patterns of abuse. Whether it is, you know the frequency, the volume, the distribution and when we find behaviour that impacts that, we are, you know we update our algorithms to impact those instances of behaviour everywhere.
It is not our policy to look at individual votes because that brings in a bias. No, no excepted but how do you answer? So it's a systemic while the systemic that's always looking at, I think we take our ratings very seriously.
You know it's a IMDb's rating is a, you know sort of a global standard in how customers view content and whether they do. That's a very important part of what we bring to our customers. So because of all of, you know the amount of effort we put behind this, any abuse patterns of abuse are relatively short-lived because we are constantly updating this.
You know it is not something that is static and stays but it is also devoid of human touch so that we are not, you know there's no bias involved one way or the other and because of its scale and because of the sheer number of people who come and you know contribute, I think that makes us fairly resilient most of the times to you know and we're able to provide a fairly accurate customer sentiment.
Vanita Kohli-Khandekar: That's very interesting you know because I was talking about the robustness of the data. Any other challenges peculiar to India before I jump into that my favourite part of this show now?
Yaminie Patodia: Well challenge or opportunity, you know one of the compelling reasons for us to focus on India is that how diverse India is and I'll tell you from India, it's a tough one. It's a very interesting one because if you solve for you know a customer that thing that it means that you're able to solve for a lot of customers everywhere. Our approach is to you know be a global site where content from so many different countries and fans from so many different countries are coming together so we're always looking to build experiences that solve for our customers everywhere.
So the unique thing about Indian customers is that we have titles from 15 different languages so so many different you know industries that power it. Fans are now, they may have a preferred language but they are consuming content across language industries and this is because there's now dubbed content available right but they may also just consume the site in English. Some people may also want some localised version so to consume.
So the language of creation, the language of content consumption, the language of consumption of the UX are all different and changing very rapidly. So where our mission is to help discovery, we're constantly trying to learn how we best represent and make ourselves more relevant to a customer and an industry that is you know changing so fast. In other countries, there is still a majority that will say you know this is the primarily language, this is the primary consumption but in India I think that is very complex.
In other ways that this complexity translates for us is that our database of the 14 million you know titles that we were saying we want to be very authoritative in India as well you know the same level of authority that we've come to expect for all sorts of titles we are and we want to do a better job at that but when we look at credits, the standards are different for every industry. You know what a particular role, what a writing, different levels of writing role means in one industry versus the other or what it means in movies versus now what it come to mean in TV shows or what was this a showrunner do, these are new titles, what is created by, when is it created by, directed by, inspired by, developed for TV by and we take this very seriously because these are people's life's work right and we have the honour of representing that you know for historical reasons, for public record and people you know people use this to find jobs and people use this to get discovered. So a lot of our work in the last few years has been working with over hundreds of protocols explaining how some of these systems work, enabling people to take greater control of their title pages, of their profiles on IMDB, you know working hand in hand to understand how these some of these roles work.
You know on our part, just recently the most recent and we do this you know we are always changing our features to reflect what customers want but some one of the recent thing that we did was we added to it you know many different credit categories. One of the ones relevant for India is for example voice artists in you know because we recognise how much dubbing work is happening in different languages you know so being able to represent that work accurately. So I think these are some of the challenges and I think the beautiful opportunity for us is that while industries operated within their sort of comfort zone earlier, I think there is a real drive already to collaborate and I think we feel that we can play an important role in making that access to talent more democratised.
So if a Hindi director is looking to find a Malayalam writer or you know finding to cast a more authentic representation of a Kannada actor then we're hoping that this is what we can do but that starts with standardising the credits and ensuring that that is represented.
Vanita Kohli-Khandekar: But just quick interjection, 14 million titles of India would be how many of these would be Indian?
Yaminie Patodia: India titles are about four lakh on the last count which includes movies, TV shows, episodes, series, all of that and there were about 61,000 movies on the last count and it keeps changing.
Vanita Kohli-Khandekar: When you say four lakh titles includes movies plus other stuff?
Yaminie Patodia: Yes, everything. We have about four lakh Indian names.
Vanita Kohli-Khandekar: Phenomenal. So you did this report recently, 25 years of Indian cinema and I read it, I read it with great interest actually, I liked it, nice piece of work. The problem with the film business in India is we don't have enough data, it's a very fragmented business etc so the spends on research zilch but can you just unpack if I was to ask you and there's lots there to unpack but if I was to ask you to unpack two or three key things that you discovered when you looked at data and IMDB was set up in 1990 just for the missing of my viewers what have what are the three four big things that you stand out?
