Now, this is an interesting. We only need 1,000 true fans to finance ourselves as artists:
I am suggesting there is a home for creatives in between poverty and stardom. Somewhere lower than stratospheric bestsellerdom, but higher than the obscurity of the long tail. I don’t know the actual true number, but I think a dedicated artist could cultivate 1,000 True Fans, and by their direct support using new technology, make an honest living.
Actually, it might a few more True Fans to support filmmakers:
Lastly, the actual number may vary depending on the media. Maybe it is 500 True Fans for a painter and 5,000 True Fans for a videomaker. The numbers must surely vary around the world.
An inspirational video that Chris Jones drew my attention to:
Youtube is filled with videos that routinely get millions of views, videos that are remarkable back flipping cats, remarkable idiots jumping off walls and breaking a leg or remarkable weddings with families dancing down the aisle. In of themselves, certainly not great art, but they are ‘remarkable’.
And to be clear, remarkable does not mean amazing or wonderful, it means, does it warrant ‘remark’.
A woman sues the producers of Drive because she saw a great film but she thinks she was mislead. She really wanted something like Fast Five. Really? In that case, I demand a refund on most Hollywood films that promise to be great but turn out to be crap.
Lesson 1 – I note that there were two Aussie films in the mix – Sam Worthington’s Drift and The 25th Reich. Good on them for trying to sell their films, either before or after production. That’s the entrepreneurial spirit we need to see more of in Australia.
Lesson 2 – Notice what the Americans do that others don’t? P.I.T.C.H. Except for the Aussie spruiking The 25th Reich.
Lesson 3 – Don’t leave Work Experience Girl at your booth. She won’t/can’t sell your film.
Luci Temple has insightfully dissected the financing strategy for an Australian crowd funded feature film, The Tunnel. There’s two parts to the article – Part 1 and Part 2. Read both. Notice the trend. Everyone seems to raise $10-15K from supportive family and friends. And then the money seems to dry up. I was a big fan of the concept of crowd funding. However, I’m increasingly thinking that the incredible amount of time that it takes (at the sacrifice of ‘creative time’) might be better spent convincing wealthier financiers (eg West Australian mining magnates ) to invest in your project. Nonetheless I hope The Tunnel raises its entire budget and it’s creatively successful. After all, it’s a challenge in this current filmmaking climate. Good luck to them and congrats to Luci on her analysis.
3.9 million viewers for the finale of MasterChef Australia 2010. Wow! Australia, you really like TV cooking programs. You really like celebrity chefs. I think you’re really going to like The Hitman’s Cookbook. It’s MasterChef with guns. Call it MasterChef meets Underbelly.
Obviously some of these filmmakers and their films are more risqué than others. Some of their films have been critically acclaimed. Some have not. Some of their films have been commercially successful. Some have not.
There’s no point in shocking audiences for the sake of it. However, the storylines of the above films are rarely gratuitous. Rather, these films are intended to challenge the status quofor a particular reason. Most of these filmmakers took a chance to explore violence and/or sexuality from an intelligent and cinematic perspective. Whatever the result, it’s difficult to disagree that these filmmakers were courageous. What do you think? Which provocateurs have I left off the shortlist?
Ted has been preaching the benefits of social media as a possible strategy to save indie cinema. It’s a revolutionary concept. Social media is a fantastic avenue to share the filmmaking experience with fellow filmmakers, potential audiences, investors, fans, critics, friends and family – from screenplay to production, post-production to the film’s release. I’m a filmmaker who loves the ‘Making of’ featurettes on DVDs and Blu-ray. Alien Quadrilogy is a gem. I hope social filmmaking will be a similar experience before and after we produce The Hitman’s Cookbook.
In addition to this blog, you can follow my journey on Twitter and Facebook. I look forward to hearing from you!
UPDATE: You can also follow my antics on Google+. But not on MySpace. Does anyone use MySpace anymore?