Tag Archives: Media literacy

Talent and literary agency: dummies edition

The single biggest expense most companies incur is the cost of acquiring the customer. Every other move increases your customer’s immediate and lifetime value.

As a patient talent manager or a shrewd talent and literary agency (TLA) owner you could choose to make no profit until you’ve secured your talent and showed them the easiest way to return to you at any given time.

If you manage to find creative ways to not make a living from your core offer but rather assidiously convert leads into paying customers — sometimes at the expense of your profit margin — you could become unstoppable.

You could take everything you make from the Core Offer and reinvest it to acquire more customers. You build a system in which you can spend more to acquire more customers than your competitors.

Keli Lee sharing wisdom as Head of Casting and Talent for ABC Entertainment:

Every night in New York I would see a live theater production or a comedy show. I would look for outstanding talent, bring them in for auditions, and even if the actor wasn’t cast, I would bank the information. You want a list of people who you know are good and draw from that talent pool when the right character comes up.

Another way to boost your success as a talent and literary agency manager/owner is not to think of yourself as an agent. Train yourself to employ one of theseven heuristic methods that help you think clearly: purposefully think in terms of broader definitions and see what insights you’ll gain from the perimeters. Take Irving Paul “Swifty” Lazar who described himself as a “dealmaker” and as such didn’t feel constrained by the normal rules of talent management of his time. Lazar was famous for his swiftness in making deals for any talent, not limited to his own clients.

For those of you scared by the prospect of alienating TLA colleagues, most of the times you can always work out some kind of an amicable arrangement with whoever you initially cut out of the deal.

Sometimes he takes his ten per cent from the buyer, sometimes from the seller—sometimes, it was rumored in the old days, from both. This is exactly how creative TLA manager Lazar helped himself test the waters and check the market value of a best-selling author.

Most creative businesses fail because they either…

  • ..fail to offer a desired “After” state (The offer sucks)
  • ..fail to articulate the movement from “Before” to “After” (their marketing is mediocre)

Great TLA managers speak to how a talent will FEEL, how their AVERAGE DAY will change and how their STATUS will elevate.

Consider some of these marketing tips:

Aim for a gut reaction, and pay special attention to how your materials look when scanned quickly (no one has the time or inclination to do that anymore).

Some 90 % of all data that our brains process is visual. Use images—but make them special.

We are wired from birth to recognize and prefer human faces. Use real people in your talent marketing materials.

62 to 90 % of our feeling about a product is determined by color alone. Be mindful about colors.

We have an innate desire to conform. Remove anxiety, signal belonging and build credibility with an audience by using endorsements from well-known influencers in your market; customer testimonials woven into the fabric of your website.

Email andreakozlov@gmail.com for more personalized tips on how to manage talent and be profitable at it.

Advertisements

Brazil is already a major exporter of content but it’s known for just one genre: drama

originally prepared by Andy Kozlov (@KozlovAndy) for Markettime.info,  Your 24/7 Source about World’s TV Markets

The sixth edition of Rio Content Market (March 9-11, with a warm-up day on March 8) saw 3,000-plus executives from 32 countries register for the event.

The event aims to continue expanding the international market for multi-platform content produced by Brazil’s TV and digital media industries. The whole package is there: keynote speakers, lectures, panel discussions, content screenings, face-to-face meetings and Rodadas de Negócios (Business Rounds) pitching sessions.

Some 1,180 business meetings were scheduled with more than 1,000 projects being presented; 206 executives spoke at conference panels; 198 key players traveled to Brazil to acquire content.

This year’s buyer list featured top global OTT companies: Amazon Studios, Hulu and Netflix. Philip Matthys, Hulu’s head of business affairs for original series, came to present their business model and commissioning guidelines for original content for the streaming service

Al Arabiya (UAE), First HDTV (Russia), TVP (Poland), Canal 22 (Mexico), ZDF-Arte (France-Germany) and NHK (Japan) also attend RCM to seek co-production partners.

Delegations from 6 countries — Argentina, Canada, France, the UK, South Africa and Germany — exhibited at the RCM 2016.

A total of 18 dramas, documentary and kids’ program projects were selected to form part of the Rio Content Market’s pitching sessions this year. There producers had seven minutes to present a project and another seven for a debate with the panel.

The worldwide trend towards more locally developed content was reinforced by Keshet International (global distribution arm of Israeli media company Keshet Media Group) rolling out their brand new format Elevator Pitch, developed in partnership with a Brazilian producer.

Conference panels convened in seven different rooms to discuss various hot topics of the Brazilian and international TV industries: business regulation, content trends, what buyers look for.

Launched in 2011, just after the approval of Brazil’s Law 12.485, Rio Content Market became witness to a revolution in the Brazilian indie TV production. The 2011 law obliged pay TV operators to air 3.5 hours of local content per week.

