The new model requires the emergence of the Producer role within organizations that want to tell stories-in-silicon. The Producer is a line executive whose job it is to package and sell, to executive management and any other investors, the value proposition of a particular story. The package includes the specific creative (outsourced) talent that will be expected to deliver a blockbuster story.
Of course the Producer’s credibility is judged on his previous track record in successful collaborations with top creative talent. Once the story is created the Producer’s organization owns the branding and distribution functions. The creative partners may be brought in to do sequels, but all other operational considerations belong under the Producer’s purview. As such, the Producer has at his or her disposal a group of operations staff that is responsible for the care and feeding (support) of the resulting properties.
One of the Producer’s primary responsibilities will be to maintain relationships with the agencies and the boutique firms that are suppliers of top creative talent. In addition, the Producer’s organization, now freed from the responsibility of creating, can begin to focus on higher order thinking that will bring their respective organizations competitive advantage. The Producer’s organization will be rewarded for deriving revenue from the story, not necessarily from creating it.
Why work with talent agencies and boutique firms? Because superstar directors, actors and supporting cast members are likely to gravitate to firms where they perceive they can maximize both their creative and economic potential. Jesse James, when asked why he robbed banks had the following response “Because that’s where the money is.” As a Producer you will be motivated to work with these entities “Because that’s where the talent is.”
As radical as this new model may appear, I am quite confident that many leading software creation organizations have already started experiments along these lines.