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The problem is the feedback loop: the people who work at the government want money, and the big corporations make a lot of money. My opinion is that we should device a system in which money is meaningless to people who make decisions about enterprise. What should matter to them is how their decisions affect the people.

Obviously, I have no idea how to do this.
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This proposal is not just an attack against Hollywood, it aims to replace cinema with something else. It's about actively working to destroy an art form. It sounds just as over the top as shutting down the internet to curb piracy.

If you really want to devote your life to destroying something, please don't just jump on the latest annoying thing. Make a list of the most evil things you can do something about, and see if Hollywood's political influence really makes it to the top.
Checkout http://setkick.com/

They just got accepted to StartMate, seems to be targeting the right industry.

*Disclaimer, in no way affiliated with SetKick!
Another comment on HN[0] said it better, by citing Francis Ford Coppola:

> "We have to be very clever about those things. You have to remember that it’s only a few hundred years, if that much, that artists are working with money. Artists never got money. Artists had a patron, either the leader of the state or the duke of Weimar or somewhere, or the church, the pope. Or they had another job. I have another job. I make films. No one tells me what to do. But I make the money in the wine industry. You work another job and get up at five in the morning and write your script.

> This idea of Metallica or some rock n’ roll singer being rich, that’s not necessarily going to happen anymore. Because, as we enter into a new age, maybe art will be free. Maybe the students are right. They should be able to download music and movies. I’m going to be shot for saying this. But who said art has to cost money? And therefore, who says artists have to make money?

> In the old days, 200 years ago, if you were a composer, the only way you could make money was to travel with the orchestra and be the conductor, because then you’d be paid as a musician. There was no recording. There were no record royalties. So I would say, “Try to disconnect the idea of cinema with the idea of making a living and money.” Because there are ways around it."

[0] http://news.ycombinator.com/item?id=3491678
The most I've seen for a film project on Kickstarter is a few hundred thousand.

I think millions are possible, with the right combination of factors, but I also think that someone with that combination of factors would likely have better options for raising money.
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Hi kshiraly, what your referring to is a true pain for me, both as a developer and a user. I've been working on a simple web app that helps bridge this gap. I'd be very happy to hear your opinion. Is there any email address you're reachable through?
>> Marketing and distribution is a sizeable chunk of money in a project too

How is a movie marketed and distributed in the film industry?

>> - Camera and grip departement can get huge... I've done only a moderate size productions and my camera and grip dept. was 20-30 people (skilled labour that costs money)

Could the team size be reduced by more/better technology?

>> Sound designers start their work (sound design is a major component of content along with images) - Composer starts their work

>> Prop dept. is rare in talent and costs a lot of money, traditional FX even more so - Sound designers which are good are rare, they cost, their hardware and software costs. Foley is even more rare to find.

How much of this work can be outsource to other countries?
I was under the impression that std::string::c_str() did not make an allocation, but rather had the scope of the parent std::string, it does in fact return a const char* which can't be freed like normal. Either that, or nearly all code I've seen which uses it amuses memory leaks.
You're attempting to derail the conversation by making the tech/start up/hacker scene sound like they are being immature and not listening. Tech and the internet have been in mainstream conscienceness for 15 years. They have had time to learn. They have already fired the first and second shot with numerous laws like SOPA, the DMCA and others.

Rather than them being too busy, I believe they are too greedy. I owe them nothing.
In fact, you can hear him speak on the podcast: https://www.npr.org/blogs/money/2012/01/13/145184551/the-fri...
As others have stated, it's mostly issues with the Math and the lack of preparation that most US public high schoolers get in Calculus.

I started Engineering (CS Degree) in Boulder, CO with a guy that came in study Electrical Engineering. He was good with circuit boards and the mechanics involved in electrical parts so EE seemed like a natural fit for him.

I went to an International Baccalaureate program in HS and studied Calculus pretty extensively in my 11th and 12th grades. My friend went to a small HS outside of Colorado Springs and never went past Algebra 2.

Engineering Calculus 101 showed me the value of my high school math curriculum. I didn't find it too difficult, as it was mostly a review for me. But it destroyed my friend completely. I remember watching his eyes glaze over as he struggled to keep up even in the early sessions. When we all got together to do the homework he was struggling to understand even the basics of Calculus.

On his first exam, he scored a 15%. At the professor's office hours, he was told nobody from his HS had passed Calc 101 in the past 5 years. He was advised to switch to B-school and that's where he ended up getting his degree.
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According to the analysis [1] from the Institute for International Film Financing [2], movies with budgets higher than 10 Mil. have a worse ratio of breaking-even: roughly 6 of 10 loose money based on box office alone vs. only 4 of 10 fail in the less than 10 Mil. category.

I agree that making movies is expensive, but we shouldn't fall prey to the availability heuristic.

To circumvent this, it might help to think about TV: What would it cost to produce original content for a 24/7 stream?

[1] http://abovethelineproducer.blogspot.com/2011/12/hollywood-p...
[2] http://filmfinancing.org/
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My college doesn't offer a minor in CS, and it's quite hard to get into the CS department with my current GPA. UW has a bit of an issue with this:

http://seattletimes.nwsource.com/html/dannywestneat/20169870...

