Digital Hollywood, the standard by which all digital media conferences are measured, a gathering at the intersection of film tv music gaming social mobile, an intense, exhilarating, deliriously exhausting brain squeeze where the brightest in the business try to piece it together while moving faster than the speed of light. On stage and off were blockbuster producers, award-winning filmmakers, showrunners, web-celebs, network execs, festival programmers, publicists, press and brands. Even other stellar confabs (Westdoc, NY Television Festival, Digital Media Wire, SanFranMusicTech) were there soaking it in. Co-located with the Variety Summit, Gerber Rigler Content Summit, EPPS Summit and CodeSpace Summit, infused with pitchfests, screenings and fresh and compelling happenings, the networking was outstanding, the information gold, and there was never a dull moment. There were so many speakers and surprises, it wasn’t possible to get it all. Luckily, the video is up at www.digitalhollywoodlive.com. And the Twitter stream at #DH09. Below is just a small summary of what was said:
Neil Stiles, Variety
WSJ estimated YouTube earned $250mm on $1B in storage costs/year, puzzled by this, just don’t get it. Hulu is trading analog dollars for digital pennies, CPMs gravitating to zero, when it gets to 5000 channels, everyone is a producer. Every blogger is 9 years old, throw it up quick without regard to accuracy, leaving it to the wisdom of the crowd to clear mistakes. Web revenue will never be as attractive as print, if you spend money creating TV film content someone has to pay, consumers will pay for engagement, for what they can do with the content. New models of content as a service, pay once, use in whatever form you want.
Orly Adelson, Dick Clark Productions
Our brand is our award shows, putting embeddable preshow online to drive interest onair. There are an infinite number of eyeballs to attract so why not put it everywhere. Social media is a great filter, fans see something they like, they pass it around. With the Country Music Awards, there is a 200% spike in music sales the day after CMAs because viewers tell friends to check out the songs featured. Would love to put So You Think You Can Dance online but too expensive because of music rights. Make great content and they will come…Paranormal was made for $11,000, now in 160 theatres, at that cost there is no risk, my kids said it was scary, when a film evokes a strong reaction like that you’re going to have a big draw. Many are watch shows online because they don’t know when it’s on air, it’s easier to find them online.
Peter Guber, Mandalay Entertainment
Technology was not born 4 years ago, it was born thousands of years ago. One of the largest owners of baseball teams and stadiums in the US. Teaches class at UCLA. Today you need to be a renaissance person, cant just be movies, or just be music. Started out in 1968 at Columbia Pictures when there was an elitism, tv didn’t speak to film or music, today is the greatest opportunity that ever existed to bring audience directly to the artist. Can no longer think of yourself as a movie guy, landscape is changing too rapidly, the rate of change is 3D omnipresent, no longer linear, how do you stay present, its the beginning of the beginning. Now things are being pulled by you, by interest, we’re in a sea change, can’t have linear philosophy. We are no longer talking to one monolithic audience of a million, rather we are talking to an audience of one, a million times over. Will watch dailies on iPhone but not Forest Gump. Regarding interactivity, may not be interested in changing the outcome of the story but might want to buy that thing on the show, so there will be an integrated benefit. The opportunity to talk back and intersect with the host, the immediate audience reaction changes the outcome, similar to what happens when your onstage and you make a bad joke, you move on. The medium will dictate. Can’t be without a phone. When producing a product you go after a niche. Paranormal, the new Blair Witch, was made for $15,000, Avatar epic is closer to half a billion sitting in theatres side by side, does it make sense to charge the same ticket price?
