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tahruh
Vintage Newbie


bigideas wrote:
I don't really follow that article. Are there any Kickstarters where you get profits after the project is made?

Most Kickstarters I see are in regards to making an album. If that album later goes Platinum the funders would never expect to get profits.

As others have said - if you want to help a person fund a project either do or don't. If you think it is worthy and have the money, contribute. If you don't think it is worthy or don't have the money, don't contribute. There are no laws that bind anyone to participate. If you want to complain anyone is free to. Whether or not that is a worthy justification of time is up to the individual.
Lol, did you even read it?
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Jared x
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JBaker wrote:
In the last 20 hours, they have made $-155. Yes, they have LOST $155 in pledges.

Now that is interesting. I wonder what happened. Could be all sorts of reasons, but... Hmm. Just interesting.

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mandy
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I saw that too and thought it was really interesting as well.
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JBaker
Vintage Newbie


wilsmith wrote:
Re: theguardianuk article

That was a well stated argument. I can no longer defend this & with a few exceptions am no wallowing in the privileged consumerist guilt i'd held at bay regarding crowd funding bands I liked rather than giving that money to charity. Thank Goodness for pledgemusic combining the two on a few campaigns I gave to.

I think contrasting the business model of corporate financiers who bankroll films to publicly traded commodities then to crowd funding is a valid rhetorical angle. Why can't fans who support be stakeholders if the well-off & institutions get to be as a standard practice, at least on mass mediated productions? Pledging on linited runs and small releases doesn't merit that thought, but a sequel to a widely released film, or film adaptation of a tv series does.


I wouldn't quite classify the Veronica Mars movie the same way. WB owns the rights to the character and refused to fund the film. Zach Braff could easily get funding from a distributor.

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wilsmith
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But the film makers could have solicited financing outside of WB just like Spike Lee did for Malcolm X. He got funds from celebrities, yes, but that was in the early 90s sans these tools. It's fair to say, if an Executive Producer or Producer credit gets one in on revenue sharing as a rreward for financing a project, then why not extend that to the public for a film that will ultimately have a wide release, be it digital, or physical on dvd/blu-ray? Money is money? Why is the money of the plebes different, regardless if it's financing a licensed property or an independent one?
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marshkingsdaughter
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JBaker wrote:
wilsmith wrote:
Re: theguardianuk article

That was a well stated argument. I can no longer defend this & with a few exceptions am no wallowing in the privileged consumerist guilt i'd held at bay regarding crowd funding bands I liked rather than giving that money to charity. Thank Goodness for pledgemusic combining the two on a few campaigns I gave to.

I think contrasting the business model of corporate financiers who bankroll films to publicly traded commodities then to crowd funding is a valid rhetorical angle. Why can't fans who support be stakeholders if the well-off & institutions get to be as a standard practice, at least on mass mediated productions? Pledging on linited runs and small releases doesn't merit that thought, but a sequel to a widely released film, or film adaptation of a tv series does.


I wouldn't quite classify the Veronica Mars movie the same way. WB owns the rights to the character and refused to fund the film. Zach Braff could easily get funding from a distributor.


I have...opinions about Zach Braff. He spent literally the entire Kickstarter video talking about all of this money he just turned down. People who compare his campaign to that of the VMars movie (which was partly designed to raise funds for the film but largely designed as proof of large-scale fan interest) frustrate me to no end.

Sidebar: If anyone is interested, I'll be writing a lengthy piece about kickstarter ethics and strategy for my magazine this week (VMars, Braff, Eisley, Hannah Hart, Amanda Palmer, yada yada). Cool plugs~*~

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wilsmith
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I just want to make it clear that I'm not talking about the actual methodology & promotion of the campaigns, just where the funds came from and their ultimate use in the productiion process: to make a movie for mass consumption.

Not to be contentious, but if a kickstarter is done just to prove a point to a studio, then if the studio reneges sanctioning producing the film, retroactively shelving it? Will the pledgers get a refund if they don't get perks cause the true goal didn't get met? A movie gets made that no one is allowed to see legally?

