You missed two that became somewhat successful due to the web and more specifically filesharing.
http://www.imdb.com/title/tt1071804/
Ink
http://www.p2pon.com/2010/02/07/ink-the-proof-that-bittorrent-can-help-m...
“Ink”: The Proof that BitTorrent Can Help Movie Makers
Responsible for boosting the popularity and, implicitly, the earnings of independent movie “Ink”(a film P2PON has recommended when it first hit the p2p networks), online piracy is once again into the spotlight; this time, however, for the completely different reasons.
The creators behind the film production admitted in an interview that the unexpected success achieved by the initially unpresuming project is primarily owed to the intensive download activity registered on BitTorrent networks, which propelled the title into the top 20 movies on iMDb, despite all expectations.
Invited by the press to comment on the recently achieved success, Jamin and Kiowa Winans, the creators of Ink, didn’t hesitate to praise the BitTorrent download community for increasing the film’s exposure, as well as DVD and Blu-ray sales. Later statements from the two revealed the same initial enthusiasm regarding their new conquered “pirate fans”.
When asked to translate the hundreds of thousands of downloads into effective sales, Kiowa said it was difficult to quantify the financial gain generated by the activity on BitTorrent trackers, but admitted that DVD and Blu-ray sales have definitely gone up.
The unexpected financial success enjoyed by the production also came from other sources. Thanks to its popularity on BitTorrent, members of the downloading community supported the idea that fans should donate money via the film’s official website. Kiowa complemented on the generosity of German fans, who she claimed to have been twice as benevolent as fans from the US.
Asked if she considered the film to be a victim to piracy, Kiowa responded: “I think to say victim is to characterize piracy as an all-together awful thing. The piracy of Ink is unquestionably responsible for its popularity around the world. Sure our trailers have been out for over a year and have had plenty of views outside the US, but we think that 70% of the illegal downloads are coming from outside of the US and we do get a good number of international buyers at our online store every day.”
Kiowa suggested that the movie industry needed to change and adopt an effective strategy to ensure the deserved revenue for filmmakers, and satisfy film enthusiasts’ needs in terms of availability and affordability at the same time. As for online piracy,
Kiowa explained that it would be best to focus on exploiting the phenomenon for producing positive effects, pointing out once again to the success of the film Ink, owed to the thousands of downloaders on BitTorrent.
http://www.imdb.com/title/tt0756683/
The Man from Earth
http://moreintelligentlife.com/story/internet-piracy-is-good-for-films-1
INTERNET PIRACY IS GOOD FOR FILMS
FOR "MAN FROM EARTH", AT ANY RATE
Can internet piracy result in more and better movies? "Of course, not!" is probably our stock reaction. By illegally downloading and sharing films, pirates steal the revenue that would otherwise reward and encourage film-makers--or so we are told by lawyers, economists, and lobbyists for Hollywood studios.
But we may have plenty to learn yet about the possible impact of file-sharing and other online distribution methods on the quantity and quality of films we watch. The story of Jerome Bixby's "The Man from Earth", a small-budget science fiction movie released on DVD in November, shows how piracy can help salvage, not sink, high-quality cinema.
Shot on digital video with a budget of less than $200,000, the film features a bookish debate among academics who get together for a farewell party for John Oldman, a college professor, who, for no obvious reason, wants to quit his tenure-track job and hit the road. As the party unfolds, Oldman makes a surprising emotional confessession: he is 14,000 years old, doesn't really age, and has 10 doctorates--making him both the oldest and the smartest man on Earth.
What follows is an intense intellectual drilling by his colleagues--professors of anthropology, biology, archeology, psychology, and Christian literature--who try hard to spot inconsistencies in Oldman's account of the world, based on what they know from their own disciplines.
Their passionate debate is heavy on both science and humanities and makes "The Man from Earth" a very appealing movie to smart--yes, nerdy--audiences. Even if you don't learn anything new (which is unlikely), there is a good chance you will be asking yourself a lot of questions afterwards. It's nerdy enough to get the sci-fi geeks to watch it, while its interdisciplinarity makes it accessible to general public as well.
