Should We? Could We? Would We?: Films in the Age of Cross-Media Production Christy Dena UniverseCreation101.com Power to the Pixel 22 nd October 2008

http://en.wikipedia.org/wiki/Image:Archers-AMOLAD-Logo.jpg

Four eyed monsters Blair Witch Project Replicate Transform Expand

Should We?

Should We?

Should we distribute across multiple media platforms? Should we promote across multiple media platforms? Should we expand the film experience across media platforms?

Should we distribute across multiple media platforms?

Should we promote across multiple media platforms?

Should we expand the film experience across media platforms?

Should we distribute across multiple media platforms?

Should we distribute across multiple media platforms?

DeMassification! – Toffler (Fragmented Audiences)

“ In a nearby future we can assume that media will move freely across different technological platforms, across different media formats and across different networks. Media will in this sense appear more as a liquid than solids.” Mikael Wiberg, 2007, 63 “ Fluids travel easily. They ‘flow’, ‘spill’, ‘run out’, ‘splash’, ‘pour over’, ‘leak’, ‘flood’, ‘spray’, ‘drip’, ‘seep’, ‘ooze’; unlike solids they are not easily stopped—they pass around some obstacles, dissolve some others and bore or soak their ways through others still.” Zygmunt Bauman, 2000, 1-2

Ruddy Morgan’s Flatland

‘ Billion Dollar Research Lab: Cross-Media Insights from the Largest Single Media Event Ever’ “ We thought that customers would be appreciative of the fact that we had so much across different platforms,” he said. “But nope. They were like ‘obviously!’ They just expected it.” Alan Wurtzel, NBC Universal’s President of Research

‘ Billion Dollar Research Lab: Cross-Media Insights from the Largest Single Media Event Ever’

Should we promote across multiple media platforms?

Should we promote across multiple media platforms?

DeMassification! (Fragmented Audiences)

Timothy deWaal Malefyt, Vice President/Director of Cultural Discoveries, BBDO Advertising Worldwide “ Reason is Out, Emotion is In”

Tulse Luper Suitcases “ webler: Website constructed entirely from a film’s visual and aural elements that can be navigated and interacted with by a general audience. A webler should offer both an experience of the actual film as with a film trailer and an alternative expression to that experience.” www.digiscreen.ca/weblers/tulse

“ webler: Website constructed entirely from a film’s visual and aural elements that can be navigated and interacted with by a general audience. A webler should offer both an experience of the actual film as with a film trailer and an alternative expression to that experience.”

Head Trauma Freefall www.eagleeyefreefall.com

Head Trauma

Freefall

Reality is the new play space

JasonsGrudge2blog.com

JasonsGrudge2blog.com

http://www.sonypictures.com/homevideo/untraceable/ http://www.killwithme.com/

http://www.ihatesarahmarshall.com/ http://www.forgettingsarahmarshall.com/

Marketing Art ? X

Should we expand the film experience across media platforms?

Should we expand the film experience across media platforms?

“ 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.” ‘ Toward a re-invention of cinema’ Cinema Militans Lecture Peter Greenaway, 28 th Sept, 2003

“ 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.”

‘ Toward a re-invention of cinema’

Cinema Militans Lecture Peter Greenaway, 28 th Sept, 2003

Ruddy Morgan’s Flatland

Audiences want to converse with your world in their native tongue/ media

SIMM = “ individual consumers being exposed to more than one media system or approach at a single point in time. In short, it describes the increasingly prevalent consumer activity of multitasking, eg being online and watching television at the same time, reading the newspaper while listening to the radio, or reading the mail while talking on the telephone.” (Pilotta, Schultz, 2004)

SIMM =

“ individual consumers being exposed to more than one media system or approach at a single point in time. In short, it describes the increasingly prevalent consumer activity of multitasking, eg being online and watching television at the same time, reading the newspaper while listening to the radio, or reading the mail while talking on the telephone.”

(Pilotta, Schultz, 2004)

Could We?

