#CES #NATPE/Platforms + Players/Epic Imagination

28Jan10

#CES and #NATPE kicked off the year with keen insights into ubiquitous connectivity and content. Awashed in fantastical visions, the theme of imaginative wonder, optimism and excitement permeated the events marking the awakening of a magical many-to-many era. Enter SyFy’s House of Imagination and Alcatel-Lucent’s LTE world – rich, frictionless space for magical personal experiences.  Car as platformtoaster as platform, life as platform, and screens everywhere with everyone participating as producer and consumer.  And because shift happens, we’re reminded to use this downtime to dream it and make it happen for the future is now.

Here are the tweets:

(Progressively posting…stay tuned…)

#NATPE

Kris Soumas, AETN
AETN study found most women join FB to play games, replacing daytime tv watching. It is believed that Zynga is making and spending $50mm/month on Farmville.

Daryl Evans, AT&T
AT&T is providing free texting in Haiti.  Like all major advertisers we have econometric models and understand the ROI of each platform and media choice.  The better measurement gets in one area, the more pressure for accurate measurement and ROI in all areas.  American Idol may have introduced most people to texting, one of the best at product integrations.  We safeguard data and will move mountains to protect consumer privacy.  Calls Michael Kassan Dos Equis, the most interesting man in the world.

Chris Schrembri, AT&T
AT&T already owns a massive distribution network:  85mm handsets, 18mm monthly uniques on the web, 2.5mm Uverse subs.  We spend on upfronts and integrations. Like working with Michael Kassan, Media Link.  The industry needs a multi-platform metric.  Hard to resonate with Boomers, they’re jaded, important target, they spend disposable income.  Another important group is 35-54y.  Development is different.

Jillian Michaels, Biggest Loser, Losing It With Jillian
New show with Curtis Stone, move into house for 7 days, provide 3m support, to get change from within.  If you want to lose weight, count calories.  Women should eat 1200 til goal then 1600. Men should eat 1600 til goal then 2000.  Favorite show:  Six Feet Under.  In this business I have learned there is no such thing as freedom of speech because it is financed by advertisers.  Transfat and HFCS are deadly -but it’s almost like I need to speak in code to the audience because the show is ad-supported.

Andy Cohen, Bravo
Favorite show – Oprah.

David Verklin, Canoe Ventures
Must respect the TV business model, content has to be paid for, 4 ads for 1 hour on Hulu doesn’t cut it.  TV is going online and online on TV, its happening, just need a fair buck to get paid for content.  Addressable ads exist online today in the form of cookies. Interactivity allows for engagement, data, T-commerce potential.  Canoe is a joint venture of the 6 largest cable systems with the goal of making them interoperable.

Curtis Stone, Celebrity Apprentice, Losing It With Jillian..
NBC has been marching this Aussie around many of its properties to build brand.  Food keeps you alive and can kill you.  Many viewers are 3 steps away from McDonalds and 3 steps away from a hospital bed. SWM seeking funny smart hot women.  Reply @bravoandy.

Donald Trump, Celebrity Apprentice..
If it weren’t for Jeff Gaspin, NBC, I wouldn’t be in showbiz, he made me a celebrity.  On casting – We got on TV because we were already good at what we did, me real estate, Jillian fitness, Stone cooking…  Thrilled to have a cameo on Oliver Stone’s Wall Street II.  Favorite show:  Law & Order.  Loves Lady Gaga.  Radio City concert -best ever!  TV business is all about ratings, you could be the most horrible person but if you get good ratings, they’ll be kissing your a**.  Trump was hired for big bucks for Superbowl Oreo commercial.  Joan Rivers at age 76 had more energy than anyone, an inspiration to all.  Fan of Jeff Gaspin, Jeff Zucker, Marc Graboff at NBC.  Wouldn’t want Dennis Rodman running your business but he was a great character for the show.  Owns Blackberry and iPhone but doesn’t use it.  Kids do.  Has a ghost tweeting for him.  On Michael Jackson – he used to call me Trump, we were friends, at the end he lost his confidence, the plastic surgery ruined his face.

