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Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
Building a Plan A for Your Film
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Building a Plan A for Your Film

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Building a plan A for your film and your career - advice and examples on new models for hybrid distribution of films.

Building a plan A for your film and your career - advice and examples on new models for hybrid distribution of films.

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  • {"82":"Need to be clear upfront - I’m only going to touch on how this can be used in your creation of works - you are the artist, and there is such a broad spectrum of “the arts” that I can’t possibly cover all the things affecting painters or dancers, or composers in technology and how they are possibly using technology. I’ll touch on these things, but I’m speaking more about how artists can use all of “this stuff” to reach a broader audience and engage them in their work.\n","71":"Need to be clear upfront - I’m only going to touch on how this can be used in your creation of works - you are the artist, and there is such a broad spectrum of “the arts” that I can’t possibly cover all the things affecting painters or dancers, or composers in technology and how they are possibly using technology. I’ll touch on these things, but I’m speaking more about how artists can use all of “this stuff” to reach a broader audience and engage them in their work.\n","49":"multiple access points, transmedia - \n","27":"becoming more participatory, a conversation\n","77":"Collapsus, games, interactive, fiction, documentary, animation, broadcast, screenings, online, mobile\n","44":"Eve Hollywood Folks like Paul Schrader of Taxi Driver (writer), Affliction. BEE of American Psycho\n","33":"zoe has built a fan base, that’s in constant dialogue with her. Because this should be your ultimate goal - not to think of building an audience for just one project, but for you, your career - people who will continue to follow you, be in dialogue with you and support your career.\n","22":"But we need to step back and look at a 50,000 ft level at what has changed Indeed the very notion of value has changed. \n","72":"multiple access points, transmedia - \n","61":"They’ll pay for limited editions, from the artist, with cool add-ons\n","39":"3.25M subscribers, 636M views, 300 on this episode in under one hour from posting. avg 4M per episode\n","28":"Zoe Keating has used it to amass an audience of over 1 million followers, and she now has a self-sustaining career. Notice here she is replying/thanking a fan who cued her in on how to watch some media. She’s not just working a one way street, she’s communicating with her audience.\n","78":"Collapsus, games, interactive, fiction, documentary, animation, broadcast, screenings, online, mobile\n","56":"So what are the rights you can split up? Here’s most of them, as well as some terms you should think about when negotiating. These aren’t everything to think about, use a lawyer, but it’s a start.\nExplain terms\n","23":"in the old world, the business was built on scarcity, but today we have ubiquity - true obviously in film and music, but also in all other arts - you are now competing with a worldwide artist base, and the entire history of the arts. And audiences who want cultural entertainment (or enlightenment, or....) can get it from many new places.\n","1":"Need to be clear upfront - I’m only going to touch on how this can be used in your creation of works - you are the artist, and there is such a broad spectrum of “the arts” that I can’t possibly cover all the things affecting painters or dancers, or composers in technology and how they are possibly using technology. I’ll touch on these things, but I’m speaking more about how artists can use all of “this stuff” to reach a broader audience and engage them in their work.\n","73":"Cross media allows them to become active participants in multiple parts of the story. It allows them to delve deeper into the experience if they so choose, or access it from their preferred medium. The idea is to expand the story line into multiple media. The Matrix is the most famous recent example\n","62":"They’ll pay for limited editions, from the artist, with cool add-ons\n","51":"Make your own model\n","40":"3.25M subscribers, 636M views, 300 on this episode in under one hour from posting. avg 4M per episode\n","29":"zoe has built a fan base, that’s in constant dialogue with her. Because this should be your ultimate goal - not to think of building an audience for just one project, but for you, your career - people who will continue to follow you, be in dialogue with you and support your career.\n","18":"yet still, films were made. Well, the first thing you have to realize is that digital has been a disruptive innovation on the field. it completely transforms everything we do. music biz example, trouble embracing the new so lose out\n","79":"Collapsus, games, interactive, fiction, documentary, animation, broadcast, screenings, online, mobile\n","57":"Explain Jon Reiss’ book and model\n","46":"cosmonaut example - here’s some of their merchandise, gives a broad range for support\n","24":"Superabundance, weight of film history plus 45K films made a year; can get them all on a hard drive in China, why pay for and watch yours?