Do Movies Even Matter Anymore?

Toy Story 3? Karate Kid 3? Iron Man 2?  Sex and The City 2? The A-Team? Where are all of the NEW Ideas in Entertainment?
 
The movie business of today is all "pre-sold" IP.  NEW media has become the home of innovation and imagination.
 
Learn What Hollywood 4G Will Look Like
 
Nothing is more important to U.S. consumers than their entertainment choices, but are movies and broadcast TV even relevant in the new world of entertainment?

Or will the convergence of content, internet, mobile applications, games and social media be the onrushing asteroids that will soon destroy the movie dinosaurs?

Is it a 3-year fad, or will new technologies like 3-D keep going to the movies from being relegated to the dustbin of history like Vaudeville, the afternoon newspaper, the evening news, the variety show, and the compact-disc?

Has the U.S. movie box office - traditionally the holy grail of movie industry metrics -- become increasingly irrelevant?

What is the future of Pay-Per-View/Video-on-Demand (PPV and VOD)?

Video-on-demand alone is estimated to grow from a $1.1 billion dollar business this year to $5 billion by 2012, taking market share away from DVD retailers and intensifying the carriers' ambition to bid for the best (and first run) titles.

How about Internet Video?

Annual U.S. revenues from internet video services spanning user-generated content to television shows and movies will exceed $7 billion this year.

And this business is becoming LESS advertising driven -- transitioning from today's model of more than 85% of revenue being ad-based to less than 60% and trending down with the balance being generated by content payments, either for one-time viewings or via subscriptions.  

What do these these new realities mean for the content creators of new media and for traditional studios, filmmakers, producers, and distributors?

What is the future for good-old fashioned DVD rentals and sales?

Get The Answers

I am very excited to share with you the opportunity to meet the Managing Director of Growthink's new media and entertainment practice, Mr. Lee Muhl.

Lee, quite simply, has forgotten WAY more about the entertainment business than most of us will ever know (see his biography below).  
                 
And he has graciously agreed to share the answers to the above questions, which winning business models to run with, which losers to run from, and much, much more!

--
Jay Turo
CEO
Growthink, Inc
                 
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Biography of Mr. Lee Muhl, Managing Director, Growthink's New Media and Entertainment Practice

Lee Muhl heads Growthink's entertainment-media vertical, encompassing the making and distribution of films, television programming, games, new media content and numerous related distribution platforms, technologies and methodologies including theatrical exhibition, DVD, PPV-VOD, mobile applications, internet/IPTV, and a variety of new content modalities (digital theater conversion, advertainment, infotainment, advergaming).

To date, Lee has overseen the successful conclusion of more than 100 Growthink engagements for funding plans and sophisticated media financial models, including film projects ranging from the production of numerous independent films and major studio productions to scores of angel and seed development fundings.

Originally trained in transactional entertainment law and the representation of above-line talent, Lee worked with a number of well-known writer-director-producers in both traditional studio/network deals and in arranging non-studio financing for independent film production including such classics as Bladerunner.  In 1999, Lee joined the Silicon Valley new media content contingent as an Internet-company CEO, and has since founded two innovative Los Angeles media companies. With Growthink, Lee has continued his deep involvement with film, digital media, content delivery protocols, gaming technologies and sports initiatives.

A former partner in two leading Los Angeles media law firms, Lee holds a J.D. from the UCLA School of Law where he also served as Chief Comment Editor of the UCLA Law Review, and earned his B.A. in History from UCLA. He is a current member of the California State Bar, and the Hollywood Writers Guild.