AI, Talent and Global Ambition: Gaurav Banerjee’s Blueprint for India’s M&E Future

By Pickle August 10, 2025

Gaurav Banerjee, the Chairman of the CII National Media and Entertainment Council and CEO & MD of Sony Pictures Networks India shares why India’s creative economy must become a global force, how the government and industry can collaborate to accelerate this transformation, and why the next decade will be defined by those who can combine ambition with execution.

Gaurav Banerjee Chats with Pickle

India’s media and entertainment (M&E) industry stands at a critical inflection point—one shaped by geopolitical shifts, rapid technological disruption, and the unstoppable rise of artificial intelligence. Yet, amidst this churn, Gaurav Banerjee, Chairman of the CII National Media and Entertainment Council and CEO & MD of Sony Pictures Networks India, sees opportunity rather than uncertainty.

In this candid interview, he shares how this can be India’s moment if we invest in talent, embrace technology, and dream globally.

The industry is at the cusp of major changes globally and in India. What are the two or three key issues that you believe the industry needs to focus on immediately? As a leader, how do you envision addressing these challenges?

I think that the industry and the world at large are experiencing a period of significant change. Changes are occurring due to various geopolitical factors, and we find ourselves in an era marked by trade wars.

Furthermore, changes are driven by the rapid pace of technological advancement, particularly with the revolution in artificial intelligence. In a world that is in such flux because of these political and technological transformations, we require a framework and method to discuss and develop new ways of working to effectively drive growth.

In our country, the media and entertainment industry has two major ways it can contribute. As the industry shapes culture and defines the national mood, it can act as a force multiplier and determine the society’s direction.

Secondly, a thriving industry can also provide meaningful employment in areas that enrich our lives, particularly through cultural narratives and stories.

For these reasons, it is essential that we cultivate a thriving ecosystem. As India emerges as one of the largest economies in the world, it is time for our stories to gain a significant global presence.

I believe this is an ambitious goal that everyone can and should unite to pursue with sincere effort.

Given the ambition you have set and the group of leaders who will be working alongside you, how can we bring all these people together to make this framework a reality?

I believe we need to engage in extensive dialogue to determine our priorities and necessary actions. First and foremost, we must strengthen the creative economy of our country across all its dimensions. This begins with the dialogue on what steps can we take to build the appropriate ecosystem, train talent, and make this ecosystem more accessible to emerging artists. We need to explore ways to significantly enhance the Centres of Excellence for learning that we currently have.

We must establish a strategy to expand the market for the products we create, beginning within our own country and, more importantly, extending globally. For instance, if we recognise a promising new studio, that studio should be capable of producing stories that resonate not only in India but also throughout Asia and beyond.

In today’s world, content distribution is inherently global, and significant advancements have occurred as content has started to be disseminated at scale via the internet. Therefore, we are no longer constrained by issues such as language, geography, or nationality; these factors have become less important.

“If we get the ecosystem right, India’s creative economy can become one of our most powerful exports.”

Consequently, an impressive global marketplace of ideas has emerged, and we have witnessed remarkable content from countries like Israel and Korea that has truly captured global imagination.

There is no reason why similar success should not occur from here. Recent films such as RRR and prior to that, Bahubali, have demonstrated the immense potential of Indian stories beyond our borders. However, for 1.4 billion Indians, this should not be an isolated occurrence. It should happen much more frequently and at a larger scale. Only then will this market and its revenue potential become truly attractive and meaningful.

Economic pressures are ever present, and there is a push for “behind the scenes” value rather than only glamorous appeal. How should the industry handle these economic challenges?

I believe that in the entertainment industry, the majority of funding should go to the talent. Given that we are a cricket-obsessed nation, it is only fair that exceptional cricketers, who are achieving remarkable feats on the field, receive the compensation they deserve. However, the challenge for us is to ensure that this also occurs in other sports and in the entertainment sector.

I also believe that we need to work towards creating an environment that is as supportive and vibrant for other sports as it currently is for cricket in our country. The establishment of the IPL has transformed the landscape; rather than just one Indian team, we now have a remarkable Indian team alongside ten strong IPL teams.

Additionally, we have developed a feeder system into the IPL, with T20 leagues across various states where new players can emerge. Those who perform well in the IPL can subsequently be selected for the Indian team. This has led to the establishment of serious and committed cricket academies, where young players receive substantial professional coaching.

“Cricket built its success with structured talent pipelines. Entertainment needs its own version of the IPL to nurture storytellers.”

This is building an infrastructure that is making the Indian cricket team far more competitive than it has been in the past. In the last two ICC tournaments, India has won both, and notably, without losing a single match. The efforts that contributed to this success began several years ago, and in many ways, this is the cream on top of a cake that has been baked over time.

