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> La dirigenza Disney, decisioni, pensieri e strategie dei piani alti di Burbank
Beast
messaggio 12/4/2010, 19:25
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Apro questo topic per parlare delle strategie societarie della Disney. Credo sia un'idea utile per chi, come me, è interessato a cercare di capire come funzionano i meccanismi interni della compagnia e cosa si inventano i neuroni di Iger eheheh.gif

Partiamo proprio da Bob Iger. Il New York Times ha pubblicato la scorsa settimana un suo ampio ritratto, incentrato sulle sue decisioni in parecchi settori. Visto che ultimamente ci siamo trovati tutti molto in disaccordo con le sue scelte, è un'occasione per capire le sue motivazioni e i possibili scenari per il futuro. E' un po' lungo da leggere, ma ne vale la pena; ho tradotto ed evidenziato in neretto le frasi che mi hanno colpito di più.

Riassunto delle parti in neretto:
Iger viene definito in breve 'Blockbuster CEO' (vi ricordo che il CEO è l'amministratore delegato), quindi capiamo quanto conti la qualità nei suoi piani dry.gif

Frase di Iger piuttosto sinistra sulla ABC, rispondendo ad un azionista: 'Non ci sono garanzie su cosa che rimarrà parte della nostra compagnia e cosa no'. Ma che, adesso mi scarica pure la ABC? Va detto che quest'anno è scesa al quarto posto tra le quattro maggiori emittenti Usa.

Frasi ancora più sinistre, che traduco letteralmente: 'Abbiamo la reputazione di essere innovativi, almeno nel nostro campo, ma penso che possiamo fare ancora meglio'. 'Il bagaglio della tradizione', dice della cultura Disney, 'può rallentarti. Io non ho intenzione di eliminarla (E ci mancherebbe testa di ..., ndt), ma mi piacerebbe ridurla significativamente.'

Rallegriamoci un po' perchè Iger è contento dell'Italia (ma va? Noi però no). E' rimasto stupito quando ha saputo che il programma n.1 sul disney channel nostrano non era Hannah Montana, bensì 'Il mondo di Patty', che lui non aveva mai sentito nominare. E' stato affascinato dal successo avuto e soprattutto dal format, cioè telenovela giornaliera di 50 minuti anzichè singolo episodio settimanale di 25 minuti. Perciò si è fatto subito spedire un dvd con la serie (Ecco dunque cosa fa tutto il giorno nel suo ufficio e perchè si è rimbecillito così tanto eheheh.gif )

Ultima nota: Iger ha messo mano personalmente alla colonna sonora del World of Color, l'attessimo spettacolo di giochi di luce e acqua che debutterà al Disney's California Adventure a giugno (per capirci è l'attrazione più attesa dell'anno a Disneyland). Sembra infatti che le canzoni scelte per lo spettacolo non fossero abbastanza moderne (quindi suppongo che abbia sostituito When you wish upon a star con Best of Both Worlds)


Is Disney’s Chief Having a Cinderella Moment?
LATE February at the world’s largest media conglomerate was a particularly challenging time for Robert A. Iger: problems were sprouting all around him.

On a Friday, staffers gave Mr. Iger, the chief executive of the Walt Disney Company, a 30-minute rundown of final plans for a new multimillion-dollar attraction at the Disneyland Resort. He hated it.

By Monday, a British theater chain had stepped up threats to boycott “Alice in Wonderland” over Mr. Iger’s decision to fast-track the film’s DVD release. And then, at about 1 a.m. on Wednesday, he got an e-mail message: “URGENT: Dancing Mickey.” A new electronic toy, a boogie-woogie Mickey Mouse, had encountered a hiccup, threatening its availability for Christmas.

In each case, Mr. Iger found a solution, sometimes cajoling his people to do more and sometimes intervening more directly. “I like our people to solve problems on their own, and they usually do,” he says later. “But I will do a deep dive if there is a lot at stake or if there are creative challenges.”

Deep is not a word that most people used to describe Mr. Iger when he took control of Disney five years ago. In fact, he was widely dismissed as little more than a stuffed suit who might have had the skills to fix a highly dysfunctional company but lacked creative sizzle or big-picture brilliance to raise its game. His predecessor Michael D. Eisner endorsed him, but faintly — at least according to “DisneyWar,” the 2005 book that chronicled Mr. Eisner’s fall from power.

The new take on Mr. Iger? Let us count the ways: One of the most aggressive dealmakers in media (the $7 billion purchase of Pixar, the animation studio, and the $4 billion acquisition of Marvel, the comic book publisher and movie studio); a risk-taker who isn’t afraid to make decisions that rankle Disney’s own troops (ripping apart the wiring for how the company does business in Europe); and a guy who, more than any of his big-media counterparts, is retooling antiquated industry practice, particularly when it comes to movie-making.

In short: blockbuster C.E.O.

“The spectrum of points of view this job requires is incredible, and Bob is great at it,” says Steven P. Jobs, Apple’s chief executive, who became Disney’s largest shareholder — and a board member — after the Pixar acquisition. He said that the quality of Disney’s products had improved, adding: “The amount of energy and passion at Disney has increased dramatically. The business lines were really in boxes before Bob empowered them.”

Mr. Iger, 58, has wasted little time enacting major changes at Disney. A reorganization of the company’s movie studio last fall brought the departure of over a dozen top managers — including the unit’s popular chairman, Dick Cook. Mr. Iger shocked Hollywood by installing a television executive as his replacement.

