Non-Fungible Films is a web3 entertainment studio that bridges web3 with mainstream media. Spearheaded by actor and entrepreneur Cameron Moulène, Non-Fungible Films places a special focus on intellectual property, community-driven stories, redefining consumer ownership in entertainment and bridging web3 and the film industry. NFTevening discussed all these hot topics with Cameron Moulène, who revealed how Non-Fungible Films aims to bring about real change in an industry that is largely reluctant to embrace change.
What is Non-Fungible Films?
“I think entertainment as a whole, not just limited to film and TV, is going to be radically changed and improved via web3,” said Cameron Moulène. “What we’re really excited about is the possibility of a redefinition of streaming platforms, and what that means for creators, IP ownership and meaningful ownership long term, and then also extending meaningful ownership to community members.”
Cameron Moulène‘s passion for bridging web3 and the film industry spawns from his own career in Hollywood. The actor, best known for playing Will Armstrong on “Happyland” and Josh Bennett on the YouTube Red series “Foursome,” first dipped his toes in crypto in 2017. In 2021, he stumbled upon BAYC. During this time, he recognized that web3 can bring about a paradigm shift in IP ownership.
“I wanted to be a bridge for owners of commercial rights to get those things made in the content, tell stories, and then really develop real IP in a traditional sense around these properties in web3,” he explained. “That’s kind of what the model for NFF has become – a partner for powerful brands that want to build story and footprints globally.”
From then on, the Non-Fungible Films team developed its mission to support independent creators. According to Cameron Moulène, Non-Fungible Films aims to be a “platform where independent creators can raise capital for their projects, and start telling stories in that way.”
“We also have core properties that we tell as stories, and we share those commercial rights with holders so that they can tell tangential stories.” Cameron likens Non-Fungible Films’ core properties to the trunk of the tree, and the holders as the branches of that tree who dictate “what they put on that branch, how they decorate it, what they grow there.”
How does the team choose collaborators?
Collaboration and community are an important part of what Non-Fungible Films are about. But how does the team go about choosing collaborators? “It’s really been on a case-by-case basis on the ones that we think are really great,” replied Cameron.
Some things that the team considers are: “are all the ingredients there? Is it something that we think would have legs in a mainstream market? Is the team thoughtful and on the level in terms of how they’ve built the project so far? How do we build IP?” The team also considers the potential for a strong community. After all, a community that fully believes in the project is essential for the success of a project.
About Oscar Haley and The Great Beyond
“Oscar Haley and The Great Beyond” is a great example of good storytelling, a heartwarming story and brand-building potential. ” We think of it as a really powerful kids IP that we’re hoping is really going to resonate with older audiences. It takes a lot of inspiration from things like “Stand by Me” and “Jumanji”, which my generation can resonate with,” explains Cameron. “And it’s perfect for web3 with this metaverse play of the Great Beyond and us wanting to do crossover storytelling with other collections.”
The story revolves around Oscar and Alex Haley, two orphaned brothers who suddenly lose their parents one night. At first glance, their parents were archaeologists, but they were really time travellers through the Great Beyond who came back and told these great stories to their children who fell in love with the Great Beyond.
The brothers make friends with Stella, who has lived in the orphanage all her life. Together, they embark on a journey of exploration. The real theme, however, is “finding family and finding your core group in unlikely places.”
According to Cameron, this theme resonates with the web3 community: “I think that’s a beautiful parallel for everything that web3 has offered to us and that communities have so much power. And so we [Non-Fungible Films] really want to lean on our community to start sharing their experiences and stories in the property.”
What’s next for Non-Fungible Films?
“Oscar Haley and the Great Beyond” is just the tip of the iceberg of what Non-Fungible Films have to offer. Cameron revealed a few projects that are in the works. “The National Lampoon, which is a really big piece of comedic IP, we’re bringing that in-house. And we’re developing a full community around National Lampoon, and building out a bunch of projects for them and bringing a resurgence to their satire publication.”
In addition, NFF plans to launch a web3 streamer with significant improvements for viewers. This web3 streamer will also give creators the opportunity to own their IP in a meaningful way.
“Consumers will not be locked into a subscription. So they’ll get the pay as they go. They’ll be rewarded for their engagement and viewership, and their attention will be valued. And then we’ll gamify a lot of that as well,” revealed Cameron.
Web3 and the film industry
Undoubtedly, Non-Fungible Films is at the forefront of the web3 revolution and what that means for the film industry. This sense of urgency comes from the fact that Cameron and the team truly believe that web3 technology will revolutionize the user experience and the way creators are treated within the industry.
“Well, I think if you look at the market as a whole, what you saw in the early 2000 and the 2010s, is that studios really slept on the prospect of streaming. I think a lot of studios thought that streaming was going to be a fad. And what we learned with hindsight is that it really improved the user experience,” said Cameron.
The Non-Fungible Films team believes that what streamers sleep today is web3 technology and the opportunities it offers to rethink intellectual property. As Cameron puts it, at the moment, “it’s a one-way relationship, it’s just a transaction.”
“And I have no ownership, I have no stake, there’s nothing of meaning for me – it’s a really flawed model,” added Cameron. “So both on the consumer side as well as the creator side, there are major disruptive things that we all aim to improve on. What I do say to studios is – if you’ve slept on streamers, don’t sleep on the opportunity to really improve both the creator and the consumer experience via web3 formats.
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