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I would not fund a kickstarter project. It sounds good on paper, but there are too many unknowns for both the person doing it and the people backing it. If a project failed to appear after being funded or if appeared but different from what promised you will see immediate backlash. We've already seen this happen on big kickstarter projects that were funded and by so called reputable people.
If you thought soundtrack fans were already entitled, which we already know many of the producers of the labels think, just wait how they will be when they are paying your startup costs on projects.
I do think Kickstarter has a place and I believe that to be for the people who really have smaller projects and no other access or avenue to fund their projects. When you see bigger guys asking people for money, examples like Spike Jonze and Zach Braff you know it is being taken advantage of.
It was Spike Lee, and while I'm not 100% on board with him and Zach Braff using Kickstarter the way they did, if there's no interest from studios, I'm OK with filmmakers we've heard of trying to raise money for their art or whatever.
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If it is something I want, I have no problem spending some money upfront and then wait a couple of years to get it...
Treasure of the Templars, anyone?!
Surely it's more than a couple of years? It certainly feels like it.
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Posted: |
Sep 26, 2013 - 7:13 AM
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By: |
jwb
(Member)
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I would not fund a kickstarter project. It sounds good on paper, but there are too many unknowns for both the person doing it and the people backing it. If a project failed to appear after being funded or if appeared but different from what promised you will see immediate backlash. We've already seen this happen on big kickstarter projects that were funded and by so called reputable people.
If you thought soundtrack fans were already entitled, which we already know many of the producers of the labels think, just wait how they will be when they are paying your startup costs on projects.
I do think Kickstarter has a place and I believe that to be for the people who really have smaller projects and no other access or avenue to fund their projects. When you see bigger guys asking people for money, examples like Spike Jonze and Zach Braff you know it is being taken advantage of.
It was Spike Lee, and while I'm not 100% on board with him and Zach Braff using Kickstarter the way they did, if there's no interest from studios, I'm OK with filmmakers we've heard of trying to raise money for their art or whatever.
Sorry, Spike Lee. Too many Spikes.
Braff actually said, stupidly, he could have got the film made outside of Kickstarter, but chose not to.
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I think I'd be interested in such a venture - in principle. In the real world, film music fans would rather have another "Star Trek: The Motion Picture Ultimate Ultimate Final Edition" with a 9-seconds cue missing from earlier releases, or a "Blade Runner: Alternative alternative to the alternate release of the original album" before they'd be interested in (and willing to pay for) anything truly new and original. Such is the world of film music nerds.
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I'm not sure I like the idea on a regular basis, but on a selective basis, it might be interesting.
I think o na regular basis, a label would become some what dependant on the idea and would start going with the frequent fan requests and easy title and ignore the more obscure stuff; not enough people would have funded a Terry Plumeli anything or a new Lee Holdridge documentary score; what about all these obscure TV and film scores which we'd have otherwise never heard and never sampled and thus would not know about and have purchased, that came out thanks to a label taking a chance?
After all, it does come down to money. I recall it was Lukas himself that said something a couple years before FSM announced closure, along the lines that in order to stay stable they needed to put out a couple titles each month. I imagine there's a similar story at each label. So, a label needs cash flow to pay for overhead and epenses on new releases (which can sometime take years before they come out, meaning cash tied that doesn't come back to you for years), so why take chances? Play it safe. Go with the titles everybody wants. Hell, why go with the mroe questionable titles even many score fans want? Just go with what ever seems a sure deal.
And what if, for example, a label decides it's more cost effectice to do a re-recording since the original recording is too long, too old, more time and money to transfer, master, and assemble, etc.? As much as "Ben Hur" is considered a classic, I seriously doubt the film score community would have Kickstartered a 5CD deluxde set.
But meanwhile, the limited edition market continues to flow and not everybody is going to hop onto Kickstarter or some other alternative, so people are going to be tying their money up in releases that could take a year or more to hit the street and other laels that are not using Kickstarter, are still releasing limited editions -- and they take some pretty dough.
And what do you do when the costumer base is halfed over something? I once started a poll at the Intrada forum about crossfades, something the label likes to do. You can se ethe results were not in favor of any particular direction:
http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=5494&start=0
What if you start getting people that expect their money does or doesn't pay for crossfades? What if you get people that expect their money does pay for shorter releases or pays for longer? What if you get people who want their money back because it wasn't done how they invisioned? Or other various arguments. Film score fans are basically an assemblage of curmudgeonly complainers, after all.
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Well, let's do a test and start a Kickstarter for "My Little Pony: Friendship Is Magic", and see how it goes... ;-)
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I would definitely be interested in using this for major projects, such as a HAWAII FIVE-O box set or WILD, WILD WEST. As others have said, it would all depend on the project.
But that is really a good thing. How many times have labels misjudged the level of interest in something and had to eat their up-front costs? This Kickstarter (or other) method would give a nice indication of interest right up front. The label would have to be certain to get the word out broadly among the "Soundtrackies", but that's what boards like this are for.
Very intriguing.
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Posted: |
Sep 26, 2013 - 8:44 AM
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By: |
GoblinScore
(Member)
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If the title's right, I'm in, to an extent.....
No one has mentioned Perseverance tried this with Deadly Friend
& Chinatown a few years back. I put in on 'Friend', got the title, but
was never sure if it really funded anything, or just added $15 to a $20
cd. Chinatown, the proposed re-recording anyway, didn't happen, so who
knows where that money went. Then, the OST just showed up, years later....
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