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Written By Abdun Nur
A large blockbuster movie production cost millions of dollars. The main costs of filming a big budget movie comes from the people in charge of making it, who demand tens of millions in studio fees, the next largest cost is marketing, then usually the cost of famous actors. For example Dwayne Johnson earned $89.4 million in 2019.
Booking ad space in newspapers and magazines has become very costly. Add to that the cost of PR and social media assets, and the cost of a theatrical release starts to look like the budget of a small nation.
So these added cost produce nothing substantial, except permission to be made from those in charge, using famous people as actors, when unknown actors would likely do a far better job, the cost of fees and interest from banking, and the insane cost of marketing, which is required when the average movie isn’t worth the time to watch, all culminates in adding over 90% to the cost of production.
The most expensive film claimed ever made, using this model, was ‘Pirates of the Caribbean: On Stranger Tides’ which cost $378.5 – $410 million (depending on the source), a terrible movie with a rating of 33% on Rotten Tomatoes, however, due to aggressive marketing and by riding on the strength of the previous films successes, made $1046 million, effectively tricking people into paying to watch rubbish. However Hunger games is claimed to have used a budget of $495 million, clearly the budgets of the movie industry are not based on reality.
The American film industry generated $43.4 billion in revenue in 2019, the global film industry was worth $136 billion in 2018. Since 1900 there’s been an average of 2,577 films produced each year around the world. If that was considered as an equal distribution each movie would be worth $52,774,544.
In 2019, a total of 786 movies were released in the United States and Canada. The average American watches 20-30 movies a year.
The average cost of a cinema ticket in 2020 is $9.11, one of the most expensive cinema ticket is $50.75 for a seat at the Odeon Luxe Leicester Square in London. Even the average cost adds up fast for a family, added to this very high cost, are over priced snacks and drinks.
Cinema is declining, cinemas are currently closing down worldwide not expanding, the very high cost of watching a movie at the cinema has reached such insanity it’s prohibitive for more and more people, as corporate greed is insatiable.
In response to this declining business model some movie theaters have begun to use incentives to bring in customers. Gourmet refreshments—including alcohol, reclining seats, surround sound, 3-D and even 4-D movies experiences.
DVD and Blu-ray are on a downward cycle, and will eventually vanish like the video rental stores of the past, as online access becomes ever easier, the expense and problems of discs becomes an unnecessary reality, being a medium so easily scratched and damaged. When video first arrived on Betamax and VHS tapes, rental stores spread, but as technology advanced with video on demand services, rental companies like Blockbuster’s eventual went out of business. Blockbuster filed for bankruptcy protection in 2010.
Movies have deteriorated in story quality and increased in spectacle over the decades, as technologies advance and the costs of using CGI drops. Corporation isn’t interested in story telling as much as formulaic methods, that they believe, allow them the least risk for the greatest returns.
The thinking, of those working for corporation, is, if it worked the first time, it will work again, this explains why, either the same basic story elements are repeated endlessly in movie after movie, or the same story is repeatedly turned into movies, for example ‘A Christmas Carol’ has been made more than two dozen times. From the 1901 silent film called Scrooge, or, Marley’s Ghost to the 2009 full CGI 3D Jim Carrey version, ‘A Christmas Carol’.
There are somewhere around 100,000 new English-language works of long-form prose fiction published globally each year.
This means if the average number of films made is 2,577 then the number of new written works that could be uniquely considered for each new film would be around 38. Adaptations of novels presently account for around 50% of all movies made, many of these recycling previously made stories. You may, as I have, read many stories that would make fantastic movies, or a TV series, but these were never made, while we have to suffer the often appalling offerings of corporation, who are presently dominating and dictating production.
This cost structure and corporate dominance is not only the reality of the movie industry, but also for small screen productions. Often corporation cancel popular and entertaining shows, while endlessly continuing the worst quality shows season after season. An example of canceling popular shows was the series ‘Dark Matter’ that ran for 3 season with a 89% Rotten tomatoes rating, very popular, yet cancelled by the corporate owners, who ignored the clear ‘need’.
The final elements of allowing the suppliers, and not those with a need, to determine production, are propaganda and social engineering; using this media is a powerful tool of indoctrination, and allows lies and deceptions to mask reality. An example of this social engineering, is sodomy which has significantly increased as a form of sexual intercourse, and is now preferred by many Americans, due to the influence of the Ashkenazi Jewish dominated porn industry.
Another issue with a hierarchical system of control, is sexual abuse, which exists across all age groups within the Ashkenazi Jewish ‘Hollywood’ movies industry, forcing people to degrade and prostitute themselves in order to advance, or simply taking advantage of a position of power that allows such abuse, with the fear of retaliation, being a very real collective action of the moguls, preventing victims from working within the movie industry, so maintaining silence.