Could We?

Could We Do It? How Could We Do It? What Could We Do?

Could We Do It?

How Could We Do It?

What Could We Do?

Could We Do It?

Could We Do It?

Four Approaches to Cross-Media Creation Version 1, Christy Dena, 2008 All mediums are equal, all art is one * Film is King, other mediums are Queen Film is King, other mediums can be Knights Film is King, all other mediums are Pawns Medium Status * Have to experience more than one * Experience more than one * Experience one or the other * Experience one on top of the other, no relation Audiences Writer-Producer-Director Self & like-minded teams Writer-Producer-Director Creatively controlled practitioners with some integration knowledge Creatively controlled practitioners Outsiders, no creative control Execution Combined platform/artform skills Multi platform/artform skills Single platform/artform skills Single platform/artform skills Skills Artistic Economic & Artistic Economic (& Artistic) Economic Motivation Strategies & Techniques Cross-media interaction design Experience Design Simultaneous media usage Designed from beginning Parallel production Asset Sharing After initial content Central Management (‘Transmedia Tzar’) Coherence Management (‘World Bible’) Asset Sharing Leverage existing IP for marketing & franchise exploitation No role in the meaning-making process Native Integrated Complimentary Isolated

All mediums are equal, all art is one

Film is King, other mediums can be Knights

Film is King, all other mediums are Pawns

Writer-Producer-Director

Self & like-minded teams

Writer-Producer-Director

Creatively controlled practitioners with some integration knowledge

Creatively controlled practitioners

Outsiders, no creative control

Combined platform/artform skills

Multi platform/artform skills

Single platform/artform skills

Single platform/artform skills

Cross-media interaction design

Experience Design

Simultaneous media usage

Designed from beginning

Parallel production

Asset Sharing

After initial content

Central Management (‘Transmedia Tzar’)

Coherence Management (‘World Bible’)

Asset Sharing

Leverage existing IP for marketing & franchise exploitation

No role in the meaning-making process

The “fly in the ointment” of ‘transmedia storytelling’? ‘ pragmatic conflicts between film production and videogame development practices’ Trevor Elkington Senior Associate Producer, Surreal Software

The “fly in the ointment” of ‘transmedia storytelling’?

‘ pragmatic conflicts between film production and videogame development practices’

Trevor Elkington

Senior Associate Producer, Surreal Software

Cross-Media Production Process Comparison Source: http://jasondaponte.wordpress.com/2008/09/19/... Conceived by Crossover Nordic team, chart created by Daniel

How Could We Do It?

How Could We Do It?

Replicate

http://brokensaints.com/ Brooke Burgess, Ian Kirby, and Andrew West’s Broken Saints

Transform

http://www.thefountainremixed.com/

… and Peter Greenaway VJing his ‘Tulse Luper Project’… www.tulselupernetwork.com petergreenaway.org.uk/tulse.htm

Richard James Allen’s Thursday’s Fictions “ When you read a book, you imagine the world. When you watch a film, you see and hear the world. When you visit an online 3D immersive environment, you enter the world. You feel what it’s like to be one of the characters, to be inside the story. And you can share that experience with your friends.” www.thursdaysfictions.com

Expand

Joss Whedon’s Firefly/Serenity

Richard Kelly’s Southland Tales www.southlandtales.com

10 Canoes / feature film “ Many, many canoes”: 11 Canoes / Mini-Documentaries Training 12 Canoes / Broadband Website 13 Canoes / Gallery Exhibition 14 Canoes / Photo Publishing Project 15 Canoes / Music Preservation Project 16 Canoes / Closed-Circuit Television Station 17 Canoes / Cultural Exchange Program 18 Canoes / Making Of Documentary Rolf De Heer: http://www.vertigoproductions.com.au/10canoes.htm Movie: http://www.tencanoes.com.au/

What Could We Do?

What Could We Do?

