We are on the verge of a new film culture and infrastructure.
By Roger Jackson
Previously: VOD Myths vs. Reality
We’re often asked what makes Kinonation different from other VOD distribution companies. While we are both a content and a distribution venture, we tend to regard ourselves as – above all – a technology company. And it’s technology innovation that allows us to do things a little differently. Here’s what we’re building for filmmakers – 9 points that define our business philosophy and operational goals.
As a producer, not only do you need to understand the business of film, you inevitably have to explain it to your investors.
Your investment in
By Reid Rosefelt
You’re posting interesting content on Twitter every day. You’re blogging. You’re active in other social networks. You’re doing everything that you’ve been told to do. But you’re getting nowhere.
Maybe you have the wrong goal.
Your Goal is Not to Get as Many Followers as Possible
If you want followers, you can buy them.
Many of my friends ask me why I am not making movies right now. I am. I am working on one I love right now with my wife Vanessa. We are getting close to finishing as a matter of fact.
I feel I have never been a better filmmaker than I am right now. I love making movies and want to make my best work yet. However I have been given a tremendous opportunity to do something for the culture and people I love. I can not tolerate people not earning an equitable rate for their labor and talents. I can not tolerate people not earning a sufficient return for the risks they take. I can stomach good films not getting seen and it infuriates me when wonderful work barely makes an impact.
I am confident we can build it better. I am confident that good solutions will
I had the pleasure of participating in the panel “New Narratives: Building An Interactive Storyworld” at SXSW this year with Karim Ahmad of ITVS & Future States, Aina Abiodun of Storycode , and Mike Knowlton of Murmur. It was a lively panel and we packed the house.
I had a few takeaways from the panel I thought you might like me to share. 20 to be exact.
By Charles Peirce
Casting is one of the obvious essentials of any film, and like all aspects of the process worth examining: the assumptions that define it and the possibilities of how it might be used to best advantage. Casting’s key place comes in financing, where attaching the right star allows raising money based on their monetary value to specific regions or demographics. Enough attached stars offer the promise of pre-sales in distribution, and enough pre-sales can then determine a base budget. This would seem to follow the simple logic of a star’s popularity guaranteeing viewers, a shortcut in the task of finding an audience.
By Roger Jackson
Previously: $45 Billion by 2018
At Kinonation we talk to dozens of filmmakers every week, and often discuss myths about Video-on-Demand. Here’s my top ten…
1. Myth: Every VOD outlet will accept my film.
Reality: Most outlets select or decline films at their discretion and rarely give reasons for a “NO” decision. In the USA, only Amazon and Google Play accept all films. (Amazon is limited to Amazon Instant Video. Amazon Prime will typically reject films that contain drug use, sex, nudity, violence, etc.)
2. Myth: Theatrical creative will work for VOD
