If you use google it'll tell you that Zach Braff is worth over $20 million. Where does that come from? No clue, it might just be speculation, but it's out there. A lie with its pants on, to paraphrase Mark Twain. In his reddit AMA he specifically refuted the notion that he was worth anywhere near that amount. According to wikipedia, most of the time Scrubs was merely a top 100 show, it seems safe to say that Braff never had the opportunity to negotiate upwards on his contract and overall lifetime royalties from the show are not as impressive as some folks imagine.
More importantly, I think the assumption is that the kickstarter is the only funding for the project, though Braff has also stated publicly that he is kicking in a lot of his own personal funds.
There have been many times where I've seen widespread accusations of a "massive cash grab", either related to kickstarter campaigns or elsewhere, and most of the time it's so hilariously wrong it's just sad.
I'm not sure whether this stems from a poor understanding of business fundamentals, meaningless hatred of people who are successful, or something else.
Bear in mind that there's also a signaling mechanism at work here. Lots of people on Internet forums will say, "I want to see Garden State II or Season 3 of popular TV show X" or whatever. But talk is cheap.
Kickstarter, however, lets people put their money where their mouths are: instead of saying, "I want to see or read X," you can say, "I want to see or read X so bad that I'm willing to pay $10 to make it happen." That $10 is much louder than 10,000 posts on the Internet.
But Braff has access to the money. That's pretty clear. The methods of access are misunderstood, that's all.
The fact is he doesn't need this Kickstarter to make this movie, he COULD do it himself. But he doesn't want to risk ONLY his own money. So he's taking advantage of the public.
Scrubs may be a popular show among a certain cohort, it may be highly acclaimed, and it may be quite popular in syndication, but people tend to forget that while it was running it had mediocre ratings and it was effectively cancelled twice.
You have no clue how much money he has, your accusation that he's "taking advantage of the public" is just baseless libel.
And even now it's still not actually fully legal. Congress passed the JOBS act to allow for equity based crowd funding but the SEC has blown past deadlines to actually implement it and make it a reality. Who knows when it'll actually be fully legal, hopefully some time this decade.
This whole incident serves to remind me that many people apparently have no idea that folk music exists. Yes, people routinely spend tens of thousands of hours mastering multiple musical instruments in order to be able to play for themselves, for their family and friends, and for random passers-by for free. Yes, folk musicians sometimes get paid to play, but can also be expected to be found jamming away in hallways, tents, parking lots and living rooms with fellow musicians and fans - there is no real line between a musician and a fan. And the privilege of jamming along with one of your musical idols is not something one expects to be paid for; indeed, a relatively modern innovation in folk and bluegrass is the formal "music camp", where the students pay for this privilege.
A small fraction of them (1% of the 1%) will be fund the creation of the content,[...]
I'm not even talking about grammar or word order preferences. I just mean the errors you could catch if you read through what you wrote for 5 minutes before posting.
Examples: Ragnar Torquist's The Longest Journey sequel, Richard Garriott's kickstarter, Double Fine Adeventure by Tim Schafer, Project Eternity, Planescape: Torment spiritual sequel... there's a lot of them.
Ultimately, both sides have a point. It is a tad disingenous for the elite in a specific genre to ask for money upfront from crowdsourcing, because they could have gotten that money elsewhere. On the other hand, we shouldn't deny them the chance of starting the kickstarter -- and once they start it, their large fanbase can usually be counted on to pitch in enough.
As for you and me, dear reader, we should do as always -- vote with our wallets and support interesting and sometimes risky projects which wouldn't get the money any other way.
Kickstarter has some basic analytics so creators can see where backers are coming from, and for small campaigns, most backers are like you, people who go to Kickstarter looking for new and interesting projects. But the blockbusters brought most people to Kickstarter in the first place, not the long tail.
I'm not sure that's true. http://www.aaronsw.com/weblog/whowriteswikipedia
I equate popular people/companies using Kickstarter to promote and fund their next project to retailers selling products directly on eBay. Yeah, it's viable, has long since drowned out the small guy with something useful to sell, which seemed like the whole point of eBay to me.