Shortly after that, when recession-battered retailers were still cutting back, Mr. Iger went the other way, unveiling an aggressive plan to overhaul the 340 Disney Stores at a cost of about $1 million each. A month later, Mr. Iger had his C.F.O. and the head of Disney’s $12 billion theme park division swap their jobs.

Mr. Iger also isn’t shy about playing hardball to guard Disney’s wallet. It was his call last month to yank ABC’s broadcast of the Academy Awards off of Cablevision to win retransmission payments.

Mr. Iger said in an interview last week that he didn’t feel a need to unload ABC, as some have suggested, but he was less definitive when a shareholder asked at Disney’s annual meeting last month. “There are no guarantees in terms of what will remain part of our company and what will not,” he answered.

As he continues juggling the dizzying number of corporate and financial balls that Disney has in the air at any given moment, Mr. Iger has won over a dedicated group of cheerleaders.

“He’s not constantly trying to show you how smart he is, and that is a very important trait in Hollywood, where you’ve got to rely on talent who consider themselves the center of the universe,” says Warren E. Buffett, the Berkshire Hathaway chairman, who has known Mr. Iger since helping to finance the Capital Cities takeover of ABC in the mid-1980s.

“Bob is the type of guy you want to help,” Mr. Buffett adds. “When he calls I don’t spend time thinking, ‘How do I tell this guy no?’ It’s, ‘How do I tell this guy yes?’ And I don’t feel that way about many people.”

Even Wall Street, that never-satisfied beast, seems newly pleased at Disney’s direction. Net income for Disney’s fiscal 2009 fell 25 percent, to $3.3 billion, as a result of the recession and problems at the movie studio.

But after several notable upgrades from analysts and a nascent recovery at the studio — “Alice in Wonderland” has earned about $675 million at the global box office — Disney’s stock price has perked up in recent weeks. It now trades at $36.22, an 81 percent increase from a year earlier.

“Bob has done the opposite of muddling through,” says Mr. Eisner. “He has managed the company aggressively and been steady in a very stormy time.”

But Mr. Eisner does have some advice: As Mr. Iger continues to mature, he must never “allow arrogance to overpower him like it does many C.E.O.’s.”

Words of wisdom, but easier said than done.

MR. IGER, of course, hasn’t had a perfect reign, and Disney faces some particularly tough challenges ahead.
Some senior executives at the company contend that their precise and deliberate chief waited far too long to put changes into effect at the movie studio, which had hewed to old-fashioned marketing strategies and suffered a string of flops like “Surrogates” and “Confessions of a Shopaholic.”

Disney has big video-game ambitions, spending at least $180 million developing the segment last year alone. But Mr. Iger has at times appeared indecisive about the company’s approach.

The consumer products division argued that it should run video games; the Internet division, already managing online role-playing worlds like Club Penguin (which Mr. Iger bought for about $700 million in 2007), felt that gaming was its turf. First, Mr. Iger ruled in favor of consumer products. Then he reversed his decision, ultimately moving video games to the Internet group.

The Internet group, meanwhile, is emerging as a trouble spot, analysts say. Competitors crow that some recent efforts — like a “Pirates of the Caribbean” online world — have been failures.

So when it comes to online innovation, is Disney really moving fast enough? Mr. Jobs sidesteps that question. “Bob is the most aggressive in his industry,” he says. “Consumer behavior is changing, and Bob gets that more than anybody else.” But is Disney moving fast enough on the Web? “That’s not my place to say,” Mr. Jobs demurs.

The Marvel acquisition has posed its own challenges. Betting that the brooding Marvel characters would deepen its hold on boys — long an area of weakness for Disney — Mr. Iger paid about $50 a share for the company, a 29 percent premium. Some analysts were notably cool to the news. “Over the long run, we suspect this will be viewed as Mr. Iger’s first major mistake as C.E.O.,” wrote a Citigroup analyst, Jason Bazinet, at the time of the acquisition.

Since then, there has been friction between Isaac Perlmutter, the Marvel chief executive who is staying on, and Disney’s consumer products division over how best to integrate two very different approaches.

Hollywood, familiar with Mr. Perlmutter’s penchant for ruling his roost, has started to whisper: Will he turn into Mr. Iger’s version of Harvey Weinstein, the hard-charging Miramax co-founder who caused Mr. Eisner so many headaches after Disney acquired the little studio? Mr. Perlmutter declined to be interviewed.

Disney is a huge company, with more than 140,000 employees spread over businesses as disparate as ESPN and time-share condos. All of this brings the company $36 billion in annual revenue and a market capitalization of about $70 billion. So new headaches are a daily event.

Mr. Iger constantly has to contend with the big-picture questions, like how people will consume media in the future and how a mature, enormous company grows. But it’s the middle-tier stuff that can become time-consuming.

ABC, for instance, has fallen to fourth place among the Big Four broadcast networks (third place, in front of NBC, if you exclude sports). Disney’s animation studio is still struggling despite improvements made by the Pixar brain trust. And its Winnie the Pooh character, which delivers $5 billion annually in retail sales, is showing some wear and tear, and efforts to return the character to prominence, notably a Disney Channel show, have failed.