Lance Weiler’s Head Trauma http://www.headtraumamovie.com/

http://www.gorillaz.com/DirtyHarry/ Gorillaz’s Dirty Harry

John August’s The Nines

Fictional newspapers Jason Grote’s 1001 www.1001nyc.com

Fictional newspapers

Michel Gondry’s Sunshine on a Spotless Mind www.lacunainc.com

Six to Start http://wetellstories.co.uk/

Pet Shop Boys’ Integral

Blast Theory’s ‘Can You See Me Now?’

42 Entertainment’s I Love Bees

42 Entertainment’s I Love Bees

42 Entertainment’s ‘Last Call Poker’ for Activision’s GUN Image from Jane McGonigal’s NEXT presentation

42 Entertainment’s The Dark Knight campaign

… and the phones buried inside the cakes for The Dark Knight… 42 Entertainment’s The Dark Knight campaign

Nine Inch Nails’ Year Zero

Nine Inch Nails’ Year Zero

Singapore’s Postal Service ‘Yours Always’

Lance Weiler’s Head Trauma http://www.headtraumamovie.com/

www.find815.com Hoodlum’s Find 815 for ABC’s Lost

‘ She Loves the Moon’ by the Strangers…

Nick Montfort and Scott Rettberg’s ‘Implementation’ http://nickm.com/implementation/

YellowArrow.net

www.botanicalls.com

Sharks area/code’s SharkRunners

Sharks

Mind Candy’s ‘Perplex City’

Would We?

Would We?

Should We? Could We? Would You?

Should We?

Could We?

Would You?

www.ChristyDena.com www.UniverseCreation101.com

www.ChristyDena.com

www.UniverseCreation101.com

References Bauman, Z. (2000). Liquid Modernity . Polity Press, USA. deWaal Malefyt, T. (2006). "The Privatisation of Consumption: Marketing Media Through Sensory Modalities." Advertising and the Media themed issue of Media International Australia (119): 85-98. Elkington, T. G. (2005). How a Salad Bowl Can Improve Transmedia Storytelling: Integration and Convergence in Film and Game Development. Futureplay 2005 . East Lansing, MI. Greenaway, P. (2003, 28 Sept). "Cinema Militans Lecture: Toward a re-invention of cinema." Retrieved 17 March, 2006, from http://petergreenaway.co.uk/essay3.htm. Pilotta, J. J., Schultz, D.E. et al. Simultaneous Media Usage: A Critical Consumer Orientation to Media Planning, Journal of Consumer Behaviour (2004), John Wiley & Sons, Ltd., 3(3), 285-292. Toffler, A. (1980). De-Massifying the Media. The Third Wave . New York, Morrow : 155-167. Wiberg, M. (2007). Midgets: Exploring the Design Space for Truly Liquid Media . 1st International Conference on Crossmedia Interaction Design, Hemavan, Sweden.

Bauman, Z. (2000). Liquid Modernity . Polity Press, USA.

deWaal Malefyt, T. (2006). "The Privatisation of Consumption: Marketing Media Through Sensory Modalities." Advertising and the Media themed issue of Media International Australia (119): 85-98.

Elkington, T. G. (2005). How a Salad Bowl Can Improve Transmedia Storytelling: Integration and Convergence in Film and Game Development. Futureplay 2005 . East Lansing, MI.

Greenaway, P. (2003, 28 Sept). "Cinema Militans Lecture: Toward a re-invention of cinema." Retrieved 17 March, 2006, from http://petergreenaway.co.uk/essay3.htm.

Pilotta, J. J., Schultz, D.E. et al. Simultaneous Media Usage: A Critical Consumer Orientation to Media Planning, Journal of Consumer Behaviour (2004), John Wiley & Sons, Ltd., 3(3), 285-292.

Toffler, A. (1980). De-Massifying the Media. The Third Wave . New York, Morrow : 155-167.

Wiberg, M. (2007). Midgets: Exploring the Design Space for Truly Liquid Media . 1st International Conference on Crossmedia Interaction Design, Hemavan, Sweden.