…vi segnalo alcune interessanti riflessioni di Adam Leipzig – ex vicepresidente dei Walt Disney Studios, ex presidente della National Geographic Film ed oggi amministratore delegato della Entertainment Media Partners – sull’influenza della tecnologia nei cambiamenti in corso dell’industria dell’intrattenimento. Di seguito cito tre brevi stralci tratti dall’intervista che Leipzig ha rilasciato a thenextweb.com, di cui vi consiglio la lettura integrale.
Il primo riguarda il passaggio da un’economia del possesso ad un economia dell’accesso, e la sempre maggiore centralità dell’intrattenimento in-home:
Streaming really exploded around the year 2010. We shifted from a commodity economy of entertainment, where we had to own CDs, DVDs and so on, into a pure experience economy – where we just want it, we want it now but we don’t have to own the physical things. The biggest technological changes that we’ve seen in entertainment have been how audiences receive their content, moving from experiences that are away from the home, towards experiences that are inside the home.
Il secondo passaggio è sul ruolo del cinema in un contesto di questo tipo:
I believe audiences now decide – even before a movie opens – whether they will see it in a cinema, or see it at home. There are certain types of films that people really love to see at home, and they are experiencing a renaissance. Documentaries are a perfect example. Documentaries have a very limited theatrical cinema life, but they are exploding on online services such as Netflix and Hulu […]. I think there will always be a demand for getting out of your house and experiencing things with other people, in a communal setting. Comedies are a great example – comedies are not so funny if you’re sitting alone at home. But they’re really funny in a theater with 400 other people.
Il terzo passaggio è dedicato al crowdfunding. Leipzig sintetizza in maniera molto efficace perchè non si debba considerarlo solo un nuovo modo per finanziare il proprio progetto:
The crowdfunding isn’t so much about providing money, it’s about market validation and proof of the audience. […] Now there’s a large crowd of people who have contributed money, whom the filmmakers and studio can have direct, two-way communication with. These people will become the ambassadors, and evangelists, for that movie when it comes out. I believe that crowdfunding is 40% about the money, and 60% about connecting with your audience, building your audience and creating those evangelists and ambassadors for when the project is ready for launch.
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