Danish Film Institute Keynote

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Danish Film Institute Keynote

  1. 1. TALES FROM THE DIGITAL FRONTIER LANCERINGSDAGEN09 DET DANSKE FILMINSTITUT Presented by: Liz Rosenthal Managing Director, Power to the Pixel NOVEMBER 2009 www.powertothepixel.com
  2. 2. POWER TO THE PIXEL Events and Training: / The Cross-Media Forum at the Times BFI London Film Festival - October 2009 / Pixel Paris, in association with Arte France Cinéma - 3rd December 2009 / The Cross-Media Film Lab - April 2010 Online/ Publishing: / The Pixel Report - Ta multimedia publication focused on cross-media forms of film- making, storytelling and distribution, providing analysis, information and debate about the changing environment for the financing, production and distribution around the world. Edited by Michael Gubbins and Liz Rosenthal Consulting: Some of our clients to date are: / UK Film Council, / Film London / BAFTA, / Swedish Film Institute, / Berlinale / Rotterdam Film Festival / CineRegio, / Europa Cinemas, / UK Film Export Group / UK Industry Trust / Individual Film Companies www.powertothepixel.com
  3. 3. IS THE TRADITIONAL FILM MODEL HOLDING US BACK? 20,000 films produced in 2007 number of films released theatrically in 2008 Denmark: 231 Netherlands: 296 France: 555 Germany: 471 Italy: 376 Spain: 402 UK: 531 US: 600 Figures: EDI, Screen Digest, DFI
  4. 4. What are the opportunties the digital world offers? TRADITIONAL MEDIA DIGITAL MEDIA Gatekeeper Model Creator & Consumer Led Model Restricts Audience Access Enables Audience Access Limited Space Unlimited Space Suits Blockbusters Suits Niche & Specialist Expensive Delivery Low Cost Delivery One-Size-Fits-All Strategy Tailored Strategies One Version Unlimited Versions/ New Formats Territorial Release Global Release Exclusive Rights Deals Non-Exclusive and Exclusive Deals Value = Unit Sales Value = Data, non-copiable items Little Connection to Audiences Direct Relationship With Audience
  5. 5. NEW RELATIONSHIPS WITH AUDIENCES THE INTERNET HAS TRANSFORMED THE RELATIONSHIP BETWEEN THE CREATOR, THE AUDIENCE & THE DISTRIBUTOR / DIRECT CONNECTION BETWEEN CREATORS AND AUDIENCES / BUILD A COMMUNITY/ FANBASE AROUND YOUR WORK / AUDIENCES ARE NO LONGER PASSIVE / REMIXING AND COLLABORATING / A CHANGING ROLE OF CURATORS/ CRITICS/ COMMISSIONERS / NEW MEASURES OF QUALITY AND RELEVANCE / FRAGMENTED AUDIENCES ACROSS PLATFORMS / CREATE STORIES ACROSS MEDIA TO ENGAGE AUDIENCES
  6. 6. THE HUGE IMPACT OF SOCIAL MEDIA Building fanbases and communities around films is key 78% of people now trust word of mouth above other forms of marketing (EDI) Last year, the audience using online social networks increased by: 35% in Europe 66% in the Middle East & Africa 33% in Latin America
  7. 7. THE KEY TO A DIGITAL FUTURE RESIDES IN THE RELATIONSHIP WITH AUDIENCES A RAPID GUIDE TO AUDIENCE ENGAGEMENT / Crowdsourcing/ Crowdfunding/ Collaborating / Creating an ongoing conversation / Making available anyplace, anywhere, anyhow / Working with Free / Cross-Media Storytelling
  8. 8. Crowdsourcing/ Crowdfunding/ Collaborating
  9. 9. CROWDFUNDING BRAVE NEW FILMS/ Robert Greenwald www.bravenewfilms.com
  10. 10. CROWDFUNDING BRAVE NEW FILMS/ Robert Greenwald www.bravenewfilms.com
