The 3T formula for success in new-media financing
by Ernesto Leotta
- CANNES NEXT: Wallimage showcased some of its top projects while illustrating the TransRegional and TransAtlantic approaches to new-media financing
Cineuropa's very own Domenico La Porta, who is also head of transmedia at Wallimage, moderated a panel featuring a wide range of audiovisual experts whohad one thing in common: they were all involved in Wallimage's 3T financing formula: TransMedia, TransRegional and TransAtlantic.
La Porta kicked off his keynote speech by summarising Wallimage's story so far, pointing out that experience comes with time: “Although I joined the family only a year ago, I know that it took some time to learn, benchmark, and balance the money to be given out (sometimes too much, sometimes too little). We then decided to branch out on two levels – a regional one, by creating a matching fund with Pictanovo (an audiovisual company based in Nord-Pas-de-Calais), and an international one, by joining forces with the Canada Media Fund.”
According to La Porta, believing in a quality project, even if in dire straits, is essential for an audiovisual fund, and that's one of Wallimage's core values. “With our money, the team behind a good project has the opportunity to research, to look for financing sources and partners, and to reach their goals.”
He then moved on to introduce the people behind some of the top Wallimage-powered projects. Olivier Rausin, one of the producers of The Brand New Testament [+see also:
interview: Jaco van Dormael
film profile], which features in this year's Directors' Fortnight line-up, explained the promotional strategy behind Jaco Van Dormael's feature. “The film sees God living in Brussels with his annoying little daughter, so we thought that users could annoy God, too, with their computers or smartphones – and be rewarded with goodies, such as exclusive pictures and short videos of the film's making-of.”
Then Patrick Séverin, the story architect of Work in Progress, a transmedia project about unemployment, took the floor, explaining his idea to recreate, both online and offline, the same atmosphere of 1970s Canada, where at least a basic income guarantee motivated immigrants to work more efficiently.
Meanwhile, producer Marc-Henri Wajnberg recalled what led to the creation of Kinshasa Now, a socially committed project that follows Wajnberg's 2012 feature Kinshasa Kids [+see also:
interview: Marc-Henri Wajnberg
film profile]. “In my film, I followed the sad story of many Congolese children who are accused of witchcraft and are expelled from home. Three years later, I thought of a transmedia project containing the film and a virtual-reality experience on the streets of Kinshasa, where users will walk around in these kids' shoes, in a 360° adventure.”
Last but not least, the gamification manager of Urbance, Laurent Grumiaux, addressed the audience. In this 2.0 version of Romeo & Juliet, set in the distant future, dance is the only way to replace sex, which is prevented by a deadly virus, until a boy and a girl fall in love. “Our strategy has been twofold: we designed both a mobile dance game, with the good old multi-player option, and a digital card game, where each character has a specific power. What's really cool,” added Grumiaux, “is that the two games speak to each other – and they are also connected to the TV show! So the more you watch the series, the stronger you grow in the games. As I often say, gaming is always a good approach to the story.”