FIndings of an industry workshop into how to build cinema audiences. Commissioned by UK cinema body Cinema First. This research appears on leading media audience site www.sampomedia.com, which is gathering feedback from anyone interested in the field.
The document discusses various methods for distributing media products, including through cinemas, online streaming services like Netflix, DVD/Blu-ray, and film festivals. It notes that cinemas are usually the first distribution method for films. Online streaming is beneficial due to large audiences and promotion of similar content. DVD/Blu-ray allow portable and repeated viewing. Film festivals are best for independent films seeking recognition. The document recommends distributing a horror film first through cinemas, then DVD/Blu-ray, and later online streaming to maximize the potential audience and profit.
This document discusses different strategies that films use to achieve distribution. It contrasts the distribution approaches of large studios, which can achieve widespread theatrical distribution through their financial resources and vertical integration, with independent films, which must make deals with separate distribution companies. It then provides case studies of specific films to illustrate different distribution approaches, challenges, and strategies used by independent films to find audiences through film festivals, self-distribution, and leveraging online platforms and social media.
This document discusses six different ways to fund films and movies: banks, the British Film Institute (BFI), film/movie studios, charities, private individuals, and crowd funding. It provides an overview of the pros and cons of each funding source. Banks can fund any project but focus on economic growth. The BFI funds a variety of genres but projects must meet certain criteria. Film studios can invest large amounts but may be controlling. Charities usually only fund documentaries about their issues. Private individuals could invest large amounts but want returns. Crowd funding allows independent production but a wide audience appeal is needed.
The document discusses two stages of film production: distribution and exhibition. Distribution involves launching films in the marketplace through advertising and merchandise. Exhibition is how films are shown to audiences, such as in cinemas. Distribution can now be done digitally through online stores or streaming, making it cheaper than analog distribution of film reels. Exhibition also involves digital projection in cinemas instead of film reels, reducing costs and staffing needs. The final stages of distribution involve rating, shipping, and cinema showings followed by DVD releases. Low-budget films may use digital distribution through online platforms like YouTube.
This document provides a lengthy list of questions for students to consider when researching the film industry, including the production and distribution companies, genres, budgets, marketing strategies, audience reception, and financial performance of their chosen film. It encourages students to thoroughly investigate all aspects of how the film was made, distributed, and received by researching the relevant organizations, personnel, and analyzing reviews to understand the film's success from an institutional and audience perspective. Students are also prompted to discuss their findings with peers and develop their own questions for further study.
Glossary of key terms film institution examhasnmedia
The document defines key terminology used in discussing media ownership, cross media and technological convergence, synergy, digital technology developments, film production, distribution, marketing, finance, exhibition, and audiences. It provides definitions and concepts for terms like conglomerate, vertical and horizontal integration, cross promotion, production, distribution, and exhibition. It also discusses how digital technology is merging devices and allowing for new forms of distribution and convergence across media.
Mobile/Smart Phone Filmmaking - A Decade of Mobile Moving-Image PracticeMax Schleser
This document discusses mobile filmmaking as a global phenomenon from 2004-2008. It provides context about working with early mobile devices that were not intended for filmmaking. It references works from early mobile filmmakers and discusses the aesthetics of mobile media. It notes how a use-based and technology-in-use history shifts focus from spectacular technologies to ubiquitous, everyday technologies. The document discusses the transition from industry to community in mobile filmmaking and distribution through DVDs, eBooks, and magazines. It also describes the author's work showcasing mobile creativity and innovation through organizations like MINA and online workshops.
This 3-sentence summary provides an overview of the key points about the online Christian filmmaking class:
The PowerPoint presentation is designed to be taught live online through Google Hangouts and covers topics like camera equipment, lighting, sound recording, and cinematography to teach filmmaking skills for Christian films. The class is taught by instructor Norton Rodriguez and interested students should contact TheGodofmoses@gmail.com for more information or to schedule a private Google Hangouts session for the online class.
The document discusses various methods for distributing media products, including through cinemas, online streaming services like Netflix, DVD/Blu-ray, and film festivals. It notes that cinemas are usually the first distribution method for films. Online streaming is beneficial due to large audiences and promotion of similar content. DVD/Blu-ray allow portable and repeated viewing. Film festivals are best for independent films seeking recognition. The document recommends distributing a horror film first through cinemas, then DVD/Blu-ray, and later online streaming to maximize the potential audience and profit.
This document discusses different strategies that films use to achieve distribution. It contrasts the distribution approaches of large studios, which can achieve widespread theatrical distribution through their financial resources and vertical integration, with independent films, which must make deals with separate distribution companies. It then provides case studies of specific films to illustrate different distribution approaches, challenges, and strategies used by independent films to find audiences through film festivals, self-distribution, and leveraging online platforms and social media.