The reciprocal bonding model reverses these issues, allowing the need to dictate, not the supply. Allowing the need to determine, removes the cost of permission to produce, marketing and squandering resources on ‘famous’ actors; instead good actors can be selected on ability not fame.
An example of appalling acting from a famous over paid actor, was exposed with the 2020 film ‘Dolittle’ the forth version of this story on film. This version has a 15% Rotten tomatoes rating, due mainly to the appalling performance of Robert Downey, Jr., this film cost $223.3 million to produce corporately, and deservedly lost money (if that’s possible).
The Need ‘Movie Bond‘
The bonding platform is attached to “the worlds first true medium of exchange”, a 100% advancing cryptocurrency platform, this allows anyone to establish a bond for whatever purpose they have a need for, the only restrictions being, it must not break the reciprocal duty of care, and it cannot be usurious.
A core bond for a general entertainment ‘need’ would be formed first, this allows the infrastructure to be formed to service the specific needs of the bondsmen. So if you wished to guarantee the creation of movies and series, then you join the core bond, and attach your guarantee.
This costs nothing initially, but does cost a proportionate (to the number of bondsmen within the bond) annual depreciation cost, covering infrastructure and equipment. This parent bond guarantees funds for the infrastructure costs of the specialised cooperatives required for the various media needs to be satisfied, once a need arises.
The core entertainment bond need not be local, as movies and TV are watched across the Earth, the only restriction is language, the platform then advertises the bond to all users.
If a bondsman of the platform desires the making of a movie or series based on a specified novel or screenplay, they post it on the platform, within a category, if others agree and are willing to guarantee the advance for the creation of that ‘need’, then when the predetermined minimum number of bondsmen have accepted the bond, it is funded through advance on the platform.
With interest and fee free funding made available from the advancing platform, guaranteed by the ‘need’ bond, repaid to the platform through the annual cost of depreciation.
With funding available a cooperative bond is formed under the consensus of the “need” bondsmen, to take the need and implement its creation. This could be an existing cooperative bond that has completed a ‘need’ project and is seeking another, or to the creation of a new cooperative.
The people working cooperatively forming the cooperative bond, are determined through the consensus of the ‘need’ bondmen, who determine who will satisfy their needs.
As with all cooperative bonds the bondsmen must provide 20% of the total cost of the infrastructure provided by the ‘need’ bondsmen, at the point the cooperative is being created, or a new cooperative bondsman joins the cooperative. This 20% guarantee is held in virtual escrow by the platform, as a guarantee for the ‘need’ bondsmen, to prevent fraud, theft, or incompetence.
Cooperative Bonds that are developed for specialist aspects of a ‘need’, where many ‘need’ bonds could have access to the services and so be supported, are guaranteed funding of infrastructure from the parent entertainment bond proportionately for all need bonds utilising that cooperative. For example a regional cooperative studio could be formed, providing makeup rooms, rehearsal rooms, indoor and outdoor set frameworks and construction and cafeteria, even providing technical equipment for use on the project of cameras, sound systems, lighting, costumes, and editing, etc.
The symbiotic cooperative bonds work with the core need cooperative formed for the specific movie or series required. For example a CGI cooperative, or a make-up and costume cooperative, or a stunt and technical security of bondsmen cooperative, etc. could be created, working with the core cooperative satisfying the ‘need’ of the originating bond.
Movies commonly spend huge sums paying for locations, this is becoming less important with the green screen technology, which gives the ability to generate sets, including scenic settings, without the need to pay huge sums for locations, for example the Mandalorian employs green screen extensively to generate settings.
The ‘need’ bondsmen give guarantee, the cryptocurrency funds the creation satisfying that ‘need’, and with a movie or series, the repayment of the advance is ultimately paid through those paying to watch the movie or series. Only if the end product is so bad it loses money, would the guarantee of the bondsmen be required to honour their commitment, and as the need bondsmen are an active part of determining who is in the cooperative to achieve the end product, what story is being made, and which actors take the parts, a bad film would, to a large extent, be their fault.
The need bondsmen give two guarantees, the first is to fund infrastructure with an annual cost that covers the depreciation of equipment and infrastructure, the second is to guarantee the direct costs of production which they determine on an individual basis. The annual cost of infrastructure and equipment deprecation can be paid by the audience of any production, if it exceeds the cost of production in the first year, then the cost is proportionately shared by of all series and movies produced that exceed the cost of production within that year. To watch movies and series you simply join the need bond, and give a guarantee to cover the cost of depreciation of equipment and infrastructure as an annual cost.