Bill Lawrence, Cougar Town, Scrubs
with J Max Robins, Paley Center
Grant Tinker was mentor.  Favorite shows:  Arrested Development, NewsRadio.  Likes to check WGA register just to see how many times the same idea has been pitched.  Advice to young writers – get to LA in your 20s, can’t make it elsewhere, the goal is to get an agent, hit the grind, produce material, write write write, get to know the WGA.  There is no overnight success, must work on shows.  TV is an execution business, must prove you can turn in a $2.5mm episode.  Got fired off of Boy Meets World for not understanding the emotional spine of the show.  Don’t burn bridges during your pitches.  And be inclusive in your vision, let others feel creatively involved.  There should be fewer hoops to get things done.  You can’t do it alone, be open to others who will determine your fate.   Scrubs got greenlit after ABC executive fell asleep during pitch and snored.  They didn’t want a single cam comedy.  Cougar Town got picked up quick because Courtney Cox was attached, same thing for West Wing, because Michael J Fox was attached. On Scrubs Episode 4.17, My Life in Four Cameras, it was a love letter to the multi-camera live audience format of TV yesteryear.  Secretly an I Love Lucy junkie.  There’s a belief that multi-camera only works on CBS but its not true, it works on Disney as well. Today, you package escapist entertainment in 6-7 scenes.  Because NBC got Scrubs from ABC, NBC had no interest in it other than ad revenue, ABC owned it and had the syndication rights.  The 8th year of Scrubs was cheaper than the 1st year on Cougar Town, the price made it easy for ABC to pick up Scrubs. Wife Christa Miller is music supervisor and co-star on Cougar Town.  Cougar Town co-producer Randall Winston, the hooked arm security guard and Death in Scrubs, greeting fans (more pics)

Alex Bogusky, CP+B
Creative director of the decade.

Oren Katzeff, Demand Media
Audience does not equal community.

Alex Albrecht, Diggnation
NASA is now tweeting from outer space!

David Zaslav, Discovery
It’s the Content Stupid – everything else doesn’t work if we’re not engaging people with great content.  On free content: it is not just the younger generation. We started that train. Now there is a pullback of free content.  Can’t afford to make Life without people watching it on TV.  Gating with authentication, Hulu paywall.  Twitter Catch Captains tweeting what they’re doing at sea, Jamie/Adam all over Twitter.  Consumer is the expert and social media is changing the way we market.  Twitter great tool to build fan base.  On Planet Green – we’re not going to be talking about “green” as much. Look for lighter fare.  Most sucessful shows on Discovery in US are most successful worldwide. Survival exploration curiosity is universal, Mythbusters successful everywhere but TLC is not, it’s US centric.  TLC viewer is 42y woman married w kids, brand is about real stories w/ heart, strong women – reason why Jon & Kate was a hit.  International is key to growth, WW is US 10 years ago, growing aggressively, made $100mm in 173 countries, will make 4x that this year.  Discovery is sticking to distinctive brands, if can get a .6 in the demo on brand better than reaching outside for a .7 like History/Ice Road Truckers.  Strong brand = loyal audience, easier to program. However other stations A&E have diluted brand and are still successful.  Oprah ends 5/2011, OWN in 75mm homes, Discovery will launch OWN in 80mm homes, network will be about owning your challenges and opportunities in life and moving forward in a positive way.  Oprah brand (OWN) on Discovery will fill an unfufilled niche.  Oprah has been involved in developing and approving shows.  Oprah giving up her show to develop OWN, identifiable brands.  There will be more info on OWN at upfronts. Discovery can repurpose the 25y Oprah library after 5/2011.  Discovery also acquired howstuffworks.com for DIY viewer.  Tend to be lemmings, networks, watching YouTube for fresh talent.  NBC is struggling now but that’s how this biz works.  HD tier is like the new analog tier, Discovery has 7 channels, excited about launching 3D IMAX – closer to real.  A 20 year library of Discovery content in 3D is fairly compelling.  Sony TV retail, HW/SW, IMAX theatres promote Disc channel, HD cost significant 3y ago, now nothing.  At CES I was struck by the power of 3D gaming. Gaming will be big driver for HD (gaming & sports).  Need to place your bets before tech proves out, movie biz success around 3D is driving interest in home, thank Avatar and gaming.  FN grew 20% after changing recipe – engage with great content, need quality content for growth.  Expecting for good carriage acceptance for Cash Cab  (more)

Albert Cheng, Disney/ABC
Disney’s greatest original web production success, The Dharma Initiative.

