• Secrets of Brand-Funded Filmmaking Poster

    Secrets of Brand-Funded Filmmaking

    Secrets of Brand-Funded Filmmaking Poster

    Secrets of Brand-Funded Filmmaking

    Future of Film Podcast · 67. Brian Newman: the Return of Film's 'Brand Whisperer'

    "I work with brands who want to work with real filmmakers, doing something people want to see." Brian Newman


    Brian Newman is Founder of Sub-Genre and one of the world’s leading experts on brand-funded films. He consults on content strategy, distribution and marketing for some of the top brands in the world. Current and former clients include: The Climate Pledge (Amazon), GoDaddy, Oatly, Patagonia, REI, Stripe, Sundance, Tazo, and Yeti Coolers.


    As well as being film's leading 'brand whisperer', Brian is a bonafide feature film producer in his own right and has an impressive film track record across festivals and production - including as CEO of the Tribeca Film Institute. 


    His free weekly newsletter on the industry is simply essential reading and is available at www.sub-genre.com.


    In this conversation Brian outlines the opportunities for filmmakers to tap into brand money, sharing the latest case studies and strategies for success in this still emerging area.

  • Developing Story Based IP Poster

    Developing Story Based IP

    Developing Story Based IP Poster

    Developing Story Based IP

    Future of Film Podcast · 66. Diana Williams on Developing Story Based IP

    "We talk about going Direct to Community" Diana Williams


    Diana Williams is the CEO & Co-founder of Kinetic Energy Entertainment, a multi-disciplinary company that partners with creators at the intersection of story and technology to develop and produce story-based IP.

    In this podcast, we discuss Kinetic Energy Entertainment's strategy, projects and the opportunity Diana is addressing in the marketplace. We also dive into the story IP creating process - why it is vital in today's market and the techniques Diana uses for this. From the MCU to Exploding Kittens, Diana also shares numerous examples of projects that have successfully developed franchises and reveals some of the steps they took to achieve this.


    About Diana Williams


    Diana Williams is the CEO & Co-founder of Kinetic Energy Entertainment. She has a wide range of experience in the entertainment industry, developing IP and producing creative content for distribution across storytelling media. Throughout her career she has been at the forefront of working with emerging and established talent to ensure a diversity of voices are included in an ever-evolving industry.

    Kinetic Energy Entertainment is a multi-disciplinary company that partners with creators at the intersection of story and technology to develop and produce story-based IP. Kinetic’s project slate includes a series in development at HBO, the cross-platform storyworld of The Gatecrashers, political sim videogame Political ArenaFounder Hustle podcast based on venture fund 1863 Ventures’ focus on entrepreneurs of color, Crimson an epic fantasy/thriller take on Alice in Wonderland, recipe-memoir Adventures in Starry Kitchen, and a documentary feature film with Apple+.

    An award-winning producer, she produced the critically acclaimed feature film Our Song, which earned her a nomination for an Independent Spirit Award in the Producer category. Other credits include documentaries Room 237, the Emmy© award-winning Sylvia Drew Ivie, Student Academy Award©-nominated Another First Step, Industrial Light & Magic: Creating the Impossible, Method to the Madness of Jerry Lewis, and Dear Mom Love Cher.

    In addition to producing, Diana has held various positions in the entertainment industry. She was the Creative Development and Franchise Producer at Lucasfilm within the Story Group, the team responsible for developing and maintaining narrative cohesion and connectivity throughout the Star Wars universe. While at Lucasfilm, Diana developed film and tv (including Star Wars Rebels, Rogue One), mobile and console videogames (including 2015’s Battlefront), publishing (Marvel’s Star Wars comics and novel expansions). Diana helped launch ILMxLAB, an immersive entertainment and mixed reality lab, with projects including Vader Immortal, Star Wars: Secrets of the Empire, and Alejandro González Iñárritu’s Academy Award© winning VR experience Carne y Arena. She was also a production consultant for BET on Let the Church Say Amen, Gun Hill Road, and Untitled Kenya Barris Project.