This document discusses six different ways to fund films and movies: banks, the British Film Institute (BFI), film/movie studios, charities, private individuals, and crowd funding. It provides an overview of the pros and cons of each funding source. Banks can fund any project but focus on economic growth. The BFI funds a variety of genres but projects must meet certain criteria. Film studios can invest large amounts but may be controlling. Charities usually only fund documentaries about their issues. Private individuals could invest large amounts but want returns. Crowd funding allows independent production but a wide audience appeal is needed.
The document discusses two stages of film production: distribution and exhibition. Distribution involves launching films in the marketplace through advertising and merchandise. Exhibition is how films are shown to audiences, such as in cinemas. Distribution can now be done digitally through online stores or streaming, making it cheaper than analog distribution of film reels. Exhibition also involves digital projection in cinemas instead of film reels, reducing costs and staffing needs. The final stages of distribution involve rating, shipping, and cinema showings followed by DVD releases. Low-budget films may use digital distribution through online platforms like YouTube.
This document provides a lengthy list of questions for students to consider when researching the film industry, including the production and distribution companies, genres, budgets, marketing strategies, audience reception, and financial performance of their chosen film. It encourages students to thoroughly investigate all aspects of how the film was made, distributed, and received by researching the relevant organizations, personnel, and analyzing reviews to understand the film's success from an institutional and audience perspective. Students are also prompted to discuss their findings with peers and develop their own questions for further study.
Glossary of key terms film institution examhasnmedia
The document defines key terminology used in discussing media ownership, cross media and technological convergence, synergy, digital technology developments, film production, distribution, marketing, finance, exhibition, and audiences. It provides definitions and concepts for terms like conglomerate, vertical and horizontal integration, cross promotion, production, distribution, and exhibition. It also discusses how digital technology is merging devices and allowing for new forms of distribution and convergence across media.
Mobile/Smart Phone Filmmaking - A Decade of Mobile Moving-Image PracticeMax Schleser
This document discusses mobile filmmaking as a global phenomenon from 2004-2008. It provides context about working with early mobile devices that were not intended for filmmaking. It references works from early mobile filmmakers and discusses the aesthetics of mobile media. It notes how a use-based and technology-in-use history shifts focus from spectacular technologies to ubiquitous, everyday technologies. The document discusses the transition from industry to community in mobile filmmaking and distribution through DVDs, eBooks, and magazines. It also describes the author's work showcasing mobile creativity and innovation through organizations like MINA and online workshops.
This 3-sentence summary provides an overview of the key points about the online Christian filmmaking class:
The PowerPoint presentation is designed to be taught live online through Google Hangouts and covers topics like camera equipment, lighting, sound recording, and cinematography to teach filmmaking skills for Christian films. The class is taught by instructor Norton Rodriguez and interested students should contact TheGodofmoses@gmail.com for more information or to schedule a private Google Hangouts session for the online class.
- Digital technology has significantly impacted the film industry through changes in production, distribution, and audience consumption. At the production stage, films are now often created digitally rather than on physical film. Digital distribution has lowered costs but increased piracy risks. Audiences now have more options for accessing films through digital downloads, streaming, and video on demand platforms. Overall, digitalization has disrupted traditional models but also created new opportunities for both large studios and independent films.
“There is nothing wrong with a film company that a great movie cannot solve.” -David Cardona- cInEmA phOtOgrAphy & cOntEnts dEvElOpmEnt On a Carlos Ghosn, Nissan CEO, Paraphrase.
The document provides guidance on answering a question about how media products are produced and distributed to audiences. It discusses key concepts to address such as production budgets, distribution methods, and the impact of digital technologies. The document also provides an example essay structure and identifies two case studies - an independent British film company and a large Hollywood studio - to compare and contrast in a response.
This document provides guidance on key areas of focus for Section B of an AS Media Studies exam. It outlines that students should understand media institutions and audience consumption. It then lists several specific areas of focus, including issues of media ownership and cross-media convergence in production and distribution. It also emphasizes understanding the significance of proliferating media hardware/content for institutions and audiences. Students should consider how global institutions target national/local audiences and how their own media consumption illustrates trends. The document provides examples to illustrate national/local audience targeting and changes to personal media consumption over time. It directs students to complete case studies on Working Title and Warp Films film institutions.
The document lists various film marketing strategies that can be used to promote a film in 2 minutes or less, including:
- Posters, trailers, viral campaigns, TV interviews, print ads, social networking, websites, Q&A sessions, YouTube videos, and merchandise. It provides a concise overview of the essential film marketing tactics.
The document discusses marketing campaigns for films. It explains that marketing campaigns are how films are promoted and that they work in a cycle. It is important to invest in expensive marketing campaigns early to maximize revenue. Various methods of promotion are outlined, including posters, trailers, television and radio ads, social media marketing, print ads, and merchandising. Audience research is also conducted to test marketing materials and audience awareness/response. The target audience for the film discussed is adults aged 18+ due to language. The film's culture and designs aim to recreate the style of the original British working-class film but not copy directly. A website is proposed to inform people about the film.