Illeana Douglas, Easy to Assemble
It’s time to think beyond celebrity eating a candy bar and time to practice conscious capitalism.  Web is another platform for artists to do things they can’t do in traditional networks like being funny.  If I have to go house to house to entertain – I’ll do it!  Had to create show on web, was being marginalized by Hollywood who shun 40 year old women central characters.  Premise of show are unemployed Hollywood actors showing up to work at IKEA Burbank.

Brent Friedman, Electric Farm
There is a consensus about Nielsen, but it doesn’t make sense, there is no objective reality.  Web content contains layers for audience to explore the experience. (David Bloom:  Narcissistic vampires can’t see themselves in the mirror).

Drew Buckley, Electus
Electus means the chosen in Latin.  Name picked for its global appeal.  Open to all OTT platforms.  (Partnering with Jason Bateman, SNL’s Will Arnett, CollegeHumor and Yahoo! for web productions – see CES coverage below for details)

Justine Bateman, fm78.tv
If old media can’t let go, they will not survive new media.  You have to have more than one skill to survive, i.e. Final Cut Pro.  Looking forward to video clickthroughs to add more subtext of what characters are thinking.

Peter Murrieta, fm78.tv
(Disney’s Wizards of Waverly Place showrunner)  Screenwriters should think in terms of creating worlds rather than just storylines. Working with Warner Premiere on The Clique.

Dana Walden, Fox
When started career at Fox in 1982 drama was dead, it became the year of X Files.  Production company has done Arrested Development too.  Hears hundreds of pitches each year.  Ed’s character grounds the show. Everyone is looking for the next Modern Family but derivative development never works.  Show wasn’t pitched to Fox.  Steve/ Chris needed break from Fox after Back to You was cancelled.  Fox produces for all, gave Glee to Fox.

Laurel Bernard, Fox
Watches live tweets while Glee airs. Glee was last year’s most tweeted about show.

Keith Hindle, Fremantle
Consumer habits are already changing.  It is our job to adapt and find a way to monetize it.  Production costs are coming way down, $3500 for 5 minute pitch.  Idol got 630mm votes, outside the US Fremantle makes more on votes than the show.  Family Feud is huge on mobile.  People love to play games and we’ll see TV evolving more as a platform for interactive gaming.

Ross Levinsohn, Fuse Capital
Missed opportunities:  Boxee.  Didn’t make the investment initially, wish we had. StudioNow just bought by AOL for $36.5mm, Fuse would have put in $1.5mm.

Jordan Levin, Generate
The young creative community relates differently to brands because of how they were raised.  The early adopters 12-34 are important to reach because they are leading the change in how we consume content.  Kids identities are tied up with their favorite brands.

Shishir Mehrota, Google
People are starting to use YouTube as an on demand tv as evidenced by the serach terms they type.  Half of YouTube video views are for videos more than 30 days old.    Tweets are now part of real time search through a partnership Google has with Twitter.

Irwin Gotlieb, Group M
Controls over $84B in media budget, considered so powerful that each year the industry asks Gotlieb where to hold the Superbowl. Winner of the Brandon Tartikoff Legacy Award. Knew Brandon and worked with him, both born 1949, met when they were 26.  In 1981, Brandon was the youngest NBC executive at 31.  We have to understand how technology and creativity converge.  Disruptive technology is challenging economy but content drives everything.  Media is nothing more than content interesting enough to attract large audiences.  If creativity and technology are deployed at the same time, well all prosper.  TV is still the most effective medium.  The more relevant the ad, the less likely it will be skipped or ignored.  Look at magazines, consumers spend more time on ads than editorial.  I would love to see TV budgets increase but there are too many other places to spend, it’s a function of supply-demand.  Upfronts are nothing more than a futures market, split is irrelevant, when scatter is high, money goes to upfronts, the only thing that counts is the total market size.  On CIMM, Nielsen hasn’t always served the interests of the industry.  They pitted one side against the other. On Comcast/NBC – expect to see Verizon get into the game.  Industry needs to welcome new talent.  Looking forward to Apple event, want a 9″ paper thin rollup tablet.  The sports rights fees are out of control.  Likes digital wallets, wants ubiquitous currency.  The big challenge for TV is to stem decline while in a deflationary period.  Without content, media is nothing.  On 3D – active glasses with LCD shutters hurt, why use them unless they add to the narrative, makes sense in gaming and computer rendered animation.