\n","2":"the usual model is completely broken\n","74":"and their fans are legion, and very involved with every aspect of the story\n","63":"They’ll pay for limited editions, from the artist, with cool add-ons\n","52":"it has to be convenient, immediate, because when I have things competing for my attention, I will move on. This means, people expect multi-platform\n","41":"We’re also seeing people turning the audiences into their funders\n","30":"Filmmakers are doing it on their own. Iron Sky example\n","19":"It has rolled back the tide on many bad business models and changed them fundamentally. We can now speak to one another more easily and see just how poorly a gallery is paying or a distributor, etc. Also, these behaviors (online) aren’t new - these aren’t new behaviors but what people wanted to do all along\n","80":"Collapsus, games, interactive, fiction, documentary, animation, broadcast, screenings, online, mobile\n","69":"Explain Jon Reiss’ book and model\n","58":"They want it when they want it, from whatever portal they like and on whatever device they like, and they want it yesterday\nThey want to share it virally with their friends\n","47":"cosmonaut example - here’s some of their merchandise, gives a broad range for support\n","36":"5M subscribers, 1.2 B views- estimates no lower than 150K a year, as much as 500K a year from advertising alone\n","25":"what matters is my attention\n","75":"Definitions of transmedia and examples/things to think about\n","64":"They’ll pay for limited editions, from the artist, with cool add-ons\n","42":"3.25M subscribers, 636M views, 300 on this episode in under one hour from posting. avg 4M per episode\n","31":"also have people requesting the film through a Google Map mashup, and have over 19K requests before the movie is shot.\n","20":"we can’t operate in an analogue world anymore - the single biggest problem facing the arts is that so many people want to think that his is a cycle that will pass, that things will go back to normal, that digital is the same as analogue and we can adapt it to our existing models\n","81":"these aren’t new behaviors but what people wanted to do all along\nWe now have new tools, and we can’t fight it, but need to embrace them to our benefit. The audience wants to build something – they can get your hammer for free, or you can give them a reason to buy it. They also want to interact with you in new ways, so use these tools to your advantage. People can collect around your film, watch it and interact with it in new ways now. And we have new ways of reaching them and engaging them. \n","70":"Need to be clear upfront - I’m only going to touch on how this can be used in your creation of works - you are the artist, and there is such a broad spectrum of “the arts” that I can’t possibly cover all the things affecting painters or dancers, or composers in technology and how they are possibly using technology. I’ll touch on these things, but I’m speaking more about how artists can use all of “this stuff” to reach a broader audience and engage them in their work.\n","48":"Design most successful, but just wait til Ashton Kutcher does this\n","26":"and engaging me, and keeping me engaged, is ever more valuable\n","76":"More to think about and experts. \n","65":"They’ll pay for limited editions, from the artist, with cool add-ons\n","21":"we’re in a whole new paradigm and business models are changing overnight in every industry.think about it, newspaper advertising and classifieds were a multi billion dollar industry and craigslist came along and tidied that up into one profitable 100 million company. the changes here will be just as profound\n"}
  • Transcript

    • 1. Creating a Plan A For Your Film & Your Career Brian Newman www.sub-genre.com @bnewman01
    • 2. Old World $
    • 3. Old World $ • Play festival
    • 4. Old World $ • Play festival • Sell to distributor/broadcaster
    • 5. Old World $ • Play festival • Sell to distributor/broadcaster • Advance • Percentage of revenues
    • 6. Old World $ • Play festival • Sell to distributor/broadcaster • Advance • Percentage of revenues • They sell to audience
    • 7. Old World $ • Play festival • Sell to distributor/broadcaster • Advance • Percentage of revenues • They sell to audience • Who pays for the film
    • 8. Old World $ • Play festival • Sell to distributor/broadcaster • Advance • Percentage of revenues • They sell to audience • Who pays for the film • $ to distributor • $ to filmmakers • $ to investors
    • 9. Old World $ • Play festival • Sell to distributor/broadcaster • Advance • Percentage of revenues M • They sell to audience • Who pays for the film • $ to distributor • $ to filmmakers • $ to investors • Everyone is happy.... Y H T
    • 10. Old World $ Play festival Maybe - 40,000+ Submitted to fests annually!!!