And I guess you're right. I should figure out what I want to do more specifically. I had never thought about it more than just "software".
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In the world of traditional music, it's already the case that many of the best musicians earn their living doing something else.

Jerry Holland (RIP) was a world-class Cape Breton style fiddler, I'd guess almost everyone involved in "Celtic" fiddle knows at least one of his compositions. It took me finding three bios of him before I found one that even mentioned what I remembered from meeting him ten years ago: he made his living as a carpenter. Nine months a year he did that (with occasional gigs), and then come summer he'd go out on the festival circuit playing fiddle. http://www.cranfordpub.com/articles/holland_%20interview.htm

Brian Conway is another example. He's probably the best New York / Sligo style fiddler alive, but his day job is as a lawyer in a district attorney's office. http://www.brianconway.com/music.html

In both cases the standard of musicianship is impeccably high. You'd never guess from their playing or recordings that it wasn't a full-time job for them.
Those elders who spent their time on ham radio and trains back in the B&W days acquired an inherent understanding of cellphones and the internet, respectively. :)
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So what? I had no idea who Kim Kardashian was until I looked her up on Wikipedia just now.
Correct. He was not destitute at all, just not fabulously wealthy enough to get a personal grave.

Schubert was destitute but then Schubert basically sat in his room all day writing music. That does not earn you money now and it didn't earn you money back then either.

Schubert is also one of the first examples of the starving artist. Before him, artists did not starve, they did their job and made money at it. It was only around 1800 or so that romantics came up with the notion that artists were singular geniuses who had to sacrifice everything else for their art.
Cinemaware in general produced awesome games, and some of the real classic in terms of bridging the gap between movies and games.

It's worth loading up an Amiga emulator (WinUAE or E-UAE) and getting hold of them - getting legal copies would be tricky, but copies abound...

I mentioned King of Chicago in particular because it was the most movie-like of the games - as I mentioned, if you just start it, it will run like a movie, complete with rolling movie like credits, but their other games have much of the same feel to them though you had to drive most of them forward by taking actions. E.g. Rocket Ranger, Defender of the Crown, It Came from the Desert, Wings are some of their best known titles, all heavy on narration and heavily inspired by movies.
"The point that he raises by stating the fact that for most of the history of human art, people have not been paid to create art is not one to be overlooked."

I find this point meaningless. For most of human history a lot of things happened - for example
1) Slavery was normal
2) People were ruled by monarchies
3) Countries were constantly fighting each other

More to the point, we simply lacked the mechanism for 'normal people' (ie not nobles) to pay a small percent of their disposable income for art. Instead church & rich people picked up the slack and employed artists.

I think the point here is not so much about Intellectual Property as such, but about modes of distribution. Writers have been selling books for a couple hundred years - and nobody is complaining. We are comfortable buying books. But for media content the model is just not there yet. But let's talk about that - instead of attacking IP as such.
What about indi movies with non-pro actors, hand held cameras, no fx, no costumes, etc? If a lonely guy can entertain for hours with a book he wrote alone, may be a bunch of skilled guys can, or did already make a nice movie for much less. Think minecraft.
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Thanks! The first 1/3 about the disillusionment with the soviet system was fascinating. I was really hoping it would continue to explore the similarities with our time and (what the FT calls) "the crisis of capitalism". Not that they are one and the same, but it is an interesting question how a society deals with "stagnation".

Unfortunately it took an entirely different turn into popular culture and modern politics of Russia. Interesting, but not what I was hoping for.
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50% of a studio's output not being terrible is hardly the same thing as expecting every new movie to be a masterpiece. With studio's spending 100 million on a 'low' budget film you would expect they could spend 1 million to mock up 10 different films and pick the top 10% of scripts and fund them. Instead they use independent funding for most films which gives them far less choice.

PS: Pixar is hardly the first company to fund things internally raise the bar. You can find other studio's that used that model and produced a lot of decent films one after another. It's just that after a while the people running things don't really have a taste for talent and they can't handle the risks.
I think there is a software solution to this problem.

#1: A Recommendation Service: You know how Amazon will list "People who bought this, also bought these ..."? The problem with these recommendations is that people may have bought other items, but you don't know whether they actually liked them. I envision a music recommendation service that lets people select mainstream music they like and recommends indie music they might like based on user ratings.

#2 Music Analysis: There are already software tools that can predict hit songs [1], so why not take the idea a step further. Let users select a number of songs they like and build a profile of their tastes. This would predict new music they would like before it built enough critical mass to be in the "recommended by others" section.

#3 Talent Gamification: Think you've got American Idol potential? Submit your audio clip to the service get user ratings (and possibly software analysis). Do head to head match ups, clip of the day, or some other tactic to get people's interest and keep them coming back on a regular basis.

None of this is easy, but I definitely think the potential is there for a disruptive software solution to the major record labels' stranglehold on the music industry.

[1] http://www.npr.org/templates/story/story.php?storyId=1136733...
You can share with Dropbox and S3 as well, though.
It's under the radar because its appeal is very, very limited. My mom will read Asterix, but Penny Arcade is completely uninteresting to her.