Phil Gurin
Sometimes they option it for 3m – 1y at $5 – 15,000 and don’t make it, not too cool.

Barbara Fisher, Hallmark
Martha Stewart is taking her daytime series The Martha Stewart Show to Hallmark Channel this September. (more)

Nancy Dubuc, History
We are in a business where each year has to be the best year ever.  Development is a numbers game but an imperfect science.   The factors are: 21 primetime slots, one out of four pilots will get a series and one in three will return. So team stays very focused on goal.  History will pilot a show up to two or three times to make sure it’s right before placing an order for more episodes.
It’s more important for the show to become a franchise than viewers know they are watching the History Channel with the logo covered up.

Frank Biancuzzo, Hearst
Accepting the Digital Luminaries Award for Leadership.  Hearst now in 20mm households.

Hugh Laurie, House
Just finished directing his first episode of House.  Kept House as American because the iconoclast role didn’t fit a pompous Brit.  Accent is a challenge so he doesn’t strain, takes foot off the gas and lets it come to avoid sounding contrived, doesn’t go in and out, stays in accent all day on set.   It doesn’t ever get any easier.  The American dialect is hard.  Checks every syllable.    Would like to improv but word is respected.  Showrunners pretty strict about sticking to the script.

David Shore & Katie Jacobs, House
House is based on Sherlock Holmes.  Medical mysteries are highly franchisable.  The networks want to know it will run 100 episodes when you pitch.  France loves House.  On hiring women – look for best talent not necessarily diversity.  Her career path – went to NYU, directed shorts, was a PA, then a sales agent. Important to forge ahead with creative insight.  Need agent to get spec script seen.  Killed off Kal Penn at his request, wanted White House job, was very involved with Obama campaign.

George Ruiz, ICM

Judith SheindlinJudge Judy
Winner of the Brandon Tartikoff Legacy Award.  Met Brandon Tartikoff 13.5y ago, wonderful visionary, demanded excellence on programming, good faithful friend.  When kids were born you gave this one a stethoscope and said you’ll be the doctor.  Gift of gab destined me to become a judge and have a career on tv.  Every once in awhile, I check out the competition, but I don’t care what others think. When you’ve had a rockem sockem career, you know when it’s time.  Life is supposed to be a happy journey, not a struggle. Deal is up 2013 but CBS’ John Nogaski invited her to the dance anytime.   Will not run for political office, likes a monarchy.  In family court the judge is the ultimate fact finder, there is no jury.  The US is a mess because it is ruled by committee.  Family court never gets old, there are no repeat customers, sees a lot of fraud from the web like the Nigerian prince scam, frustrating seeing these women out of a need to nest hook up with losers, they break up and he’s texting like mad on her bill.  When a judge gets a private bathroom with white towels its the big time, not so in the entertainment business.  Don’t recommend the entertainment business, need a strong ego, even the most talented are subject to constant rejection, go to college and have as your day job a career, don’t just wait tables.  Prepare yourself to be well-rounded, a whole human being. (Book:  Don’t Pee On Me and Tell Me It’s Raining)

