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And so the data is a really important central piece to greenlighting these projects and stories.ĪLEXANDRA CANAL: And it's also interesting to me, because we've talked to Hollywood producers before about how the audience always seems to be ahead of the studios. That there is a business behind investing in them. But we back them up with data and evidence that there's an audience on the other side, so that these are bankable stories.

So we go into a studio exec's platform, execs, and we share these amazing creative stories. You want to know that there's an audience on the other side when you invest in a fresh new voice. Because diversity is still the biggest risk in Hollywood.

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The problem is, no one knows how to do it. And that first phase, we had already passed that, which is awareness. KARTIK HOSANAGAR: Yeah, so I think the data plays a really important role, because I think we're at a phase in Hollywood where awareness for the need of inclusion, awareness for the business opportunity around inclusion is clear.

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And then finally, we run an incubator where we take these new storytellers and take them through a six-week program where we help them go from an idea to a full series pitch or a movie treatment.Īnd they're mentored by really experienced Hollywood voices, like as Jared was mentioning, Lawrence Bender, who's a producer of 'Pulp Fiction,' 'Good Will Hunting,' Emmy-winning producer Shelby Stone, TV showrunner Scott Rosenbaum, all very experienced seasoned voices who come together who complement the data-driven approach and provide mentorship to our creators.ĪKIKO FUJITA: Kartik, ultimately though, it's up to the studios to greenlight these projects, right? I mean, how does data address that part of it? How do you get the buy in from the executives? So we are interacting with hundreds of thousands of people and forward testing those ideas and seeing, are audiences interested in that.

We also then interact with audiences online to test their ideas and confirm that there's an audience on the other side. And it doesn't matter what their race is, what their gender is, but the point is, we are looking for fresh stories that are resonating with audiences.

Our algorithms are scouring the internet on YouTube, on Vimeo, on Reddit, and looking for storytellers who have fresh new perspectives to offer. And so that includes finding people where they are. I think the first piece is discovering fresh new voices and storytellers. KARTIK HOSANAGAR: Yeah, our algorithm has many pieces to it. So how can you ensure that that algorithm is discovering projects from underrepresented groups and pushing forward that diversity first mission that Jumpcut was founded on? Because what I've been reading, and correct me if I'm wrong, it doesn't seem to be curated towards a specific race or region. So we are using data to reimagine the way films and TV shows are developed, specifically with the goal of elevating fresh voices and stories.ĪLEXANDRA CANAL: Yeah, Kartik, it's a really interesting concept, but I do have a question about the algorithm. And there's a cost to audiences of the sequel culture and lack of fresh original stories. In fact, I know Ali recently covered the McKinsey Report that showed that there's a $10 billion cost of poor Black representation alone. There's a social cost, Hollywood hasn't been particularly inclusive historically. It's, of course, no secret that Hollywood is an old boys club for the most part, where a few execs in a room make decisions largely based on gut and personal networks, who knows who.Īnd there's a cost of that kind of decision-making. We're trying to create a more inclusive era of global film and TV, and using data to do that. KARTIK HOSANAGAR: Yeah, sure, Jared, Ali, thanks for having me.

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