Disney and Mr. Iger dispute much of this criticism, particularly when it comes to Marvel. “Ike’s been great,” Mr. Iger says of Mr. Perlmutter. “The integration has gone well, and the potential has exceeded my expectations.” In terms of video games, Mr. Iger said he had concluded that gaming of all kinds should be managed in a cohesive way by the Internet group, adding that the company’s approach to the business continues to evolve.

But he also says there is another crucial issue on his fix-it list.

“We get credit for being innovative, at least in our space, but I think we can be even better,” he says over breakfast at the Lanesborough hotel in London. He complains that in-house lawyers can at times be overly aggressive, that instead of simply advising business units, they are too often making decisions.

“The baggage of tradition,” he says of Disney’s culture, “can slow you down.”

“I’m not going to eliminate that,” he added, “but I’d like to reduce it significantly.”


MR. IGER started his media career in 1972 as the host of “Campus Probe,” an Ithaca College television show. He dreamed of becoming a news anchor but got a job as a weatherman instead. Realizing that he wasn’t very good at it, he took a production job in 1974 at ABC, where he says his first boss informed him that he was “unpromotable.”

He quickly found another job inside the network and sped up the ranks. In 1985, when he was vice president of sports programming, Capital Cities Communications bought ABC — a takeover that ended up shaping his business philosophy. The new owners took a relaxed approach, preserving ABC’s culture and approaching integration with respect and patience.
The positive lessons from that experience — and some from Disney’s own eventual acquisition of Capital Cities-ABC — helped Mr. Iger woo the Pixar camp, rebuilding a relationship damaged by repeated clashes between Mr. Eisner and the animation studio.

Corporate courtship, it turns out, is one of Mr. Iger’s specialties. He used the same skills to win over Mr. Perlmutter in striking the Marvel deal. (For a long time, Disney couldn’t even get a meeting with Marvel.)

In November, Mr. Iger secured the Chinese government’s approval to build a Disney World-style theme park in Shanghai, realizing one of Disney’s longtime goals.

And, last year, Mr. Iger played a star role in luring Steven Spielberg to the Magic Kingdom. Mr. Spielberg’s company, DreamWorks Studios, will release its films through Disney starting early next year.

Mr. Iger, who is married to the television journalist Willow Bay, dislikes pomp and circumstance. Often waking at 4:30 a.m., he drives himself to work and coaches his son’s basketball games on weekends.

He has always exhibited a casual charm. When he graduated from high school in Oceanside, N.Y., he was voted both “most enthusiastic” and “friendliest.” Told that he had to pick one, he went with the first. (A more recent claim to fame: WowOWow.com, a site created and run by Whoopi Goldberg and 15 friends, chose him as one of the 10 sexiest businessmen over 50.)

Stacey Snider, the chief executive of DreamWorks and a partner in it with Mr. Spielberg, says Mr. Iger’s likability had little to do with her boutique studio’s decision to align itself with Disney. Ms. Snider says that what really mattered was Mr. Iger’s enthusiastic embrace of the changes washing across the film industry: pushing for shifts in how DVDs are released, recalibrating marketing spending from old media to new, building movies around brands and franchises.

“In a very competitive landscape, you need to be with the sharpest, most forward-thinking, most risk-taking people you can,” says Ms. Snider. “Bob’s approach is, ‘How do we make the 22nd-century version of a media company?’ ”

Quite a few people in Hollywood think that Mr. Iger’s all-or-nothing approach at Walt Disney Studios may be too much too quickly. But Ms. Snider disagrees. “This is a legacy business,” she says with a sigh, “and whenever someone challenges that legacy, you have pushback.”

DISNEY’S approach to changes in Europe is classic Bob Iger: watch, learn, wait, pounce.

About a decade ago, when Mr. Iger directly oversaw international operations, he was charged with increasing per capita spending on Disney products, whether movies or bed sheets, in various countries in Latin America. He decided, essentially, to make the region autonomous. Decisions about how best to market Mickey to Argentina or what Disney Channel programs made sense in Brazil would no longer come only from headquarters in Burbank, Calif.

The experiment was a huge success, but Mr. Iger worried that replicating the structure elsewhere — namely, in a giant market like Europe — would be too radical. Until last spring.

Disney, preoccupied with emerging markets, had come to view Europe as a mature part of its business. But Mr. Iger, who has made international growth a priority, decided that adopting a more nimble operating structure in the region could unlock more value. He drastically reorganized European operations, using Latin America as a blueprint.

Some senior executives in Burbank, digesting the news that they had just lost oversight of an enormous portion of their portfolio, were miffed. Mr. Iger acknowledges some internal unrest but says it has dissipated. “I do think it’s working,” he says. “I sense a big change in the speed of decision making and the strategic focus.

“Burbank has gone from support, interest and curiosity to dread, fear and ‘oh my goodness’ to now, I think, acceptance,” he adds.

In late February, Mr. Iger flew to London for a progress report. In one 90-minute meeting at Disney’s sleek Hammersmith office tower in London, Mr. Iger — in shirt sleeves, his hands folded behind his head — listened intently. The presentations focused on Disney Channel plans in various European countries and how specific markets were weaving Facebook into their marketing strategies.

Of the 35 managers at the meeting, about half had been given new titles and responsibilities within the last few months.