But what is truly unique about the film is not just the controversial story of John Oldman. It's the fact that the film producers have embraced internet piracy and thanked illegal downloaders for helping to spread the buzz about the movie.
In early November Releaselog, a popular blog that regularly posts links to movies, music, and software (most of which is copyrighted), ran a review (with accompanying download links) of "The Man from Earth". The review generated a flood of comments. The movie obviously struck a chord with the geeky and anti-establishment community at Releaselog and prompted many (illegal) downloads.
Most crews would have wanted to sue every downloader. Eric Wilkinson, the producer of "The Man from Earth" turned out to be much more new-media-savvy. He thanked the Releaselog community for piracy and said they were helping sales.
According to Wilkinson, in two weeks that passed after Releaselog wrote about the movie, it rose from the 11,235th to the 5th most popular movie among visitors to IMDB, a popular online movie database featuring user-generated reviews and rankings (the movie was the #1 independent film and #1 science fiction film on IMDB). Most of the traffic to the film's web-site came from Releaselog. The pirates were definitely to thank for the publicity that ensued.
This was enough to make the file-sharing community fall in love with Wilkinson and the film (later on, the director of the movie also wrote a big thank-you note on Releaselog), propelling it even further up the IMDB charts and securing shelf-life in WalMart. That was just the right time for Wilkinson to provide directions on how to send him money via PayPal for copies shared online; sure thing, many people did.
For marketing, this is a sea change, akin to Radiohead's giveaway album. Instead of courting movie critics and studio bosses, directors and producers can reach out directly to the blogging public, stirring up attention there as best they can. To prove his authenticity, Wilkinson went as far as to post a picture of himself next to his monitor with the blog screen open: some commenters first took him for a PayPal-abusing scammer.
Why did the crew behind "The Man from Earth" decide to pursue this route? Because the traditional distribution model for small-budget indie movies seems broken. Even if such movies do secure funding to release a DVD in their country of origin, they rarely if ever break out internationally.
If you are in Norway or UK it may be impossible to find a movie like "The Man from Earth" in your local DVD store for the next few years--even if you are willing to pay a premium. (As Wilkinson pointed out, at the time of his blog comment, all international rights to "The Man from Earth" were still available, meaning that the chance of seeing it legally outside the US was still minuscule). All those whose movie tastes are to the far-right end of the long tail have little alternative to piracy or abstinence.
The emergence of online payments makes a different model possible. If only a limited few can ever go and out buy a DVD of a movie they have shared online, anyone can now contribute money. What would be the pricing point? It could be the Radiohead route: pay what you think it's worth. It could be "match the rental or a cinema ticket" model: pay what you would normally pay for renting it a DVD store or watching it in a cinema theater.
In stark contrast to the traditional restrictive model of film distribution, the new model seeks as many ways of content distribution as possible: peer-to-peer file-sharing is the tip of the iceberg. More advanced users would know about Usenet, various online file storage services like Rapidshare, and plain solutions such as FTP servers. If this sounds a bit too geeky, you are probably are still a few years (and a few laws) away from downloading the entire Woody Allen collection (available at more than a few file-sharing sites at the time of writing).
This explains why producers like Wilkinson place such a premimum value on online buzz: it can push a movie to the top of user-generated charts and listings, giving producers a chance to tap online fans for cash.
In this "networked moviesphere", the movie experience never really ends, even after the movie is over. You can (some would say "should") go vote for the movie on sites like IMDB, post a review on Amazon, wire a donation via PayPal, add the director to your list of virtual friends on MySpaces and Facebooks of this world, post to Digg, and blog it to death on LiveJournal. And that's not to mention editing Wikipedia pages. When combined, all these activities create a publicity machine that marginalises mainstream critics.
In the case of "The Man from Earth", 2,000 people who downloaded it encouraged 20,000 more to go and check it out in cinemas and WalMarts by giving it a top IMDB rating. By losing money on 2,000 viewers, the film made money on 20,000 more.