The document discusses the relationship between the film industry and audiences, noting that while the industry aims to pressure audiences into buying products, audiences also wield influence over the industry. It traces the rise and popularity of cinema from the early 1900s through the mid-20th century, then discusses factors that have led to a decline in cinema attendance in recent decades, such as the availability of films through other mediums like online streaming and DVDs.
A workshop on how to make a sustainable living as a filmmaker in today's marketplace, and in light of "free." Good for organizations and other artists, and not just about free, but about how to survive a bad marketplace using new tools. Some new stuff, some old
Warp Films is an independent British film production company that produces low-budget films, often in the genre of social realism. They co-fund their films through sources like the National Lottery and BBC Films. Their films target UK audiences and art houses. In contrast, Working Title Films is a large, Hollywood studio-backed producer that makes mid-to-large budget films in genres like romcom and heritage drama. They aim their films at both US and UK multiplex audiences. The essay will discuss and compare the production and distribution practices of these two case studies.
The document discusses key concepts related to the film industry, including production, distribution, marketing, and exhibition. It provides examples of different types of film production models, from large Hollywood studio productions to independent films. It also defines important terms like cross-media convergence, synergy, technological convergence, and new media technologies. The document appears to be teaching materials that provide background information on the film industry and media institutions for an exam.
This document discusses various aspects of marketing a movie, including defining marketing, developing a marketing strategy, budgeting, determining target audiences, and utilizing market research and word-of-mouth promotion. It notes that the average marketing budget for a Hollywood movie is 50% of its production budget. Successful marketing involves finding key selling points, determining the appropriate release timing and platforms, and getting people interested and talking positively about the film. Market research through test screenings and materials testing can provide feedback to improve the film and marketing campaign.
A unique or creative idea for an advertisement or campaign that attracts consumers’ attention, gets a reaction, and sets the advertisers product or service apart form the competition.
The document discusses various aspects of how modern multiplex cinemas operate as businesses. It notes that while multiplexes cater primarily to younger audiences aged 15-25, they also target families. It explains that cinemas make very little from ticket sales and instead rely heavily on food and drink concessions to turn a profit. Various "trade secrets" are described around how cinemas produce inexpensive concession items yet sell them at high markups. The document raises questions about whether this business model prioritizes profits over the movie-going experience.
The document discusses key concepts and case studies relevant to questions about media institutions, audiences, ownership, and technology. It provides guidance on topics to discuss for questions about the impact of media ownership on product availability, the role of convergence and synergy in marketing, the effects of digital distribution on consumption, and the significance of technological developments. Examples mentioned include film case studies like The Dark Knight Rises, The Lego Movie, Monsters, and Wild Bill. The document also provides prompting for questions about the dominance of global media institutions and how independent British films compete within this environment.
Online streaming platforms like Netflix and Amazon Prime would be the best way to distribute an independent supernatural horror film. Some key reasons include:
- Online streaming has a huge, global audience and continues to grow in popularity unlike other methods like DVDs.
- Supernatural horror films already have an audience on these platforms, so the target niche is clearly defined.
- Online distribution is inexpensive, which benefits smaller independent production companies with limited budgets. Once on a streaming site, the film can generate ongoing revenue over time.
strategic management presentation on walt disney also include blue ocean strategy, swot and tows analysis,ansofs matrix, porters five forces strategy,analysis of vision and mission statement of walt disney
The document discusses film distribution, which involves marketing and circulating films in theaters and home viewing formats. A distributor's main objectives are to persuade exhibitors like theaters to show the film and set up screenings. They handle advertising, securing contracts with theaters regarding ticket sales revenue, collecting additional profits from DVD/Blu-ray sales and streaming, ensuring copies of the film are delivered to theaters on time, and monitoring box office performance. Distributors must consider factors like the target audience, competition from other releases, and a film's star power when planning distribution. They use varying strategies based on a film's type, from big Hollywood releases to smaller foreign or independent films.
The document discusses film distribution, which involves marketing and circulating films in theaters and home viewing formats. A distributor's main objectives are to persuade exhibitors to show the film and set up screenings. They will advertise through posters, videos, and arrange release dates and territories. Distributors must secure contracts specifying payment from ticket sales. They ensure copies are delivered on time and monitor showings. Considerations include targeting the right audience, competition, and star power. Distribution deals and formats vary between large Hollywood films and smaller independent or foreign films.
The document discusses film distribution, which involves marketing and circulating films in theaters and home viewing formats. A distributor's main objectives are to persuade exhibitors to show the film and set up screenings. They will advertise through posters, videos, and arrange release dates and territories. Distributors must secure contracts specifying payment from ticket sales. They ensure copies are delivered on time and monitor showings. Considerations include targeting the right audience, competition, and star power. Distribution deals and formats vary between large Hollywood films and smaller independent or foreign films.
This document discusses different types of documentary films and reality television shows. It defines docu-dramas as dramatizations of real events using actors, and drama documentaries as dramatic stories filmed in a documentary style. It also discusses popular documentary formats, docu-soaps from the 1990s and 2000s that combined elements of soap operas and reality TV, and analyzes positive and negative aspects of reality television shows.
