The pencil heads and bean
counters of the corporate world have taken over the entertainment
industry. They see film and television
projects more like widgets that can be mass-produced rather than creative
endeavors. They have been managing the industry according to the mathematical
formula they created to reinforce their narrow point of view, which is everything
that can be summed up on the bottom of a balance sheet. They plop numbers to their formula, believing
it will project the audiences’ interests and desires. People can’t be summed up at the bottom of a
balance sheet. They are messy,
complicated, and inconsistent. Just
because they like a project once, doesn’t mean they will accept prequels,
sequels, and remakes. Unlike widgets,
which need to be standardized, successful film and television projects are the
ones that left the standards behind to tell tales based on unique characters
and plots. They are the leaders that blaze
new creative trails that everyone else follows.
Part of their equation focuses on
using A-list talent. Yet, A list talent only guarantees a much larger budget;
they don’t ensure a successful project. But the studios, investors, and
distributors insist on only supporting projects with A-list talent attached.
Although, for the most part, A-list talents have earned their places in the industry,
they only achieve that status by being correctly hired for projects that suit
their talents. Mismatching or forcing a
talent to fit into a project can damage or end careers just as quickly.
Every A-list actor who has walked
the red carpet had that one role that launched their career. Someone saw value in their talent and opened doors
for them. Unfortunately, with the
corporate state of mine, the roles and projects they were offered afterward became
standardized to a stereotype, because they are seen as numbers, not people. As
long as they stayed in their place, the studio executives will support
them. Stepping out of their pigeonhole
could lead to the red carpets being rolled up.
What’s more challenging--attracting
an A-list talent or creating a new one?
Existing talent has an established body of work and fan base, but both
bring audiences’ expectations. Fresh
talent lacks both those limitations and assets.
It’s the difference between buying a suit off the rack and having one custom
designed. However, offering a stereotype-breaking
role to an A-list talent becomes a game changer as it resets the stage for her
or him. However, it can also be a double-edged sword as the bar of excellence
will be raised as the actor faces preconceived expectations.
As with onscreen talent, writers,
directors, and producers also find themselves limited by the same parameters. Success frequently leads to being only offered
projects in the same genre and at the budget level. Industry and audience expectations create a
glass ceiling in which new adventures and challenges can be seen but not realized.
Kaleidoscope Film and Television
will break the chains that bind talent to the past and open doors for those new
to the industry. By keeping the budgets
reasonable and by focusing on original projects, it will return to the old
business model of producing quality in quantity. However, it will deviate from past practices
by focusing on bringing age, gender, and ethnic diversity and inclusion to the
screens. This will be accomplished by
breaking stereotypes in front of and behind the cameras. With top-of-the-line equipment and a
versatile soundstage, Kaleidoscope Film and Television will nurture new talent,
while expanding opportunities for experienced actors, producers, directors, and
writers. With the intention of being fully operational by the end of 2023, it
is currently building its team by reaching out to like-minded individuals, who
want to create projects that will entertain while opening the world to new
possibilities.
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