To me, outside of the rhetoric, the ethical implications of funding commodities with possible widespread commercial appeal is fundamentally the same. If both films were pitched on Shark Tank, the sharks would want a cut, not a copy of the movie. But when they are pitched to the public that's not an option. Pledger & Investor money are not considered equal in nature, I assume because of amounts & clout. Wall Street, for all its flaws, at least lets everyone in on the gamble.

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Last edited by wilsmith on Fri Apr 26, 2013 11:28 pm; edited 2 times in total
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marshkingsdaughter
Golly, Poster


wilsmith wrote:


Not to be contentious, but if a kickstarter is done just to prove a point to a studio, then if the studio declines producing the film, will the pledgers get a refund if they want to return their perks cause the true goal didn't get met?


Nope. Pledging is a very big risk in that regard. Although the kickstarter-ers are technically legally obligated to follow through on rewards.

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wilsmith
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You are too quick, I knew I would edit as soon as I posted because my phone was bugging out and I didn't want to risk having to retype due to a browser crash. All that said...

Agreed, kickstarter is kind of like Ebay before paypal was created & firmly established. I think that is also part of its appeal, it helps mitigate the liability of the person running the campaign because the potential financial loss, for the most part, is dispersed over a larger group with vastly smaller contribution amounts. It's almost like a pre-class action settlement. Your sense of entitlement is preemptively diminished. It seems a little bit like gamesmanship of the shady kind as far as the psychology implicitly at work.

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mr pine
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blue like jazz was a kickstarter funded movie.

the author posted once that the movie was a bust and two random people said they would start a kickstarter for it and it got funded.

for a while it was the highestest funded project on there.

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The_Paronomasial_Mattoid
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I've really been on the fence with this kickstarter, I'm not even going to try to hide that. However, I'm starting to look at it like this:

You are buying a product not available anywhere else and it's only available for a short time. So for fans that want this memorabilia, they will be more likely to purchase it. The upside to the fans purchasing the memorabilia means we get to see Eisley out on the road sooner rather than having to wait such a long time to see them.

The only thing I worry about is them having the kiddos on tour with them. However, that's not my call to make because they're not my kids. If they believe they can do it, then go for it. I would imagine that they would have Christie, Collin, Kayla and Jessie on the tour with them to help look after the kids...? Which would work out really well. I'm sure Eisley's not giving every detail, however, people are complaining about this like crazy online so it might benefit them to clarify that they're not hiring someone to watch their kids, that their family is helping out.

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mr pine wrote:
is there a difference between dubstep and techno?
you know besides the name?

techno: uhnd chik uhnd chik uhnd chik uhnd chik
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wilsmith
Vintage Newbie


Even if it is family they're bringing, they have to feed and house them during the tour. The expense od childcare is unavoidable. I would imagine a large share of the cost is also going to be for a actual tour bus, or at least an additional van, and fuel, then airfair & either freight for shipping their gear or rentals overseas. That along with hotel rooms and meals will cost them 100K easy. You're talking maybe a grand a head to go to the UK via plane so that's 14k with the band, Mark (Kappa###) & Todd, who have legit jobs as soundman & tour manager. Throw in Australia and you got 28k in airfare alone just for the essential crew.

It sounds like they have their heart set on a new stage rig, probably better PA, monitors, and lighting rig. These are reasonable desires for a band, but the reality is it's something the casual fan undervalues or neglects as part of their experience as the audience to the artist.

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The Man In The Moon
Lost at Forum


so i messaged them on kickstarter and they said that all the 100+ rewards would come with the ep and the demos, but they can't edit the rewards once they have backers. so they're trying to figure out a way to edit them.
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marshkingsdaughter
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The Man In The Moon wrote:
so i messaged them on kickstarter and they said that all the 100+ rewards would come with the ep and the demos, but they can't edit the rewards once they have backers. so they're trying to figure out a way to edit them.


Well, they just need to put out an update. They need to communicate it ASAP.

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bigideas
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http://hellogiggles.com/item-of-the-day-eisley-kickstarter

I just want to find out if the Demos are planning to be released outside of KS whether it succeeds or fails.

The thing that makes me think the Demos are coming either way is because they do not say "Kickstarter exclusive" in either description like it does on the 3-4 song EP.

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