Fast, cheap and good. You can only pick two.
The above represents a stated wisdom across a number of business sectors.
Perhaps you’ve heard a version of the statement before. For any of who haven’t, the idea is that, when considering the creation of a product, the delivery of a service, or the management of a project — that quality can only be achieved if either quite a bit of time is taken (in situations of low budgeting) or an appropriate amount of money is spent (in situations of timely delivery) in producing whatever is being produced.
We won’t even discuss fast and cheap and not-good as an option.
Why do I bring this all up? Because I believe — even in regards to filmmaking, which is a costlier artistic pursuit (in theory) than, say, narrative fiction writing — that this adage is out of date.
I believe one can produce a quality product quickly and cheaply — with some qualifications.
- Limits must be strategically set to assure quality can be achieved.
- Experience must be leveraged, as an asset, to help offset lowered costs
- Cheap must be redefined at scale
To bring a practical example into the discussion, know that I bring all this up specifically in regards to my campaign to get THE CONFESSION funded, shot, and delivered to its audience — quickly.
The Confession, once finished, will be shorter than Multiverse (about 7 min). That’s one limit. Also, it was specifically written (as was The Videoblogs) so that it could be shot on the go in New York City. When we shoot it, we will be cruising the streets — in daylight — which means we don’t need additional lighting. There are only two main characters in the piece.
Something I have learned about limits, after so many years of indie filmmaking — is that you empower yourself by setting as many of them ahead of time as possible. By narrowing our focus with The Confession, we’ll allow the actors to dive deep into the story material for those few minutes when they’ll be on screen.
As I mentioned, it took me some time (and some error) to get better at proactively setting limits. Still, by now, that experience boosts the quality of most projects I put together as a more seasoned filmmaker. Beyond this, however, the cast and crew we’ve brought on board for The Confession will be bringing years of their own experience to “set” when we shoot. That’s a given on many films, however — we’ve stacked the deck with The Confession. In the name of quality and speed.
It can be hard for talented artists to band together and create something, these days. Production funds are often in short supply. Many of us have spent years pitching in personal funds, and sacrificing job opportunities, for the chance and time to string together a catalogue of good work. We squeeze tightly to what little time we have to eke out The Next Thing.
Crowdfunding helps enormously to allow each next thing thing to come, usually by combination of continual hard work and sacrifice (on our part), and the ability to pay certain hard costs, by the good-faith generosity and support of the audience.
But I believe there’s a middle ground. I believe — with the right respect for limits and on an appropriate scale — that a group of talented collaborators can come together for a day to make something fun and special, and then get that well-done, finished thing to supporters within a reasonable timeframe. It just takes a refreshed definition of cheap.
Cheap Doesn’t Have to Mean “Low Value”
When you infuse a product with the blood of experience, and spend time smartly defining some limits, so that specific areas can be adequately explored, a great amount of value is brought to its genesis that cannot be defined in hard dollars.
In today’s increasingly tech-enabled, and hyper-connected environment — it’s relatively easy to produce good work speedily. The trick is the labor.
We all deserve fair wages. I believe that. I also believe in respecting the truth behind any self-given creative endeavor.
No one’s making us go ahead with The Confession. Under all practical definitions, I probably should be resting, or focusing more completely on The Videoblogs, or Coffee with Creatives, or the new script I’m writing.
But you know what? I want to make it. I really, really do. I think the project is fun. I’m excited to have less responsibility, as Jaclyn Gramigna produces and directs. I’m looking forward to speeding through something, with no strings attached other than the making and delivery of the thing. I need to offset the hard work and the seriousness of The Videoblogs and the podcast with a dose of the non-serious but no-less universal.
So what do we do? What have we done? Well, as many of you know — we’ve gone to our audience for help.
This is not new, either for me or in general. Crowdfunding, as I mentioned, is most decidedly a thing. But even as our experience with The Videoblogs illustrates, crowdfunding in such a direct way — 1) You pay us to bring our knowledge and experience to work towards the creation of the product (film), and 2) We go immediately into delivering it — that doesn’t usually happen. Most of what we’re looking to raise goes directly to scheduling cast and crew for the day, to help us more easily and more quickly bring you a quality, funny little film.
Fast. Cheap. Good. You can only pick two.
I want to break that rule and try something different. It feels like the right move. Several people have joined in by now, but we don’t have a lot of time left to fund The Confession.
I’d love for you to join us.
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