    Currently the Chair of the Interactive Board of Jurors for digital and immersive storytelling for the Peabody Award, Diana is also on the Strategic Planning Committee of The National Academy of Sciences’ Science and Entertainment Exchange; the advisory committee for the Royal Shakespeare Company/Digital development; the advisory board for UK-based organization Future of Film; and the boards of Diverso (a non-profit organization by students for students, dedicated to empowering the under-represented storytellers of the next generation), The Overlook Film Festival (genre festival), and Here/No Proscenium Summit for interactive and immersive events, theater, and creators. Diana began her career in production as an Assistant Director and is a member of the Directors Guild of America (DGA) and the Academy of Motion Picture Arts and Sciences (AMPAS).



  • Branching Narrative Filmmaking Poster

    Branching Narrative Filmmaking

    Branching Narrative Filmmaking Poster

    Branching Narrative Filmmaking

    Future of Film Podcast · 64. Paul Raschid and Ru Howe: Branching Narrative Filmmaking



    "As a filmmaker I have branched over to a whole new audience ... hungry for new forms of content." Paul Raschid


    This episode explores the evolution in interactive filmmaking with filmmaker Paul Raschid and Ru Howe, the Founder of Stornaway.io the development tool for interactive video.

    Paul is the director of a number of branching narrative feature film/FMV games including 2022's THE GALLERY - comprising of over four and a half hours of video content.


    In this conversation, Paul and Ru share insights of how they took a 450 scene 'FMV Game' script into the finished feature film utilising Stornaway’s bespoke platform.

    We also talk distribution and audiences and how releasing the film on gaming platforms has provided Paul with greater control over the releasing of his storytelling.


    About Paul Raschid


    Prior to his work in the interactive format, Paul's second feature as a writer-director was 'White Chamber', which was shot in 12.5 days. In 2018, the sci-fi thriller/horror/drama played 10 film festivals around the world including Edinburgh, Sitges, Frightfest, Mumbai, BIFAN and Brussels. Lead actress Shauna Macdonald received the BAFTA Scotland Best Actress award for her tour-de-force performance. Between August 2019 and February 2021, the film was available to stream on Netflix in the UK, USA, Canada, Israel, Australia and New Zealand.

    Paul entered the interactive arena in 2019 when he directed 'The Complex', a sci-fi interactive feature film/ FMV video game, which released in 2020 on all major gaming platforms. Penned by Lynn Renee Maxcy, it stars Michelle Mylett, Kate Dickie and Al Weaver. It was produced by John Giwa-Amu and Jade Alexander.

    In 2020, Paul wrote and directed 'Five Dates', a romantic interactive feature film/ FMV video game. It was being made entirely remotely during the UK's national lockdown due to the Covid-19 global pandemic. It stars an ensemble cast including Mandip Gill (Doctor Who), Georgia Hirst (Vikings) and Marisa Abela (Industry).

    In 2021, Paul wrote and directed 'The Gallery' - an interactive hostage thriller that contains two narratives - before the film begins, the viewer must choose between a female protagonist (whose narrative is set in 1981 London) or a male protagonist (whose narrative is set in 2021 London). The cast is headlined by Anna Popplewell ('Chronicles Of Narnia' & 'Reign') and George Blagden ('Versailles' & 'Vikings'), who interchange roles as both protagonist and antagonist across the two narratives. It is set to release on major gaming platforms in September 2022.

    Paul is also in post-production for ’Ten Dates’, a sequel to ‘Five Dates’ following its critical and commercial success.


    About Ru Howe


    Rupert started trying to code his first “Choose Your Own Ending” video game aged 9 years old. Frustrated with the limits of technology, he began working as a director and producer in TV and film making award-winning 16mm short dramas and documentaries including “The Real Bridget Jones” series for C4. From 2004, he began experimenting with interactive films online and became a pioneer videoblogger and online video artist. He was featured in Trine Bjorkmann Berry’s PhD Thesis “The Film of Tomorrow (pp 19-25) as the world’s first mobile video blogger and created YouTube’s first interactive video story “Indecision” in 2008. From 2010-2018, he worked as a creative workflow consultant, leading digital transformation & workflow projects for the BBC, Disney, News UK, the Financial Times and Melody VR. Stornaway.io is his design. A unique application to enable creative producers to map, script, edit and deliver interactive stories, simply and easily with no coding.