Yaminie Patodia: I'll quickly do the quick history, it was set up in 1990 by Kaul Needham, started off as his diary in 1996 got incorporated, 1998 is when it was one of the first acquisitions and the other milestone is 2002 is when the pro was set up so has the mantle of being one of the first 100 websites of the world. Coming back to the report, allow me two minutes, I want to just take a step back to tell you why we did this report. Please.
We wanted to show our commitment to understanding the Indian industry in all its complex glory and being able to reflect what is uniquely IMDB. I think the way we see ourselves and the data that we you know the data authority that we bring is we are uniquely placed to be the global proxy of audience engagement so at any point of time if you're trying to see what has got the imagination of fans across the world then we believe that we have a unique place to be able to use a uniform metric across geography, across platforms, across different release windows.
I think all of that is getting very complex you know so when you try and distil that down sometimes you're not comparing apples to apple you know the distribution may not be easily accessible or the consumption may have happened before the release on some other platform. When you take strip it off all of those complexities I think if you're just looking at what piece of content is working for a fan I think we we present a very powerful you know data source to understand that and we wanted to bring that to India. We took the unique lens of we were we wanted to do the longitudinal view because that is so unique to what we can do.
We've been around for really long and we have all of this data but it was also a lot. I was about to say how the hell do you say that's right that's right so we thought it was powerful we thought it was important to take a lens because otherwise it's too many things and then you're left with you know you're looking at everything I think so we to begin with hopefully there are you know we're doing a lot of this but to begin with we took the top five title of each year lens you know we looked at the page views from across the world from across all of these years and we went after the top five movies because we felt that if you've made it to the top five movies that's a very accurate representation of what that year represents when you look at a very long period of course there are so many you know we make by now 2,000 movies in a year and there is so much more to it so it is not we're not trying to be redactive in that sense but it was important to take a narrow view so that we could get we could take a longitudinal view and get insight so I think it's important to remember that it is the top five view.
I think if I take that lens and now coming back to the you know what is some of the three or four highlights. So one of the lines that has really stuck which has come back to me again and again is you know we have one section that says it's time to stop looking for the next. My last column was about I saw that.
Vanita Kohli-Khandekar: I quoted the IMDb report on that.
Yaminie Patodia: So you know when we wrote that we wrote wrote that with a lot of recognition that this was a heavy line and I want to talk about a little bit how we see the insights sort of coming in so you know there's a chart here when we look at all these 25 movies, 125 movies that sort of came here. Shah Rukh Khan has 20 of those 130 movies and we have another chart that sort of looks at you know two or three actors from different ages and how many films have they been doing and I think what we were realising that is happening is that the shape of stardom, super stardom is invariably changing. You know the last five years if you look at the 25 movies that we feature has 23 different male leads and the point that we were making is not so much that there will not be another Shah Rukh Khan or there will not be another superstar.
I think the point was to stop looking at the future with the lens of the familiar and the old. Unless you are open and unless you are open to seeing what is going to come I think you will always be driving with a rear view mirror and there may be, there is most definitely amazing things in front of you that you would not be able to you know decipher if you keep doing that. So I think there's so much change that has happened in the media landscape and there is definitely how our loyalties with stars, you know how our relationship is evolving a lot and one of the parallels that we need you know in another section is when we look at the last four five years or 10 years actually we'll see that a lot of loyalties to storytellers and world building is beginning to take shape as well. You know we see that in sequels, we see that in franchises and we see that in our weekly star metre where we are beginning to see a lot of directors show up along stars. So just this year you know we have Dominic Arun and we have Lokesh Kanagraj.
Lokesh instantly has been the only director that's come to number one position in a weekly star metre so that tells you you know how.
Vanita Kohli-Khandekar: Yeah people are following a particular that's right lots film people who follow film like I'm a Sriram Raghavan fan. Look at that. So and you will I'll watch anything he makes.
Yaminie Patodia: Yeah so you know we've said this another place in the report that language is now a genre you know. Same way I think directors are now brands because people know what to expect out of that kind of storytelling.
Vanita Kohli-Khandekar: That's what let's say Yash Raj was.
Yaminie Patodia: It was a brand.
Vanita Kohli-Khandekar: Yashji was a brand. Yeah. You knew you know you get though he did Diwaar to be fair to him and Trishul and everything but you knew what you got in a Yash Raj film.
That's right.