Mr. Iger peppered his team with questions about Italy, a country that marked Disney’s arrival in Europe in the 1930s with a children’s magazine, Topolino, that featured Mickey Mouse. He wanted to know why the No. 1 program on Italy’s Disney Channel wasn’t a franchise like “Hannah Montana” but a program he had never heard about before — “Il Mondo di Patty,” a telenovela-style program for children about an Argentine girl. Local programmers had decided to give this inexpensive show a shot — and they hit pay dirt.

Most children’s shows are 30 minutes, run weekly and have single-episode storylines. Telenovelas are daily soap operas with evolving plots. Mr. Iger was intrigued by the format, and an animated conversation ensued about what other markets — including the United States — might be ripe for such a series.

“It’s important that Disney’s products are presented in ways that are culturally relevant,” Mr. Iger says, happy that the Italian Disney Channel was experimenting with different genres. He asked an assistant to send a DVD of the series to his office.

Next up was a report about a new ad-buying system, called Disney Media Plus, that was successful in Latin America and was moving to Europe. Essentially, the system allows advertisers to tailor their marketing to demographics — say, teenage girls in France — across multiple Disney businesses.

“It should work pretty well,” says the person making the presentation.

“It should?” Mr. Iger asks with grin.

“It will,” the manager responds.

THE next morning, Mr. Iger is relaxed — or as relaxed as a perpetual motion machine ever is. And the three problems that engulfed him over the last few days had been solved.

That Disneyland attraction, a high-tech water show set to music called World of Color (think the Bellagio fountains in Las Vegas on steroids), was being reworked. He felt that the attraction over all was outstanding, but he worried that the music was all wrong. So he had written notes about each song on how to make the show more modern.

“Ninety-five percent of the decisions made at the company are made by other people,” he says. “But this is a big show, and I felt opportunities were being lost.”

The standoff with Odeon Cinemas, the theater chain threatening to boycott “Alice in Wonderland,” was over; Mr. Iger had paid a personal visit to Odeon’s chief executive to explain Disney’s position on the DVD release.

Even Dancing Mickey had become a distant worry; the manufacturing difficulty had proved to be a false alarm.

So Mr. Iger takes a rare morning off. He goes to a small museum housing Winston Churchill’s bomb-proof, World War II bunker, and receives a private tour from Churchill’s granddaughter. He touches the maps hanging on the walls and sits in Churchill’s chair.

This is a treat: Churchill is one of Mr. Iger’s heroes. When Mr. Iger was 12, a family friend carved a wooden figurine of the prime minister for him, and it still sits prominently on his desk.

“Churchill balanced heritage and innovation,” Mr. Iger says later, at the black-tie premiere of “Alice in Wonderland.” “There are big lessons in that for Disney. Our brand is so powerful because of our heritage. But you’ve got to innovate, and not just in terms of what is new today but what will be new far into the future.”






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Beast
messaggio 15/4/2010, 17:16
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Disney chiuderà la Lyric Street Records, una sua etichetta musicale, per risparmiare i costi. Saranno licenziati 20-25 dipendenti. I catanti sotto contratto, tra cui i Rascal Flatts, saranno trasferiti ad altre etichette Disney (suppongo la Hollywood records)


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-Wendy86-
messaggio 15/4/2010, 20:36
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no comment....che dire.....sconvolta ero e sconvolta resto!!!!
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Donald Duck
messaggio 20/4/2010, 20:07
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Ha preso in considerazione il successo de "Il Mondo di Patty"! O_O
Oddio che situazione imbarazzante.....
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Beast
messaggio 21/4/2010, 11:55
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Blue Sky Disney riporta che Ross ha convocato una conferenza stampa domattina per parlare dei futuri film Walt Disney Pictures. Finalmente sapremo qualcosa di più preciso sui suoi programmi! Io mi preparo al peggio eheheh.gif


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Beast
messaggio 22/4/2010, 11:05
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Si completa il quadro della squadra di Ross con una nomina fondamentale: il capo del marketing. Questo ruolo è stato affidato a MT Carney (è una donna). La Carney non ha mai lavorato nell'ambiente cinematografico, ma ha nel curriculum una grande esperienza in comunicazone globale e nei nuovi media. Da parte mia i migliori auguri di buon lavoro (ma se non fai una buona campagna promozionale per Raperonzolo vengo lì e te le suono eheheh.gif )

Comunicato ufficiale:

THE WALT DISNEY STUDIOS NAMES MT CARNEY PRESIDENT OF MARKETING

Award-Winning Co-Founder of Integrated Communications

Planning Firm to Lead Global Marketing Team

BURBANK, Calif. – April 21, 2010 – Rich Ross, chairman of The Walt Disney Studios announced today that MT Carney has been named President of Marketing for The Walt Disney Studios. Carney will oversee all aspects of worldwide marketing and distribution, including all creative, media, online development, publicity, promotions and synergy for motion pictures released under the Walt Disney Pictures (including Walt Disney Animation and Pixar Animation) and Touchstone Pictures banners.

“MT represents a unique type of marketing executive – she has built global teams, can market a product across multiple platforms and has firsthand knowledge of new media and its effectiveness in reaching consumers,” said Ross. “Just as we have looked at ways to restructure how we create and distribute our movies, we also needed to hire someone like MT, who can lead our incredibly creative global marketing teams and ensure that our films reach audiences around the world.”

Carney and her partners co-founded Naked NY, the world’s leading communications planning firm in 2006, creating strategic plans for large diverse groups of worldwide clients including Coca-Cola, Kraft, Johnson & Johnson, Google, Microsoft and Nokia.


