Top 3 Reasons Why Creators Resist Transmedia by Houston Howard

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[@parallelsunset]

One of the best instructors at La film school. This guy is legit!

[@JoshReels]

This is SO GOOD. Can’t wait to see more clips from this interview!

[@filmcourage]

Hi Joshua, great to see you enjoying this interview with Houston. Here is the full interview - th-cam.com/video/n_2OLiQWfbM/w-d-xo.html

[@elsoul8043]

I So Love the way he defines "phenomenology" in the way of filmmaker will look at it...
This helps a lot 💯

[@maltaylor]

This is such an inspiration!! The interview is jammed packed with pro-active, collaborative suggestions! Thank you!

[@filmcourage]

Malcolm, glad to see you discover our interview with Houston. He's fantastic. Love listening him talk about world building, transmedia and business.

[@JorgeGonzalez-sx7fk]

Phenomenology isn't a school of thought or philosophy. Its a branch of philosophy studying the nature of the mind/consciousness.

[@EtheriumSky]

Here's a concern im struggling with - i have a new feature i just finished and im struggling to reach a paying audience. I've been debating a lot of transmedia ideas - but the issue i always come back to in the end is this - once i finish this side project, i feel im back at the starting point... Now with two projects and still no closer to having someone who would pay for them... My work does very well at free-of-charge screening, my films have screened at festivals, won awards - but when it comes to actually monetizing my projects - my audiences seem no longer interested. I really love the transmedia approach - but in the end - finding an audience who's willing to pay for either the film or any side projects is the key challenge...

[@KarrGalaxyStudios]

In a transmedia partnership.. Are all parties then effectively equal in compensation or does the creator then get more? It would be interesting to see the process of contracts and negotiations of how things get divided up or figured out. I mean if someone has an idea for a movie, writes, directs and produces that movie but also has transmedia connections so that the original idea spawns transmedia things like Webisodes, toys etc, does the movie creator (the IP) get most of the revenue, how is that all decided? Is there any hard and fast rules? You also have to factor in investors... Working with others sounds good in theory but when it comes to money, things can make or break a project. That could be a reason why so many projects end up being selfish. Theres less money today to go around then there was 10 even 20 years ago. For example, George Lucas's transmedia arrangement with Kenner (the toy deal) was a big loser for the first year, that agreement was really bad for Lucas as example. Protectionism runs high in the creative world today. Everyone needs to eat.

[@ashanbandaranayeke9344]

Great question. Did you conclude on an answer? Like to hear your thoughts.

[@DedricSilva]

You know. I'm a huge fan of Transmedia as i love that my favorite media franchise has stories told through every media whether canon or non canon as it makes that franchise's universe immersive. Star Wars for example I love that it had multiple stories/projects in that universe whether it was canon or legends, you get to know the side characters more like my boy Kit Fisto. DC and Marvel is another example. DC does their transmedia route via multiverse in movies, shows, games, comics, and animation and it was thanks to Crisis on Infinite Earths it enhanced it. Marvel does that with the MCU with their movies, shows from both Marvel Studios and Marvel TV, and tie in comics and it makes that universe more immersive and enhanced.

[@chrissierg]

that's very interesting... :)

[@mikedean6576]

💎

[@MrDononino]

the main thing about transmedia Storytelling is not to think about it as a story, but as a storyworld that can include infinite stories :)

[@DedricSilva]

It worked with Star Wars and now the MCU and DC Multiverse

[@BradleyOMalley]

#pitifulprophets coming soon.