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Welcome back to filmonomics at Slated, IN×39’m Steph Patent. And in this segment thought we would change things up a bit and go take a fifty thousand foot view, a macro look at changes in the industry. It's important to do this because our filmonomics series, which is regular weekly educational series allows us Roget into the nitty-gritty and the best practices and the latest trends. But it×39’s often important to just step back completely and take a look at how our own philosophy and our own thinking might have changed. And there's no better example than this than are white papers that we published few years ago. Now they were a snapshot in time looking Bacall the trends that had occurred before that. And until we re-read it recently we didn't know how many things have changed since then. Now when it was written it was written for investors. Teaching investors about film as a viable asset class, key considerations when investing in film and key benefits to investing in film. These white papers really resonated for a number of reasons. Now, first we were delighted to find out over the years that they've been used in academia to teach classes. They're used at NYU they're used at UCLA that×39;reused even in the Sun dance lab sand in many other institutions. And I think the reason they resonated was because they took a very sober, clear-minded, analytical view at film as a potential asset class and how that would work. Because to create an asset class there needs to be rational thinking. There needs to be an understood system that investors can get behind in order to generate profits. If things were truly completely random you can never create an asset class. And our belief is you can create an asset class out of film, but it requires more structure. It required it requires more data, more analysis, more rational approach to things. Not that art shouldn't be art and shouldn't×39’t be great and unique, but to create the right incubation environment where art can really thrive you need those structures in place. And their×39’s no better example than that than with television. It×39’s no coincidence television is gone through major renaissance It used to be that all the major talent and television wanted nothing more than Togo into film to go and do bold new innovative stories. But nowhere jumping into television. There's a lot of bold experimentation, and it's getting the audiences and studio and television executives understand how they can monetize this, so it really creates an environment of success that lets the art thrive and be repeatable success. Now of courselike any s-curve of disruption their×39’s an initial sparking the art, then the structure and the understanding comes around, and tethered×39’s an explosion of that art being widely disseminated to everyone and eventually it×39’ll hit peak and there needs to be new disruption. But film hasn't×39’t had this structure and understanding just yet, and we believe it×39’s going to go through...
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