    • 11. Old World $ Play festival Maybe - 40,000+ Submitted to fests annually!!! Sell to distributor/broadcaster(s) Maybe – but all rights, forever, everywhere Advance $0 - $100,000 avg
    • 12. Old World $ Play festival Maybe - 40,000+ Submitted to fests annually!!! Sell to distributor/broadcaster(s) Maybe – but all rights, forever, everywhere Advance $0 - $100,000 avg Percentage of revenues 30% - 60% after expenses 12
    • 13. Old World $ Play festival Maybe - 40,000+ Submitted to fests annually!!! Sell to distributor/broadcaster(s) Maybe – but all rights, forever, everywhere Advance $0 - $100,000 avg Percentage of revenues 30% - 60% after expenses They sell to audience Hopefully, but 24+ films reviewed in NYT each week
    • 14. Old World $ Play festival Maybe - 40,000+ Submitted to fests annually!!! Sell to distributor/broadcaster(s) Maybe – but all rights, forever, everywhere Advance $0 - $100,000 avg Percentage of revenues 30% - 60% after expenses They sell to audience Hopefully, but 24+ films reviewed in NYT each week Who pays for the film If theaters book it or buyers buy, or audiences find it on the cable guide
    • 15. Old World $ Play festival Maybe - 40,000+ Submitted to fests annually!!! Sell to distributor/broadcaster(s) Maybe – but all rights, forever, everywhere Advance $0 - $100,000 avg Percentage of revenues 30% - 60% after expenses They sell to audience Hopefully, but 24+ films reviewed in NYT each week Who pays for the film If theaters book it or buyers buy, or audiences find it on the cable guide $ to distributor But, marketing, P&A, staffing, crosscollateralization, fees, delivery 15
    • 16. Old World $ Play festival Maybe - 40,000+ Submitted to fests annually!!! Sell to distributor/broadcaster(s) Maybe – but all rights, forever, everywhere Advance $0 - $100,000 avg Percentage of revenues 30% - 60% after expenses They sell to audience Hopefully, but 24+ films reviewed in NYT each week Who pays for the film If theaters book it or buyers buy, or audiences find it on the cable guide $ to distributor But, marketing, P&A, staffing, crosscollateralization, fees, delivery $0 to filmakers $0 to investors No one is happy...and you don’t even own your film anymore 16
    • 17. But it gets worse...
    • 18. Disruptive Innovation Disruptive technology and disruptive innovation are terms used in business and technology literature to describe innovations that improve a product or service in ways that the market does not expect, typically by being lower priced or designed for a different set of consumers. Clayton Christensen via Wikipedia 18
    • 19. It’s not until the tide goes out until you see who’s wearing the swim trunks - Warren Buffett
    • 20. “We’re not really addressing the elephant in the room,” said Hope. “As much as it’s a great time to be a storyteller, and as much as the cost of making movies goes down, as disruptive as the transformation from an entertainment economy of scarcity to one of great abundance is, the real issue right now is the artists and the people that support them are not benefiting from their work, and it just can’t be done. I’ve watched six years of my own personal earnings keep going down each year. I talk to all my fellow producers, who are saying, ‘I have to move out of New York, it’s too expensive to live here.’ I’m not making a living producing the movies. And the system as it’s set up right now does not benefit artists or those that support them.” Ted Hope, producer of 70 indie films.
    • 21. Value has changed.
    • 22. Old World Value: Scarcity New World Value: Overabundance
    • 23. Attention Economy
    • 24. Engagement
    • 25. Participatory Culture A Conversation 11
    • 26. Zoe Keating @ZoeCello 1.2 million followers on Twitter
    • 27. Building Community Friends & Fans
    • 28. www.ironsky.net
    • 29. www.ironsky.net
    • 30. Middle of Nowhere on Tugg
    • 31. Building Community Building a Bigger Crowd 33
    • 32. Kevin Jumba
    • 33. Jenna Marbles
    • 34. Ryan Higa
    • 35. Landfill Harmonic on Facebook
    • 36. Landfill Harmonic on YouTube
    • 37. Freddie Wong
    • 38. Eddie Burns
    • 39. CrowdSourcing Turning Community into Funders
    • 40. Freddie Wong: VGHS on Kickstarter
    • 41. Video Game High School Season Two
    • 42. The Canyons: Paul Schrader, Brett Easton Ellis
    • 43. Spike Lee’s New Project
    • 44. Urbanized on KickStarter
    • 45. Urbanized on KickStarter
    • 46. Pebble Watch
    • 47. New World of Possibilities Possibilities New Directions & Methods
    • 48. Or the Status Quo... • Play festival • (limited) Television • (limited) Theatrical • (limited) DVD • (limited) VOD • Stuck on Shelf • Limited audience engagement