Perhaps with crowd funding projects that then release in more conventional ways (e.g. DVD, netflix, etc.) it'll be possible to solve both ends of this problem. It'll be interesting to see how everything works out.
Anyway, I've been surprised at the absence of anyone trying to either coopt the popularity of web video and such-like or to try to make money on it as a business partner. For example, why isn't there a production studio which concentrates on crowd funded movies? It took Zach Braff seeing the popularity of the Veronica Mars kickstarter to have the idea to do the same thing, imagine if there was a group out there catering to artists with projects they want to fund. Apply a little bit of polish, experience with how to formulate a good kickstarter campaign, select reward levels appropriately, help with fulfillment, help with legal issues, help with distribution, take a cut of the profits.
What you're describing is a movie producer, and as these appear in the Kickstarter space - as they are apparently doing now - I'd expect them to be essentially the same people that have been producing movies for the previous century.
The "conventional media", which is to say "the media", have the cameras and the lights. They have the theater-chain contracts and the distribution contracts. They have the agents' phone numbers and the union contracts and the favorite-son politicians and the sound stages within driving distance of your favorite actor's home. They know how to advertise and they have the lawyers and accountants.
And today's movie producers have connections to all of these things. Acquiring these connections is the hard part. Learning to put up a Kickstarter campaign is easy by comparison.
Kickstarter can change the shape of the "development" phase of movies, by giving producers (and writers or actors who want to self-produce) an alternative source of seed money and a way to cheaply drum up and demonstrate fan enthusiasm in advance of the product. But it will swiftly be incorporated into the existing media infrastructure, just as, say, the San Diego Comicon was.
Especially in the case of Amanda Palmer none of these people bitching about her had ever heard of her before and don't care about her work.
People just don't seem to like the idea that those "artsy types" can now get money to do their thing without having to whore themselves out to the entertainment industry and the media, and to the larger public by way of the latter.
For example: There’s a HUGE amount of upside here. That’s why Garden State grossed $35 million at the box office. Or, put another way: if 350,000 people see this movie in theaters, at $10 a ticket, that’s $3.5 million — 10% of what Garden State made. If Braff gets $2 per ticket, that’s $700,000 right to him. Wow! ↩
There is no way that Braff got $2 a ticket. At $10/ticket, that represents 20% of the top-line grosses (i.e., before expenses and the theater's take), and would represent almost 50% or more of the studio's receipts on the film at today's prices. (When Garden State came out, ticket prices were $2-$3 less, so the alleged $2/ticket amount would be even more obscene. ) Theaters typically receive 1/2 of the ticket amount in the first week or two, and an increasing amount each week thereafter to incentivize theatrical longevity.
Studios then divy up the remainder, taking their share and expenses first out of such earnings. (Actors and directors are generally paid their salaries at the onset of the project and would normally be treated as an expense for the studio to recoup).
Some actors are able to negotiate a portion of the net proceeds, and receive those in the unlikely and rare event that the movie company with which they contracted shows a profit. More preferable, but infinitely more unlikely, is for a star to negotiate a portion of the gross proceeds (i.e., before the Hollywood accounting kicks in). Zach Braff has never been a big enough star to get that sort of arrangement--that's the sort of deal that even Tom Cruise and Will Smith would be hard-pressed to achieve without serious salary concessions--most actors only ever achieve a portion of the gross if they forgo their salary and participate in principal financing.
I never said he got $2/ticket from Garden State.
For campaigns like this I don't think the founder's financial status is even a question we should be asking.
- 90% of wannabe creatives lack the talent, vision or focus to actually see their idea though - 9% of wannabe creatives have the talent, vision and focus but lack money or the ability to connect with traditional financial backers. They're the people Kickstarter was created for. - 1% of people have talent, money and connections in abundance but see Kickstarter as a free way to get better publicity and collect more of the profit.
You can't really blame a multimillionaire for keeping their cash and equity in a movie project and offering their fans unspecified extras roles not guaranteed to make the final cut in return for a few thousand dollars, but it doesn't mean we have to admire them for doing so.
