By Michael Curtin, Jennifer Holt, Kevin Sanson, Kurt Sutter
Distribution Revolution is a suite of interviews with prime movie and television pros in regards to the some ways that electronic supply structures are remodeling the leisure enterprise. those interviews offer full of life insider bills from studio executives, distribution pros, and inventive expertise of the tumultuous transformation of movie and television within the electronic period. the 1st part positive factors interviews with most sensible executives at significant Hollywood studios, delivering a window into the big-picture matters of media conglomerates with recognize to altering company types, profit streams, and viewers behaviors. the second one makes a speciality of leading edge organisations which are supplying path-breaking versions for brand spanking new modes of content material production, curation, and distribution—creatively meshing the thoughts and practices of Hollywood and Silicon Valley. And the ultimate part deals insights from artistic expertise whose specialist practices, repayment, and daily operating stipulations were remodeled 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 likely simply begun.
• Gary Newman, Chairman, twentieth Century Fox Television
• Kelly Summers, Former vp, international company improvement and New Media process, Walt Disney Studios
• Thomas Gewecke, leader electronic Officer and govt vp, process and company improvement, Warner Bros. Entertainment
• Ted Sarandos, leader content material Officer, Netflix
• Felicia D. Henderson, Writer-Producer, Soul nutrients, Gossip Girl
• Dick Wolf, government manufacturer and writer, legislations & Order
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Additional resources for Distribution Revolution: Conversations about the Digital Future of Film and Television
And we feel as a studio, that’s cannibalizing the desirability of our shows for SVOD at the end of the season. We’re currently trying to negotiate this issue so that we have an understanding that the networks can stream during the season and we can do SVOD out of season. If you are sitting at a studio I guess you sort of think we’ve got a few different types of shows. We have half hours and procedural dramas that will syndicate, and getting them out a year earlier can be valuable. Then we have shows that are highly serialized and you are going to want to make an SVOD deal early.
Because UltraViolet is a standard product with a uniform usage model, the interoperability is built into the digital rights at the time the studio licenses it to ser vice providers. This is great for consumers who want to collect movies and great for the industry because now there can be an “open market” for EST that has the potential to really scale. For it to really work, we knew Sony Pictures couldn’t do it alone. We needed an industry consortium with multiple representatives across the entire content delivery ecosystem, each with a stake in the game.
Now it’s shifting again. I think DVD revenue is down across the industry. International has remained strong, although it is a very challenging world economy right now. The United Kingdom, which was such a vital part of the international television business, is still really in trouble, and our numbers in the United Kingdom aren’t nearly what they were three to four years ago. The makeup of the pie keeps shifting. Could you explain your philosophy about the relationship between the creative decisions you make and the distribution strategies you pursue?
Distribution Revolution: Conversations about the Digital Future of Film and Television by Michael Curtin, Jennifer Holt, Kevin Sanson, Kurt Sutter