After the recent currency devaluation in Brazil and the increase in the production costs, free TV players have begun to take advantage of the state-funding programs, such us Fundo Setorial do Audiovisual and Article 39 of the SeAC Law, through partnerships between independent production companies and pay TV networks.

Manoel Rangel, head of the Brazilian Film Agency was quoted as saying that at this stage “the sector is mature enough for the regulation of the VOD market.”

The Brazilian Film Commission Network (Rebrafic) and PACT (trade association representing the commercial interests of UK independent television, film, digital, children’s and animation media companies) signed a Memorandum of Understanding to promote co-productions of films, TV and other audiovisual projects. The Canadian Media Found (CMF) closed a deal with funding agency SPCine from Sao Paulo to develop five joint projects between Brazilian and Canadian companies.

One trend is clear in Brazil: there has to be more product diversification. As London-based industry publication C21Media observes, “Brazil is already a major exporter of content but [it’s] known for just one genre: drama.”

Curated by Esmeralda Produções and organized by Fagga | GL Events Exhibitions, Rio Content Market is now recognized as one of the largest events for the audiovisual industry in Latin America.

During its previous five editions more than 14,000 industry professionals took part in the event. The trade show has been organized annually by the Brazilian Association of Independent TV Producers (ABPITV). ABPTIV brings together over 580 companies from all of Brazil’s five regions that produce TV and new media content for the domestic and international market.

Find more about Rio Content Market on MarketTime

You can write to Andy Kozlov on andreakozlov@gmail.com

CEE, MENA and CIS are behind 20% of all Global TV, Film Content and Adaptation Rights Sales

originally prepared by Andy Kozlov (@KozlovAndy) for Markettime.info,  Your 24/7 Source about World’s TV Markets

The sixth edition of DISCOP Istanbul saw a total of 709 participants from 70 countries take part in the three-day market, numbers similar to the 2013 edition, a year-on-year drop from last year caused by recent security threats in Turkey.

102 TV content sales organisations were in attendance and reported strong business.  

Expanded human resources and reinforced onsite matchmaking assistance delivered a better than average number of meetings among the participating sellers, buyers and producers. Co-organizer Basic Lead’s pro-active meetings organization is one of the services that make their Discop family of markets stand out in the MEA region (Middle East and Africa).

Many attendees highlighted that this edition’s quieter pace provided more time to establish relevant relationships with the 402 programming executives who arrived in Istanbul to acquire film, TV series, adaptation rights and packaged TV channels and replenish their grids with new content.

20% of all global film, TV content and adaptation rights sales are represented by Turkey, CEE, MENA and CIS countries.

In Turkey, the boom in drama exports arrested development of the local unscripted segment, formats for export in particular. Turkish networks prefer to stay on the safe side and import big-name unscripted formats rather than delve into original ideas.

In Arab markets, the success of content rests with its virality on social media and values in the case of local content. International popularity is important in the case of Western content acquisitions.

This year, FRAPA, an organization that aims to protect format rights worldwide, teamed up with Discop Istanbul for their conference sessions known under the name of Discopro.

Fiction takes central stage in most of the Eurasian territories. According to Prensario International, an industry publication, “Fiction formats will continue to be heavily demanded at this Discop. Not only the Middle East is seeking scripted series to adapt, but also Turkey (from Korea mainly, but also Italy), and some North African and CIS countries.”

The organizers of Discop Istanbul managed to get the Tech Export Union of Turkey to invite 100 buyers on a HOSTED BUYER program.

Interestingly, 60% of the buyers present at Discop Istanbul do not attend other international content fairs.

Launched back in the day as Discop West Asia, Discop Istanbul follows the entrepreneurial intuition of the first years of Discop East, also founded by Basic Lead, which was from the outset held in Budapest, Hungary. NATPE acquired Discop East in 2012, organized the 2013 edition in Budapest and then moved to Prague, Czech Republic — to later return to Budapest.

Dates for the next edition of Discop Istanbul will be announced soon, following a survey to be undertaken in the coming days to help the organizers select 2017 dates that will maximise the effectiveness and return on investment for DISCOP Istanbul organizers.

Around this time of year, Discop Istanbul is followed by Rio Content Market (March 9-11). As London-based industry publication C21Media observes, “Both [market-hosting nations Turkey and Brazil] are already major exporters of content but are known for just one genre: drama. One theme unites both markets and that’s the need for product diversification.”

You can write to Andy Kozlov on andreakozlov@gmail.com

Africa’s film markets and video content distribution trends (1/2)

by Andy Kozlov (@KozlovAndy)

It’s not a film unless it has a distribution plan.

How about a multi-decade distribution deal?

