By Michael Curtin, Jennifer Holt, Kevin Sanson, Kurt Sutter
Distribution Revolution is a set of interviews with top movie and television pros about the some ways that electronic supply structures are reworking the leisure enterprise. those interviews offer full of life insider debts from studio executives, distribution pros, and inventive expertise of the tumultuous transformation of movie and television within the electronic period. the 1st part beneficial properties interviews with best executives at significant Hollywood studios, delivering a window into the big-picture issues of media conglomerates with appreciate to altering enterprise versions, profit streams, and viewers behaviors. the second one makes a speciality of cutting edge businesses which are supplying path-breaking versions for brand spanking new modes of content material construction, curation, and distribution—creatively meshing the techniques and practices of Hollywood and Silicon Valley. And the ultimate part deals insights from inventive expertise whose expert practices, repayment, and daily operating stipulations were remodeled over the last ten years. Taken jointly, those interviews display that almost 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 vice chairman, worldwide enterprise improvement and New Media technique, Walt Disney Studios
• Thomas Gewecke, leader electronic Officer and govt vp, approach and enterprise improvement, Warner Bros. Entertainment
• Ted Sarandos, leader content material Officer, Netflix
• Felicia D. Henderson, Writer-Producer, Soul foodstuff, Gossip Girl
• Dick Wolf, govt manufacturer and author, legislations & Order
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Extra resources for Distribution Revolution: Conversations about the Digital Future of Film and Television
Flash forward to 2011. Seeing the official launch of UltraViolet has been great for me personally because I have been there since day one, developing the concept, pitching the idea to the other founding companies, forming the consortium, working through the product’s evolution together with the other DECE members, and finally, launching the first Sony Pictures UltraViolet titles. Tell us about your current role with Sony. What are some of the challenges for your division? In March 2010 I joined the newly formed Global Digital and Commercial Innovation group within Sony Pictures Home Entertainment.
36 / Studios I guess first I would say, I’m not sure I agree with that sort of speculation. You have an issue with advertising revenue but now you have this retransmission consent revenue, which is very substantial. You have other platforms where consumers are paying one way or another, either through subscriptions or per viewing. So I don’t think we are in a world where we are likely to find ourselves with one-tenth of the revenue. On top of that, the most creative talent in the business of entertainment is coming to television.
If you really want to watch a movie when it first comes out, you can go to the theater and pay to see it on the big screen. If you want to watch it when it first becomes available in your home, you can rent it or buy it. If you want to wait a little longer and not pay separately for it, you can receive it as part of a subscription package. Eventually, if you wait long enough, you can watch it for free with ads. We couldn’t offer different models— a rental model, a sellthrough model, different release windows—without DRM.
Distribution Revolution: Conversations about the Digital Future of Film and Television by Michael Curtin, Jennifer Holt, Kevin Sanson, Kurt Sutter