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

2,318 views

Published on

My presentation at the 2009 Tribeca All Access kick-off. I don't tend to use the notes, and just speak, so these notes don't show everything I say, but it gives you a sense. Also, most of the videos are linked, and I show one video in its entirety (Thru-You). I think I've given credit to all stats, sources, images and films but let me know if you see something missing. Also, this presentation assumes a mixed audience - some very tech, some not at all, so it will be basic stuff for those of you really into this arena.

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
2,318
On SlideShare
0
From Embeds
0
Number of Embeds
236
Actions
Shares
0
Downloads
56
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide
  • 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?
  • Tribeca All Access - Online Tools, making money and building audiences for film

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

    ×