Enhance Your Viewing Experience with Gold IPTV- Tips and Tricks for 2024.pdfXtreame HDTV
In the ever-evolving landscape of digital entertainment, IPTV (Internet Protocol Television) has emerged as a popular alternative to traditional cable and satellite TV services. Offering unparalleled flexibility, a vast selection of channels, and affordability, IPTV services like Gold IPTV have revolutionized the way we consume television content. This comprehensive guide will delve into everything you need to know about Gold IPTV, its features, benefits, setup process, and how it can enhance your viewing experience.
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- Digital technology has significantly impacted the film industry through changes in production, distribution, and audience consumption. At the production stage, films are now often created digitally rather than on physical film. Digital distribution has lowered costs but increased piracy risks. Audiences now have more options for accessing films through digital downloads, streaming, and video on demand platforms. Overall, digitalization has disrupted traditional models but also created new opportunities for both large studios and independent films.
“There is nothing wrong with a film company that a great movie cannot solve.” -David Cardona- cInEmA phOtOgrAphy & cOntEnts dEvElOpmEnt On a Carlos Ghosn, Nissan CEO, Paraphrase.
The document provides guidance on answering a question about how media products are produced and distributed to audiences. It discusses key concepts to address such as production budgets, distribution methods, and the impact of digital technologies. The document also provides an example essay structure and identifies two case studies - an independent British film company and a large Hollywood studio - to compare and contrast in a response.
This document provides guidance on key areas of focus for Section B of an AS Media Studies exam. It outlines that students should understand media institutions and audience consumption. It then lists several specific areas of focus, including issues of media ownership and cross-media convergence in production and distribution. It also emphasizes understanding the significance of proliferating media hardware/content for institutions and audiences. Students should consider how global institutions target national/local audiences and how their own media consumption illustrates trends. The document provides examples to illustrate national/local audience targeting and changes to personal media consumption over time. It directs students to complete case studies on Working Title and Warp Films film institutions.
The document lists various film marketing strategies that can be used to promote a film in 2 minutes or less, including:
- Posters, trailers, viral campaigns, TV interviews, print ads, social networking, websites, Q&A sessions, YouTube videos, and merchandise. It provides a concise overview of the essential film marketing tactics.
The document discusses marketing campaigns for films. It explains that marketing campaigns are how films are promoted and that they work in a cycle. It is important to invest in expensive marketing campaigns early to maximize revenue. Various methods of promotion are outlined, including posters, trailers, television and radio ads, social media marketing, print ads, and merchandising. Audience research is also conducted to test marketing materials and audience awareness/response. The target audience for the film discussed is adults aged 18+ due to language. The film's culture and designs aim to recreate the style of the original British working-class film but not copy directly. A website is proposed to inform people about the film.
The document discusses the relationship between the film industry and audiences, noting that while the industry aims to pressure audiences into buying products, audiences also wield influence over the industry. It traces the rise and popularity of cinema from the early 1900s through the mid-20th century, then discusses factors that have led to a decline in cinema attendance in recent decades, such as the availability of films through other mediums like online streaming and DVDs.
A workshop on how to make a sustainable living as a filmmaker in today's marketplace, and in light of "free." Good for organizations and other artists, and not just about free, but about how to survive a bad marketplace using new tools. Some new stuff, some old
Warp Films is an independent British film production company that produces low-budget films, often in the genre of social realism. They co-fund their films through sources like the National Lottery and BBC Films. Their films target UK audiences and art houses. In contrast, Working Title Films is a large, Hollywood studio-backed producer that makes mid-to-large budget films in genres like romcom and heritage drama. They aim their films at both US and UK multiplex audiences. The essay will discuss and compare the production and distribution practices of these two case studies.
The document discusses key concepts related to the film industry, including production, distribution, marketing, and exhibition. It provides examples of different types of film production models, from large Hollywood studio productions to independent films. It also defines important terms like cross-media convergence, synergy, technological convergence, and new media technologies. The document appears to be teaching materials that provide background information on the film industry and media institutions for an exam.
This document discusses various aspects of marketing a movie, including defining marketing, developing a marketing strategy, budgeting, determining target audiences, and utilizing market research and word-of-mouth promotion. It notes that the average marketing budget for a Hollywood movie is 50% of its production budget. Successful marketing involves finding key selling points, determining the appropriate release timing and platforms, and getting people interested and talking positively about the film. Market research through test screenings and materials testing can provide feedback to improve the film and marketing campaign.
A unique or creative idea for an advertisement or campaign that attracts consumers’ attention, gets a reaction, and sets the advertisers product or service apart form the competition.
The document discusses various aspects of how modern multiplex cinemas operate as businesses. It notes that while multiplexes cater primarily to younger audiences aged 15-25, they also target families. It explains that cinemas make very little from ticket sales and instead rely heavily on food and drink concessions to turn a profit. Various "trade secrets" are described around how cinemas produce inexpensive concession items yet sell them at high markups. The document raises questions about whether this business model prioritizes profits over the movie-going experience.