Some in the movie business are already asking the obvious question: should big studios offer screener-like copies to the file-sharing community, to preview and blog about film before it goes into distribution? My answer: there are screener copies of all major Hollywood movies available on the Internet anyway, so the studios may as well do that proactively.
"When I make my next picture, I just may upload the movie on the net myself!", said Wilkinson in another blog comment. However, as of now, despite the producer and the director's support, any downloads of "The Man from Earth" are still illegal: it still bears that "All Rights Reserved" mark. (There is always an option of releasing it under Creative Commons, Larry Lessig's child that is celebrating its fifth anniversary this month, but CC still hasn't enjoyed the universal adoption it deserves, particularly among film studios.)
All legal issues aside, it must become a question soon, even for established producers, whether they can capture buzz-momentum to "crowd-fund" their next movie. Why bother with a traditional model if your fans can contribute money and just wait for the next release?
Some experiments with this model are already under way. "A Swarm of Angels", which describes itself as "open source film-making venture that aims to create a £1 million movie with the help of 50,000 participants around the globe", promises its "swarm of subscribers" input into the entire movie-making process in exchange for a subscription of £25.
This seems like a promising model, as long as the fans don't have absolute control over what comes out: there have been quite a few terrible examples of fan-directed movies that are completely impossible to watch. "Snakes On a Plane", which took a Wiki-like approach to the plot, is one failed and overhyped blockbuster. There could be many more. Sometimes, it pays to be a dictator--at least, artistically.
As for the big studios, expect them to hold out the longest against a more decentralised and buzz-focused approach to movie distribution. Their model is in danger, in all sorts of ways. A comment on a blog thread about "The Man from Earth" puts it best: "Only bad movies have to fear piracy". And, given how many bad movies studios continue to produce, they have plenty to fear.
Mobile texting paradoxically sounds like “old news” as far as new technologies are concerned. After all, we were able to send each other texts before our mobile phones even had color screens. While the Western world has focused on smartphones and flashy apps that let you pull up RSS feeds, find information, or fling exploding birds at structures, SMS marketing is still a hugely important part of our mobile lives.
Consider that while smartphone adoption has been slower than anticipated, nearly every mobile phone user in the U.S. is capable of sending and receiving text messages. Additionally, SMS has become increasingly important in developing countries where the penetration of feature phones far outnumber smartphones.
Companies or small business that can nail down their SMS marketing strategy, especially when the space is still ripe for innovation, can open up a number of opportunities. We spoke with four mobile experts for some tips, advice and insights on how to include SMS in a global business strategy.
Small Businesses Can Reach a Broader Consumer Base/>
There’s a huge population of consumers in the U.S. who do not own smartphones, notes Tom Cotney, CEO of mobile marketing firm Air2Web. “And if you’re going to provide some kind of customer service capability on mobile phones, you really need to reach as much of the population as possible.” That isn’t to say that mobile apps are useless, but having a way for text to complement or introduce those services can help you reach a larger base of people. This is especially true in developing countries where the percentage of smartphone users is even smaller.
Even though it may seem like global mobile marketing is just the purview of large, international companies, small businesses can also jump in. “We are a small business with no outside funding,” said John Pelphrey, CEO of One-Txt, an SMS broadcast service. “The trick is to find the right niche, something that you’re knowledgeable about and have some connections in and work it from there.” Pelphrey saw opportunities on continents like South America and Africa where cell phone access is more common than landlines or even open class='blippr-nobr'>Internetclass="blippr-nobr">Internet access. “Their first access to the outside world is their cell phone,” Pelphrey added.
The Mobile Phone is an Intimate Technology/>
It’s one thing to say there are opportunities in global mobile texting. It is another thing to come up with a plan and put it into action. For Pelphrey, a successful strategy is about intimacy and immediacy: “To have the right information for the right person and at the right time.”
Most expert advice focuses on capitalizing on the intimacy of a cell phone. “The mobile phone is the most personal form of technology there is, barring hearing aids and other medical technologies,” Cotney said. Rather than sending out a text blast, treat your messages like a conversation with the customer while offering them value: “You really need to offer consumers a foundational benefit as the primary reason for having a mobile relationship with you.”
