Works your audience would like enough to pay to see.
Each project is planned from concept arts to budgeting: they’re just waiting to receive green light.
We have a full roster of original (in every sense you can think of: they’re new, and with genuinely original stories) cinematographic projects, ready to be produced.
We have all the production personnel necessary to create the projects.
We have all the business personnel required to complete the projects (from marketing to project management).
We have the necessary funding to start the projects.
Work in progress
We’re evaluating solutions for the cinematographic distribution of this venture.
If you’re a cinematographic distribution, and would like to have some good projects on your catalogue, get in touch!
Work in progress
About the movies we’re planning
Precise detail is available under NDA, that we’ll promptly provide to potential partners – be it so as collaborators or buyers.
But, in the meantime, here’s some more information about it:
Humans have many individual characteristics – but, beneath them, there’s what Carl Jung used to metaphorically call “the collective unconscious”: a unitary string that ties all humanity together. Reason for which, for instance, we manage to befriend and work with people grew up in completely different societies and times. Same concept applies to arts: beneath the individual particular tastes, there’s a very unitary vision of “what people like” – reason for which, for instance, so many movies could become so universally liked: they successfully tapped into some of those collectively shared values, hence becoming liked by everyone.
Given that: we wrote our stories using both artistic talent and scientific knowledge (e.g. Evolutionary psychology). So as to have the most precise bearing on “How to write a story people will like“.
Some of you with the biggest passion for cinema might not be new to this concept: it’s what Disney used to do back in the days, with the practices Cristopher Vogler described in his books – which we took as starting point to further develop this workflow. Always, obviously, as assistance to our main artistic inspiration: you can’t write good stories by “following the manual”. You always, always have to have an artistic inspiration inside of you.
I think writing some of our favorite movies would be a very good way to explain what artistic direction are we taking:
About scalability and continuity
The whole project is tuned so as to be able to sustain itself indeterminately, so as to become a stable reference for high quality cinematographic production: a team you know you can always refer to, when you need good movies. Both as a purchaser, and cinema industry professional looking for work.
The initiative is not meant to stop at its current size: each operation is meant to be stepping stone for a further, larger one. Increasing its production quality and capacity. Offering more products for an always growing movie market, and more job positions for industry professionals looking for a good place where to settle (which, as you might know, it’s not really easy to find).
Many times, you see a great work and ask yourself: “Where’s the sequel??“. And then find out not only there’s no sequel: the whole team crashed shortly after. That is something we’re taking great effort to avoid – with practices from making sure the business model is actually profitable through sales (and not, for instance, relying mostly on government funding: politics are too volatile to be trusted as main source of income), and making sure to hire only decent people who won’t destabilise the company on the long run.
About profitability through sales
One of the main problems in arts industry is unwillingness to think of an effective business model. “Effective business model” as in one feasible to generate revenues through sales.
Here’s how we’re going to do it
You have to understand human nature enough to create effective communication, so as to inform them how good is what you’re doing.
If you don’t know how to do this, or even worse you don’t want to, all next steps will be futile.
Good marketing is like a loan you take on people’s trust: you promise a good product, and they pay upfront for it. So, unless you’d like to crash and burn, it’d be best to keep up those promises.
This is a somewhat underestimated one. For instance: many companies hire in bulk after a big success, worried about “keeping up with the growth” …and forgetting employees are what builds the company. Meaning that not being careful about what you build it with will condemn it to failure on the long run.
Not our case: we are always very sensible about who we get on board. We have lots of work to do, and we need people we can trust. Up to a point in which we’d prefer to refuse growth if there couldn’t be enough good employees to onboard.
About building a good place to work
Multimedia industry is very famous for being a toxic environment. Fortunately, the solution is rather simple: stop hiring bad people.
But, as someone once said, “simple is not easy“: there’s not that many good people around. They’re actually really rare, and require extensive effort to be found. But, fortunately, they repay everything back – and here’s the 2 main ways in which they do so.
Employees increase their value over time: they get better at working for your company, and create a familiar environment in which everyone becomes more productive.
It’s incredibly stupid to not treat them in a fair way, making them leave. Losing everything that’s been built so far with them, and having to rebuild from scratch with someone new.
Work doesn’t have to be miserable. We understand many companies are happy with a workplace that feels like a gulag so as to “keep the crew on the move“, and that “better to be feared than be loved” – let them have their “fun”. We don’t work like that: we like the idea of growing old with our colleagues, and share both success and good memories with them.