Carson Daly, Last Call with Carson Daly @carsonjdaly
Launched TRL in 1998 in response to how bad music videos were on MTV, wanted to empower viewers to choose, in a way it was the beginning of social media on TV when we turned the programming reigns over to the viewers. If only Viacom would have bought MySpace would have been able to get a deeper connection with the kids. Now at NBC and at the end of the day it comes down to money, NBC is owned by GE, we need to get paid. We still don’t see lonelygrl15 driving around in a Porsche. Last Call with Carson Daly breaks bands. Artists are fueled by ego. Many older musicians don’t have much of a digital footprint, they want to know what’s the play, is it worth their time, takes a lot of time to post (Miley Cyrus, eh), make more money elsewhere, they want to know where is Twitter’s value? Post 20x/day to 38,000+ Twitter followers for #militarymondays, like the idea of microblogging but not that into it personally. Would post a picture of my mom but never of my kid. In 2006, got Kevin Reilly’s backing to take a fresh spin on AFV with IYS, It’s Your Show. Went to the web for talent, lots of tastemakers online, recruited those with big followings, one was Brookers, the most viewed female on YouTube. But the NBC.com people never met the programming people and it didn’t go anywhere. At the end of the day, the bills have to be paid. As for integrations, used to hate the Coke on Idol as a blatant sell out but now I get it. The DVR has killed the 30 second spot, so now selling integrations, pitch Chevy on Mary J. Blige getting out of a Chevy truck at MSG. As long as you’re selling stuff that relates to my wheelhouse, that’s relevant to me – golf, girls, guacamole, guns, beer – no problem. As far as cost, content creators need to start factoring into production the way content is being consumed. Why spend to shoot in panoramic, why not tv ratio. 25y ago you could spend $40,000 to create a show for a guy and hope he watches but now that guy is not just watching tv, he’s gaming, he’s tweeting, he’s elsewhere. Richard has invited me out to Hanger 8 but have an exclusive with NBC, so can’t, but if I was out of work would be at Hanger 8 filming, why not. Fox has done things for $15,000 as well as $.5B successfully. There is a cyclical nature to film that circles round CGI and Arthouse…I want to feel a movie again. In some ways I miss the days of the movie star, as SNL’s Seth Myers puts it, today celebrity just means mammal. Balloon Boy is a celebrity. Go to Starbucks everyone is talking to each other but no mouths are moving, noone is looking at each other. The good news is the value of the live social experience is on the up. (More from CD at #w2s, here onstage with Mark Cuban)
Richard Rosenblatt, Demand Media, @demandrichard
Serial entrepreneur built over $1.4B in internet media companies, credits include MySpace and Demand Media. In the old days they’d pay 400x profit for future platforms but it was early. This is a great time now, we are finally at the point where digital and hollywood come together. This is the first time ever the audience is telling you – who is that guy and what he wants. In 2004, MySpace profiles weren’t real for fear of who was reading it, now on FB everything is real, pictures of kids, family, there is so much personal information on FB profiles. (Carson – it’s a big mistake, trusting too much) But you can now find 100,000 people interested in bocce ball, culling for niches has never been easier. Even Yahoo is going open and shared. When you know what people want, you can connect them to the stuff they need. That’s why I bought eHow. There are 100,000/month looking to make homemade detergent. 1mm articles, 200,000 videos on long tail topics with Digg features, etc. Demand’s Livestrong.com has 6mm visitors/month allows Lance to bypass media, at the Tour de France he was tweeting from his bike. Wife Brooke has Modern Mom show. See Comcast/NBC as a good move, Comcast is very progressive. Follow trends, to see where we’re heading you must immerse yourself in the technology first, FB, Twitter, try different things but make the right choices where to focus time, you can’t follow every company TechCrunch, PaidContent, Variety writes about, pick game changing trends, if a lot of people are doing it, there’s something to it. Twitter works great for celebrities and marketers, great way to send links and filter information. A great example is the movie Couples Retreat, critics hated it but friends were recommending it and caused a spike despite bad reviews. Follow 5-6 people you trust, see what they say, with 70mm on the mobile web and 100mm tweets a day, a good search engine can filter valuable information like what’s skiing like on Mammoth today. Twitter search is better than Google. Sun Valley Media Conference chatter – 31% of retail companies are using FB connect. People buy in their network, what to see what friends are shopping for. As soon as advertisers can figure out ROI, the whole market will open up. Regarding Chris Anderson’s Free, there’s always someone paying whether its the user or the advertiser. If time is a scarce resource would its good to have the choice to pay then spend time watching commercials.