The document discusses key concepts and case studies relevant to questions about media institutions, audiences, ownership, and technology. It provides guidance on topics to discuss for questions about the impact of media ownership on product availability, the role of convergence and synergy in marketing, the effects of digital distribution on consumption, and the significance of technological developments. Examples mentioned include film case studies like The Dark Knight Rises, The Lego Movie, Monsters, and Wild Bill. The document also provides prompting for questions about the dominance of global media institutions and how independent British films compete within this environment.
Online streaming platforms like Netflix and Amazon Prime would be the best way to distribute an independent supernatural horror film. Some key reasons include:
- Online streaming has a huge, global audience and continues to grow in popularity unlike other methods like DVDs.
- Supernatural horror films already have an audience on these platforms, so the target niche is clearly defined.
- Online distribution is inexpensive, which benefits smaller independent production companies with limited budgets. Once on a streaming site, the film can generate ongoing revenue over time.
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In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
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2. OUR OBJECTIVE FOR TODAY
• …is not to arrive at any answers
• It is to explore as a group whether there is value in shared thinking,
learning and exploration about how to profitably increase cinema
admissions
• And where that value might lie
• We are not looking in this session for commitment to shared action
3. If something is going to be better, it is new, and if
it’s new you are confronting problems and
challenges you don’t have references for.
To solve and address those requires a
remarkable focus. There’s a sense of being
inquisitive and optimistic, and you don’t see
those in combination
very often
Jonathan Ive
6. Our Objectives for today
• To explore as a group whether there is value in
collectively thinking about how to increase
cinema admissions
• Where that value might lie
• Help frame the future strategy of Cinema First
8. UK Film Revenues
Million 2004 2005 2006 2007 2008 2009 2010 2011
£
Cinema 769 776 762 821 854 943 1006 1080
Home 2953 2708 2559 2644 2628 2386 2325 2180
Ent
VOD 0 0 0.20 0.8 7.7 24.8 45.2 59.6
Total 3722 3484 3321 3465 3490 3354 3376 3320
Again a decline in overall value of circa 10%
9. Cinema Admissions
Million 2004 2005 2006 2007 2008 2009 2010 2011
West. 948 852 875 858 862 915 814 890
Europe
North 1,484 1,376 1,395 1,401 1,356 1,418 1,341 1,261
America
World 7,415 7,365 7,689 7,064 7,103 6,951 6,834 6,674
741 million visits lost since 2004 – 10% decline world wide
10. UK Admissions
Million 2004 2005 2006 2007 2008 2009 2010 2011
UK 171 164 156 162 164 173 169 171
Despite large investments admissions are flat-lining.
11. But more films are being made then
ever
Number of 2002 2010
films
produced
Europe 1102 1508
World 3792 5543
Over supply of films into a declining market place
12. Some conclusions
Total value of film is in decline.
The value of cinema as a % of the value chain is
increasing. By 2014 it will be equal with all
home entertainment in Europe. (At
approximately $10 billion each)
Cinema admissions world wide are at best level
and maybe in gentle decline.
16. PETER: CINEMA AT A CROSSROADS
• Pressure for change
• £7bn 2004 £8.4bn 2011
• Decline in gross revenue
• Larger in US than UK
• Admissions also declining
• Generally, not an increasing market
• Despite large investment
• Yet, an increasing number of films being produced each
year
• Total value of film is in decline (including home
entertainment)
18. DISCUSSION
• How do we know if we are in a crisis? Can we see it coming?
• Things change very quickly
• Need to respond to early indicators
• E.g. NY headlines
• £200m invested in digital in last 18 months – haven‟t yet seen
return
• We‟re fishing from the same pond
• Need to drive organic growth
• Saturation point with increasing prices (yet can‟t compromise
theatre experience)
• We are reactionary – need to be forward-thinking
• E.g. Avatar 3D (2010) - „flavour of the month‟ one moment, the
next 3D was receiving bad press
• Older audience
19. DISCUSSION
• How engaged are the youth?
• E.g. Gaming is huge among teens
• This should ring alarm bells for us
• Disappointment around the films
• Off-putting for future films
• What films belong in cinema?
• Need to be „choiceful‟
• Opportunity with digital
• Getting young people in the habit
• Volume of films is misleading: same number of big films released, but
getting „bigger‟
• Many small films getting lost. Should we include breadth?
• Making the experience bigger than the film
20. DISCUSSION
• Demographic is constantly changing, e.g. ageing population
• Opportunity with niche audiences
• There are many solutions – not just „one size fits all‟
• Different challenges per group
• Orange Wednesdays – wanted to broaden choice, but this didn‟t
• We weren‟t aligned with Orange
• Cinema-going competing with other lifestyle activities
• Time free for teens changes across the year (e.g. Exams, school
holidays, etc)
• Consumption is huge (e.g. using different technology simultaneously)
• Other pressures
• Different groups within teens
• Membership – you can gamble on a risky film without the same
disappointment of having paid full price for a ticket
21. DISCUSSION
• Frequency
• Look to other countries with high frequency
• Loyalty card
• Experience
• Games industry – a distraction for us?
