The relationships between filmmakers and game companies are evolving to create better overall entertainment experiences – or at least that was a major takeaway from the two-day Interactive Exchange 2010.

As is evidenced by the keynote by Prince of Persia creator Jordan Mechner and Vincenzo Natali announcing his involvement with the game based on his film adaptation of Neuromancer, several game folk stressed the importance of the two media collaborating. It’s no secret that film-based games have a history of bad reputation and it’s become increasingly important to change that perception and bring everyone up to speed.

For Bill Kispert, the solution is simple: “There has to be a genuine interest to push content to gaming platforms. If they’re not familiar with games, we set them up on consoles and show them cool games, and not just our games.”

Speaking at the Issues and Opportunities in Crossplatform Projects session, the VP & GM of digital platforms for Universal Pictures Partnerships & Licensing Group said a crash course is often an eye-opening experience for the film guys.

“Some producers didn’t even know their own movies were available for download on all game consoles (Wii, Xbox 360, PlayStation 3). [Universal] makes four to six games a year – it has to be a collaboration with the filmmakers to make a great game. Take the game developers to the sets, give them movie props so they have reference materials to make their game.”

Making a good licensed game also involves communicating the vision in the early stages. He recalls working on the King Kong game with Peter Jackson (Lord of the Rings) and the film hadn’t started production. Kispert and his team learned it was going to be shot from a people perspective, and the POV of the giant ape – enough information to get started on a first-person shooter mechanic, rather than scramble to build something half-hearted at the last minute.

There’s still a big focus on education, but Trevor Fencott of Bedlam Games, added that the next generation of writers and directors coming out of the woodwork are gamers and have a much higher level of understanding of the industry. “It’s refreshing to see people plugged in to what we’re doing,” said the CEO of the Toronto gameco.

But there is tension with both sides, so the challenges lie in figuring out who shapes the vision during conflict. When working on a game for Showcase’s Lost Girl, Fencott recalled that TV writers would come into the studio. “There was some tension at first that eventually dissolved, then everyone became respective of other people’s territories.”

In a later session titled From Concept to Screen, Ubisoft Toronto MD Jade Raymond also added that it’s the responsibility of the gamecos to “come up with a compelling world that will translate to all mediums,” also adding that “they don’t all need to tell the same story. Respect the consumer, you can’t give them the same experience.”

“People are saying you should think of other mediums from the start, but you’re also increasing investment and budget up front,” she said. “Different people are in different positions – it’s easy for someone like James Cameron, but others should just be thinking in just one medium if you’re starting out and making it compelling first. Otherwise, it’s just not realistic.”

As the industries work more in sync with each other, especially as other filmmakers explore gaming – take Steven Spielberg, for example, and his agreement with EA – Fencott believes “This is the way both industries will start to trend. This will be the future of starting an IP.”