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T H E C R E AT I V E I N D U S T R IM A N A G I N G P R O D U C
T S AP R O D U C T P O R T F O L I O
BY
PAV A N W A D H O N K A R
V I S H E S H B H AT I
V I K K Y A N A N D
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H A T M A K E S P R O D U C T S I N C R E A T
I N D U S T R I E S D I F F E R E N T ?
• Costly Negt!"es# C$e% Co%!es
Hit products are disproportionately proftable: the more
copiesthe more the production costs can be divided over those
copies
• Hol!st!& P'o()&ts
The result o all aspects somehow magically coming together
product that “works.”
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H A T M A K E S P R O D U C T S I N C R E A T
I N D U S T R I E S D I F F E R E N T ?
• E*%e'!e+&e P'o()&ts
t is di!cult or consumers to assess their "uality beore
consu
• Tstes Mtte'
#reative products tend be largely hori$ontally di%erentiated:
w
chosen depends more on inherently sub&ective tastes than
ob&ectidi%erences.
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H A T M A K E S P R O D U C T S I N C R E A T
I N D U S T R I E S D I F F E R E N T ?
• Lo, Re%et P)'&$se Rtes
'eople may buy a lot o music in a given period, but they
raresame album or song twice.
• De-+( Is Relt!"ely U+&e't!+.A+( Fl)&t)tes St'o+gly
(ome e)ecutives in the creative industries are ond o saying
t“nobody knows anything,”
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H A T M A K E S P R O D U C T S I N C R E A T
I N D U S T R I E S D I F F E R E N T ?
• S)&&ess B'ee(s S)&&ess: A Tste Fo' W!++e's
*ne o the key actors that may drive this e%ect is that
peoplepopular products+they preer products also chosen by
others.
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PRO D U CT S TRATE G I E S I N CRE ATI V
I N D U S T R I E S
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PRO D U CT S TRATE G I E S I N CRE ATI V
I N D U S T R I E S
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PRO D U CT S TRATE G I E S I N CRE ATI V
I N D U S T R I E S
• W$y /L!-!te(0 o' /G'ss'oots0 Relese
St'tegy:
- lack o unds
- control over which audiences become early adopters
/- s it worthy o urther investments
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PRO D U CT S TRATE G I E S I N CRE ATI V
I N D U S T R I E S
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PRO D U CT S TRATE G I E S I N CRE ATI V
I N D U S T R I E S
• W$y /W!(e0 o' /M!+st'e-0 Relese St
12 Re&o"e' t$e!' !+"est-e+t 'elt!"ely 3)!&4ly
52 E*%e'!e+&e goo(s# /%)s$0 st'tegy o6te+ $e('!"e sles7
82 Est9l!s$!+g %'o()&t s /$!t0 e'ly o+ ('!"sles7
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P R O D U C T P O R T F O L I O S T R A TE G I E S I N C R
I N D U S T R I E S
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P R O D U C T P O R T F O L I O S T R A TE G I E S I N C R
I N D U S T R I E S
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P R O D U C T P O R T F O L I O S T R A TE G I E S I N C R
I N D U S T R I E S
• Why Do Blockbuster Strategies Persist?
12 It g)'+tees ste(y st'e- o6 +e, -te'!
52 It $el%s 'et!+ to% &'et!"e ,o'4e's
82 It 6oste's !+te'+l &$-%!o+s
2 It !+&'eses e*te'+l s)%%o't
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CONCLUSION • O"e'll# t$e 4!+( o6 9lo&49)ste'
st'teg!es e-%
-ost o6 to(y;s l'ge' &o+te+t %'o()&e's 'e &e
+ot 6'ee o6 '!s4 9)t# !+ t$e lo+g ')+# t$ey %%e
t$e lte'+t!"e o6 -o'e 9l+&e( 'eso)'&e llo&
st'teg!es7
• T$e $!g$est
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T H A N K Y O U
