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. 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. 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. 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. 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. 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. 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. Crowdsourcing/ Crowdfunding/ Collaborating

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

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

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

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

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

14. CROWDSOURCING RESOURCES
IRON SKY/ Timo Vuorensola
http://www.ironsky.net/site/

15. CROWDSOURCING RESOURCES/ DIWO - DO IT WITH OTHERS
INDIEGOGO
www.indiegogo.com

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

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

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

19. CREATING AN ONGOING CONVERSATION

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

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

22. MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW

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

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

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

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

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

28. WORKING WITH FREE

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

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

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

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

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

34. WORKING WITH FREE
VODO/ Jamie King
www.vodo.net

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

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

37. CROSS-MEDIA STORYTELLING
How will storytelling evolve in a digital world?
Storyworld

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

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

40. CROSS-MEDIA STORYTELLING
HEAD TRAUMA/ LANCE WEILER
www.headtraumamovie.com
slide courtesy of Seize the Media

41. CROSS-MEDIA STORYTELLING
HEAD TRAUMA/ LANCE WEILER
slide courtesy of Seize the Media

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