  • Super Story Architecture Poster

    Super Story Architecture

    Super Story Architecture Poster

    Super Story Architecture

    Future of Film Podcast · 64. Houston Howard: Super Story Architecture

    "Big vision and small execution. That's the sweet spot to attack the market" Houston Howard


    How can creators stand out in today's ocean of content? Super Story Architect, Houston Howard has answers…


    Houston Howard is the Chief Storyteller at One 3 Creative, a transmedia design firm, and a co-founder of Fulcrum Worldbuilders, an organisation that designs large-scale storyworlds that are meant to shift culture and catalyze large-scale social impact. 


    He has written three books about transmedia design including the brilliant, You’re Gonna Need a Bigger Story, a title on the Future of Film Incubator 2022 Read List.


    He is a professor of Transmedia Storytelling and Worldbuilding at the Arts Center College of Design and the host of the Super Story Podcast.


    In this conversation we discuss how creators can, in Houston’s words, attack the market in 2022. What is the significance of this market becoming commoditised - and what are the specific creative and commercial strategies that storytellers can adopt to navigate and succeed in the new landscape?


    This episode was recorded as part of Future of Film Incubator 2022 and is brought to you in partnership with Epic Games and Unreal Engine, Autodesk, Dell Technologies, Nvidia and Garden Studios.

  •  Audience Insights, AI and Anthropology Poster

    Audience Insights, AI and Anthropology

     Audience Insights, AI and Anthropology Poster

    Audience Insights, AI and Anthropology

    The industry has been trying to force data into creativity, but we need to turn that around ... and force creativity into data. Niels Alberg



    This episode is about the benefits of including the audience in the storytelling process - and how one company had forged an innovative approach to achieving this, using both AI and anthropology.


    Niels Alberg is CEO and co-founder of PUBLIKUM.io (the Danish word that translates literally as Audience) and is on a mission to equip filmmakers with new levels of intelligence about their market. For the past 20 years, Niels has worked in applied research, strategy and creative business development. Niels, who holds a Master's Degree in Sociology from the University of Copenhagen, specializes in designing innovative research methods for a large number of clients in projects that combine human insight and business strategy with the goal of developing new, creative connections between companies, organisations and people. 


    Now, Publikum.io have taken this innovative process into filmmaking to develop a new method designed to empower the creative team. In this conversation he discusses how this works and is being adopted by filmmakers and funders across Europe.


    This episode was recorded as part of Future of Film Incubator 2022.

  • Filmmaking in the Unreal World Poster

    Filmmaking in the Unreal World

    Filmmaking in the Unreal World Poster

    Filmmaking in the Unreal World

    As a filmmaker, I’m bringing what I can from the real world into the Unreal world" Ngyuen-Anh Ngyeun



    Nguyen-Anh Nguyen is a filmmaker based out of Montreal


    Nguyen-Anh began his career as a dentist before focusing on filmmaking. In 2008 he co-founded GreenGround Productions, an award-winning production house. He is also a co-founder at CineGround Media, the third largest camera rental and post-production house in Montreal. He created and helmed the company’s post-production division from 2010-2016.

    As a film director, he broke into the science-fiction scene with the viral hit THE AKIRA PROJECT (2014) followed by acclaimed short films TEMPLE (2016) & HYPERLIGHT (2018), all of which garnered over 12M views online and received widespread international acclaim. He has also directed projects as a brand ambassador for Blackmagic Design and Manfrotto. He recently founded Second Tomorrow Studios, where he uses all of his combined expertise to create world-class science-fiction projects. He is currently developing the feature version of TEMPLE with writer Nicolas Billon (ELEPHANT SONG, X COMPANY), with the support of Telefilm Canada and The Harold Greenberg Fund, and the cyberpunk animated series, BABIRU, with writer Philip Gelatt (EUROPA REPORT, LOVE, DEATH & ROBOTS) for which Epic Games financed the pilot episode.


    in Anh’s words he is a “filmmaker bringing what I can from the real world into the Unreal world“ and this episode is full of insights into this process as Anh explains how and why he is making this transition and the opportunities - and challenges - realtime filmmaking presents. 


