Just got off a skype with my producer bff who is kicking ass in London where we pondered the question - why is it so hard for profitable art to get funding? Is it lack of market aggregation? Information flows? Legal barriers against instruments that would minimise volatility?
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Unless the company has a continual pool of capital, they need to borrow/sell equity every season, or every large season. But the turnaround is very quick (6mos/1yr) and good producers will consistently produce sellout shows (and vice versa).
Thanks. Twitter will use this to make your timeline better. UndoUndo
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Regular live music seems to be thriving so I assume you mean other kinds of live performance acts
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I used to direct circus, and my producer friend produces circus. If a live musician rehearses alone or in a band then they have very low overhead costs, and the agent/record company model seems to be working well for touring music. Circus/theatre/dance/comedy is more stuck.
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And no wonder you were complaining about slide talks in Austin, you’re holding the rest of us schlubs to circus standards

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If they weren't upside down and on fire, did they even give a presentation? But nah, just partial to unconferences :P
End of conversation
New conversation -
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