Yaminie Patodia: So I think that we're seeing it's always been there I think which is why you know in my intro I say that you know film industry and content industry is cyclical and I think we're seeing that cycle of you know superstar directors and directors as key architects, storytellers, producers sort of take more centre stage now because you know the fragmentation of stardom is happening and in a good way that I think we only focus on oh do we not have one big star but actually what it means is that we have such a large population and there are so many people who have very different views of what a star should look like and they're beginning to see that reflected on screen which is amazing. I think the second thing that was very interesting to me was I think the debate has been so much about Hindi movies and South movies and Hindi movies and South movies but I think what was interesting to us when we started looking at the data that yes we're seeing more South movies now in the last 10 years and now there's a balance you know compared to earlier there's more but there's equal number of you know it's a much better spread but what is really happening when you look at the themes and plots of some of these movies is that I think there's a reclaiming of space by the mass audience.
I think the movies where people want to see themselves, we see that resonating more and that is less about which language. It's not like there's a preference for a language, it's a type of storytelling that I think people are expressing that we're seeing happen in our charts. The interesting parallel for me here when we you know we were looking at our global section which you know which is very interesting and very unique to us what is work globally.
I think forever maybe our understanding has been that you need to make a choice between the domestic audience and reaching the global audience. I think what we're finding it is that not always you may have to make that choice not that you have you know you don't maybe plan to reach a global audience per se but also there is a combination of authenticity and cultural rootedness with universal emotions if a movie is based on. Then I think those movies are working here and working with everybody elsewhere.
Vanita Kohli-Khandekar: So Dangal is a great example to my mind but I saw that chart you did. That's right. But I think that is part of it is streaming.
Streaming has homogenised access, it has created a domestic crossover market and a global cross. So you and I may, I don't know about you but I watch a lot of let's say Nordic shows or I like to see British crime fiction. Somebody else may be liking Indian crime fiction or procedural shows.
So that homogenisation of access and therefore you know that standard level so if I see a story which is rooted in America or rooted in Turkey or wherever. Tehran for instance though I think it's an American show it's an Israeli show. But it's rooted I mean it gives you a flavour of life in Iran then I think that.
You're not looking for more of the same, you're looking for uniquely. Quora, I remember Monica.
Yaminie Patodia: Love the world there. Daily crime. Yes because there are unique worlds that you know.
Vanita Kohli-Khandekar: And you're absolutely right, the theme is universal. It's about justice, it's about injustice, it's about revenge everything and then you bring up the storytelling to a level and.
Yaminie Patodia: I think what we're seeing Vanida is that yes there is access now that is democratised. I think that there is interest in Indian content that is rising and I think now if we are able to tell our stories authentically with the universal appeal then I think we've got the magic portion.
Vanita Kohli-Khandekar: You know one thing which strikes me when you're talking and it was not part of the question is we are talking largely about an online. So 523 million Indians are online currently going June 2025 going by comscore data. But there's a lot of audience out there which is watching cinema irrespective of whether they're online or not.
Is there an inherent bias setting in in this data? How is there a need for, I'm not saying you're not, it's not a metric that is being used to make let's say hardcore business decisions but is there a limitation to this data therefore because it's very online centric. So it'll be younger people typically I would guess a lot of younger people.
It won't be people in their 40s and 50s even if they are online they wouldn't care to come online and give a reading to a film and all that. So how does how do you correct for that?
Yaminie Patodia: You know I believe that sometimes when you have that scale you are able to largely capture that interest you know. Snapshot is a thing. I think when you're doing statistical samples is when you risk greater of this but otherwise you are able to with whatever closest approximation comes you know and I do think that you look at measurements by you know looking at various sources depending on what exactly that you're trying to learn.
Vanita Kohli-Khandekar: But is there a way to measure how popular Indian talent is not just our Indian talent is. So I know like Rajamouli has become or Aamir has become a name in China but is there a way to do that or to measure because you did this large chart even in this on you know and there's a matrix actually it's not chart you know. The two by two grid, I'm very proud of that.
It's a complicated piece of thing you know only someone who has a data can do it and so I was very glad for it but can you do that for for talent also? How does that work? How do you measure?
Yaminie Patodia: We do this already. Please go to you know if you look for most popular names and we publish this every week that is a global chart and if Indian names are popular at that point of time they will feature. So for example when Sayara happened incidentally the week of Sayara or the couple of weeks I don't remember what specific week but Anita Nahan went up as high as 65-75 on the global popularity list.