  11. 11. CROWDSOURCING THE AUDIENCE BRAVE NEW THEATRES/ Robert Greenwald www.bravenewtheaters.com
  12. 12. CROWDSOURCING RESOURCES STARWRECK IN THE PIRKINNING/ Timo Vuorensola www.starwreck.com
  13. 13. CROWDSOURCING RESOURCES STARWRECK IN THE PIRKINNING/ Timo Vuorensola www.wreckamovie.com
  14. 14. CROWDSOURCING RESOURCES IRON SKY/ Timo Vuorensola http://www.ironsky.net/site/
  15. 15. CROWDSOURCING RESOURCES/ DIWO - DO IT WITH OTHERS INDIEGOGO www.indiegogo.com
  16. 16. CROWDSOURCING THE AUDIENCE MOVIEMOBZ/ Cinema-On-Demand www.moviemobz.com
  17. 17. COLLABORATIVE CURATION FOUR EYED MONSTERS/ Susan Buice & Arin Crumley www.foureyedmonsters.com
  18. 18. COLLABORATIVE CURATION FOUR EYED MONSTERS/ Susan Buice & Arin Crumley www.foureyedmonsters.com
  19. 19. CREATING AN ONGOING CONVERSATION
  20. 20. CREATING AN ONGOING CONVERSATION WE ARE THE STRANGE/ M dot Strange www.wearethestrange.com
  21. 21. CREATING AN ONGOING CONVERSATION BRAVE NEW FILMS/ Robert Greenwald www.bravenewfilms.com
  22. 22. MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW
  23. 23. MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW AGE OF STUPID/ Franny Armstrong www.ageofstupid.net
  24. 24. MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW AGE OF STUPID/ Franny Armstrong www.ageofstupid.net
  25. 25. MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW AGE OF STUPID/ Franny Armstrong www.ageofstupid.net
  26. 26. MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMS RAGE / Sally Potter www.ragethemovie.com
  27. 27. MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMS RAGE / Sally Potter www.ragethemovie.com
  28. 28. WORKING WITH FREE
  29. 29. WORKING WITH FREE SITA SINGS THE BLUES/ Nina Paley www.sitasingstheblues.com
  30. 30. WORKING WITH FREE SITA SINGS THE BLUES/ Nina Paley www.sitasingstheblues.com
  31. 31. WORKING WITH FREE SITA SINGS THE BLUES/ Nina Paley www.sitasingstheblues.com
  32. 32. WORKING WITH FREE SITA SINGS THE BLUES/ Nina Paley www.sitasingstheblues.com
  33. 33. WORKING WITH FREE STEAL THIS FILM/ Jamie King www.stealthisfilm.com
  34. 34. WORKING WITH FREE VODO/ Jamie King www.vodo.net
  35. 35. WORKING WITH FREE THE TRIBE/ Tiffany Shlain www.tribethefilm.com
  36. 36. WORKING WITH FREE THE TRIBE/ Tiffany Shlain www.tribethefilm.com
  37. 37. CROSS-MEDIA STORYTELLING How will storytelling evolve in a digital world? Storyworld
  38. 38. CROSS-MEDIA STORYTELLING THE DARK KNIGHT/ 42 ENTERTAINMENT www.batman.wikibruce.com/Home
  39. 39. CROSS-MEDIA STORYTELLING THE DARK KNIGHT/ 42 ENTERTAINMENT www.batman.wikibruce.com/Home
  40. 40. CROSS-MEDIA STORYTELLING HEAD TRAUMA/ LANCE WEILER www.headtraumamovie.com slide courtesy of Seize the Media
  41. 41. CROSS-MEDIA STORYTELLING HEAD TRAUMA/ LANCE WEILER slide courtesy of Seize the Media
  42. 42. CROSSMEDIA STORYTELLING / extends the creative form / reaches and engages extended audiences / increases potential types of finance / new opportunities to exploit IP “If the cinema intends to survive, I believe, it has to make a pact and a relationship with concepts of interactivity, and it has to see itself as only part of a multimedia cultural adventure.” Cinema Militans Lecture Peter Greenaway, 28th Sept, 2003

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