    This episode is presented in partnership with Epic Games and Unreal Engine.



  • Why Every Film Should be Profitable Poster

    Why Every Film Should be Profitable

    Why Every Film Should be Profitable Poster

    Why Every Film Should be Profitable

    Future of Film Podcast · 61. Kevin Goetz: Why Every Film Should be Profitable


    "Do research early, do it at the capability stage, in order to understand what you have and how much you should spend - it gives you an early marketing roadmap." Kevin Goetz





    This episode is a deep-dive into the pivotal role of audience research in film with Kevin Goetz.

    Nicknamed “the doctor of audience-ology,” Kevin has been at the centre of what Hollywood calls the movie research industry for more than thirty years. His firm, Screen Engine/ASI, conducts research for a majority of all movies that are widely released in America and around the world. With decades of experience, Goetz has worked alongside all of the major film studio chiefs, network and streaming platform executives, and production company decision-makers. The Los Angeles Times Magazine counted him as one of the 100 most powerful and influential people in Southern California.

    As well as sharing fascinating insights into the testing process, Kevin makes the compelling case that every movie should be profitable if researched and budgeted correctly!

    His new book Audience-ology: How Moviegoers Shape the Films We Love is available now.

    This episode is in partnership with the Movie Marketing and Distribution Podcast.

  • Real-time filmmaking and Robert Zemeckis  Poster

    Real-time filmmaking and Robert Zemeckis

    Real-time filmmaking and Robert Zemeckis  Poster

    Real-time filmmaking and Robert Zemeckis

    “ Virtual production is going to allow filmmakers to tell stories that would have otherwise been untellable. Because they're going to be able to articulate their vision and really influence that vision in a way that would've been too expensive, too slow, too hard to explain before.” Kevin Baillie


    Kevin Baillie's career at the forefront of visual effects and screen storytelling began in 1999 and is now part of industry folklore. As an 18-year old high school senior, he and his friend created a short film involving a futuristic speeder race through his school, primarily to attract the attention of Star Wars producer Rick McCallum. The short was hugely successful and the tactic worked with Kevin soon finding himself working alongside George Lucas in the visualisation department on STAR WARS: Episode One. 


    Since then, Kevin has continued to blaze a trail in innovating the storytelling process. He formed a long-term creative collaboration with Robert Zemeckis, supervising the visual effects on films such as FLIGHT, THE WALK and THE WITCHES. Recently, this has started to incorporate increasing amounts of real-time and virtual production techniques into the workflows of his projects.

     In this episode Kevin reflects on the evolution of these creative tools, the benefits they offer to the storytelling process and explains why "virtual production will allow filmmakers to tell stories that would otherwise be untellable".


    About Kevin Baillie 


    Kevin's VFX career started at age 18 when he when he joined Lucasfilm's JAK Films as a pre-visualization artist on Star Wars: Episode I. In the following 25 years, Kevin has blazed a bright path, helming VFX at The Orphanage on features including Pirates of the Caribbean: At World's End, Night at the Museum, Superman Returns, Harry Potter and the Goblet of Fire and Hellboy, and supervising cutting-edge motion capture feature films at ImageMovers Digital. In 2010, he co-founded the groundbreaking VFX studio Atomic Fiction, whose outstanding work on films such as The Walk, Allied, and Flight garnered awards recognition and critical acclaim. In 2018 Atomic Fiction, having grown to over 300 employees in 2 countries, was acquired by Deluxe Entertainment.


    Kevin's VFX Supervisor credits also include two Star Trek movies, two Transformers features, Welcome to Marwen and The Witches. Most recently, Kevin acted as VFX Supervisor and 2nd Unit Director on Disney’s live-action Pinocchio - another title in his long collaboration with Director Robert Zemeckis. 


