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?
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.
-
-
And no wonder you were complaining about slide talks in Austin, you’re holding the rest of us schlubs to circus standards

-
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 -
-
-
Might be the rapid cycle time. Capital tends to like parking at lower return for more time over higher return for short time. Less tax, less management work to redeploy.
-
Hmm. I keep cycling back to - why has nobody created a managed arts investment fund where people can park their money and an arts fund manager cycles it out to production companies/producers?
-
It’s not a bad idea. Just that there have been better investment opportunities for a long time. Without looking at returns and spread numbers, I’d guess that they are net low (flops cost money too) and high management load. I’d guess broadway plays would be a good set to study.
End of conversation
New conversation -
Loading seems to be taking a while.
Twitter may be over capacity or experiencing a momentary hiccup. Try again or visit Twitter Status for more information.