My friend and producer, Josh Itzkowitz, produced a film called Same Boat, a sci-fi comedy that was guerilla-filmed on a major cruise liner.
It’s very funny.
I think you should go to the Same Boat website and watch the trailer and sign up for their mailing list so you can see it when it’s available.
From Marginal Revolution:
Setbacks are an integral part of a scientific career, yet little is known about whether an early-career setback may augment or hamper an individual’s future career impact. Here we examine junior scientists applying for U.S. National Institutes of Health (NIH) R01 grants. By focusing on grant proposals that fell just below and just above the funding threshold, we compare “near-miss” with “near-win” individuals to examine longer-term career outcomes. Our analyses reveal that an early-career near miss has powerful, opposing effects. On one hand, it significantly increases attrition, with one near miss predicting more than a 10% chance of disappearing permanently from the NIH system. Yet, despite an early setback, individuals with near misses systematically outperformed those with near wins in the longer run, as their publications in the next ten years garnered substantially higher impact. We further find that this performance advantage seems to go beyond a screening mechanism, whereby a more selected fraction of near-miss applicants remained than the near winners, suggesting that early-career setback appears to cause a performance improvement among those who persevere. Overall, the findings are consistent with the concept that “what doesn’t kill me makes me stronger.” Whereas science is often viewed as a setting where early success begets future success, our findings unveil an intimate yet previously unknown relationship where early-career setback can become a marker for future achievement, which may have broad implications for identifying, training and nurturing junior scientists whose career will have lasting impact.https://arxiv.org/abs/1903.06958
I think this goes for the arts as well. Early setbacks drive some to give up and others to work harder or look inward or improve. I’ve seen early successes be quite damaging, especially when the success is undeserved.
But how do you know whether you’ve had a near miss or a complete, not-even-close miss?
EFAP is the (free) film school that keeps giving.
I re-watched their video on the Marvel symphonic universe as I was laying in and playing with temp tracks last month as I get closer and closer to picture lock.
And I’m actually using some temp music from Transformers, which is mentioned in the video. Why you ask, would a micro-budget single-location dark satirical comedy want to use tracks from Michael Bay’s Transformers? Well, you’ll just have to wait until it comes out…
BUT, this time I also watched a really great response video about how yes, the big action franchises do use a lot of temp music and steal from each other, but, shocker, everything is a remix and directors have been doing this forever (but also – digital compositions favor certain sounds and arrangements).
I’m doing my best to not fall in love with my temp score and hoping to hand off the project to a composer clean, without any score.
From Peak California:
For a city to have a thriving arts scene, you need some combination of:
1. Families or nightlife, both of which produce demand for reasonably educated workers who work non-traditional or variable-schedule jobs, either as babysitters or bartenders.
2. Cheap neighborhoods that aren’t unsafe. My current neighborhood, Williamsburg, fit this role ten years ago.
3. Upside, either in the form of selling out or marrying someone with a boring but lucrative job.
For those that upload either episodic video shows or individual titles through Prime Video Direct, the program pays out royalties at set rates based on the aggregate hours viewed per title. In the U.S., Amazon paid between 6 cents and 15 cents per hour viewed in 2018; a similar sliding scale also exists for other Amazon markets the PVD program is offered including the U.K., Germany and Japan, according to a rate card.
Starting in April, Amazon is implementing changes to its U.S. rate card that will drop prices to between 4 cents and 10 cents per hour streamed, according to an email sent to Prime Video Direct account holders obtained by Digiday.
So let’s say you make an indie film and you get 100,000 hours of streaming (50k people watch a two-hour film) at 8 cents per hour. That adds up to $8,000.
It’s tough out on the long tail.
The Golden Age of Television is back, in movie form.
More from Lost in the Cosmos:
But what is not generally recognized is that the successful launch of self into the orbit of transcendence is necessarily attended by problems of reentry. What goes up must come down. The best film of the year ends at nine o’clock. What to do at ten? What did Faulkner do after writing the last sentence of Light in August? Get drunk for a week. What did Doestoevsky do after finishing The Idiot? Spend three days and nights at the roulette table. What does the reader do after finishing either book? How long does his exaltation last?
He gives several (slightly tongue-in-cheek) options, including suicide, sex, and alcohol. But also, travel or moving:
The self leaves home because home has been evacuated, not bombed out, but emptied out by the self itself. That is, home, family, neighborhood, and town have been engulfed by the vacuole of self, ingested and rendered excreta. What writer can stay in Oak Park, Illinois? One leaves for another place, but soon it too is ingested and digested.
Yeah, thinking of leaving myself.
The difference between Einstein and Kafka, both sons of middle-class middle-European families, both of whom found life in the ordinary world intolerably dreary:
Einstein escaped the world by science, that is, by transcending not only the world but the Cosmos itself.
Kafka also escaped his predicament–occasionally–not by science but by art, that is, by seeing and naming what had heretofore been unspeakable, the predicament of the self in the modern world.— Walker Percy, Lost in the Cosmos
I didn’t love this book, which I found through Austin Kleon, but I did love the chapter on escaping the self and re-entry problems.