Stuart Levine, Variety
A lot of great shows this season: Modern Family, Glee, Biggest Loser, Sons of Anarchy. More watching NCIS than going to Transformers. There is an enthusiasm for TV. Personally have 37 season passes on AppleTV, watch 7 days later, some great shows cancelled due to bad time slots. Mark Cherry has been talking about Desperate Housewives – when is it going to end (Lost similar), some shows have a limited life, want to go out with a bang. / What was a 22 episode season, we are now seeing more 10-12-13 episode mid-seasons. / The broadcast 18-49, 25-54 demo is antiquated, Viacom has it as 18-24, 18-34, everyone calls it something else as they sell to different niches.
Marc Graboff, NBCU
TV has a 90% failure rate, but the networks ned to get out of the way and provide a platform for creatives vision. People don’t realize networks don’t get paid for shows that are TiVo’d. For Office and Heroes, the numbers are off full rating points because the DVR causes a 4 week delay. Being worked on by CIMM, the Council for Innovative Media Measurement, comprised of 14 advertisers, agencies and TV companies, who are developing cross-platform metrics intended to measure total audience consumption on any platform anytime. / At NBC mid-season orders not happening, difficult to accumulate enough stuff to sell in backend, 13 episodes is not enough. USA, TBS, TNT largest 3 cable networks take couple of hundred episode order, 5 22-episode seasons. That said, with windows collapsing, perhaps 13 episodes can be monetized instantaneously. Why delay syndication pot of gold for four years, why not take little bags of gold along the way. / Audience is so fragmented, hits no longer pay for losers. Have to retool because of a change in consumption. / Glad we’re equity owners of Hulu, remember Hulu was an antipiracy move, if it wasn’t on Hulu 24 hours after it was on air it would be pirated. Hulu as a destination site for quality fully produced masters of the show. Just wish we weren’t training viewers to watch programming online with so little ad viewing. FOD windows, pay to watch earlier. NBC.com is a superfan site, place to go when show is not on to interact with characters, creators, stars, chat, blog. Then there is the blogosphere, twitterverse where viral word of mouth spreads fast, its a phenomenon. Bruno had huge numbers Friday night, word of mouth was bad and numbers fell off on Saturday. / Regarding Leno it’s too early to tell, doing better tahn projected, will evaluate in 52 weeks, not affecting House at 8 or Law & Order at 9. It’s a transitional year for NBC, Jay happened last December, didn’t want to lose Jay or Conan, this way the solution. Impact on local news, everyone is down in the 11pm slot: CBS 10%, ABC 11%, NBC 12%. / Higher CPMs with more targeted audiences, still need to aggregate eyeballs. / Cable model is robust, subscriber base is there, free TV syndication not, cash license fees on barter, 30 Rock syndication all barter whereas The Office years ago was all cash. / We’ve been guilty of derivative reality shows like everyone else. Looking for next big tent pole watercooler reality show, not drama, comedy or next ABT, Biggest Loser. Something fresh. (Marc Graboff, NBCU also delivered EPPS Keynote later in the conference: http://www.mobilizedtv.com/nbc-entertainments-marc-graboff-keynotes-at-digital-hollywood)
Mark Koops, Reveille
The Office the first season didn’t have the biggest ratings, but it did well for the network and they supported Greg Daniels with press, promotion, marketing, not telling him how to write a script. / Would have loved to have had Millionaire, the first $B failure continues to live on in syndication as a $B franchise. / Talking about the cycle model, Biggest Loser took 2 cycles to increase ratings, now attracting marketing partners and advertisers on a more consistent basis, high-end sponsors: Subway, General Mills integrations.. The only one showing up to watch Project Runway in the beginning was Laura Zalaznick. / People turn up and watch The Biggest Loser and The Office because they know when its on, when you move the time slot the message to the audience is forget it. / Mercy great scripted show on NBC, well cast, well written series, hope they stick with it. / When you watch 24, you know you’re getting 24 original episodes, no more 3 originals with a repeat a week, with Biggest Loser (Tu 
you know you’re getting 32 weeks of original programming. / House business model works, control cost of it, powerful storytelling.