Distributors are in the game to profit from films that are easy to sell, not to nurture filmmakers. By this logic apparently, an independent film will languish on the shelf indefinitely if it is not marketable.

The same will be true for most of you aspiring TV producers.

Get into the habit of attending African content markets

So where do you look to make yourself marketable? Experience shows, attending content markets is a must. And every month you can be part of one or even a bunch of them, depending on the season.

As you do that, make sure you get to know your buyers’, co-producers’ needs, address their concerns in the bud. In a nutshell — be love-able.

Get both global and local in your narrative. Avoid contrived situations — they suck

Some TV format ideas can make you super famous  more than others. But the general trend is for your narrative to be both global and local at the same time. As Wangeci Murage, managing partner at Nairobi, Kenya-based Media Pros Africa, explains commenting on Russell Southwood’s Netflix in Africa – Three reasons why it will not conquer everything any time soon:

Netflix do acquire content but their main aim is to build their inventory through original productions. Their [January 2016] entry into the “world” market signals an upsurge in local content production, to which they will own full rights.

Content developers have also started shifting their mindset and have began producing content with global appeal and local relevance. This is true of the four African countries [mentioned by Mr Southwood in descending order they are Nigeria, South Africa, Ghana and Kenya;] so they will find a market.

Russell Southwood is the CEO of Balancing Act, a consultancy and research company focused on telecoms, internet and broadcast in Africa. He is one of those people you can often run into at media markets across Africa.

Speaking of South African film industry, veteran producer Jeremy Nathan estimated in May 2012: we are making 25 to 30 films a year now which is really very impressive. Ten years ago we were only making five or six films a year.

And as Balancing Act points out:

There are currently some 136 VoD platforms in Africa, both local, regional and international.

Outside Africa, Thema TV was the first provider of ethnic TV channels in Europe, particularly in France, with the successful launch of “The African Bouquet“, “The German Bouquet” and the “Indian Ocean Bouquet”.

In Africa, take M-Net, the Naspers-owned terrestrial pay TV channel. In 2008, M-Net’s AfricaMagic, one of the leading channels on the DStv bouquet,  launched Africa Magic Plus the growth of which further prompted a flowering of additional channels that catered for culture and language-specific African communities, inclusive of Yoruba, Hausa and Swahili speaking groups.

In 2013, in Africa there were some 535 local TV channels, each responsible for the transmission of up to 1,000 hours of fresh programs annually.

So on the one hand, the distribution channels are expanding. But so does competition from other African content producers. Mind you, even Ukraine in Eastern Europe now shoots Nollywood films. However that also means that Zimbabwean film distributors get to network with their Slav peers at the likes of Kiev Media Week.

As of 2013, African content production ranged from 3-4,000 hours per year. During the 1990s, this figure was lower than 100.

For African content producers concerned about growing competition, Media Pros Africa’s Wangeci Murage paints a picture as bright as it can probably get in the world of unkown unkowns:

This is an age-old phenomenon that is much welcome in our industry. The likes of DSTV’s Showmax and Buni TV would not be in existence if it wasn’t for forward thinkers such as IROKO TV. They saw a gap and went out to fill it. There may be a few holes in the service delivery but nonetheless, they serve a majority of African and International markets in search of Nollywood content.

€3,000 to 30,000 checks handed directly to directors and producers at the Marché International du Cinéma Africain in Ouagadougou undoubtedly makes a good news story.

But this is where those of you who prefer to think long-term should ask themselves:

Is it worth giving away the exclusivity rights on any broadcast on the African continent for a quarter of a century ?

Whatever your decision is, you also want to avoid becoming totally dependent on the international festival circuit for the distribution of your content.

In Tanzania they say 70% of the population do not have access to TV.  If you feel passionate about reaching out to the rural folks who are underserved by cinemas, have limited mobile internet access (2G?); if you feel like you are called to bridge the gap between indigenous people, rural and urban Africans, consider going it alone. Well..not totally alone:

The global list of your outdoor movie partners is growing like never before

FilmAid International  is committed to a participatory approach, teaching skills and involving local communities with the media making process.

Open Air Cinema with its world’s premiere outdoor cinema systems and inflatable movie screens

Short & Sweet with its largest inflatable screen in South Africa

Sunshine Cinema is a mobile cinema that converts solar power to social impact. Through various short films, facilitated workshops and “how to” videos they address social and environmental challenges through community facilitated engagement.

Cine Vagabundo (The Wandering Cinema), a Colombian non-profit that has recognized the fact that with only 5% of cities and townships that have cinemas, the Latin American nation is not an exception, that something needs to be done to link content producers with their digitally divided audiences on a global scale. And locally — glocally.

The author can be reached on andreakozlov@gmail.com