Comments on: Do we really care about cast?

By: Arvind Ethan David

Arvind Ethan David — Wed, 31 Jan 2007 08:11:54 +0000

Chris: I buy into most of your analysis. But I think what really happens is what constitutes a “name” or a “hit” shift – both up and down the curve. I think the biggest movies will have to become bigger; not smaller, but I think there will exist a comfortable and profitable series of niches down the scale. The long-tail of movies, if you like. But people will still trust known quantities more than unknow quantities, but those ’stars’ might stop being just actors and become producers / studios / styles / filters / sites. This is already happening in animation (where it is the studio you trust, not the voice over actor) and also, as you point out, in User generated content – where it is YouTube / whoever sent it to you/that you trust, rather than who is in it.

By: Chris Dodge

Chris Dodge — Mon, 29 Jan 2007 20:22:35 +0000

I think these developments will – over time – errode the “star system”.

1) Low-cost delivery of content to the home via the Internet. Low-cost production tools (i.e. HiDef). This will keep production costs low. Gives distributors the opportunity to offer content at very low prices. Lower costs will cause consumers to say “hey, let’s give such-and-such film” a try.

2) Computer facilitated “discovery” platforms, such as Video Search, Recommendation Services, Social Networking sites. This will reduce consumers reliance on Reviews. Film exposure will come through a number of channels, not just via TV and newspapers.

3) Word-of-mouth/viral campaigns to keep marketing costs down

4) User-generated/semi-pro content. Over time people will find some value in “non-professional” content, which clearly will not have a star system. Although clearly

Basically, my understanding is that financiers want “name” insurance because their bets are generally so hit. Unfortunately, one typically has to pay for those names, so the financing costs go up just for the insurance. At some point, I think it will reach (or already have reached) a point of diminishing returns

By: Simon

Simon — Sun, 28 Jan 2007 15:36:05 +0000

Same issue we feel up against in the West End. Until you build slingshot as a brand (and guarantee of quality in the low budget arena) itself (which has to be the aim?) I think you’ll struggle without some name casting. We had exactly the same problem with with our last play in the West End. Although the two leads were good TV names and fantastic actors you’re competing with US stars and celebrity morons which necessarily generate more PR and help the audience chose what they know and recognise. The main kicker is the PR – despite having a 4* show we got almost no press beyond the initial reviews. Given you’re working on minimal Marketing budgets you are going to need as much PR as possible. I think S.Lane has great casting. Ashley Walters is a ‘name’ and is very newsworthy. Combined with the slingshot story will spin you a load of press for the first film but after that I think you’ll need something else. We have taken the decision never to produce anything in the West End again without a ‘name’. ‘Name’ in this sense doesn’t necessarily mean ‘American film star’ as we are still trying to make a good product but ‘name’ in the sense they will generate PR and attract an audience on their own consistent with the product.

By: Mike Peter Reed

Mike Peter Reed — Sun, 28 Jan 2007 13:13:24 +0000

story story story

location location location

names names names

then roll the dice.

By: Caspar

Caspar — Sat, 27 Jan 2007 22:25:35 +0000

cast a name.

pecunia non olet.

By: dav

dav — Sat, 27 Jan 2007 20:56:47 +0000

Hi Arvind

The whole casting and ’star’ thing must be a huge headache, but I’d imagine it would be even worse in the US where there really seems to be a cult of stars only about 20 of which can ever be capable of ‘opening’ a big movie.

It seems to me we’re much more about the premise (or, to get all Don Simpson on ya ass, the ‘high concept’) -boy in mining town wants to be a ballet dancer, loser has to save his girlfriend from zombies).

The downside of this is that we’ve also tended to draw from the well of winning formula- the posh brit rom com, the mercifully brief mockney gangster flick-long after they’ve run dry.

This is, of course, all PS (Pre-Slingshot)…