Imagine a web service where you can find every moment of every film in pristine quality. You can search by dialogue, tag, actor, or any possible data source you can name. You can cut any moment of less than 2 minutes and post it, send it, tweet it to anybody anywhere in the world.
You can access this service on any digital platform web, mobile, television etc.
This services allows you to relive every iconic moment you have ever experienced in your film-watching life no matter where you are. Scenes pop into your head and you can instantly find, share, collect, distribute or any other verb you can possibly imagine.
Technical challenges abound for this service. Extracting metadata, serving, editing and the panoply of technology elements create a thicket of problems none of which are insurmountable.
The real issue for AnyClip is that Hollywood wants to get paid and consumers (everybody thinks) want everything for free. How do we find ways to get digital consumers to spend money for content?
Today, Fred Wilson will give a talk on disruption to arguably the most disruptive company in media history — Google. For Fred, there are six words to consider when making a quality web service: global, social, open, mobile, playful, intelligent. How would the movie studios would fair under such scrutiny.
In certain ways, the movie industry is among the most zealous in the world when measured against these business values. Global filmmaking has arrived and content is exported throughout the world. It’s hard to think of a more playful industry and for all of the hand wringing that goes on among culture afficionados, plenty of thoughtful, intelligent, moving content originates and is developed by big movie studios. While the studios don’t create many social services, they create much of what we talk about in social situations. Movies are social. Eventually the industry will figure out mobile. They have proven their ability to adjust to new mediums many, many times.
BUT THE STUDIOS ARE NOT OPEN. They believe that they should closely harbor what they own and get paid in advance by consumers and businesses who want to experience or use their content. And they absolutely disapprove of “playing” with the content. They are playful, but only until the movies are completed and then, please, please don’t try to change or edit these works. Openess is deeply foreign to Hollywood, but vital to the success of latest wave of Internet hits (MySpace, Twitter, and even Google) come to mind. This tension is the opportunity for AnyClip.
I am an Internet executive, but also an aspiring filmmaker. I want people to see my film, pay for it, and I surely don’t want consumers to steal it. Still, I will put 100% of the content on the Web in different stages because for The Aaron Cohens to build an audience, the film and its marketing must be open, global, playful, intelligent, mobile, and, most importantly, social. Surely, these “six words to live by” are the cost of entry for AnyClip. We must execute on these values.
But will the studios connect and embrace this vision?
This is the narrative tension at AnyClip.
Scene One. Take One.