Il commento di Nikki Finke:

I've just confirmed the name with Disney. Drumroll, please: it's MT Carney, the Scottish-born co-founder and owner of Naked Communications, a NYC-based media planning and strategy that specializes in viewing the new marketing landscape from a global perspective, and former Ogilvy worldwide planning director from 2003-2006. Clients at her Naked company (whose motto is "The Agency Model Stripped Naked") included Coca-Cola, Nokia, and NBC. Her appointment follows an exhaustive 5-months-long search and was going to be announced Thursday when Disney Studios boss Rich Ross has scheduled a dog-and-pony show for the press for him and perhaps his No. 2 Sean Bailey to discuss Disney's movie plans under the new regime. (Even though it has not greenlighted a movie yet.) But back to Carney, who according to the latest plans won't appear at Thursday's presentation to the media.

Much has been made of the fact that Ross wanted to hire a marketing boss outside of the movie business. That caused a ton of grumbling within Hollywood where movie marketing has always been seen as a specialized skill set carried out by an elite clique of veterans. Many marketers called me to complain Ross is arrogant on the subject. But one of my Disney sources insists that "Rich looked both inside and outside the biz, and spoke to movie marketing and non-movie marketing people."

What Ross wanted was "somebody who could handle the strategy of releasing films as well as home entertainment in order to ensure very strong marketing throughout the life of the product."

I've learned Ross and his headhunter, the NY- and LA-based executive search firm ML Search, spoke to inside Hollywood candidates, but many were already under contract, as well as outsiders at companies including Microsoft and Burger King. (Hmm, years ago, Disney hired Burger King guy John Cywinski, and Warners hired Brad Ball from MacDonalds. Both didn't last.) Finally, Ross whittled down the candidates to a group of finalists who went before a "committee" (more like a gauntlet) of Disney executives and creatives like DreamWorks CEO Stacey Snider and Disney mega-producer Jerry Bruckheimer and Sean Bailey, the newly named head of production at the Disney movie studios. (Marvel's Kevin Feig and Pixar's Jon Lasseter were not part of the panel, though Jon had input as he does in most everything.)

Carney stood out because "she was someone who Rich felt understood strategy and creative," a source tells me. "Also, she's Scottish and worked in the UK and U.S., so she understood the global marketplace as well as domestic."

Carney is known for giving provocative speeches and pitches with the theme that "it’s time to re-think how products, services and brands are connected to their consumers". Her view is that many traditional ad agencies are unable to adapt with the changing landscape of marketing and communications. One account I read said her firm, Naked, has "positioned itself as a pure (or nearly pure) strategy group, not touching the creative or media (in most cases.) Naked works both directly with clients and as an adjunct to some well known agencies to fill those gaps particular to specific brands, audiences and situations."

Her phraseology includes "Mapping The Customer Journey", "Four-Dimensional Storytelling", and "Fleet Of Foot, Pure Of Heart". She is described in the ad press as "bright and personable", also "tremendously insightful", with a heavy Scottish accent.

Her job at Disney primarily will consist of "balancing multiple clients" who put movies into the Disney pipeline -- Pixar, Bruckheimer, DreamWorks (not until 2011), and Marvel (in 2012). Ross feels he already inherited a strong marketing team -- after all, 3D Alice In Wonderland is closing in on $1 billion worldwide grosses -- so didn't need that kind of redundancy in Carney. "She's smart and thinks broadly," a source tells me. "She also loves movies."


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Scrooge McDuck
messaggio 22/4/2010, 16:16
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Quindi questo topic serve per scrivere offese di ogni tipo giusto?
A parte gli scherzi, quello che ho letto fin'ora mi ha solo depresso....vabbè, pazienza...incrocio le dita..


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Beast
messaggio 22/4/2010, 16:21
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CITAZIONE (Scrooge McDuck @ 22/4/2010, 16:16) *
Quindi questo topic serve per scrivere offese di ogni tipo giusto?

Non volevo dirlo, ma in effetti è così eheheh.gif

CITAZIONE (Scrooge McDuck @ 22/4/2010, 16:16) *
A parte gli scherzi, quello che ho letto fin'ora mi ha solo depresso....vabbè, pazienza...incrocio le dita..

Quoto


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cartoni
messaggio 28/4/2010, 11:46
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Francamente la scelta del capo marketing è un ottima scelta. Non so bene per quale motivo ma a parte alcune scelte (Tangled,Miramax, Imagemovers, Lyric Street) l'operato di Ross è eccezionale. Sta mettendo alla prova nuovi talenti. Ma essendo un periodo di crisi sta cercando di ridurre i costi anche chiudendo Imagemovers e Lyric Street. Io per ora continuo ad osservare. Vediamo cos'altro verrà fuori.


