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Dreamworks SKG:Traumfabrik Im Digitalen Zeitalter Medien Filipp Goldscheider Dreamworks SKG:Traumfabrik im digitalen Zeitalter Analyse des Aufbaus eines Medienunternehmens Diplomarbeit Bibliografische Information der Deutschen Nationalbibliothek: Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de/ abrufbar. Dieses Werk sowie alle darin enthaltenen einzelnen Beiträge und Abbildungen sind urheberrechtlich geschützt. Jede Verwertung, die nicht ausdrücklich vom Urheberrechtsschutz zugelassen ist, bedarf der vorherigen Zustimmung des Verla- ges. Das gilt insbesondere für Vervielfältigungen, Bearbeitungen, Übersetzungen, Mikroverfilmungen, Auswertungen durch Datenbanken und für die Einspeicherung und Verarbeitung in elektronische Systeme. Alle Rechte, auch die des auszugsweisen Nachdrucks, der fotomechanischen Wiedergabe (einschließlich Mikrokopie) sowie der Auswertung durch Datenbanken oder ähnliche Einrichtungen, vorbehalten. Copyright © 1997 Diplomica Verlag GmbH ISBN: 9783832461270 http://www.diplom.de/e-book/221587/dreamworks-skg-traumfabrik-im-digitalen- zeitalter Filipp Goldscheider Dreamworks SKG: Traumfabrik im digitalen Zeitalter Analyse des Aufbaus eines Medienunternehmens Diplom.de Filipp Goldscheider Dreamworks SKG: Traumfabrik im digitalen Zeitalter Analyse des Aufbaus eines Medienunternehmens Diplomarbeit an der Johann Wolfgang Goethe-Universität Frankfurt am Main Fachbereich Gesellschaftswissenschaften Institut für Soziologie 7 Monate Bearbeitungsdauer Juni 1997 Abgabe ID 6127 ID 6127 Goldscheider, Filipp: Dreamworks SKG: Traumfabrik im digitalen Zeitalter - Analyse des Aufbaus eines Medienunternehmens Hamburg: Diplomica GmbH, 2002 Zugl.: Frankfurt am Main, Universität, Diplomarbeit, 1997 Dieses Werk ist urheberrechtlich geschützt. Die dadurch begründeten Rechte, insbesondere die der Übersetzung, des Nachdrucks, des Vortrags, der Entnahme von Abbildungen und Tabellen, der Funksendung, der Mikroverfilmung oder der Vervielfältigung auf anderen Wegen und der Speicherung in Datenverarbeitungsanlagen, bleiben, auch bei nur auszugsweiser Verwertung, vorbehalten. Eine Vervielfältigung dieses Werkes oder von Teilen dieses Werkes ist auch im Einzelfall nur in den Grenzen der gesetzlichen Bestimmungen des Urheberrechtsgesetzes der Bundesrepublik Deutschland in der jeweils geltenden Fassung zulässig. Sie ist grundsätzlich vergütungspflichtig. Zuwiderhandlungen unterliegen den Strafbestimmungen des Urheberrechtes. Die Wiedergabe von Gebrauchsnamen, Handelsnamen, Warenbezeichnungen usw. in diesem Werk berechtigt auch ohne besondere Kennzeichnung nicht zu der Annahme, dass solche Namen im Sinne der Warenzeichen- und Markenschutz-Gesetzgebung als frei zu betrachten wären und daher von jedermann benutzt werden dürften. Die Informationen in diesem Werk wurden mit Sorgfalt erarbeitet. Dennoch können Fehler nicht vollständig ausgeschlossen werden, und die Diplomarbeiten Agentur, die Autoren oder Übersetzer übernehmen keine juristische Verantwortung oder irgendeine Haftung für evtl. verbliebene fehlerhafte Angaben und deren Folgen. Diplomica GmbH http://www.diplom.de, Hamburg 2002 Printed in