John Landgraf, FX Networks
Don’t have a huge slate, 11 scripted series, still read every script, watch every rough cut. Creative stuff is fragile, need to baby it and nurture it in its infancy til its grows to be a robust adult. / Damages viewing is up 80% from DVR but don’t get paid for it. Nielsen needs to be revamped, follow viewers where they are, FOD cable partners cant track it and sell it, as viewing experience changes, measurement needs to chance too. Now viewing over weeks and months, not over 3 days. / Knowing when show has reached its potential, this is the last season of The Shield (Th 9)/ Seinfeld was an acquired taste, an unusual show leading 25mm into it./Now when we market to live-only viewer, make it an event for the viewer. They know FX will repeat it or can catch up on iTunes or VOD but they’ll never get back to it, a decision delayed is never made, need to eventize and market the show. / Always Sunny in Philadelphia (Th 10) is a hit show after 5 years, up 70% in ratings. FX is not a network known for comedy, model is about less expensive shows perhaps taking a loss on the first run, but having patience to to grow it 5 years and turn it into a compelling product. FX owns Sunny, and took it off of Hulu to make it available for DVDs and syndication. Damages value to leave it up forever. But Hulu helps with discovery of previously obscureshow, wasn’t originally in heralded group of comedies, Hulu elevated it. At first made all 50 episodes available to find audience. The Hulu ecosystem even with a hybrid of ads and subs can’t replace linear airing to DVD to syndication, need to protect ability to create hits or don’t have a business. / FX caters to a yunger generation, but no one really knows who is watching, multiscreen challenge of tracking elsewhere, STB data not accurate. /Audience is not as attached to big ticket, The Shield and Sons of Anarchy have proved you can stick to your overall budget. If changed production value on 24 audiences would notice, needs to be the same storytelling, intimacy of characters in the bedroom, less car chases, explosions. / Every network needs a healthy balance, look what Idol did for House/ Look How I Met Your Mother, a single camera sitcom with no middle, no buzz, is going strong thanks to Neil Patrick Harris as the breakout star. / Want 100 episodes, when you get to 80, you’re in good shape.
Dana Walden, 20th Century Fox Television
Can’t have a mid-level hit get to 4 seasons anymore, need to have a property people want to watch again for a viable DVD, syndication, international, EST and digital platform business. Depressing when you get a bad time slot. Joruneymen – highest testing pilot since 24, plum time period after Heroes, no longer enough, see it with Lie to Me, got best time period, best audience, audience found clicker and its premeired poorly. Arrested Development was ahead of its time, sure Fox would love it on air now. FBC didn’t have right fit for it, it was a bit narrow. / Big hit in the ratings: Sons of Anarchy, successful 13 episode oder international and home entertainment, big eventized shows on lesser orders/ Its not one size fits all, need to be facile, business changing quickly, don’t want to burn out new revenue streams / X Files released favorite episodes in one million different ways, consumers will pay for cult shows/ Talking end of life – Ideally you want a show that is highly serialized but not episodic like Law & Order with an outstanding cast. For a show like Prison Break, how many prisons can they break from, if you try to stretch beyond its limits you creatively hurt the show long term, that incredibly bad ending memory of an asset in its afterlife of syndication, etc.. Prison Break is hugely lucrative DVD, International people want to collect it, own it. / DVRs make it hard to monetize videos. / We have two great shows: Glee and Modern Family, and the luck of them being scheduled against each other. Miss one, watch the other the next day on Hulu. We support Hulu and are part of NewsCorp which has an equity interest in Hulu but it’s personally challenging to have shows available so quick after airing. The priority is to watch on air, then watch completed master in living room via Hulu, better than bootleg. / Meanwhile in the past 2 years cost of production has escalated out of whack. Need to make changes.