Gavin McGarry, Jumpwire Media
PPT deck: http://ow.ly/10Fpr

David E Kelley with Melissa Grego, Broadcasting & Cable
Winner of the Brandon Tartikoff Legacy Award. Brandon believed in storytellers and writers, he loved TV and watched it, gave him LA Law. The road to success is inexact and mostly unfair.  It’s pure folly to tell anyone how to do it, you can only tell them how you did it.  He got his break when a client of his law firm got his script optioned and made.  It was an abysmal film that had his name on it and taught him to doggedly stick to one’s own vision. First job was with Steven Bochco.  Need lottery to win fame and success, rather find what you want to do, not be, and then don’t not do something for fear of failing.  If you don’t have passion then don’t be in this business.  Wife is in the business (Michelle Pfeiffer) but kids who are teens are not heading toward entertainment.  Has been living in Northern California for 5 years. Misses Hollywood.  Shows are chaotic and it’s hard not to be in the nerve center, the eye of the storm.  Those 8 second conversations add up to something.  Film is nomadic, crew comes together for a short while, but TV is a family. Casting is an exhaustive process, time intensive and you must be in the room.  You can’t cast from tape.  Must publish script on first day or everyone starts asking for it, including the grocer.  Writes long-hand, can’t type.   Social media functions like a focus group but in the end it’s not as much about the show as it is the community relating to each other and generating social currency around the show.  I create characters I adore, sometimes I get called on a despicable character.  There has been the death of debate in this country, didn’t use shows as soapboxes in the past but now feel obligated to show dissent , will present both sides both not with equal weight.  News affects our lives.  Prefer cable deals to broadcast nets, there are less restrictions on content and 22 episodes is a bear, 13 is more attractive.  TV today is a richer landscape with the advent of cable.  It’s an industry that is now dominated by writers.  Shows like Braking Bad and Mad Men wouldn’t have been made 10 years ago. Ratings are now more important than 20 years ago, industry is much more focused on numbers.  When there were just 3 networks you were guaranteed 13-22 episodes and audience came by default even if the show was no good.  Harder to cultivate a show these days.  New NBC show is about a disgruntled patent attorney, need to watch a few shows to get it, but NBC is well-positioned to take some risks. Content matters, happy NBC 10 spot is going back to scripted.  Feels good to be going home to NBC.

Kevin Beggs, Lionsgate
Network TV is broken.  How is cable outperforming them with quality shows on lower budgets?

Xavier Kochar, MediaLink
Marketers will pay a premium for metrics that hit, they don’t have dozens of branded entertainment initiatives.  Walmart and P&G talk a lot about mom.

Russ Axelrod, Microsoft
At BEET we work on 25-30 campaigns a year creating great content for brand managers.  We start with the brand.  Created The Guys Manual – living a better life with more nuts. Sits on MSN.   Took risks, Grape Nuts is a conservative brand.  But got a 78% completion rate that watched video.

Steve Levitan with cast of Modern Family
Levitan – Fortunate position to have a hit show the best in the business wants to work on.  It’s been mind-boggling the level of stars who’ve asked to guest star, top talent solicit us at award shows.  We’re writing our lives, that’s why it feels real.  On Just Shoot Me, I loved all 13 time periods we were in over 6y+, it was the little show that could and almost got Seinfeld spot which went to Frasier. 18 shows in a season, shoot 5 days episodes over 8 hour days, one-camera makes it easiest job ever.  Costco was not product placement – unfortunately – they were cooperative but didn’t pay us. Used Apple Keynote software to present pitch to Fox.  Hollywood is 10,000 people running to where lightning just struck.  SophiaVergara – well known in Latin America, fans think its weird that voice is redubbed.  Julie Bowen – on ratings, now a 4.1 is a hit, before it was on life support, a 30 share used to be ok, now it would make the room explode.   Was pregnant during the pilot, reason fo the laundry basket always being front and center.  Thinks she accidentally started rumor that she’s returning to Lost.  Ed O’Neill – After 10y and 260 episodes of Married with Children, didn’t want another 30m sitcom but likes that it’s an ensemble.

Tony DiSanto, MTV
MTV will spend on awards, critical acclaim generates a lot of noise that is priceless.  Linear TV stream is primary but ancillary life is huge bonus.  Spending $400 – $500,000 on pilots.  Looking at 6-8 pilots to make 204 scripted series. Experimenting with Warren The Ape.

Jeff Gaspin, NBCU
Winner of the Brandon Tartikoff Legacy Award. Brandon was a mentor, put him in the NBC management training program.  Brandon was a G-D, a mythical figure.  Opened with – I asked Rick Feldman if we could move this back 30 minutes and it cost me $45mm. Not laughing he continued –  We thought it was a reasonable way to keep both Leno and Conan.  It didn’t work.  I underestimated the emotional impact of the late night move on Conan.  Didn’t realize people tweet as I talk.  It’s important not to second guess decisions, but to learn from mistakes.  Yes, image is tarnishing bottom line but have a robust development slate with Kelley, Bruckheimer, Abrams.  Rebuilding and moving on. NBC will be fine, just need more hits: Thursday night lineup is strong with 4 comedies, Law & Order and Biggest Loser – great, committing to 20 pilots this year, spending on big talent.  Spent $250mm on Olympics, it was worth it, we only have until 3/1 to reboot, cleanse, referesh that 10 spot.  Olympics gives NBC 200mm people to showcase new shows and lineups.  Olympics are important in driving re-transmission fees.  Next time, yes, bidding has to be at the right economics.  Fox knows its audience, they’re doing well letting House launch other shows, always lead with hits.  In the end the best content wins, serialized shows burn hot, episodic has afterlife, NBC didn’t invest in backend, 55% NBC Entertainment/45% third party.  On dissing the upfronts – It was worth it, shook up the market, will continue to talk to advertisers before the upfronts but going back to traditional timing to allow the pilots time to be completed.  There are 60 metered nets, USA is up 14%, one hit can change face of net.  Cable has better margins. (more)