So both for titles actually Sayara went to number five on the titles list you know around around its launch in the global list. So and it's publicly published on our site every week you can see and I think that's a beautiful thing that you can see across content you know how it's comparing. So yes, the answer is that yes you can see that you can compare you know.
One of things that actually we mentioned in our report was how women were constantly charting very high on IMDb charts and may not always be represented in the same way you know in our industry so and all of that interest in Indian stars is captured by our rankings you know. So whenever somebody shows up for a Met Gala or a Cannes or a role in a Hollywood production or if there is interest in the world that it gets captured.
Vanita Kohli-Khandekar: But the lists that you release in India are these global lists? So like last year when we talked about the most popular stars and celebrities.
Yaminie Patodia: They are global lists and they are filtered for Indian names. The list that we release in India.
Vanita Kohli-Khandekar: Okay so they would have global stars also but then you filter them and get.
Yaminie Patodia: That's right it's the same singular chart we just filter it for Indian names but because we believe our differentiation or our superpower lies in representing the entire global fan interest our lists are powered by the things. It's a subset of the same list. Okay last question Yamini.
Vanita Kohli-Khandekar: You know I'm very curious for obvious reasons because I'm doing a book around the area but in terms of a popularity thing you know and you mentioned this that the diversity and authentic storytelling works. Where are we right now as an as Indian cinema? If I was to look at your global data and you don't correct it only for Indian names or Indian titans.
Where are we right now? Where does Indian cinema stand?
Yaminie Patodia: I think the interest in Indian cinema is rising. I think we're still in early stages. The interest is on the back of one or two big hits every year.
I think the sustained interest in the entire long tail of Indian cinema is still very emerging. So I think that we have the right ingredients, we have the right platform, we have the right accessibility. I think on our part what we're trying to do here is work a lot with companies here to represent that information as authentically and as accurately as we can and but we still have to do a lot of work for it to become bigger.
Vanita Kohli-Khandekar: Are there elements you need to add? Is there something to make it more complete the offering in terms of when you say you're the tissue that joins so other things you need to do to strengthen that tissue?
Yaminie Patodia: You know the entertainment landscape changes very frequently right so IMDb is always sort of reacted to how fans are consuming and what they're looking at. Our ultimate mission is to be able to get our customers to make a watch decision that is very satisfying and that means that we started with earlier with movies, went to tv series, reflected the filmmakers, you know kept adding different types of data. So it'll be interesting to see what other thing that fans are interested in that we could bring in but right now I think for us our biggest opportunity in India still is to be able to bring more authority to the display of Indian films across different industries here and that's I think that's what we are focused on.
Vanita Kohli-Khandekar: Do you get any pushback from the industry? We get a lot of complaints or love or pushback. I don't know I'm just because all every metric company I've spoken to always has stories from across the board and you're a metric.
Yaminie Patodia: You know Vanita, we get a lot of love from the industry. When we launched our popular Indian celebrity list and we publish about 100 names every week and so if you look at the course of the year and we've published it for now three years, we're able to spotlight a really large set of talent. Just in the number one place we've had 140 new people this year, you know top 10 we would have another three four five hundred people and these are people who are emerging, who are new, who are debutants on tv across regions.
I think it's an opportunity, it's a unique, we're uniquely placed to enable discovery for a very long tail of you know creators and actors in a country that has been very obsessed with the you know just the top names you know and I think that opens up a deep bent strength for even filmmakers to find people who they can now see that you know okay people are interested in these names. So I think on the contrary we have seen people reach out to us and say hey how do I get featured in this list? I want to be in this list you know or I'm very thankful that my life's work was recognised.
So yeah I think that you know there are times that we will have passionate fan feedback that will say listen my favourite actor is not here and I think we welcome that feedback because we see that as a passionate fan's response and our interest is to reflect fan interest of all kinds of fans, not just one specific. So and I think like I said I think we've said this so many times, our mission is to represent all of the work that is happening across all of that industry. Once we represent that very well is when fans are also able to discover and then we can accurately represent that interest.
Vanita Kohli-Khandekar: But when you say global you know you said India is only market where you have this, other country market industries are also represented on INBP, correct?
Yaminie Patodia: India is also India including all countries are represented we only have a subset specifically for India. It's the same data.
Vanita Kohli-Khandekar: You're the long tail of film information basically in many ways. We're the top and the middle and the long tail of film information. On that definition, thank you so much.
It was delightful talking to you. I think there's so much I didn't understand about how IMDB operates.
Yaminie Patodia: I'm really so glad to have this chat.
