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The movie wound up being so timely because when you look at where we are right now, we are so dependent on first responders, whether you're talking about the hurricanes in Houston and the Caribbean or an earthquake in Mexico or the wildfires in California. How big a challenge is it, given the material you work with, that studios are moving away from character-driven narratives? When you look at the tentpole movies, you've got actors making a lot of money.Everyone loves to go see the movies; we're all there with our kids. But when you start to look for movies that are going to be adult stories, I think the entire creative community is looking for these really meaningful stories, and they're just not made as often as they were before.Jeremy Steckler, who runs our movie group, was able to identify some key articles that he wanted to start out with, and end up going first? At that time, studios were still doing some of the more adult-skewing films. was also able to attract incredible talent without being set up at a studio.The Mc Afee project was put in development at Warner Bros. We packaged the movie ourselves, putting together the script and the director and some of the talent and then going out to the marketplace.If you're anything like us, you're constantly at a loss for new and interesting date ideas.
Part of your original mandate was to mine the Conde Nast archives for source material.
What's happening is the longform and shortform are merging. Google had a survey that came out [this spring] where millennials and Gen Z-ers are spending more than three and a half hours a day watching digital video. You've moved into acquisitions and distribution by buying the Zac Posen doc and releasing it on We buy movies at festivals all the time, usually shorts.
This was the first time that it was TVOD [transactional video-on-demand], where the viewer will pay to rent a full-length movie.
In 2011, Dawn Ostroff, who had been president of The CW, entered what she calls "a slightly dysfunctional universe" when publisher Conde Nast tasked her with exploiting its 19 magazine brands — including , and a trove of 100,000 articles dating back decades — across film, TV and digital under the banner of Conde Nast Entertainment.
"We couldn't utilize a lot of the existing infrastructure because the print side was so different," she says.
We're actually giving writers an opportunity to make more money on the option, and then if it gets made, obviously, they'll make significantly more money. We really put a lot of attention into packaging these projects in the same way that we did 's article about North Korea that was published [in September]. An article we're looking at is about a SWAT team that's in ISIS territory, basically going into very difficult situations and pulling people out.