• More people NOT going, than going
• Need to target these people (organic growth)
• We need to agree on the issue
• Targeting frequency and demographic
• Need more strategic data – esp. on those going vs. not going
• Value for experience
• Need to invest in brilliant basics
• Need to share data
22. DISCUSSION
• Gaming + TV have evolved hugely over the past few years – community,
internet streaming, etc
• Cinema hasn‟t...
• Standards + expectations have grown
• Investment is often just to keep infrastructure updated to „standard‟
• Films that appeal to different audiences – not just youth
• Quality vs. volume
• Disconnect between production + exhibitors/ distributors
• Need to bring them together
• (Although can‟t blame this disconnect entirely, as production +
distribution are often the same)
• Industry model
• Public funding
• Updating our business practices – changing how we work as an industry
23. DISCUSSION
• Single vision – harness energy for desire to change
• Research the types of people going to the big hits (and not other films)
• Encourage second viewing by utilising e-mail databases, for example
• 3D receiving negative press – we need a consistent story to back it
• Communicate overall “Isn‟t cinema great?” story
• Quality of experience
• Admissions – heavy cinema goers would see all if they had time
• Therefore there is more potential in those going every so often...
• Make a night of it – could see two films for less, for example
• Green Witch campaign grew admissions
• Which marketing works?
• Need to experiment
24. ARE THERE GOOD REASONS TO LOOK AT
HOW TO INCREASE ADMISSIONS?
YES NO
25. DISCUSSION
• Need to agree our compelling case
• Customer journey
• Or about looking after current consumers?
• Technology cinema more than just seeing films
• Especially pertinent re: access (outside London)
• Population growing – yet admissions static
• Value in a shared approach
29. Area Specific comments
Improve/ create great We‟re in the experience economy
consumer experience From selling the tickets to delivery of the film
Vs other competitive activities (future proofing)
Selling customer experience, in context of competitors (external
competition and other channels of film watching)
Deliver basics brilliantly (experience) each time or money back
Redesign cinema experience around best of hospitality business
Perception vs. Reality
Youth customer experience
Better Understanding Better Understanding of consumers expectations (already done?)
of consumers Understanding our audience and creating a common language for all
to use
Better understanding our consumer – why are they watching
elsewhere?
What irritates them, and how do we get around that?
Understanding consumers‟ needs
Proper segmentation around usage, and fit within contemporary media
landscape
Routinely measure key drivers of satisfaction/ dissatisfaction vs other
alternatives.... quarterly U&A?
30. Area Specific comments
Target particular a) Youth
audiences Developing a diverse film watching habit while young
Make cinemas more welcoming to young
b) Older
Older – filling screens weekdays
Supporting each other in connecting with older group and bringing them
back more often
Community Use screens to help out local schools
Invite participation and contribution to what‟s showing when
31. Area Specific comments
Focused/ Proper Current promotional model past its sell-by date: need proper marketing
marketing and today
communication Building and utilising consumer databases
Deliver integrated Marketing Plan celebrating virtues and value of
cinema
Major campaign, broadly supported about cinema being the best place
to experience film
Working together to deliver end to end CRM
Better CRM – Amazon „like‟ recommendations
Direct local marketing support
Ease/ choice/ Make purchasing and booking of tickets easy/ spontaneous
flexibility New distribution for impulse buys
Provide consumers with greater choice, on their terms
Creating demand for choice and flex as well as delivering it
Improve access and choice, esp outside South East
Offer choice of product
Innovation and Isolate lowest cinema-going region and prototype radical ideas to boost
protoyping admissions
Innovation for youth
Paperless ticketing
32. Area Specific comments
Other Broadening the perceived offering
Converting consumer demand at its peak
Prototyped ideas
Lapsed consumers/ reappraisal
Communicate that cinema offers good VFM vs competition
Increase social nature of cinema-going: group benefits + social media
Promote as if „no release window‟
Focus on potential or infrequent users, not cognoscenti
Filmcard for young people
Communicate range of product more clearly
Find out what‟s not working, and have a positive attitude to dealing with it
Create high level industry forums to discuss key issues
Link with book clubs to offer deals on upcoming films
33. WORDLES: BUILDS
• Customer experience
• May be based on previous experiences – we need consistency
• Tailored to suit each individual
• Who is talking to the audience?