    • 49. Make Your Own Model Evaluate your Plan A vs. other Plan B(s)
    • 50. Selling Direct to Fan Convenience & Immediacy
    • 51. New World/Hybrid $ “New World or Hybrid Distribution combines direct sales by filmmakers with distribution by third parties (e.g. DVD distributors, TV channels, VOD companies, educational distributors)” Peter Broderick
    • 52. New World/Hybrid $ You own rights Split rights Partner for exploitation You keep more $ 54
    • 53. New World/Hybrid $ You own rights Split rights Partner for exploitation You keep more $......(in theory)
    • 54. Rights & Terms Theatrical Non-theatrical Educational Ancillary Home Video Broadcast Online VOD (rental), EST (purchase) Piracy/Peer to Peer Foreign Mobile Event/alternatives Transmedia MG Minimum Guarantee/Advance Exclusivity/Non Term Territories/markets Cross-collateralization Marketing/ P&A Commitments Windows Day and Date
    • 55. Audience Development Your film Your needs New Rights Scheme: Your audience Live event/Theatrical Your resources Merchandise Create a strategy Digital Build your team - PMD Start before finished - the new 50/50 Build core audience Social Media Transmedia From Jon Reiss: Think Outside the Box Office
    • 56. Multi-Platform Agnostic, Viral & Mobile
    • 57. Sound City
    • 58. We Are Legion
    • 59. Objectified
    • 60. Indie Game The Movie
    • 61. Festivals: IGTM debuted at the 2012 Sundance Film Festival. The film won an award for ‘Best Editing’ in the World Documentary Category. It was also an official selection of SXSW,Sheffield, Hotdocs and 30+ other great festivals. Option:IGTM was optioned by Scott Rudin for a potential fictional television series on HBO. Theatrical Release: In May 2012, IGTM opened at the IFC Center in New York, Los Angeles, Seattle, San Francisco & Toronto. It expanded into other markets, and qualified for the Academy Awards. Theatrical Tour: We organized a 15 city, in-person US tour, presented by Adobe. Running from March - May 2012, the tour was instrumental in building enthusiasm for the film and the release. Worldwide Screenings: IGTM has screened in 25 countries at with 100+ community and festival screenings. The film opened theatrically in Australia, Scotland & Scandinavia and continues to screen all over the world. (See a full listing here). Digital Launch: On June 12th, IGTM was released online, worldwide on iTunes, DRM-free from our own website (powered by VHX) and was the first feature film to be offered on Steam (the world’s largest online video game retailer). The film spent four weeks at #1 in the documentary category and peaked at #14 of all films on iTunes, & peaked at #7 of all titles on Steam. Digital Expansion: On July 12th, the film’s online release was expanded to include Amazon, VuDu, Youtube, PS3, Xbox, and many others, with the help of Sundance Artist Services. Broadcast: On Oct 1, IGTM was made available on Netflix US and Netflix UK. Indie Game The Movie
    • 62. Indie Game The Movie
    • 63. Audience Development Your film Your needs New Rights Scheme: Your audience Live event/Theatrical Your resources Merchandise Create a strategy Digital Build your team - PMD Start before finished - the new 50/50 Build core audience Social Media Transmedia From Jon Reiss: Think Outside the Box Office
    • 64. Creating a Plan A For Your Film & Your Career Brian Newman www.sub-genre.com @bnewman01
    • 65. We’re at a rare moment when the experiments with form fit the new paradigm. A maturing point, where artistic and audience desires are coinciding.
    • 66. Multiple Access Points
    • 67. Transmedia What it is: Develop the story across multiple entry points Multi-platform Audience can become immersed in experience Deep audience engagement Encourages participatory audiences Each element a distinctive experience Story flows & builds rev streams Types/examples: Events Games/ARG Interactive components/ Augmented Reality Graphic Novels Online & viral content Mobile Think Outside the norms experiences
    • 68. Quick thoughts: Transmedia Build audience dev. components from the beginning Think beyond marketing Extend the experience Think about impact & social change Not just games.... events, gallery shows, etc. Some projects may not need to be a film Some Experts: Christy Dena Stephen Dinehart (coined) Jeff Gomez Henry Jenkins Mike Monello John Threat ...or can become one if successful Lance Weiler Transmedia can be simple Many more...
    • 69. Lance Weiler: Pandemic
    • 70. Creating a Plan A For Your Film & Your Career Brian Newman www.sub-genre.com @bnewman01

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