Cameron Death, NBCU
NBCU’s greatest original web production success:  In Gayle We Trust.

Roma Khanna, NBCU
North Americans are very inward looking.  It’s a recent trend for businesses to look outward internationally.

Jonathan Prince, Novel Adventures
The Cleaner showrunner on webisode success.  Novel Adventures production budget was $600,000 for first season/8 episodes on CBS.com sponsored by GM, #1 traffic driver for activations on site.  GM just renewed for $700,000.  Don’t put deleted scenes on web, rather create new mystery, don’t put on rejected A&E pitch, be audacious.  Web branding is additive, budgets are small, its marketing money brand would use for a party, it’s not media buy money.  There’s a difference.

Geoff Stedman, Omneon
Accepting the Digital Luminaries Award.

Shelly Palmer
Social media is a two-way conversation, stop broadcasting.  Home page hits are useless, HITS = how idiots track success.  No more valuable than knowing tv is on.  Homes pages are so last century.  Listen for brand sentiment at oomph.com, use Google Analytics for loyalty, recency and bounce rate.  If bounce rate is at 50% shut down the site.  TV is an art form not a platform, its the beer, the remote, the sofa for 35y+, under 35y its the quad-split first person shooter.  Remotes brought in the era of channel surfing.  Read Nielsen disclaimer on accuracy.  Atomized viewers are findable.  Brands won’t get involved with anything that’s not at scale.  Need to earn your way into the trust circle.  There are only three business models – I pay you, you pay me, someone else pays.  Scarcity creates immense value.  Th 9pm a 30s spot is the best time to get scale because F is payday, because of scarcity it has been most valuable spot to buy.  LTE long term evolution – the analog spectrum the broadcasters just gave up.  @aplusk with his 4mm Twitter fans makes him a broadcaster but mommy with her 100 friends is an influential thought leader in her community.  US experts in one to many storytelling, 30s messaging. Moving to a many to many society.  Packaging attention, easy to create exceptional value in the 21c but the web sucks at translating value into wealth.

Karrie Wolfe, RDF UK
Secret Millionaire has been successful.  Seeking a 360 play.  Food is hot around the world, have done well with popup restaurants.  Wheel of Fortune, Jeopardy does well abroad, Bachelor making a come back.

Howard Owens, Reveille
Buried Life and Biggest Loser have big messages, don’t distinguish content from branded content – they share thematic values.  Reveille creates entertaining IP that’s not a schill for the brand.

Elisabeth Murdoch, Shine
Ignoring social networks would be like ignoring the switch from B&W to color.  Those who use two screens at once are the most engaged audiences.  Fans remain the best salesmen of our content, even if that behavior is on the borderline of piracy.  Social networking is nothing less than Web 3.0.  Youths are willing to pay for premium experiences.  FB and Twitter mark a profound paradigm shift.

Hugh Forrest, SXSW
Talking with Brian Cain, Campfire and StevePeters, No Mimes.  Best way to watch 24 on DVR is 20 minutes later to skip commercials.

Dave Howe, SyFy
Dual revenue streams/affiliate fees are important.  Ad sales right now are challenging.  7 to 10 top films each year are sci fi fantasy genre.

Michael Wright, TBS. TNT, TCM
Wouldn’t hesitate to buy syndication rights from another network if its not in its first run, and if it is still running, would crete a window.
For fresh talent, likes to hire new showrunners who had some experience as a senior staff writer on someone else’s show.

Felicia Day, The Guild
Thanking Microsoft while accepting the Digital Luminaries Award.  Just inked deal with Netflix, iTunes.

Marc Juris, TruTV
Several hundred hours a year of programming.  Looking for character, context and comic relief.   People don’t pay attention to network brands, they watch great shows.

