Dawn Ostroff: There is definitely opportunity
in the entertainment space for all of the brands here. And I think
that what's exciting is that because the magazines are continually
publishing interesting articles and continually coming into contact
with interesting people, there's a constant flow of interesting
source material for different types of entertainment content.
The type of content we're going to look to develop -- and this
is obviously after we put together a real strategic business plan
that makes sense on how to build this out -- the goal really is to
create a library and have content that will go across all
platforms: Television content, broadcast and cable, feature films
and digital -- which would be in many different forms and
distribution platforms. So I think what's exciting about this is
nothing has been mined internally in the way that Conde Nast has
had the opportunity to. As we all know and have heard, it's
becoming quite apparent that content is king, and Conde Nast is
king in the content business in the magazine world. Now they want
to develop content for the entertainment world across all
Ad Age : How much risk is inherent in TV and
film? How much is acceptable? "The Playboy Club" seems like a
reminder that magazine brands can easily get themselves associated
with big failures.
Ms. Ostroff: It depends on what it is . There
are different things that could spur a feature film or a TV show,
and it doesn't have to be specific to the magazine title itself.
Magazine source material is one of the best resources that
development people use. Obviously we would have a bit of a leg up
on that . There's also the future which is digital channels. Cable
channels have certainly been successful to a certain degree, and we
think digital channels are where the future lies. My CW experience,
seeing how many people are migrating to streaming their episodes,
was a good lesson to see what the future is . Digital channels are
going to be a tremendous opportunity for a company like Conde
Everything is obviously a risk in the television and feature
film business, but the flip side is when you get it right it can be
a huge home run. The goal is to build an asset in this division for
Conde Nast and add a revenue stream for them and for the magazine
brands, so that they're maximizing the content they already
Ad Age : So are all film options and the like
based on Conde Nast magazine articles going to go through you?
Ms. Ostroff:That's way too early to determine.
My goal here for the next few months is to talk to all the editors
and publishers and understand what the brands goals are, learn more
about which brands lend themselves to which platforms, and then
build the team internally. In a few months I'll have a clearer
vision of how we're going to approach it.
Ad Age : What's in all this for Conde Nast
advertisers? Is there an opportunity for a media agency or marketer
to get in on the ground floor of planning a show?
Ms. Ostroff: I think there will be many
opportunities in many different ways -- everything from product
integration to very innovative initiatives using the content that
we're going to develop to possibly using digital channels -- which
would be a more direct relationship with the advertisers. But I in
particular come from a very strong belief that the advertisers have
always been our partners and collaborators, particularly at the CW.
We created a whole new sales strategy for the CW and our streaming
content and we couldn't have done it without the support of
advertisers who were extremely innovative and forward-thinking. I'm
sure they will be strong partners in whatever Conde Nast