Mike Farah, Funny or Die
Specializing in celebrity content (Will Ferrell, Chris Henchy, Neil Patrick Harris, Mandy Moore, Christopher Lloyd, Renee Romjin..). No celebrities are compensated for FOD, can’t pay for content but video producers can insert their own pre-rolls, FOD has ads on the site, brands buy into the entire slate, higher end productions that get seen, free publicity, cheap effective celebrity content shot on short notice, not much to crack the code, look for quality and quantity for good diversions from work, training ground for UCB groundlings, hands-on uber-control, cost effective,
Mike Polk, Break.com
Known for nutcake videos, skateboard stunts, rodeo donkey, whatever is entertaining for millennial men, try not to turn off advertisers. Site has series and one-offs. Branded content for Cheetos, Mountain Dew. Produced hilarious video: Cleveland, II.
Josh Spector,Comedy.com
4mm monthly uniques, now a guide to what’s funny right now.
Maria Kermath, ATT Interactive
Rebranding Yellow Pages for those born after 1977: Have to Eat, Drink, Snack, Pee.
David Zucker, Secret Secret Service, Airplane, Scary Movie..
Brand is zany comedy laugh-out-loud spoof. Movies are in Oscar-free zone, get joke onscreen. Shooting in HD – makeup has to be better. Like to make people laugh, target audience is 4-11y, slapstick humor. Classic 70s film aesthetic embracing new tools, with pre-vis make movie before you get to the set so you can show cast and crew what you are thinking of before they perform it. Remaking Kentucky Fried Movie. Airplane didn’t lend itself to being a franchise but Paramount wanted a franchise. Naked Gun by contrast lent itself to unlimited adventures. Uncomfortable doing R films, for brand of slapstick want to take it down to PG. Mentors – Frank Wells, USC Film School, Jeffrey Katzenberg, Ted Turner, Weinsteins.
Brett Ratner, Beverly Hills Cop IV, X-Men
Billion dollar director known for Rush Hour Trilogy grossed $800mm worldwide. Brand is action thriller but tastes are eclectic. Would like to make a ronatic fantasy film too. Old school, stuck on film, not embracing digital yet. Likes Canon better than Red. Spielberg said Dreamworks sends list of top 50 YouTube videos a month. Hollywood is looking or fourth quadrant – fun, family-oriented films. Paranormal Activity incredible film – huge box office like Blair Witch, it’s all anyone is talking about. Also use pre-vis to show actors and crew how to move Golden Gate Bridge in Xmen, all action sequences were animated. Mentors: NYU professor, Dino de Laurentiis, Bob Evans “The Kid Stays in the Picture.”
Bob Osher, Columbia Pictures
Cloudy With a Chance of Meatballs just hit $100mm mark. Brand is good stories with good characters well told. Character driven even when its for kids. New kids every 7 years. Don’t want to have a studio style, want it to feel fresh and original. Animated films rely on A-list talent voices for marketing. Pixar uses shorts program to develop young directorial talent. Sony too. Sony Imageworks 3D pre-vis tools allows for real-time re-rendering so we only animate what we’re going to use. Even show pre-vis to marketing team. Proprietary right now but soon enough will be a tool on Apple for 9y to use.
(still posting, please check back later for more, thanks!)
Ondi Timoner, We Live in Public
Josh Harris, Wired City
Founder of Jupiter Communications, now living in LA in Jason Calacanis’ guest house, repped by WME, pitching Wired City, a competitive reality multiplatform game show. A visionary that proved being early doesn’t ensure success.
Jason Calacanis, Mahalo.com
Marcia Zellers, FIDM
Jeffrey Gordon, Writers Boot Camp
Adam Armus, Heroes
Matt Corman & Chris Ord, Covert Affairs, Deck the Halls
Helen Ross, Mad Men on Twitter
Seth Shapiro, New Amsterdam Media
Kevin Yen, YouTube
Russ Shafer, Yahoo! Connected TV
Jared Tobman, Reveille
Keith Quinn, Paramount Pictures
Jessica Schell, NBCU
Kenneth Hertz, Esq.