I believe something similar should occur within the entertainment industry as well. To enhance our storytelling, we require the right educational institutions, the right coaching, and appropriate levels of competition across various languages. By establishing these elements, we can create pathways for emerging talent. This is essential and must be implemented on a large scale. If we succeed in this endeavour, the outcome will mirror what is currently happening with cricketers—engaging in a sport that garners global interest.

The most effective way to tackle the economic challenges is to invest in talent, develop these pathways, and cultivate a market that is considerably more international.

Presently, the issue is that markets are contracting; the number of individuals interested in the products we are creating is decreasing rather than increasing. This trend must be reversed. The solution lies in producing high-quality content and developing products that capture the world’s attention.

In your first year leading Sony Pictures Networks India, what changes have you observed in the industry and driven within the organization?

I think it has been really good. I’m happy with the progress we have made over the past year. However, there is still much to be done, and in many ways, these are very early days for me and for what we are trying to achieve here. One of the most interesting aspects for us at Sony has been our increased commitment to producing high-quality content. We aspire to be a company that functions primarily as a content studio, genuinely focused on quality creative expression. One success I feel positive about is the heightened organisation-wide emphasis on quality content.

“RRR and Baahubali proved what Indian stories can achieve globally—but these should not be rare exceptions.”

This represents a significant shift, as our history has been, like many other companies in our country, rooted in being primarily a pay-TV platform. We are moving away from an identity we have held for nearly three decades towards a new identity that requires us to be much more creative, deeply engaged in content, and somewhat agnostic regarding its distribution.

We are becoming comfortable with distribution occurring in various ways through different channels, some of which are owned by us and others by third parties. This is a strategic shift that is very important for us.

You managed to get many people to watch the India-England match through your collaboration with JioHostar. This is something that hasn’t happened in recent times. Collaborations like this are not easy to come by…

I believe full credit must go to both an outstanding Indian cricket team and a very strong English cricket team. At the start of this series, there was understandably some concern about how India would compete, not due to the players who were present, but rather those who were absent. We were certainly missing three or four major stalwarts of the Indian cricket team, individuals who had significantly contributed to the team’s success over the last decade, and suddenly they were no longer available. Nevertheless, I think the team has done a fabulous job.

“AI is transformative, but it needs a philosophy and a policy framework that protects talent, IP, creativity, privacy and consumer rights.”

Additionally, the teams at Sony who produced the coverage brilliantly have done an excellent job. It has been wonderful to see Harsha, Sunil Gavaskar, and the entire team in England contributing to this. There have been some incredible moments, such as Rishabh Pant coming out to bat with a broken foot, the impressive runs scored by Shubman Gill, and the brilliance and perseverance of Mohammad Siraj. I believe these will be cherished memories that cricket fans will carry for a lifetime. Overall, it has been a pleasure to be part of this experience and to partner with Jio Hotstar. Both teams have worked together brilliantly.

How can the industry and government deepen collaboration? What innovative approaches could we explore that have not been attempted thus far?

There is considerable clarity and ambition emanating from the highest echelons of government. They recognise very clearly the power of our narratives in helping to establish a new, much more confident identity for our country and our culture. Therefore, I believe that this enthusiasm and excitement is beneficial for the industry, and we need to build upon it. I think there are excellent opportunities for us to explore new, significant initiatives.

“There is clarity and ambition from the government on supporting our creative economy—we must build on it.”

The emphasis on upskilling and on shaping the creative talent within this industry is a remarkable initiative from both the government and our sector. We are close collaborators and active participants in this effort, which should, once again, prove to be immensely beneficial.

AI is a game-changer, yet many fear job losses and skill gaps. What should the industry do to adapt, and what should policy look like?

I believe AI is transformative; there is no doubt about that. Every major company and industry is in the process of establishing its framework concerning AI. AI is surrounded by concerns involving ethics, privacy and IP which should settle with a policy framework around it. This is critically important. Everyone is thinking about it, and it is essential that we all engage with the topic and help it evolve out of concerns that currently exist in using AI.

Secondly, we need to approach AI as we have with other technological advancements that have brought significant change in the past. There was considerable resistance to the concept of the Industrial Revolution when it first began in Europe. However, over time, people realised that it could lead to substantial progress. Initially, there were fears that it would result in massive unemployment.

Ultimately, it did lead to remarkable human advancement. Therefore, it is in our hands today to determine the direction of this change. I believe there are two key areas we need to consider. First, we must learn significantly more—both as companies and as individuals, as well as within government. We must recognise that this is a new phenomenon, which requires time and engagement to understand its developments and implications.

Second, we need a policy framework that ensures the progress we make is safe and is in ethical bounds. This is particularly important in the entertainment sector. Safety must also encompass the protection of talent, the artistic process, and consumer rights. We must prioritise the security of intellectual property and the creative process, while also being mindful of consumers’ privacy and other concerns.

In summary, while this could lead to great outcomes, it is essential that we remain in a learning mode and consider the profound philosophical questions that this level of change will inevitably raise.