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nunval
messaggio 28/4/2010, 15:21
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Sull' eccezionale ho MOLTI DUBBI...
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GasGas
messaggio 28/4/2010, 15:25
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CITAZIONE (cartoni @ 28/4/2010, 11:46) *
Francamente la scelta del capo marketing è un ottima scelta. Non so bene per quale motivo ma a parte alcune scelte (Tangled,Miramax, Imagemovers, Lyric Street) l'operato di Ross è eccezionale. Sta mettendo alla prova nuovi talenti. Ma essendo un periodo di crisi sta cercando di ridurre i costi anche chiudendo Imagemovers e Lyric Street. Io per ora continuo ad osservare. Vediamo cos'altro verrà fuori.

azz e le chiami "alcune scelte"? che altro dovrebbe fare????chiudere i walt disney animation studios? succede la stessa cosa che succede qui con il cinema italiano: attori di cabaret che fanno gli attori cinematografici con risultati la maggior parte delle volte più che penosi! alla disney tutta gente che viene dal settore televisivo sta facendo i capi nel settore cinematografico che non gli compete proprio, a partire dall'infimo ross e concludendo con questa nuova Carney al marketing!!!....inizio ad associare questo ross al nostro "caro" presidente del consiglio sick.gif votate mara carfagna sindaco di napoli sick.gif sick.gif sick.gif sick.gif sick.gif sick.gif

a me questa nuova direttrice di marketing non mi fa stare tranquillo....non so perchè ma è una sensazione....e se facesse in modo che il nome tangled valga per tutto il globo? post-6-1111346575.gif tremo solo all'idea!!! post-6-1111346575.gif post-6-1111346575.gif post-6-1111346575.gif post-6-1111346575.gif

Messaggio modificato da GasGas il 28/4/2010, 15:29
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Beast
messaggio 28/4/2010, 16:56
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CITAZIONE (GasGas @ 28/4/2010, 15:25) *
a me questa nuova direttrice di marketing non mi fa stare tranquillo....non so perchè ma è una sensazione....e se facesse in modo che il nome tangled valga per tutto il globo? post-6-1111346575.gif tremo solo all'idea!!! post-6-1111346575.gif post-6-1111346575.gif post-6-1111346575.gif post-6-1111346575.gif

Pensa positivo! laugh.gif


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cartoni
messaggio 29/4/2010, 13:08
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QUOTE (GasGas @ 28/4/2010, 15:25) *
azz e le chiami "alcune scelte"? che altro dovrebbe fare????chiudere i walt disney animation studios? succede la stessa cosa che succede qui con il cinema italiano: attori di cabaret che fanno gli attori cinematografici con risultati la maggior parte delle volte più che penosi! alla disney tutta gente che viene dal settore televisivo sta facendo i capi nel settore cinematografico che non gli compete proprio, a partire dall'infimo ross e concludendo con questa nuova Carney al marketing

forse ho esagerato un po', diciamo che è comunque più di quanto mi aspettassi dalla persona che ha guidato il Disney Channel negli ultimi 5 anni. Non so quanto duri il suo contratto ma se la situazione prenderà una brutta piega se ne accorgeranno no? ( O almeno lo spero...)


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Beast
messaggio 29/4/2010, 15:21
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CITAZIONE (cartoni @ 29/4/2010, 13:08) *
forse ho esagerato un po', diciamo che è comunque più di quanto mi aspettassi dalla persona che ha guidato il Disney Channel negli ultimi 5 anni. Non so quanto duri il suo contratto ma se la situazione prenderà una brutta piega se ne accorgeranno no? ( O almeno lo spero...)

Per me è difficile giudicare Ross riguardo ai film, visto che non ne ha ancora annunciato uno 'suo'. Tutte le produzioni attuali sono progetti approvati da Cook, perciò aspetto di capire verso cosa si orienterà il nuovo corso.


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cartoni
messaggio 3/5/2010, 18:03
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Alla fine su Ross ho fatto un riepilogo generale:
WALT DISNEY MOTION PICTURE GROUP
nel management ha dato spazio a molti "giovani" e mi sembra una buona scelta, bisogna solo vedere cosa faranno. Per il resto non ha ancora dato il via a nessun film, con tangled ha fatto una scelta diciamo discutibile e la scelta di chiudere e vendere la Miramax, che era sotto la protezione di Cook non è un gran che, ha anche chiuso l'Imagemovers Digital ma sembra che Zemeckis e i suoi colleghi continueranno a produrre film in stop motion per Disney. L'unica differenza è che Disney risparmierà i soldi di gestione degli studios.
DISNEY THEATRICAL GROUP
Per ora nulla
DISNEY MUSIC GROUP
Chiusa la Lyric Street.
E' un operato che potremmo definire discreto, non eccezionale scusatemi.


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Teo
messaggio 3/5/2010, 18:20
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CITAZIONE (cartoni @ 3/5/2010, 17:03) *
E' un operato che potremmo definire discreto, non eccezionale scusatemi.

Mah, io direi anche molto deludente e discutibile! Dubito che qualcuno lo definirebbe eccezionale!