Germany 2 GLIEDERUNG Seite Einleitung I Das Neue Hollywood: Strukturwandel der US-Filmindustrie seit 1945 6 Technologie- und Filmkenntnis der Movie Brats 8 Globalisierung der Entertainment-Branche 11 1.1 Steven Spielberg - Das Massenpublikum als Zielgruppe 15 Hits & Flops und die Förderung junger Talente 18 Amblin Entertainment 21 Fernseh- und Filmproduktionen 23 Mega-Deals, High-Budgets und Super-Blockbuster 26 1.2 David Geffen - Die Kommerzialisierung der Rockmusik 31 Der Tuna Fish Music-Deal 33 „Künstlerische Freiheit“ bei Asylum Records 35 Die Warner Brothers-Jahre 38 Stars und Talente bei Geffen Records 40 Der MCA-Deal und Wahlkampfspenden 44 1.3 Jeffrey Katzenberg - Strategien der Produktion und Profitmaximierung 47 Team Disney 50 Neue Produktionsstrategien bei Disney 52 Die Fernsehaktivitäten von Disney 56 Animationsfilme und „tie-ins“ 57 Das Katzenberg-Manifesto 59 II DreamWorks SKG: Strategien des Aufbaus eines Medienunternehmens 64 2.1 Kapitalaufsplittung und Finanzierung 71 Die Großinvestoren Paul Allen und One World Media 72 Die Gesellschafterverhältnisse von DreamWorks SKG 77 Der Pay-TV-Deal mit Home Box Office 82 2.2 Strategien der Allianzen - Know-how und Synergien 84 DreamWorks Television (ABC) 85 DreamWorks Interactive (Microsoft) 90 DreamWorks Toys (Hasbro) 94 Sega GameWorks (Sega & MCA) 99 Distributionsdeal mit MCA 102 2.3 DreamWorks Studio - Produktionsrationalisierung durch neue Technologien 106 Der Studio-Campus in Playa Vista 112 Investitionen in die Animation 116 3 Seite III Die DreamWorks SKG Produktionen: Träume und Tatsachen 121 3.1 DreamWorks Television 127 Champs 128 High Incident 129 Ink 130 Spin City 132 Arsenio Hall 134 Connie Chung & Maury Povich 135 3.2 DreamWorks Pictures 136 Geplante Produktionen 141 Die Animationsabteilung 148 3.3 DreamWorks Interactive 153 3.4 DreamWorks Records und SKG Records 157 George Michael 160 Eels 164 Rent-Soundtrack 165 Trends des globalen Musikmarkts 169 Zusammenfassung 173 Literatur Bücher 180 Zeitschriften und Zeitungen 183 Internetadressen 193 Anhang 196 Zeittafel 197 Die erfolgreichsten US-Filme bis zum Jahr 1994 202 Anteile der Hollywood-Studios am US-Markt im Jahr 1994 202 Beispiel der Kosten und Einnahmen einer US-Filmproduktion 203 Übersicht der Programme im Kabelnetz für Manhattan (1993/94) 204 4 Einleitung Als im Herbst 1994 Steven Spielberg, Jeffrey Katzenberg und David Geffen bei einer Pressekonferenz die Gründung eines gemeinsamen Medienunternehmens bekanntgaben, reagierte die amerikanische Presse mit Begeisterung und verkündete eine Neubelebung der Medienbranche. Die International Herald Tribune prognostizierte, daß diese Troika der Branche einen „seismischen Schock“ verpassen würde. Der Wall Street Journal sprach von einem „Dream Team“, das die in Hollywood herrschenden Studios herausfordern und eine neue Dynamik in den Konkurrenzkampf bringen würde. Die hohen Erwartungen an das Trio beruhen auf ihren bisherigen Erfolgen: - Steven Spielberg gilt als der populärste Filmregisseur und Produzent der letzten zwanzig Jahre. Im Laufe seiner Hollywood-Karriere stellte er mit Filmen wie Jaws, E.T. und zuletzt Jurassic Park stets neue Kinokassenrekorde auf. - Der