John Fasano, Woke Up Dead
Doug Cheney, Prom Queen
Michael Oates Palmer, West Wing
Sarah Fain, Lie to Me
Elizabeth Craft, Lie to Me
Patricia Handschiegel, Huffington Post
Eric Berger, Sony Pictures Television
Neil Tiles, G4
Sab Kanaujia, NBCU
Albie Hecht, Worldwide Biggies
Greg Goodfried, EQAL
Shawn Gold, Cocodot
Danae Ringelman, IndieGoGo
Courtney Sexton, Participant Productions
Rebecca Yeldham, Anvil
Marina Zenovich, Polanski: Wanted and Desired
Scott Hamilton Kennedy, The Garden
Eddie Schmidt, IDA
David Gale, MTV
Ted Skillman, Bollywood Hero
Aaron Ryder, FilmNation Entertainment
Richard Wright, Lakeshore Entertainment
Nathan Mayfield, Hoodlum
Daniel Tibbets, GoTV
George Ruiz, ICM
Kim Evey, The Guild
Paul Kotonis, For Your Imagination
David Freeman, Edelman/Matter
Drew Massey, maniaTV
Justine Bateman, fm78.tv
20 scripts in development and were in talks with many brands including P&G and IBM, distribution partners including Hulu and blip.tv, but not CBS TV.com yet
Amber J Lawson, Babelgum
Where frat boy comedy ends, and evolved hipster comedy begins, political, timely, topical, female, sci-fi, celebrity, animation.
David Tochterman, Versatility Media
Ross Levinsohn, Fuse Capital
Tyler Goldman, Buzzmedia
Kate Neligan, Lionsgate
Gary G-Wiz, Public Enemy
Julie Supan, Ning
Thomas Hughes, MGM
Adam Powers, Rovi
Eric Gould Bear, Monkey Media
Arlene Zeichner, Selavy Associates
James Roberts, Global Capital Law Group
Julia Boorstin, CNBC
Lisa Hsia, Bravo Digital Media
Michael Benson, ABC
Stephen Andrade, NBC.com
Alison Moore, HBO
Geoff Katz, ATAS
Josh Weltman, Mad Men
Peter Yared, Transpond
Danila Koverman, Break.com
Ryan Stoner, Omelet
David Norton, LadderUp Media
Brian Seth Hurst, ATAS
Mark Ely, Sonic Solutions/CinemaNow
Jason Rubenstein, Redbox
Steve McKay, Entone
Larry Smith, MOD
Mark Lipsky, Gigantic Digital
Doug Sylvester, Avail-TVN
Ken@Divx
Brad Auerbach, HP
Ted Mundorff, Landmark Theaters
Laura Kim, I Wake Up Screening
Amy McGee, Sundance Institute
Rebecca Yeldham, LAFF
Sharon Swart, Variety
Rooftop Comedy, MGM, Fox…
http://www.mobilizedtv.com/marketing-hollywood-cross-platform-branding
http://www.mobilizedtv.com/digital-holllywood-discussing-broadband-content
International Academy of Web Television
In addition to all that was going on at Digital Hollywood there was also the inaugural meeting of the IAWTV. Festively gathered were Felicia Day of The Guild, Ned Cantu of NYTVF, Tim Street of French Maid TV, George Ruiz of ICM, Dina Kaplan, of blip.tv, Drew Baldwin of Tubefilter, Jim Louderback of Revision 3 (releasing first scripted comedy series, Web Zeroes), Justine Bateman and Dominik Rausch of Easy to Assemble and many others. The IAWTV is putting a call out to grow its 100+ membership to better process Streamys submissions, 100,000+ were submitted for 2009. Dues are free through 2008, $90 for 2010, benefits include peer groups, voting, tickets, directory listing, industry events discounts, job listings, newsletter.. 2010 Streamys tentatively set for April 11, venue TBA. (1300 attended the first at the Wadsworth Theater.) Next meeting is at NATPE in Vegas. For membership details, email membership@iawtv.org or visit www.iawtv.org. Here’s video from the follow-on Hollywood Web Television Meetup: www.stickam.com/tubefilter.
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