We're living in somewhat of a hacker bubble where what happens on Youtube or Boing Boing is significant. The rest of the world, however, does not care. The rest of the world likes Hollywood.
Yes, but that's attacking the problem in the traditional sense. We need to disrupt Hollywood, not take them head-on. A better model would be to try a lot of movies made by young actors, and just let the best of the best come on top, in an evolutionary manner. This is the web. It doesn't have to be constrained by artificial scarcity and heavy filtering. I'm sure there are a lot of young actors who are dying to get a job in Hollywood. These new businesses should target them.

Only a bottom-up, decentralized approach can win against Hollywood.
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Does getting rid of our Old Entertainment Overlords really matter, if our New Entertainment Overlords are going to be doing the same thing? As long as one group of people is getting rich in an industry, the temptation is always there to start rigging the rules in your favor by working the refs. Look at the current mess we have with patents. Disrupting Hollywood is great, but we should also innovate by coming up with new ways to discourage and punish companies from attempting things like SOPA.
How is a movie marketed and distributed in the film industry?

It's not my expertise so I can't dwell into detail, but you can see it for yourself too - mostly via traditional channels, print and billboards, tv and radio trailers, online campaigns.

Could the team size be reduced by more/better technology?

Yes, but not by much! For example 35mm film is now more or less obsolete - average movie is shot on 20:1 ratio (for 90 minutes of running time, 1800 minutes is shot), that shaved off about $100,000 in negatives alone (around $5000 per hour of negative - costs of processing and making copies with film is additional cost). Film equipment can get cheaper. Dollies (like panther) cost around $60,000+ for example, good optics is 250,000 euros etc... Film lights are expensive too, but you need grip crew to operate them. I see opportunity in reducing costs of film equipment, but not so much in crew size.

How much of this work can be outsource to other countries?

It can and is, but as productions shifted from California to other countries those same countries started raising prices over time - so it's not so much as a cost reduction anymore... other countries now compete more on tax incentives than lower salaries (cost of equipment is more or less the same everywhere).
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The tech wave already happened; it's called CGI. Like any effective tool, whether CGI augments or substitutes for creativity depends largely on the creator.
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For those not in the know, SIAI had an unfortunate contractor theft incident in 2009. http://lesswrong.com/lw/5fo/siai_fundraising/4156
The indictment calls them "Mega Conspiracy". It was not part of their official company name. It's propaganda within a court file.
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Okay, so some ruminations:

To create a film/television show you are generally going to need these things:

Script

Time

Reliably Available Crew

No matter what you do, you will always need money to accommodate these three needs to produce a project in any kind of time frame that could allow such productions to ever turn a profit and allow you to keep making films. Even if everything is going to be CG and you don't need a locked location, crew doesn't need to be driven, and no one is Union, people still have needs that can't always be interrupted. Usually, that is the need to eat and drink to perform their tasks reasonably (and filmmaking can be some fucking grueling, albeit fun, work.) The rest of the time, it's making a living. Money allows you the freedom of time. If you're making a low-budget feature, that's generally going to take between 15-30 days of principal photography alone. Trying to schedule that kind of a production around your actor's shift at the Quik-Stop is a fucking nightmare.

So finding a way to finance these smaller productions gives the cast and crew the freedom they need both financially and chronologically.

It seems the best way to do that would be some form of microfinancing infrastructure similar to Kickstarter. There's been some marginal success on Kickstarter itself for film production, but I'm not aware of anything that's actually managed to gain traction. So a service that was actually completely specific to film projects that could match scripts, with time/location and reliably available crew (pre, principal and post) would be a wildly powerful tool for filmmakers (that could potentially eliminate the need for a centralized physical location like "Hollywood" as the technology has pretty successfully caught up).

Okay, the next big problem is going to be equipment rentals. They're expensive, it sucks, but it's a reality of production. An equipment rental service that caters specifically to low-budget next-generation film production that ships all over North America from multiple warehouses with helpful and reliable customer service is necessary to decentralize production.

Focusing a little more narrowly on what YComb readers could help with, scheduling and budgeting. Collaborative scheduling and budgeting tools are extremely expensive, particularly services that exist in the Cloud. Drafting a set of scheduling/budgeting tools that can be collaborated with online without the crazy charges other companies have would be a game changer. I think the only kind of open source project attacking this problem is CeltX and they don't have a budgeting component. If anyone is interested, the industry standard tools for this have generally been EP (Entertainment Partners) Budgeting and Scheduling, with cloud-based services gaining popularity over the last two years or so.

Each of these three ideas could be expanded upon radically, so I would love to have some discussion on them.
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You have to consider there are story driven movies/shows which can get made for lower budgets (Primer for example) as well as setpiece driven shows or spectacles which simply can't be made for smaller amounts of money (setpiece cnostruction can get pricey and can't be replaced with VFX).

As for TV costs, I was involved in a Big Brother show as a director for example - reality shows are among the cheapest content you can produce (hence why there are so many of them)... 3 months of that show production was I believe in 3-5 million euros range. And that was the cheapest content you can produce, with producers that watched every penny spent with relatively cheap workforce.