Contenu connexe Similaire à FlexyMovies™: the Smart Moviegoing™ audience-oriented approach (20) Plus de Alessandro Masi (16) FlexyMovies™: the Smart Moviegoing™ audience-oriented approach2. Why Smart Moviegoing™
• Ticket price is the number one variable for moviegoing
choices, based on the great amount of available
entertainment possibilities and accessibility to content due to
digital disruption: unsold theatrical inventory averages 70%
– “We explore the justifications for uniform pricing in the industry and show
their limitations. We conclude that exhibitors could increase profits by
engaging in variable pricing (…)” – B. Orbach, L. Einav (2007)
– “This is a pricing model which makes no sense, and I believe the entire
industry should revisit it.” – E. Bronfman Jr., CEO of Seagram (Universal’s
parent company) (1998)
– “The exhibitors generally consider demand to be relatively inelastic. The
question is whether they have tested this hypothesis with price changes for
films of different quality.” – Conant (1981)
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3. Innovation in film distribution
3© 2017 FlexyMovies - Smart Moviegoing™
Consumer as
center of
moviegoing
experience
Moviegoer
Offering new
solutions to
enhance the
moviegoing
experience
Strategy is
devised
according to
each film’s
target audience
and business
plan
As a result
distributors and
exhibitors enjoy
higher attendance
and revenue
4. Solutions
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FlexyMovies
Smart Moviegoing™
FlexyMovies
PASS
FlexyMovies
DEALS
FlexyMovies
TOD
FlexyMovies
PREMIUM
VOD
5. FlexyMovies DEALS
‘How much are you willing to pay?’
• Moviegoer will enjoy reduced price and rewards,
using either actual currency or FlexyCoins™ if she
pre-purchases up to 24 hours in advance
• Then 2 hours before the show, the price will be
dynamic again depending upon seats availability:
reduced if inventory is substantially stable, higher
if only 10% of seats are empty
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Goal
To incentivize advance purchases
To lower the risk for distributors and stabilize attendance
Particularly effective for event theatrical releases
6. FlexyMovies PASS
‘Go see it now in theatres’
• Content is released in partnership with a
subscription-based service in advance or
exclusively and therefore the ticket is paid for
by the service itself and free of charge for the
moviegoer
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Goal
To access to a large number of subscribers with high likelihood to
go see the film
To access to big data concerning moviegoing for a specific film
and utilize throughout the following windows
7. FlexyMovies TOD
‘Get the movie you want at your local theatre’
• Moviegoers can pick the movie they want to
see and promote an event at their favorite
locale theatre
• The screening kicks in once and only if enough
people reserve their seats
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Goal
To increase accessibility to content in theatres
To exploit niche markets
To optimize distribution measures such as per screen average
8. FlexyMovies PREMIUM VOD
‘Just watch it now’
• Moviegoer is able to watch the content she wants
wherever and whenever she wants
• How? Digital day-and-date not only for limited and
platform releases using geoblocking but also Premium
VOD for wide releases
• Part of the revenue goes to theatres where the content
is still available
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Goal
To increase accessibility to content
To reduce piracy significantly
To increase revenue in the black window
9. Case history 1
• First ever digital TVOD-theatrical day-and-date
releases in Italy: optimized marketing &
distribution spending
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Main partners:
10. Case history 2
• High grossing TOD releases in the United States:
– ‘Awake: The Life of Yogananda’
• 39,000+ tickets sold, 104 avg / screening
• $400k gross box office, 350+ screenings
– ‘Beyond the Mask’
• 74,000+ tickets sold, 112 avg/screening
• $750k+ gross box office, 650+ screenings
– ‘I Am Eleven’
• 19,000+ tickets sold, 134 avg/screening
• $210k gross box office, 140+ screenings
– ‘Girl Rising’
• Gathr Box office gross $1.75 Million
• 900+ Gathr screenings
• 160 avg. tickets per screening
• 145K+ Tickets Reserved
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Main partners:
11. Case history 3
• New models: dynamic pricing, Pass, PVOD
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Dynamic pricing
Well-known property, established fanbase
• $13k psa opening, widest: 37 theatres
• Total b.o. $725k, in release for 10 weeks
• Reward: paperback copy of book
Pass
Sundance hit, LA-based core audience, filmmakers community,
in target with MoviePass and Sinemia
• First week exclusive for MoviePass and Sinemia holders
• $15k psa opening, in release for 15 weeks, total b.o. $700k
PVOD
Festival hit, highly anticipated, great reviews,
mature target audience willing to pay for quality
content
Day-and-date at premium price in UHD more than
covered slightly impacted opening and final b.o.
$500k
12. Case history 4
• More art-house and genre event / limited /
platform releases in the United States and UK
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‘Dough’: $1.2M US b.o.
‘The Women’s Balcony’: $1.2M US b.o.
Main partner:
‘Kids in Love’: best UK
digital seller for 2
weeks
‘ROTF II’: top 50 UK
digital of 2016
Main partner:
Main partner:
‘The Salesman’: $2.4M US b.o. and Oscar for Best Foreign Language
‘Mustang’: $800k US b.o. And Oscar nominated
13. Case history 5
• Development, business planning, project
analysis and evaluation, marketing and festival
strategy, international sales and distribution
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14. Videos
• Smart Moviegoing™
• Talk ‘Cinema on Demand’
• Interview at LFF17
• Showreel
www.flexymovies.com
E: info@flexymovies.com
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