    Kevin also founded the venture-funded cloud rendering technology company, Conductor Technologies, is active with the Academy of Motion Pictures Arts and Sciences, and is an active member of the Directors Guild of America.


    This episode is presented in partnership with Epic Games and Unreal Engine.

  • What NFTs and Web3 mean for Film Poster

    What NFTs and Web3 mean for Film

    What NFTs and Web3 mean for Film Poster

    What NFTs and Web3 mean for Film


    "With NFTs, the Audience can become the Studio." Rouslan Ovtcharoff


    This episode is a deep dive into the revolutionary world of NFTs, Web 3 and the blockchain, with new media and technology entertainment industry executive, Rouslan Ovtcharoff. Including:


    • What is an NFT ? How can we buy one - and make one?
    • What is Web 3?
    • Why are NFTs and Web 3 so important to the metaverse?
    • What are some of the ways NFTs can be used in film
    • Why every filmmaker and media company needs to have an NFT strategy


    Whilst general awareness of NFTs (non fungible tokens) surged in 2021, how this transformative tool can be utilised for film and storytelling is only beginning to be explored. As the former head of marketing at Millennium Media (famous for blockbusters like The Expendables and Olympus Has Fallen), Rouslan is highly experienced in film and traditional media. More recently, however, he has dived deeply into the world of NFTs and the blockchain, founding Blockchain Global Entertainment Alliance and Groovesetter, a peer-to-peer platform for real-time online music collaboration.


    In this conversation, Rouslan shares his knowledge and passion for the subject in a wide ranging conversation that begins with he fundamentals and then expands to explore the incredible possibilities NFTs present for storytellers.


    About Rouslan Ovtcharoff


    New media and technology entertainment industry executive with 15 years of production and distribution experience on films that have grossed more than $1.5 billion at the box office. CEO and co-founder of Groovesetter, a peer-to-peer platform for real-time online music collaboration. Founder of Blockchain Global Entertainment Alliance. Former head of marketing at Millennium Media.



  • Visualisation and the New Creative Process Poster

    Visualisation and the New Creative Process

    Visualisation and the New Creative Process Poster

    Visualisation and the New Creative Process

    "Real time tools help a team reach creative consensus" Kaya Jabar


    Kaya Jabar is a multidisciplinary visualisation supervisor with unique experience leading previs, postvis, techvis and virtual production for tentpole film and TV projects including Game of Thrones, Star Wars the Rise of Skywalker and Dumbo.


    Kaya is on a mission to develop real-time adoption and virtual production workflows with the aim of making visualisation more efficient and interactive. In other words she as at the forefront of the virtual production revolution and in this discussion we explore how realtime engines are transforming the filmmaking process, the role and potential of visualisation in achieving 'creative consensus' and why Kaya believes we are just at the start of a newly democratised future of film.


    About Kaya Jabar

    Kaya Jabar is a multidisciplinary visualisation supervisor with unique experience leading previs, postvis, techvis and virtual production for tentpole film and TV projects.


    Kaya began her career as an animator at Guerilla Games where she discovered a passion for interactive storytelling as part of the cinematics team. In 2014 Kaya moved to The Third Floor London as a previs artist and principal architect of the company’s virtual production and on-set visualisation services. This led to a two-year stint on the multi Emmy Award winning Game Of Thrones, which saw her deliver on-set motion control and simulcam supervision and implementation, as well as virtual camera supervision and workflow/pipeline design.


    Leaving Westeros behind after three seasons, Kaya then supervised virtual production for JJ Abrams’ Star Wars: The Rise Of Skywalker and Tim Burton’s Dumbo, before returning to London to develop real-time adoption and virtual production workflows with the aim of making visualisation more efficient and interactive.


    A regular on the international speaking circuit and one of the most influential women working in VFX, Kaya joined FPS in 2020 as a pre-production supervisor, working across previs, postvis and virtual production, as well as providing on-set technical direction and planning for complex VFX and practical setups.