![]() “So when you ask these people if it’s going to be a good movie or if they’re looking forward to it, they’re at least optimistic,” he says. Nasir raises the point that, no matter who is crowdfunding what project, those who are contributing money – and they’re doing it voluntarily – end up with a sense of authorship over the project. “People might be worried that more established artists are obscuring smaller projects, maybe, but I think at the end of the day whatever gets these projects seen, it’s worth it.” “I think it’s great that people are talking about it,” says Canadian filmmaker Ariel Nasr, whose Oscar-nominated film Buzkashi Boys depended on crowdsourced funding for its higher-than-expected post-production costs. Sort of the opposite of the Braff backlash, in a way: Kickstarter made Palmer into a mainstream celebrity, meaning asking for favours was suddenly out of the question. An enormous success, to be sure, but once it leaked that Palmer was asking for volunteers to play onstage as part of her band but not paying them, the penny dropped. Take Amanda Palmer: The onetime Dresden Dolls frontwoman shattered her own Kickstarter goal of $100,000 in 2012, earning roughly $1.2-million in fan-donated money to record, produce, press and distribute last year’s Theatre is Evil. And if Veronica Mars’ success is any indication, it works - but it’s a new model, the issues with which go beyond who should and shouldn’t be allowed to benefit from it. Article contentĪt its core, then, the model seems simple enough: Rally an existing fan base around a project, offer incentives to donate, and everyone ends up with a final project they’re happy with – in no small way because everyone feels like a contributor. This advertisement has not loaded yet, but your article continues below. Manage Print Subscription / Tax Receipt.
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