I was mainly interested in the ones who circumvented the system to get their movies done,” he explains in the video. “To survive, to master the creative process, each had to develop his own strategy.”
“Any great artist needs a lot of support,” says Schoonmaker. “We’re a group that is totally committed to his high standards, and we understand what he’s after.” The creative process of a director, unlike that of an actor, is essentially collaborative. And some of Scorsese’s greatest creative moments have come about because of suggestions by those closest to him.
“There are two kinds of power you have to fight,” Scorsese says. “The first is the money, and that’s just our system. The other is the people close around you, knowing when to accept their criticism, knowing when to say no. — Martin Scorsese & Thelma Schoonmaker
(Source: Fast Company)
‘True Blood’ HBO hyped the Season 4 premiere of “True Blood” by creating a Facebook app, “Immortalize Yourself,” which enabled fans to produce videos of themselves with real characters and Facebook friends. The app pulled in data from users’ profiles to generate the videos, which could feature random or specific Facebook friends. It was developed for HBO by Definition 6.
The idea behind this new venture is to allow advertisers a more brand-safe alternative to video networks, which deliver ads on thousands of sites across the Web and often turn to exchanges and other networks to source inventory. That can lead to ads running on questionable sites, or below the fold, or delivered via auto-start video players — all things many big brands wish to avoid. Among the publishers participating are ABC, AOL and MSN, along with several cable networks as well as select properties within Specific Media, per sources. Each company is selling unsold video inventory through the new GroupM product, per sources. NBC Universal, Fox and Yahoo have declined participation at this point. GroupM, which is part of WPP Group, has partnered with TidalTV, ironically one of the top video ad networks in the business, to launch the new consortium, which started operating over the past few months. TidalTV’s Videology platform is the technology behind the new offering.
In a bid to expand its ability to analyze large amounts of consumer data, Live Nation Entertainment, the music giant that includes Ticketmaster, is buying BigChampagne, a small but influential company that monitors online media consumption.
BigChampagne, founded in 2001, made a name for itself early in the Internet revolution for developing methods to measure peer-to-peer file-sharing and other forms of online traffic. Those kinds of activity, while not always legal, gave record labels and other entertainment companies valuable insight into consumer tastes and behaviors.
In the years since, BigChampagne has expanded its work to develop its Ultimate Chart, which takes account of an array of consumption on social media, as an alternative to the Billboard pop charts.
(Source: The New York Times)
My Reincarnation shows how a well-executed crowdfunding campaign can be used to maximize distribution. In addition to enabling the funding of the theatrical rollout, the campaign increased awareness among core audiences, generated substantial press coverage, and facilitated partnerships.
I wanted to create a spaceship where myself and my children could go into space, and our friends could go into space,” exclaims billionaire CEO Richard Branson with his trademark toothy grin. Coming from someone else, this kind of talk might be considered mildly delusional. But in Mr. Branson’s telling it’s hard not to believe in the creativity of capitalism to better the world in ways you might not expect. Mr. Branson is in the Steve Jobs category of entrepreneurs—he believes that if he builds it, they will come.
(Source: The Wall Street Journal)
The budget for “Newlyweds” was only about $100,000, according to Burns. “Everybody works for free on the film, but everybody owns a piece of the pie, it’s like an indie rock band approach.” Better technology helps too.
“Digital cameras have gotten to the place where you can shoot with a three-man crew and available light and get a great-looking film,” he said.”You don’t have to have films that look like little art house indies.”
“Newlyweds” is being sold for $6.99 via On Demand, the video-on-demand service available through most major cable and satellite operators. Burns said if “Newlyweds” can bring in between $500,000 and $900,000,it will be a “very healthy profit.”
(Source: Los Angeles Times)
The digital revolution is almost as disruptive to the traditional media business as electricity was to the candle business. — Ken Auletta
In fairness, it’s not just sports fees that have soared; as the LA Times also pointed out last week that programming costs at many entertainment-oriented networks have also increased rapidly, which in turn drives these networks to also demand higher carriage fees too. Then there are the broadcast networks’ successful efforts to collect retransmission fees from pay-TV operators. All of this is contributing to pay-TV getting more expensive all the time. But the sports networks in particular are a pain point, because they are so much more expensive on a per channel basis, and because essentially all subscribers are asked to foot the bill. Pujols is obviously not literally OTT’s best friend; rather he’s just the latest face of a far larger trend in sports and the pay-TV industry.
Even as all this is happening, the choices available online, and the ability to watch them via connected devices, is improving. It’s a situation that OTT providers will almost certainly capitalize on.