Limitations/>
Of course, mobile texting isn’t all just sunshine and rainbows. There are some key limitations to consider before jumping in. First, SMS is necessarily limited by its character limit. In the U.S., text messages are limited to 160 characters — which is fine if you’re checking in with friends but more difficult when you’re trying to connect with or sell to consumers. That limit further varies by country. While Asian countries are closer to 70 characters, their individual characters usually have more meaning than Western letters.
There’s also the problem of getting your message to its destination. “There’s no single international body that goes and hands out short codes,” said Andrew Kenney, Chief Operating Officer at ONEsite. “You have to get one for a specific region. Carriers won’t deal with the particular brands.” After that middleman, it’s important to think of how your audience receives your messages. Not everyone has premium messaging or unlimited texts, Kenney warned. Texts can be expensive for your consumers, so make sure there’s value to make it worthwhile.
Ideally you could set up regional offices to best understand the communities you’re contacting. If that’s out of the budget, try to set up a contact already living in that community or do your research to make sure you know what times of day people are most social or what kind of information or language will be most effective. “Every country, every tribe, they’re all going to be different,” Pelphrey said. “You can’t take the lessons you learned in South America and take it to Africa. Those cultures are so distinct even within a few miles of each other.”
Is SMS Marketing Here to Stay?/>
One hesitation businesses have when it comes to SMS is determining if it is a dying breed of marketing, especially when faced with smartphones or the increasing emphasis on mobile apps. While SMS has greater reach, it also has less interactivity. “It’s certainly possible to set your DVR using text, but it’s not a great user experience,” said Griswold.
Anyone worried about text disappearing as a marketing tool should consider that 2008 was the first year that text messages outnumbered cell phone calls. Cotney cited a study that showed users get mobile text alerts seven times more than they used to with feature phones. “Text is not just a technology, it’s an actual type of interface,” Cotney said. “Usually the older a technology, the less frequently it will be used, but text will be around for a long time.”
Tips and Tricks/>
There are a lot of ways to approach SMS marketing, whether you’re a big company or a small startup looking to branch abroad. There are basic tips like offering your consumers real value, emphasizing intimacy, and being conscientious of cultural norms and traditions. Part and parcel, Kenney advised that “people should go do their research and they should pick partners that they can trust to build long-term relationships.”
Cotney emphasized reach, namely, how many people is your mobile strategy going to touch? While mobile apps may look nice, they can sometimes be a case of prioritizing new technology over a real strategy. “Have a strategy and incorporate how many people you’re going to be able to reach when the product actually gets out there.”
Still, it seems that the most pervasive advice was just to get started. “If businesses think they may want to do text, it’s never too early to collect numbers for the opt-in lists. There are lots of ways to do it…” Paul said. “You don’t have to have everything in place. By the time you do start, you’ll have a head start.”
The cell phone is really the first piece of technology that people started carrying with them all the time, Kenney said. We use it to find our friends or find information on a daily basis. That personal proximity and it’s social capability allow us to have an intimate relationship with our phones and what they can do. SMS is an immediate way to capitalize on those qualities without having to worry about downloading an app or compatibility issues. SMS, if done properly, is an effective way to reach customers both domestically and globally.
Series supported by UPSThe International Business Series is brought to you by UPS. Discover the new logistics. It levels playing fields and lets you act locally or globally. It’s for the individual entrepreneur, the small business, or the large company. Put the new logistics to work for you.
More Business Resources from Mashable:
- 5 Tips for Marketing Online to an International Audience/> - HOW TO: Build Your International Business Network Online/> - 5 Tips for Developing a Global-Friendly Website/> - HOW TO: Optimize Your Mobile Site Across Multiple Platforms/> - 15 Mobile Translation Apps for the International Businessperson
Image courtesy of iStockphotoclass="blippr-nobr">iStockphoto: fotosipsak & spxChrome
For more Business coverage:
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