Issue link: http://digital.copcomm.com/i/856624
C A S Q U A R T E R L Y S U M M E R 2 0 1 7 27 Franco, Kate Micucci, and Aubrey Plaza. Buyer and co-panelist Matt Kaplan, President, Awesomeness Films, described a business model that "recognizes that Generation Z does not consume media in the same way as past generations." Awesomeness' business model seeks influencers and stories picked from YouTube, Snapchat, and various other social media sites which are then often casted as talent in productions and then marketed back through the same social media channels that created them to gain an audience. Sanjay Sharma, President and CEO, All Def Digital, explained that the risk involved in big- budget films make interesting stories go the way of smaller budgeted features. But with growing channels of media and marketing, Beatrice Springborn, Head of Originals, Hulu, summarized: "It is a seller's market." This was echoed by the panel of "Putting Together Your Indie Dream Team," sponsored by Variety. Generally, all members of this panel expressed how every film has a path that is right for its story and demographics and the right team to finance, distribute, and/or acquire your film is a unique team who can marry that film's story to that financers look for is what will reach the hearts of viewers through any pathway possible. Content buyer Janet Brown, EVP, Distribution, from Gunpowder & Sky, who appeared as part of the "Meet the Buyers" panel sponsored by The Hollywood Reporter, shared that their offerings spanned from short films (which are now able to commoditize a short on genre-specific pay-to-view internet sites) to animated series available on streaming services to theatrical releases like the recent The Little Hours, starring Alison Brie, Dave specific target audience. Much to the dismay of many producers I spoke to who were very definitive in describing their productions as film or television, Hal Sadoff, CEO, Silver Pictures Entertainment, says, "It's all content now. There is no TV or film anymore." The goal is finding unique, engaging stories, and reaching demographics. Additionally, when determining if productions will stay local or go abroad or if productions will travel with their original sound mixer or hire a local crew on remote locations, the bottom line is extremely important and incentives make a huge difference. US production incentives are available in more than 38 states and territories and range from rebates/ grants to transferable tax credits and refundable tax credits, the highest levels of which can reach up to 30 percent-45 percent in some areas with most areas offering 20 percent-30 percent. However, many international markets can beat that significantly and are building to grab the media market. For example, Sarah Platt, International Engagement & Business Development, Wanda Studios, shared how her company is completing a world-class film destination complete with some of the largest locations of marine production facilities, soundstages, and backlots in the world and can