TALES FROM THE DIGITAL FRONTIER

NOVEMBER 2009www.powertothepixel.com

LANCERINGSDAGEN09DET DANSKE FILMINSTITUTPresented by: Liz RosenthalManaging Director, Power to the Pixel

POWER TO THE PIXELEvents 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

IS THE TRADITIONAL FILM MODEL HOLDING US BACK?

20,000 films produced in 2007number of films released theatrically in 2008

Denmark: 231Netherlands: 296

France: 555Germany: 471

Italy: 376Spain: 402

UK: 531US: 600

Figures: EDI, Screen Digest, DFI

TRADITIONAL 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

DIGITAL MEDIA

What are the opportunties the digital world offers?

NEW RELATIONSHIPS WITH AUDIENCESTHE 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

THE HUGE IMPACT OF SOCIAL MEDIABuilding 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

THE KEY TO A DIGITAL FUTURE RESIDESIN 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

Crowdsourcing/ Crowdfunding/ Collaborating

CROWDFUNDINGBRAVE NEW FILMS/ Robert Greenwald

www.bravenewfilms.com

CROWDFUNDING BRAVE NEW FILMS/ Robert Greenwald

www.bravenewfilms.com

CROWDSOURCING THE AUDIENCEBRAVE NEW THEATRES/ Robert Greenwald

www.bravenewtheaters.com

CROWDSOURCING RESOURCESSTARWRECK IN THE PIRKINNING/ Timo Vuorensola

www.starwreck.com

www.wreckamovie.com

CROWDSOURCING RESOURCESSTARWRECK IN THE PIRKINNING/ Timo Vuorensola

CROWDSOURCING RESOURCESIRON SKY/ Timo Vuorensola

http://www.ironsky.net/site/

www.indiegogo.com

CROWDSOURCING RESOURCES/ DIWO - DO IT WITH OTHERSINDIEGOGO

CROWDSOURCING THE AUDIENCE MOVIEMOBZ/ Cinema-On-Demand

www.moviemobz.com

COLLABORATIVE CURATIONFOUR EYED MONSTERS/ Susan Buice & Arin Crumley

www.foureyedmonsters.com

COLLABORATIVE CURATIONFOUR EYED MONSTERS/ Susan Buice & Arin Crumley

www.foureyedmonsters.com

CREATING AN ONGOING CONVERSATION

CREATING AN ONGOING CONVERSATIONWE ARE THE STRANGE/ M dot Strange

www.wearethestrange.com

CREATING AN ONGOING CONVERSATIONBRAVE NEW FILMS/ Robert Greenwald

www.bravenewfilms.com

MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW

MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOWAGE OF STUPID/ Franny Armstrong

www.ageofstupid.net

MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOWAGE OF STUPID/ Franny Armstrong

www.ageofstupid.net

www.ageofstupid.net

MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOWAGE OF STUPID/ Franny Armstrong

MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMSRAGE / Sally Potter

www.ragethemovie.com

MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMSRAGE / Sally Potter

www.ragethemovie.com

WORKING WITH FREE

WORKING WITH FREESITA SINGS THE BLUES/ Nina Paley

www.sitasingstheblues.com

WORKING WITH FREESITA SINGS THE BLUES/ Nina Paley

www.sitasingstheblues.com

WORKING WITH FREESITA SINGS THE BLUES/ Nina Paley

www.sitasingstheblues.com

WORKING WITH FREESITA SINGS THE BLUES/ Nina Paley

www.sitasingstheblues.com

WORKING WITH FREESTEAL THIS FILM/ Jamie King

www.stealthisfilm.com

WORKING WITH FREEVODO/ Jamie King

www.vodo.net

WORKING WITH FREETHE TRIBE/ Tiffany Shlain

www.tribethefilm.com

WORKING WITH FREETHE TRIBE/ Tiffany Shlain

www.tribethefilm.com

Storyworld

CROSS-MEDIA STORYTELLINGHow will storytelling evolve in a digital world?

CROSS-MEDIA STORYTELLINGTHE DARK KNIGHT/ 42 ENTERTAINMENT

www.batman.wikibruce.com/Home

CROSS-MEDIA STORYTELLINGTHE DARK KNIGHT/ 42 ENTERTAINMENT

www.batman.wikibruce.com/Home

slide courtesy of Seize the Media

www.headtraumamovie.com

CROSS-MEDIA STORYTELLINGHEAD TRAUMA/ LANCE WEILER

CROSS-MEDIA STORYTELLINGHEAD TRAUMA/ LANCE WEILER

slide courtesy of Seize the Media

“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

CROSSMEDIA STORYTELLING

/ extends the creative form/ reaches and engages extended audiences/ increases potential types of finance/ new opportunities to exploit IP