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VisCom/Creators/Kollywood
I didn't think that I will actually will come to release this publicly but I do believe that it will set an example of how decentralised everything is going to be rather than Power- concentrated on one Sector. Writing this based on Shaan's thoughts recently on the same issue.
The Amount that Platforms spent on Original Content creations are the following.
Netflix: $ 11 Billion
Apple: $ 6 Billion
Disney: $ 1 Billion
Amazon + Hulu + HBO: $ 2 Billion
Approximately equal to or more than $ 20 Billion
It's a conservatively 20 BILLION DOLLAR INDUSTRY
i wrote this around 3 years back
With the fact that these platforms are trying to grow more into South East Asia and India, where there is a growing demand of Regional content, it's not something that you and I should be missing.
Kollywood has more financiers and Movie Producers pushing a lot of movies regardless of its quality 24/7/365 throughout. Disagree with me here and I will throw a bunch of shitty movies which even made it into OTT right at your face. Haha..
The only problem where every Director/Story writer/Producers are facing is the structure of the cinema industry that is favoured to benefit only the few.
I have seen Lakhs and Lakhs of Creative creators who graduate from Uni. studying Visual Communication degrees with the hope that they can create something good. They end up chasing years off their precious life begging in the legs and feet of various Movie Directors/Asst. Directors and end up doing no-good-nothing odd jobs with little/no-pay without guaranteed income.
Finally all of them end up taking their precious Camera Kits, going into the forest to shoot some animals or set up Wedding Photography Studios with the same 'Dandanakku danakku nakku Mambatiyaan ada Mambatiyaan .. Malayuru Naattamai' BGM and Dance score.
Let's do the following to solve this shitty problem.
We have a Huge Supply/Demand group.
The Demand for quality content has skyrocketed so High while the supply for such content is not there.
There are so much niches which the Creators can target here. So much shows and series that could be produced.
THERE IS NO SUCH THING AS TOO MUCH CONTENT
So, here is how it works.
Aspiring Story Writers/Directors/(Or should I mention them as Creators) should apply. After a rigourous and meticulous selection, 100 peeps with their unique creations across different niches are chosen, Give them coaching by professional film makers and the crème-de-la-crème in the Trade + they are also given a Fixed budget to produce. Let's say 50 Lakhs each with a royalty per stream. (Around 10% should be ideal). Same deal for all the 100 who are selected.
All this process takes 3 to 4 months.
At the end of everything they can all present this as a Demo to buyers from all Premium OTT platforms such as Netflix/Apple/Disney etc.,
They can buy it, fund for full filming/series making or buy the whole film if a full film is made etc., (The possibilities are Endless)
We are talking about FREAKING 100 ORIGINAL creations per Cohort of 3 to 4 months.
Let's say only 10 got bought.
The guy who funded this is going to sit on a huge stack of Money.
How ? Just checkout how much Friends and the Office are getting paid till now. Netflix pays $ 100 Million a year for 'The Office'. Add in the royalty streams and this is a big business.
Do this over a year ? 4 cohorts = 400 Original creations minimum with atleast 50 hitting Global with other 350 going for small releases to other small OTTs or can be pushed for theatrical releases or self OTTs over Vimeo.
End Result:
1. No Nepotism or any favouritism crap from any Directors or Producers or anyone.
2. No casting couch or any other shady stuff
3. No more shitty Films
4. Over 400 Original creations across different Niches all year long.
5. Discovery of talented Directors and content creators
6. Discovery of more Regional Actors
7. More employment opportunities
8. No more threatening of anyone in movie Industry from Producer's Guild to Theater Owner Association.
[a qualification: a new funding structure alone cannot guarantee the removal of exploitation or favouritism. that needs transparent selection, enforceable safeguards and accountability; the proposal’s commercial outcomes are scenarios, not guaranteed returns.]
And Most important,
9. Actual Entertainment.
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