07/17/2007

Changes in the Media & Entertainment Landscape

hollywood2.jpgYou may have read that UTA, one of the large Hollywood talent and literary agencies, has partnered with Spotrunner to start a “studio” called 60Frames, which will create video content to pair with brands.  They see that many brands are unwilling to take a high-budget flyer with user generated content and see an opportunity to leverage their stables of professional writers, directors, and actors.  In fact, the first film makers they are working with are the Coen brothers, which gives them some instant credibility.  There is a lot to chew on here, but the story underneath the story is, I think, the canary in this coalmine. 

Between UTA’s move and CAA’s finding VC money for Will Ferrell to develop funnyordie.com (no doubt you’re among the 40 million people who saw his first video, “The Landlord”), the Hollywood agencies seem to be looking beyond the ten percent business.  In the short term, there’s a likely work stoppage coming when the writers guild likely goes on strike after their contract runs out.  It is in the agencies’ interests to find non-Guild work for their talent in order to keep revenue coming in.  But in the long term, the agencies may be doing what their clients have largely failed to do, which is get nimble and hedge against the decline of the old media business model by looking for new ways to monetize their assets.  I think that just the first couple of kernals have popped and we may see a lot more new digital efforts coming out of the Hollywood talent community in the very near future.

The other big news this week was that Sony has rebranded Grouper.com as Crackle.com and is trying to use it as an incubator for new talent to feed its pipeline.  Sony tried a version of this before with Screenblast, which launched as a content community in 2002 and shuttered as a content community in 2003 (turning instead to creativity software).  With Lonelygirl getting a movie deal, it’s not as far fetched as it may have been even a few years ago.  The most interesting thing to me is that it indicates a huge change in legal culture.  I haven’t seen the terms of submission, but Sony used to be loath to accept any creative product from individuals unless they were represented by agents or lawyers because of the fear that they would be exposed to a lawsuit if they ever released a movie or tv show that had any similarity with the over-the-transom work that came in, no matter how incidental or unrelated the similarities.  The exposure must still be there in some way, unless Sony requires that it has ownership of any material submitted to Crackle, which would be pretty bold.  So perhaps they are becoming more risk tolerant because the alternative is closing their eyes to what they believe is a potentially profitable pool of talent.

Last week, Tracy Richards and I were at Ad Age’s Entertainment Marketer of the Year Awards, where two of the three honorees were friends of Organic.  Jeff Bell, formerly of DCX and now of Xbox, was honored, as was Val Van Galder, President of Worldwide Marketing for Sony Pictures.  On a panel, Jeff Blake, co-Chairman of the studio, was very blunt about how their media mix is changing and dollars are moving toward digital: "You've got to be brutal about getting off the stuff that doesn't work so much for you anymore, and moving on to the new stuff." 

Matt Rosenberg

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