Brady Brim-DeForest, Tubefilter
Double whatever production budget is to have money for  advertising and marketing of your content.  Own your show, not just 10% of it.

Ryan O’Hara, TV Guide Channel
Now in 84mm households, Curb, Susan Boyle & Ugly Betty now stripped and living in syn on TV Guide Channel.

Chloe Sladden, Twitter
NBC Olympics open API allows for lots of possibilities.  Quirkier shows like Glee doing better because of support from online audience.  There were over 1mm tweets during VMAs.

Bill Kispert, Universal Studios
Just launched House game.

Jesse Redniss, USA
Check out Windex game with Monk spritzing germs on www.characterarcade.com. Hilarious viral ads as well.

Jason Nadler, United Talent Agency

Jeff Wachtel, USA
USA wants to be in the cultural conversation but what’s better:  great ratings and crappy reviews or critical acclaim and no one watches.  International co-productions make it possible to afford mor production value onscreen.  Quincy ME is huge in Europe, Monk too.  Looking at 7-8 day shows per episode.  The biggest challenge is in finding the next big thing.  Trying for something more provocative.

Christian Taylor, Valemont
The heart of a web series is the story.

Michael Eisner, Vuguru
There is a death march of sorts for traditional media now that broadband has gone mainstream.  Broadband is cheap and ubiquitous.  Expect an advertising explosion.  On TV the Simpsons has 520 seconds of commercials at a $30 CPM, same show has 37 seconds on the web at a $60 CPM, it can’t not happen, it’s low hanging fruit.  37% of viewing is on the web but right now only 8% of ad buy is there.  3% of attention is going to newspapers and yet they still have 20% of ad buy.  Vuguru’s properties include Prom Queen, All For Nots, Foreign Body, Back on Topps and The Booth, a very exciting thriller starring Xander Berkeley and his wife, Sarah Clarke who played the unforgettable CTU agents George Mason and Nina Myers from the first season of 24. Might make Prom Queen into a musical.  Has a high output deal with Rogers for 20 shows a year.   Prom Queen was made for $1000/minute, distributed in 45 countries, got license fee from MySpace, 80% of its 20mm views was from MySpace, missed opportunity to developed platform into a media destination.  You can now create 90 second shorts for $3000 with SAG actors.  No production deficits.  Likes that the union recognizes the importance of web video.  SAG gives it legitimacy.  All the actors got paid, points are worthless.  Shot 150 minutes of The Booth in 2w, 20+ 5m+ segments.  Short commitment so top talent likes these projects, spent about 3 hours.  30 minute format will emerge as online standard.  Consumer doesn’t have ADD, they will watch good content for long periods.  Remembers making Movies of the Week with Barry Diller on ABC, 26 original movies for $375-425,000.  Universal was selling there’s to NBC at $800,000 a show.  Secret to success is making shows below the industry average.  Advice:  make great shows, someone will distribute it.  Not sure of the business model yet but great shows win.  YouTube has draconian rev share.  Loves Boxee.

Chris HardwickWeb Soup, @nerdist
Hilarious as always.  Giving Xbox love at Digital Luminaries Awards.  Chatting up UCB at cocktails.

Gary Vaynerchuk, WineLibraryTV
On finding sponsors, solicit those buying Google keywords.  Said no to $250,000 kitchen from sponsor, holding out for 7 figure deal.  Making $1mm on book, $25,000 on parties.  Put your passion into production.  If your not interested in being the talent in front of the camera, then write.

Pete Thompson, Xbox
Accepting Digital Luminaries Award in New Media for Marc Whitten, Microsoft.

Winners, Best of Schwag
Treasure Hunters Roadshow – Rare Coin Scratchers, Chocolate Coin Treasure Chest
Texas Roadhouse Music Legends – Playing Cards
HISCOX – Director’s Cut Magnifying Glass

Sales
E1 sells Canadian content to Latin America pay-tv networks
MTV sells True Jackson to Mexico, iCarly in Peru, Panama, Bolivia
Toei Animation sold Dragon Ball, Digimon Frontier into Latin America
20c sold Don’t Forget the Lyrics into US synd despite Fox dropping it

Pics
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*NATPE has it all on video.  Check it out at: www.natpemarket.com

#CES

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