Tribeca All Access - Online Tools, making money and building audiences for film

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    Notes on slide 1

    I want to talk today about how can we, the film community use online tools to build audience for our films. how can things like blogs, facebook, meet up, twitter, etc matter to filmmakers building an audience and trying to raise funds. What are some success stories, what are some cool things, how are people using them and what can we learn? And give one very practical example of something we are doing at TFI But keep in mind it’s not about the tools, but what you can do with them. An old marketing story says that people never go to the store to buy a hammer. They go because they want to hang a picture, or build a house – to do something much more important that the tool just allows. So what can these tools help us accomplish?

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    Tribeca All Access - Online Tools, making money and building audiences for film - Presentation Transcript

    1.  
      • Founded 1998
      • 10,000+ employees (2006)
      • Founded 2005
      • 65 employees (2006)
    2.  
    3.  
    4. DISINTERMEDIATED Rise of the Crowd
    5.  
    6. Pew Research Center
    7.  
    8. Usage by Age Group US and Int’l Growth
    9. My TweetStats by Day and Hour
    10. Participatory A Conversation
    11.  
    12.  
    13. Building Community Friends & Fans
    14.  
    15.  
    16. www.foureyedmonsters.com
    17. CrowdSourcing Turning Community into Funders
    18.  
    19.  
    20.  
    21.  
    22.  
    23. Participatory II. A Viral Video Conversation
    24.  
    25.  
    26.  
    27.  
    28.  
    29. Remix Culture Mash-Ups and Sampling – Participatory Cinema
    30.  
    31.  
    32.  
    33.  
    34. Multi-Platform Agnostic and Viral
    35.  
    36.  
    37.  
    38. Free
    39. Free World
    40. $
    41.  
    42.  
    43.  
    44.  
    45. Old World $
    46. Old World $
      • Play Festival
    47. Old World $
      • Play Festival
      • Sell to Distributor/Broadcaster (s)
        • advance
        • percentage of revenues
    48. Old World $
      • Play Festival
      • Sell to Distributor/Broadcaster (s)
        • advance
        • percentage of revenues
      • They sell to audience
      • Who pays for film
    49. Old World $
      • Play Festival
      • Sell to Distributor/Broadcaster (s)
        • advance
        • percentage of revenues
      • They sell to audience
      • Who pays for film
      • $ to distributor
      • $ to filmmakers
      • $ to investors
    50. Old World $
      • Play Festival
      • Sell to Distributor/Broadcaster (s)
        • advance
        • percentage of revenues
      • They sell to audience
      • Who pays for film
      • $ to distributor
      • $ to filmmakers
      • $ to investors
      • Everyone is happy
    51. Old World $
      • Play Festival
      • Sell to Distributor/Broadcaster (s)
        • advance
        • percentage of revenues
      • They sell to audience
      • Who pays for film
      • $ to distributor
      • $ to filmmakers
      • $ to investors
      • Everyone is happy
      MYTH
    52. Old World $
      • Play Festival
      • Sell to Distributor/Broadcaster (s)
        • advance
        • percentage of revenues
      • They sell to audience
      • Who pays for film
      • $ to distributor
      • $ to filmmakers
      • $ to investors
      • Everyone is happy
    53. Old World $ -- Reality
      • Play Festival Maybe
      • Sell to Distributor/Broadcaster (s) Maybe – forever, everywhere
        • advance $0 - $15,000 avg
        • percentage of revenues 30% - 60% after expenses
      • They sell to audience Hopefully
      • Who pays for film If theaters book it or buyers buy
      • $ to distributor But,
      • $ to filmmakers
      • $ to investors
      • Everyone is happy
    54. Old World $ -- Reality
      • Play Festival Maybe
      • Sell to Distributor/Broadcaster (s) Maybe – forever, everywhere
        • advance $0 - $15,000 avg
        • percentage of revenues 30% - 60% after expenses
      • They sell to audience Hopefully
      • Who pays for film If theaters book it or buyers buy
      • $ to distributor But,
      • Marketing, P& A, staffing,
      • cross-collateralization,
      • fees, delivery,
    55. Old World $ -- Reality
      • $0 to filmmakers
      • $0 to investors
      • No one is happy…and you don’t even own your film anymore
    56. $
    57. Free (Plus fee)
    58. “On the one hand information wants to be expensive, because it's so valuable. The right information in the right place just changes your life. On the other hand, information wants to be free, because the cost of getting it out is getting lower and lower all the time. So you have these two fighting against each other.” Stewart Brand at the first Hackers ' Conference in 1984
      • Why Pay?
    59. When Copies are free, you need to sell things that can’t be copied. Kevin Kelly, Better Than Free
      • Like What?
    60. IMMEDIACY
    61. PERSONALIZATION
    62. PERSONALIZATION
    63. INTERPRETATION
    64. AUTHENTICITY
    65. EMBODIMENT
    66. PATRONAGE
    67. ACCESSIBILITY
    68. FINDABILITY
    69.  
    70.  
    71.  
    72. Recap
      • Have a website for you and your films
      • Blog, tweet and join the conversation
      • Build your fan base
      • Use them to raise funds, to promote you and your film
      • Use Viral Video
      • Consider value of allowing remix
      • Be multiplatform
      • Remember what will make people pay $ for your film
    73. Generatives
      • Immediacy
        • Give them something now
      • Personalization
        • To their needs
      • Interpretation
        • with study guide, or commentary
      • Authenticity
        • From you directly, signed by you
      • Embodiment
        • Speaking Fees
      • Patronage
        • Support the artist; Radiohead model
      • Accessibility
        • Make it easy to get
      • Findability
        • Work with partners who make you findable
    74.  
    75.  
    76.  

    + Brian NewmanBrian Newman, 6 months ago

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