As the founder of the most important incubator platform for cross-media content, do you feel the sector has evolved since you started back in 2007, both in terms of way of thinking and business model?
Liz Rosenthal: Today everybody looks at new ways to tell stories and new business models. But producers still seem to be confused about what they want and what cross media really is about. They should ask themselves if they are creating a whole suite of products for the various platforms or trying to engage the audience with their story. Cross-media is all about how to strategically grow an idea and about bringing added value to the end product.
Just a couple of years ago the biggest challenge for cross-media projects was to find established financial partners, both in the public and private sector. Is it easier today?
LR: Many European producers depend on subsidies and today there are definitely new public subsidies for example for gaming. But that doesn’t necessarily mean that the game product will be cross-media. There is still no funding for brand building. There is money for platforms, whatever they are, but not for developing ideas across platforms.
Various countries have different ways of supporting cross-media. In Canada for instance there is a huge amount of money for cross-media and during our Cross-Media Forum in London we will hear for instance Valerie Creighton who will explain the strategies and challenges of the new Canada Media Fund that forces broadcasters to invest a small portion of their budget on converging media to respond, notably, to young audiences turning away from linear TV. In the US there are no subsidies so the industry is very resourceful and pro-active. Yes there are more funds around, but people are still reflecting about the medium, organising think tanks to see how to build innovative funding structures.
What countries are the most innovative in cross-media?
LR: Germany and France are major territories with sound resources and innovative financing models. As I said earlier Canada also invests in innovation and the Nordic countries are forth thinking in terms of financial and social innovation and their tech industry is at the highest end. The cross-media initiatives SWIM (Scandinavian World of Innovative Media, launched by CPH:DOX with New Danish Screen, Film i Skåne and BoostHbg) and Nordisk Film & TV Fond’s former High Five Cross Media for Kids are very well thought out. Developing cross-media initiatives and programmes is important, but developing cross-media ideas fast to catch audiences where they are is even more important.
Isn’t crowdfunding a good way to engage audiences, both on a creative and financial standpoint?
LR: Crowdfunding is indeed a great way to engage audiences from the first idea and to offer them an equity share. I actually see more and more people in our labs trying crowdfunding. If you can prove that you can raise crowdfunding then logically you can raise traditional funding as well.
For the first time you are focusing on the Nordic territories and have obtained support from several Nordic bodies, including Nordisk Film & TV Fond for this Nordic Focus. What will be the highlights?
LR: Last year we focused on Canada. This year it’s the Nordic countries and over 40 delegates from the Nordic region are attending. Nine Nordic projects have been selected for the Pixel Market Finance Forum Day on October 8 and we will have two panels with experts. I was amazed by the quality of the projects submitted and one Nordic project is competing for the ARTE International Prize, the web-documentary On Screen Off Record produced by Signe Byrge Sørensen (The Look of Silence). Her presence in competition as well as Ken Loach’s producer Rebecca O’Brien shows that established producers are now embracing new forms of content creation.
Do you have tips to give producers who want to work in cross-media?
LR: When you develop an idea, you have to think of going back to the core of the story. What you want to tell and why. This is the key to a successful cross-media strategy.