ehemalige Disney-Manager Jeffrey Katzenberg zählt zu den ehrgeizigsten und kompetentesten Studio-Managern Hollywoods. Der Erfolg des Disney- Zeichentrickfilms The Lion King und die Revitalisierung der Animationsabteilung des Walt Disney-Studios wird vor allem ihm zugerechnet. Zusammen mit dem Disney-Chef Michael Eisner baute Katzenberg das Disney-Studio zu einem der bedeutendsten Medienkonzerne aus. - David Geffen erwarb sich mit der Betreuung von Interpreten und Gruppen wie Bob Dylan, James Brown bis hin zu Guns N’ Roses und Nirvana den Ruf, einer der einflußreichsten Männer der Musikbranche zu sein. Als Grund für den Zusammenschluß gaben die drei Hollywood-Insider an, daß es wieder Zeit sei, „Filme mit Leidenschaft und nicht mit Kalkül“ zu machen und „mehr Geld in junge Talente zu investieren“ anstatt in kreativitätsfeindliche Bürokratien. Aufgrund dieser Ankündigungen wurde das neue Unternehmen von Spielberg, Katzenberg und Geffen zu einem kreativen Gegenpol zu den großen Hollywood-Studios stilisiert, die ausschließlich zu global operierenden Medien- konzernen mit großen Verwaltungsapparaten gehören. Wenige Monate nach der Ankündigung ihrer Partnerschaft wurde der Name des gemeinsamen Medienunternehmens bekanntgegeben: DreamWorks SKG. Die Initialen SKG sollten noch einmal verdeutlichen, daß hinter diesem Medienkon- 5 zern, der die Bereiche Film, Fernsehen, Musik und neue interaktive Medien um- fassen würde, die Medienkenner Spielberg, Katzenberg und Geffen stehen. Ein Kapitalvolumen in Höhe von zwei Milliarden Dollar und Allianzen mit erst- rangigen Geschäftspartnern demonstrierten die Bedeutung der drei Gründer von DreamWorks SKG und festigten den Glauben an den Erfolg dieses neuen multi- medialen Unternehmens. Die ersten Produkte von DreamWorks SKG kamen erst im Jahre 1996 auf den Markt. Sie erfüllten bei weitem nicht die Erwartungen, die man sich von diesem Unternehmen und seinen kreativen Machern versprach. Die vorliegende Diplomarbeit beschäftigt sich mit den Strategien, die DreamWorks SKG verfolgte, um ein neues Medienunternehmen aufzubauen. Die Analyse der Strategien soll auch die allgemeinen Strukturen und Entwicklungen des amerikanischen Medienmarkts der neunziger Jahre reflektieren. Der erste Abschnitt dieser Arbeit skizziert die Veränderungen in Hollywood seit den vierziger Jahren und beschreibt die Karrieren von Steven Spielberg, Jeffrey Katzenberg und David Geffen. Hierbei soll verdeutlicht werden in welchen Be- reichen sie tätig waren und mit welchen Strategien sie sich erfolgreich durchsetzen konnten. Eine der wichtigen Komponenten dieses Abschnitts ist die Schilderung des Aufbaus eines sozialen Netzwerks innerhalb der Industrie. Von diesen Kontakten konnten sie beim Aufbau von DreamWorks SKG profitieren. Das zweite Kapitel befaßt sich mit dem Aufbau des neuen Medienunternehmens. Zunächst werden die Kapital- und Gesellschafterverhältnisse aufgezeigt sowie die Investoren und Strategien der Allianzen beschrieben. Den Abschluß dieses Kapitels bildet die Beschreibung der Pläne für das digitale Studio von DreamWorks SKG. Die fertigen und geplanten Produktionen von DreamWorks
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