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Scrooge McDuck
messaggio 13/5/2010, 14:45
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Io non sono daccordo su un fatto: non si può dire che si chiudano degli studi a causa della crisi, è una cavolata, perchè nel periodo orrendo in cui ci troviamo, con una crisi mondiale che non passa e durerà ancora chissà per quanto, il mondo del cinema è l'unico che ancora funzona, e funziona davvero tantissimo.
Ok, certo, è la Disney, e la Disney punta a risultati altissimi (dal punto di vista del guadagno) ma perchè chiudere di botto l'Imagemovers Digital dopo un solo film? aspetta un attimo, guarda che tipo di storie possono piacere anche al pubblico, prova a sperimentare nuovi modi di parlare il linguaggio del cinema, non fa bene a nessuno continuare solo sui Disney Channel Original Movies, non fa bene alla Disney perchè perde credibilità, ma soprattutto non fa bene alla cultura cinematografica. Pensiamo all Pixar, pensiamo a quanto ha dato al mondo del cinema negli ultimi 20 anni, perchè possono farlo solo loro (che diciamocelo, sono si parte della Disney, ma sono in realtà un mondo a se stante, e speriamo resti così per sempre)? Se WallE o Up avesse incassato quanto una Princpessa e il ranocchio, ci scommettete che avrebbero detto alla Pixar di fare film scemi alla Madagascar?
Se si continua così il cinema Disney diventa inspido e banale, diventa un piattume.
Perchè sbarazzarsi dell'unica etichetta che ti ha fatto vincere degli oscar negli ultimi anni? una Meryl Streep che ti recita ne Il dubbio, la chiami per fare la preside in High School Musical 4???
Nomi altisonanti come Jhonny Deep o Tim Burton possono funzionare una, due o tre volte, ma poi fine, e anche il guadagno che tanto desiderano se lo scordano poi...
E' questo che mi da da fare, che riducano lo spazio e le possibilità alla creatività, solo questo


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Beast
messaggio 8/9/2010, 11:45
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La Disney sembra già aver diminuito la sua fiducia nella Carney, molto criticata per la campagna di marketing dell'Apprendista Stregone. Fa discutere in particolare lo slogan: 'The coolest job ever', scelto personalmente dalla Carney, la quale lo ha voluto scritto su ogni singolo pezzo di materiale promozionale. Secondo molti (pare anche il regista Turteltaub) nessuno andrebbe a vedere un film che parla di lavoro, tantomeno un bambino. Sarebbe come aver pubblicizzato Potter con 'Harry Potter goes to the coolest school ever'.
Molti puntano il dito contro Ross, reo di aver posizionato in un ruolo chiave una dirigente che non conosce questo genere lavoro nè quello dei suoi dipendenti.
Bruckheimer, in particolare, si è lamentato perchè i suoi due film di quest'anno sono usciti proprio durante il passaggio di testimone a capo del reparto marketing e ha richiesto qualcuno che avesse grande esperienza in materia, che è proprio ciò che manca alla Disney. Da qui nasce l'idea della Disney di assumere una consulente esperta, Valerie Van Galder, per gestire il lancio del prossimo Pirati dei Caraibi.

L'articolo dell'Hollywood Reporter:
Disney hires new marketing guru for 'Pirates 4'
Valerie Van Galder will guide campaign for studio

Disney has taken the unusual step of hiring veteran consultant Valerie Van Galder to handle the marketing of the fourth movie in its flagship film franchise, "Pirates of the Caribbean: On Stranger Tides."
Considering its importance, the move is likely to be perceived in the industry, fairly or not, as a sign that Disney lacks full confidence in marketing chief M.T. Carney, a newcomer to the movie business. Disney has had a tough summer with live-action films, with two of its disappointments -- "Prince of Persia: The Sands of Time" and "The Sorcerer's Apprentice" -- produced by Jerry Bruckheimer.
"She came to the party late," Bruckheimer told THR. "I had two movies that got caught between two regimes, and the movies suffered."
Asked for comment, Disney issued a statement from Carney: "Val was one of the first people I met when I arrived, and in subsequent conversations, I've been impressed with her business savvy and diverse background. I'm thrilled she accepted my invitation to lend her talents on this important franchise. I'm committed to working with her and other innovative professionals as we continue to build out our world-class marketing organization."
The studio declined further comment.

The first two "Pirates" sequels were global blockbusters: 2006's "Dead Man's Chest" made $1.06 billion worldwide, and 2007's "At World's End" made $960 million. "Tides," which opens in May, is expected to do a billion with a marketing spend of north of $60 million.
Bruckheimer wanted an experienced hand to market his next film, and experience is in short supply in Disney's marketing department.
"I think it's a smart move on Disney's part," he said of hiring Van Galder. "She's a seasoned veteran, and she's very smart."
However, Bruckheimer has told associates that hiring Van Galder was Disney's idea.
After Disney CEO Robert Iger pushed out longtime studio chief Dick Cook a year ago, he replaced him with Rich Ross, a cable executive with no film experience, and Ross hired Carney to run marketing. Carney was a partner in Naked Communications and also had no film experience. Meanwhile, the studio purged many seasoned staffers.
Some sources close to the studio expressed sympathy about Carney's predicament.
"You're throwing her into an impossible situation," a former Disney executive said. "She not only doesn't know the job but doesn't know the jobs of the people below her. And worst of all, [Ross] gutted the place. ... She's been given an opportunity that is like 100 pounds of manure in a bag, and she's being told, 'You can do it because you know media.'