• Lots of different dialogues
• Make it personal – twitter conversations, not databases
• Distributors + exhibitors to work more closely to share knowledge and
come up with new ideas
• Growing the market is very important as costs/ etc are increasing
• Availability of alternative content – digital
• Non-film content
• Innovative with my relationship with the consumer
• Shared learnings – e.g. Teen screen
35. SUMMARY OF SUCCESS/FAILURE FACTORS
Pressure for
Change + A shared
vision +
Capacity to
change +
Realistic
workplan = Success
+ A shared
vision +
Capacity to
change +
Realistic
workplan = Slow death
Pressure for
Change
+ + Capacity to
change +
Realistic
workplan = Anarchy
Pressure for
Change +
A shared
vision + +
Realistic
workplan = Nervous
breakdown
Pressure for
Change + A shared
vision + Capacity to
change + = Great hype
No results
Source: Michael Hay/ IKEA
36. AGREEMENTS FROM THIS MORNING
1. There are strong reasons to want to look at how to profitably increase
cinema admissions
2. There would be a value in formally articulating that case and prompting
the industry to address that issue
3. And then in sharing an approach to addressing it
4. The time is right, then, for Distributors and Exhibitors and Producers to
work together more closely on this in the UK than they have till now
5. It needs to start on clear foundations. Knowledge, not just data. In a
common language
37. AGREEMENTS FROM THIS MORNING
6. From this would need to emerge a common sense of what the issues and
their underlying causes really were
7. We are clear that there will not be „one size fits all‟ solutions
8. We have started to identify some key areas (like Experience) that might
then benefit from a shared understanding
9. As we move forward, there are useful learnings and stimuli to be gained
from other categories who have faced similar challenges and overcome
them
10. There would be real value for Cinema First in being a sharer of existing
data and knowledge, existing but not widely shared/ used, in addition to
helping originate new knowledge
38. BUILDS
• Profitability, including admissions
• Value chain exhibitors, distributors, production
• Especially re: what the market wants
• Shared understanding
• Pressure for change must be clearly articulated
• Info sharing – what goal?
• Responding quickly
• Brand loyalty
• Tends to be actors – what about exhibitors?
40. WHY ARE WE DOING THESE?
• We want to explore the potential for working together
• Clearly realistic about the degree to which we can really get to powerful
solutions in 30 minutes‟
• This next half hour is more about collectively getting a feel for how
productive we might be as an industry in collaboratively tackling different
opportunities around increasing cinema admissions
• ...Opportunities you yourselves have identified in your answers to our email
leading up to this day together
42. FIRM FOUNDATIONS
• This exercise is about establishing enough underlying rigour and
knowledge to give us all confidence that we would be tackling the right
issues, in the right order, with enough insight into the underlying causes
• What do we need to have more data on as an industry to allow us to be
sure we are tackling the right problem(s) and opportunities in boosting
overall admission figures?
• What more data needed to know tackling ?? problems?
• Understanding what a good + bad experience is, and track this
• Share all existing data and analysing it to increase knowledge
• Really analyse where best to put efforts in cinema going, e.g. Heavy
on light cinema goers
• Data on industry ?? Where from and trends? E.g. Warlord.
• What is the ideal consumer „state‟ over the year, and where are there
gaps?
• Team up with P&D + DCM as they are looking for consumer data
+ gaps
• Resource getting the data – like Tesco
43. FIRM FOUNDATIONS
2. Which of these kinds of data would it be useful for us to take a
collaborative approach to collecting, analysing and sharing?
• All of them
3. What might be the first three steps we wanted to consider in taking this
further?
• Talk to the sales houses re: other plans
• Do an industry ?? and collate and analyse it
• Commission some customer experience + tracking survey
(innovatively)
45. ENRICHING CINEMA-GOING AS A
CUSTOMER EXPERIENCE
• Why might enriching the cinema-going experience help increase overall
admission figures?
• “All about the experience”
• Social, OOH, spectacle, competitive edge = market edge
• Competitors innovate – part of what people expect
• Positive – end-to-end
• Small things make a big difference
• Social – shared – enhances
• Q. How multiply enjoyment?
• Experience increases frequency – how to define what the experience
is
Retailer – compelled to innovate
• Danger = we get complacent
• Command a premium
46. ENRICHING CINEMA-GOING AS A
CUSTOMER EXPERIENCE
• What kinds of experiential enrichment in particular might be particularly
powerful to help us do this?
• Before
• Ticket purchase
• Location – mall, out of town, high street
• How to ensure their activity is in-sync? Environment
cohesion, end-to-end
• During
• Social experience – before/ after
• How welcomed, how feel, remove irritation, paperless ticketing,
impulse-buying – other distribution points
• More personalised experience – booking online, understanding/
sharing the data
• Feed anticipation – encourage to tweet/ share. Buttons on way out
to share views
• After
• Customer service
• Ushers
47. ENRICHING CINEMA-GOING AS A
CUSTOMER EXPERIENCE
• Which other industries could we usefully learn from here?
• Social media experience – how learn from TV/ Twitter?
