TALES FROM THE DIGITAL FRONTIER
LANCERINGSDAGEN09
DET DANSKE FILMINSTITUT
Presented by: Liz Rosenthal
Managing Director, P...
POWER TO THE PIXEL
Events and Training:
/ The Cross-Media Forum at the Times BFI London Film Festival - October 2009
/ Pix...
IS THE TRADITIONAL FILM MODEL HOLDING US BACK?


       20,000 films produced in 2007
  number of films released theatrica...
What are the opportunties the digital world offers?
    TRADITIONAL MEDIA                      DIGITAL MEDIA
         Gate...
NEW RELATIONSHIPS WITH AUDIENCES
THE INTERNET HAS TRANSFORMED THE RELATIONSHIP
BETWEEN THE CREATOR, THE AUDIENCE & THE DIS...
THE HUGE IMPACT OF SOCIAL MEDIA
Building fanbases and communities around films is key

78% of people now trust word of mou...
THE KEY TO A DIGITAL FUTURE RESIDES
IN THE RELATIONSHIP WITH AUDIENCES

A RAPID GUIDE TO AUDIENCE ENGAGEMENT
/ Crowdsourci...
Crowdsourcing/ Crowdfunding/ Collaborating
CROWDFUNDING
BRAVE NEW FILMS/ Robert Greenwald




                www.bravenewfilms.com
CROWDFUNDING
BRAVE NEW FILMS/ Robert Greenwald




                 www.bravenewfilms.com
CROWDSOURCING THE AUDIENCE
BRAVE NEW THEATRES/ Robert Greenwald




               www.bravenewtheaters.com
CROWDSOURCING RESOURCES
STARWRECK IN THE PIRKINNING/ Timo Vuorensola




                     www.starwreck.com
CROWDSOURCING RESOURCES
STARWRECK IN THE PIRKINNING/ Timo Vuorensola




                    www.wreckamovie.com
CROWDSOURCING RESOURCES
IRON SKY/ Timo Vuorensola




                http://www.ironsky.net/site/
CROWDSOURCING RESOURCES/ DIWO - DO IT WITH OTHERS
INDIEGOGO




                   www.indiegogo.com
CROWDSOURCING THE AUDIENCE
MOVIEMOBZ/ Cinema-On-Demand




                  www.moviemobz.com
COLLABORATIVE CURATION
FOUR EYED MONSTERS/ Susan Buice & Arin Crumley




                  www.foureyedmonsters.com
COLLABORATIVE CURATION
FOUR EYED MONSTERS/ Susan Buice & Arin Crumley




                  www.foureyedmonsters.com
CREATING AN ONGOING CONVERSATION
CREATING AN ONGOING CONVERSATION
 WE ARE THE STRANGE/ M dot Strange




        www.wearethestrange.com
CREATING AN ONGOING CONVERSATION
BRAVE NEW FILMS/ Robert Greenwald




         www.bravenewfilms.com
MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW
MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW
AGE OF STUPID/ Franny Armstrong




                   www.ageofstupid...
MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW
AGE OF STUPID/ Franny Armstrong




                   www.ageofstupid...
MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW
AGE OF STUPID/ Franny Armstrong




                   www.ageofstupid...
MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMS
RAGE / Sally Potter




                  www.ragethemovie.com
MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMS
RAGE / Sally Potter




                  www.ragethemovie.com
WORKING WITH FREE
WORKING WITH FREE
SITA SINGS THE BLUES/ Nina Paley




      www.sitasingstheblues.com
WORKING WITH FREE
SITA SINGS THE BLUES/ Nina Paley




      www.sitasingstheblues.com
WORKING WITH FREE
SITA SINGS THE BLUES/ Nina Paley




      www.sitasingstheblues.com
WORKING WITH FREE
SITA SINGS THE BLUES/ Nina Paley




      www.sitasingstheblues.com
WORKING WITH FREE
STEAL THIS FILM/ Jamie King




      www.stealthisfilm.com
WORKING WITH FREE
 VODO/ Jamie King




  www.vodo.net
WORKING WITH FREE
THE TRIBE/ Tiffany Shlain




  www.tribethefilm.com
WORKING WITH FREE
THE TRIBE/ Tiffany Shlain




  www.tribethefilm.com
CROSS-MEDIA STORYTELLING
How will storytelling evolve in a digital world?


                  Storyworld
CROSS-MEDIA STORYTELLING
THE DARK KNIGHT/ 42 ENTERTAINMENT




       www.batman.wikibruce.com/Home
CROSS-MEDIA STORYTELLING
THE DARK KNIGHT/ 42 ENTERTAINMENT




       www.batman.wikibruce.com/Home
CROSS-MEDIA STORYTELLING
                                    HEAD TRAUMA/ LANCE WEILER




                               ...
CROSS-MEDIA STORYTELLING
                                    HEAD TRAUMA/ LANCE WEILER




slide courtesy of Seize the Med...
CROSSMEDIA STORYTELLING

        / extends the creative form
        / reaches and engages extended audiences
        / in...
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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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