Another source with close ties to the studio echoed that idea and said that hiring Van Galder wasn't necessarily a slap at Carney.
"I think it was, 'You don't have a team that's deep enough,' " the source said. "She understands that. She's not the one who undid the department."
Some observers have been especially critical of the marketing for "Sorcerer's Apprentice," which opened to $17.6 million in July. A source involved with the project said it was clear weeks before the film's bow that it was in trouble.
"You need a lot of experience to start off on the right foot and to be quick on your feet and change when things aren't going right," the insider said. "The studio doesn't have either of those things."
Bruckheimer held back from laying the blame directly on Carney.
"These campaigns are done eight months, a year in advance," he said. "It's hard to point the finger other than the fact that they lost the head of marketing and the head of the studio."
Sources were especially critical of Carney's role in crafting the tagline for "Sorcerer's Apprentice": "It's the coolest job ever."
"She was responsible for one of the hall-of-fame worst taglines ever for 'Sorcerer's Apprentice,' " the former Disney executive said. "She not only wrote it but insisted that it be in every piece of material. I've never seen a movie sell because it's about a job."
A source close to the production says director Jon Turteltaub argued to no avail that the tagline was the equivalent of selling a Harry Potter film by saying, "Harry Potter goes to the coolest school ever."
"No one wants to see a movie about a cool school, and no one wants to see a movie about a cool job -- especially if you're 11," the source said.
Turteltaub said he doesn't blame the tagline or any particular marketing decision for the movie's performance.
"They've owned up to anything that they know didn't go well," he told THR about the Disney marketing department. "It's a learning process on every movie. Who's to say whether it would have performed differently with a different marketing campaign? In hindsight, everybody gets very clever."
Carney did not try to pretend that the campaign was a success: After the movie opened, she sent Turteltaub an e-mail suggesting that he probably had a Scottish doll that he was sticking with pins (Carney is from Scotland).
"Sorcerer's Apprentice," which cost at least $160 million to produce, has generated about $175 million globally to date.
Another exec with ties to Disney said the jury isn't in yet on Carney.
"So far, she is bright and not political," the observer said. The tagline on "Sorcerer's Apprentice" "may not have helped the movie, but it wasn't its death knell."
Bruckheimer was circumspect.
"You never know," he said. "You don't know if it's the tagline. ... It's a delicate thing, how you release a film."


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Scrooge McDuck
messaggio 9/9/2010, 12:25
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Secondo me non possono lamentarsi solo di un prodotto pubblicizzato male, il che personalmente credo comunque che sia successo per questi due film, però è anche vero che se il film merita davvero il passaparola è positivo, invece in entrambe le situazioni i film sono usciti in fretta dalla top10. Penso che uno dei problemi, soprattutto per L'Apprendista, ma anche per Persia, sia stato un budget eccessivamente alto, per film comunque molto incerti. Poi fanno discorsi del tipo "riduciamo il budget ai Pirat4, perchè ultimamente i film cosano troppo". Cioè, si preoccupano del budget di un film come Pirat4, che ha una fan-base come poche saghe, e spendono 200 milioni (e poi e poi...) per Prince of Persia? bha.....
A questo aggiungiamoci che Bruckheimer ha un pò perso credibilità negli USA, e la frittata è fatta


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Beast
messaggio 24/9/2010, 10:57
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Si è dimesso il capo del Disney Interactive Media Group, che si occupa di tutti i siti Disney. Le dimissioni arrivano dopo un anno in cui c'è stata una forte perdita (65 milioni di $).

The Disney Blog:

Steve Wadsworth, president of the Disney Interactive Media Group, resigned from his post on Thursday. DIMG generally over sees Disney.com and Disney’s Online Games. The division recently reported a lost of $65 million. But it’s hard to know exactly what that means with Disney’s unique in-house accounting methods.

Apparently John Pleasants, President of the recently acquired company Playdom, is a leading candidate to replace Wadsworth. Playdom is a social gaming platform. One of their games, Social City, just rolled out some Disney theme park icons as part of the game. (It’s addictive, trust me.)

Trouble in this division is the last thing Bob Iger needs. He’s placed a lot of the company’s eggs in the internet basket. Unfortunately, the eggs cracked to omelettes made ratio is looking really poor right now. Leadership from someone with a firm understanding of how social media fits into the fabric of the company’s projects would be a good thing.


http://mediadecoder.blogs.nytimes.com/2010...-chief-resigns/




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cartoni
messaggio 28/9/2010, 8:53
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In effetti la divisione perdeva soldi a palate...e tra l'altro non è tra le migliori aziende del settore.


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GasGas
messaggio 29/9/2010, 20:11
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forse tra un po' anche ross se va a quel paese smile.gif
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veu
messaggio 29/9/2010, 22:07
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Beh ma Ross non c'entra nulla (purtroppo... era meglio se se ne andava a casa e ci lasciava Snow Queen)...


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Beast
messaggio 4/10/2010, 14:52
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Iger ha nominato due co-presidenti per Disney Interactive Media Group.

Da The Disney Blog:

As expected Disney CEO Bob Iger named John Pleasants to the post of president of the Disney Interactive Media Group. A bit of a surprise, Iger also named James Pitaro Co-president. Pleasants joined Disney when his company Playdom was acquired a few months ago. Pitaro joins Disney from Yahoo! Inc. where he was Vice President and Head of Media. (This is where I make some snarky joke about Yahoo! Inc.) This move effectively splits the unit where it is hoped focus can grow the division.

“Our rapidly growing Disney digital businesses will benefit greatly from the deep experience and distinct leadership skills shown by John and Jimmy,” Iger said. “John has shown incredible agility and skill in helping companies achieve success in the ever-shifting digital games business, while Jimmy has vast knowledge of the online world and has been hugely successful at creating and building audiences around branded online content.”

“Both have outstanding track records in anticipating trends and delivering to consumers creative, innovative and successful experiences and products,” Iger added. “As Co-Presidents, I’m confident they will make Disney’s digital content and businesses even more robust and successful.”


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