• Customer service/ hospitality – airlines, e.g. Virgin
• Experience
• Apple – staff empowered to take lead
• Hamley‟s
• Fast food – McDonald‟s re-branding
• Pret – staff engaged and friendly
• Online
• Amazon (and put customer first; present right choices, ask for
feedback)
48. ENRICHING CINEMA-GOING AS A
CUSTOMER EXPERIENCE
• Where might the benefit lie in taking a more collaborative approach as an
industry on this issue?
• Does improved experience enhance enjoyment of the film?
• Testing
• Learning from elsewhere stimulates as individuals
• Out of which comes possible collective innovations to test
• Learn about audiences and stakeholders
• Potential solutions – trial simple ideas
49. GROUP C: MAKE CINEMA GOING A MUCH
EASIER CUSTOMER EXPERIENCE
50. MAKE CINEMA GOING A MUCH EASIER
CUSTOMER EXPERIENCE
• Why might making the cinema-going experience an easier one from start to
finish help increase overall admission figures?
• Cinema as escapism – away from the drudgery
• Must be easier than competing offers
• What moments in particular during the customers cinema-going experience
might be particularly influential in helping us increase overall admissions?
• Booking – lack of a central booking hub
• Lack of lead-in time – “Buy it now” messages don‟t work. Reminders?
• Do you need to book to screen?
• A role for aggregators
• Lessons from airlines
• Impulse customers lost?
51. MAKE CINEMA GOING A MUCH EASIER
CUSTOMER EXPERIENCE
• In-cinema experience
• Queuing – lack of box offices
• Lessons to learn from Top Table, etc
• Theatre – maybe more relevant – less price-related
• Mobile ticketing – QR codes
• Staff training – Indies vs. circuits?
• B&Q – employing older staff
• Social experience = socially experienced
• Self check-outs
• Choice
• Often too limited
• Choice of seat? Can you change? Can you add?
• Negative lessons
• Live concerts
• Theatre
53. MAKE THE CINEMA THE COMMUNITY HUB
• Why might making the local cinema more of a hub for the community
increase overall admission figures?
• Drive engagement/ share identity/ experience
• Drive goodwill/ positivity
54. MAKE THE CINEMA THE COMMUNITY HUB
• What ways in which we might do this might be particularly influential in
helping us increase overall admissions?
• Drive 2-way communications to improve
• Service the community in a way that suits the catchment: service,
price, choice
• Priority: time + effort into understanding
• Resource stuff
• Bottom up top down
• Outreach „touch points‟
• Businesses – public + private
• Schools, libraries, clubs, sports, doctors – micro-environment
knowledge and comms
55. MAKE THE CINEMA THE COMMUNITY HUB
• PR/ coverage
• Transportation (20 mins)
• Competing activation
• Family groups/ clubs
• Create advocates
• Bars/ restaurants
• Social media
• Cost + benefit
• Volunteers?
56. MAKE THE CINEMA THE COMMUNITY HUB
• Which other industries could we usefully learn from here?
• Waitrose (ethical, charities)
• Majestic wine
• B&Q
• Where might the benefit lie in taking a more collaborative approach as an
industry on this issue?
• Distributors + exhibitors - test + learn + share
58. DEVELOPING CRM PROGRAMMES
• Why might developing strong CRM programmes against specific types of
cinema goers help increase overall admission figures?
• Specific audiences – knowledge and recommendation
• Which consumer types might be particularly important, if we could influence
them in this way, in helping us increase overall admissions?
• Everyone!
• In particular: families, adults, students
59. DEVELOPING CRM PROGRAMMES
• Which other industries could we usefully learn from here?
• Retail: Amazon (recommendation)
• Music
• Tickets – e.g. SeeTickets, TicketMaster, Evention
• Songkick
• Insurance – Compare the Market
• Wine – Naked Wines (collective, community)
• Travel – Trip Advisor, Experia
60. DEVELOPING CRM PROGRAMMES
• Where might the benefit lie in taking a more collaborative approach as an
industry on this issue?
• Common knowledge/ language
• E.g. Film centre, audience types, film tagging
• Efficient use of funds
• All embody...
• All...
• BFI
• ...
• DCM iPad - ...
• ...
• BUA
• Investor trusts/ FDA/ ...
61. BUILDS
• Film-makers – exhibitors disconnect
• Strategic partnerships – being proactive to get more big films
• Catalyst for joining up
• Exhibitor: seat capacity no. 1
• Opportunity to show things other than film
• Community?
• Olympics opportunity
• Behavioural data in digital can be harnessed
• Many channels
• Community – could link a number of factors. Should not be used in
isolation.
• What is it that consumers „dig‟ in their cinema?
• Why do some sell out every show? What are they doing well that we
can borrow?
• Marketing, PR – keep it local
62. BUILDS
• Using relevant channels for the relevant audience
• Focus
• Convenience, ease – big potential, especially impulse buys
• More people would book online if it was easy
• Need to implement the entire journey – get rid of paper tickets!
• Reminders
• We need to communicate internally what we‟re doing first
• If we don‟t know, how will our customers know?
• Opening week – huge demand. We manage this well!
• Hotel industry – build image around the smart, big city locations.