By Michæl Curtin, Jennifer Holt, Kevin Sanson, Kurt Sutter
• Gary Newman, Chairman, twentieth Century Fox Television
• Kelly Summers, Former vp, international enterprise improvement and New Media technique, Walt Disney Studios
• Thomas Gewecke, leader electronic Officer and govt vice chairman, process and enterprise improvement, Warner Bros. Entertainment
• Ted Sarandos, leader content material Officer, Netflix
• Felicia D. Henderson, Writer-Producer, Soul Food, Gossip Girl
• Dick Wolf, government manufacturer and writer, Law & Order
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Additional resources for Distribution Revolution : Conversations about the Digital Future of Film and Television
Ultimately, our goal is to provide something for everybody. We won’t stop making DVDs or Blu-rays any time soon. They are great products, and for consumers in the United States, the most efficient way to bring HD (high definition) into your house is to buy a disc because bandwidth constraints remain an issue. Another executive told us the most valuable consumer was the consumer who purchased his or her product on iTunes because it had the highest profit margin. Is that the same for you? Yes. Regardless of the retailer, EST is the highest margin transaction for us.
Windowing considerations also led many interviewed in this section to comment on the common problems of large media conglomerates as their many quasi-independent silos adapt to the new demands of digital distribution. , timing the release on digital platforms so that it doesn’t cut into or take away from potential DVD revenues). Newman addresses this issue when looking at the needs of the Fox networks versus the studio and discussing how certain subscription videoon-demand (SVOD) platforms compromise the show’s value for streaming on the network platform.
When you’re doing a deal for Glee, for example, what are the numbers that are on the table when you’re negotiating with Netflix? Well, we’re still in the early stages. ” We purely look at their subscriber base. That’s public knowledge. You know how many subscribers they have and you have a sense of what they are paying, and you sort of think about what you should get on a per-subscriber basis as opposed to a per-view basis. You look at what cable networks are paying for programming and you know what their carriage is, and you are trying to draw some parallels to that.