By Michæl Curtin, Jennifer Holt, Kevin Sanson, Kurt Sutter

Distribution Revolution is a set of interviews with major movie and television pros about the some ways that electronic supply platforms are reworking the leisure company. those interviews offer energetic insider debts from studio executives, distribution execs, and artistic expertise of the tumultuous transformation of movie and television within the electronic period. the 1st part gains interviews with most sensible executives at significant Hollywood studios, offering a window into the big-picture issues of media conglomerates with appreciate to altering company versions, profit streams, and viewers behaviors. the second one makes a speciality of cutting edge firms which are delivering path-breaking types for brand spanking new modes of content material construction, curation, and distribution—creatively meshing the options and practices of Hollywood and Silicon Valley. And the ultimate part bargains insights from inventive expertise whose expert practices, repayment, and daily operating stipulations were reworked during the last ten years. Taken jointly, those interviews show that just about each point of the movie and tv companies is struggling with the electronic distribution revolution, a revolution that has most probably simply begun.

Interviewees include:

• Gary Newman, Chairman, twentieth Century Fox Television
• Kelly Summers, Former vice chairman, worldwide enterprise improvement and New Media approach, Walt Disney Studios
• Thomas Gewecke, leader electronic Officer and government vp, method and enterprise improvement, Warner Bros. Entertainment
• Ted Sarandos, leader content material Officer, Netflix
• Felicia D. Henderson, Writer-Producer, Soul Food, Gossip Girl
• Dick Wolf, government manufacturer and author, Law & Order

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Additional resources for Distribution Revolution : Conversations about the Digital Future of Film and Television

Sample text

I imagine if you asked those platforms what they want to be, they want to be like HBO or Showtime. They want to be akin to a premium ser vice. They made these great library deals with most of us and I think they probably don’t really value it very much. I think what they feel drives their business is probably 10 or 15 percent of their programming, which is why we chose to hold out some programs that we thought had greater value than the library deal. Netflix agreed to make those deals. As we look to the future with them, we would hope that we can find some sort of win-win scenario where we are really well compensated for the shows that are driving business—those shows that people want to consume six in a row on a Saturday night.

What we learn will hopefully enable us to make more intimate offers over time. Part of the allure of owning a movie is sharing it with your friends. But as soon as you share it in digital space with one friend, you share it with your entire social network. How are you responding to this challenge? Richard Berger, Sony Pictures / 43 UltraViolet has some built-in sharing with it. It’s a family model where members of a single UltraViolet account can share content. We will need to look at new kinds of models going forward, but traditionally sharing has given studios a lot of discomfort.

The studios’ desire to control the digital environment in which their content is consumed has also become quite pronounced as the ecosystem has evolved. Disney has clearly been the most successful at that, eschewing 24 / Studios collective platforms such as UltraViolet for its proprietary Key Chest digital rights management (DRM) system in the cloud. The executives also comment on the role of social media, television networks, and even largescale retailers such as Walmart (through disc-to-digital programs) as supporting and impacting the future of digital distribution, but those relationships are currently a work in progress.

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