The era of irrational exuberance was already running on fumes by the time the Twin Towers fell. The 9/11 terrorist attacks marked the end of the first frenzied wave of investment and hype about dot…
, a future Oscar winner for “12 Years a Slave,” saw his career as a screenwriter blossom in the late 1990s after he produced a handful of animated “Undercover Brother” shorts for the Urban Entertainment platform launched by former 20th Century Fox and Fox Searchlight feature executive Michael Jenkinson.
The “Undercover Brother” animated shorts eventually became the basis of a live-action movie for Imagine and Universal that was released in 2002, making it one of the first digital-native concepts to make the leap to the big screen. But after the shock of 9/11, the money that greased the wheels of the creative experimentation online dried up almost overnight. AtomFilms Shockwave, one of the most established of the bunch, went from 330 employees to 30 in what seemed like an instant.
Ridley also remembers the moment of transition when the no-holds-barred creative environment gave way to agita about funding and the focus on a big score. As the industry dug out of the trench after 9/11, the action in digital content became more closely aligned with traditional Hollywood brands. For one, he learned the hard way that a business leaders need to make sure that overall market conditions for their product are ripe for mainstream users. At the time Z.com, AtomFilms et al were trying to gain a toehold, only a small percentage of the U.S. had anything close to high-speed internet.
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