Over 80% of Hollywood movies fail to turn a profit through the use of creative accounting (fraud). Each new movie “is set up as its own corporation, the entire point of which is to lose money” by paying huge fees to the studio producing the movie, this means the actual cost of production is tiny in comparison to the stated costs.
The “need” bondsmen effectively act of the producer, responsible for determining and launching a project; guaranteeing financing from the advancing cryptocurrency platform; selecting stories to be made in to film, selecting a director, and key members of the creative team, actors, etc.; and overseeing all elements of pre-production, production and post-production, right up to release. This hands on model of production allows those involved to be an integral part of the process.
The key bondsman helping and facilitating the production is the director, they control a film’s artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the technical crew and actors in the fulfilment of that vision. The director has a key role in cooperation with the “need” bondsmen, in choosing the cast members, production design and all the creative aspects of filmmaking.
The cost of production is greatly reduced with no hierarchical structure to drain the majority of the funds, being free of studio fees, executive fees, producer fees, no need of advertising, as all movies and series would be freely advertised across the whole polycentric network of the cryptocurrency platform, eventually as the model expanded covering an ever expanding group until it covered the whole earth. No need of ‘famous’ actors, local talent (local to the bondsmen that formed the bond) would be cultivated and real talent would be the bench mark not fame.
Not all movies cost vast sums to create, outside of the Hollywood corporate monopoly costs are far lower, for more often than not, better movies.
How Is the End Product Sold?
Once completed the movie or series is made available for download on the platform, with a cost determined by the ‘need’ bondsmen. For example set at 10c for a movie and 5c for a series episode. If the viewer is not happy with the movie or series they can cancel their 10c or 5c payment and get a refund. Conversely if a viewer loves the movie or series they can pay as much as they wish above the minimum.
The need bondsmen can set the cost of viewing higher if they wish to dispel their obligation of guarantor faster. If for example they set the cost to view to the max. of 50c, assuming this did not deter viewers from watching the movie, the higher cost would eventually be reimbursed to viewers if the movie was popular, this would reduce to 1c as viewer numbers grew, and then become free to all. (In this explanation we will stick with the min. 10c for movies and 5c for a series episodes.)
The cost of viewing the movie or series, would be proportionate to the number of viewers, for example if 20 million viewers collectively repay the advance in full, at 5c each, however 40 million bondsmen view the show, then the cost per bondsmen is reduced to 2.5c each, the system reimbursing those who paid more when a full 1c reduction occurs. If 100 million view the show, then when the cost reaches 1c per viewer bondsmen, the show becomes open source, free to all bondsmen, this same concept applies to the production of movies also.
If people enjoy the production, they can choose to give their guarantee. If for example the original bond requires 1000 bondsmen to initiate the advance, and so fund the production, and the average ‘blockbuster’ corporate cost of movie production is $70 million, removing the parasites would reduce this by 90%-95% to $3.5 -7 million, this means each initial bondsmen gives a guarantee of up to $7000. Nothing is paid, the platform only requires guarantee, the advance is created and the movie is produced. The amount advanced is not a lump sum, but would be estimated by the production cooperative, and the final cost would be only the actual cost of the production.
The reason others may wish to give their guarantee for a movie or series already created, is each bondsmen has a limited capacity to stand guarantor, if only a small number of bondsmen are guaranteeing the movie, it reduces their ability to stand guarantor for other movies or series, until their obligation reduces as the advance is paid back through viewers, or through others joining as guarantors with them.
The average movie is watched by many millions of people. If we take a film’s domestic gross and divide it by the average cost of a cinema ticket, let’s take a flop as an example, ‘John Carter’ 2012 which grossed 284.1 million, the average cinema ticket is $9.11, so 31,185,510 paid to see it. Let’s say for our example only 50% of the present average saw our production, that’s 16 million. Each viewer pays 10c to watch, generating $1,600,000. Lets say 1% of viewers love the movie and pay more than the minimum 10c, instead they pay an average of $1, this generates an additional $144,000.
1% of viewers love the movie enough to add their guarantee to the bond, so now the original 1000 has become 161,000 guarantors, so each one now gives a guarantee of $43.48 over 10 years from the completion of production, guaranteeing $4.35 annually or part thereof, if revenues from viewers fails to meet the obligation. The advance requires $700,000 per year for 10 years until the production is repaid, so the initial release means the guarantors need contribute nothing for over two and a half years in this example, this means for the next 2.5 years viewers continue to pay to view the movie and the cost of production continues to be paid back gradually.
If the movie does fail to achieve the cost of it production from viewers even after 10 years, and the bondsmen that gave their guarantee have annually contributed towards the repayments, the bond does not become open source as a free download until all those guarantors, that have paid towards the production costs, are fully reimbursed.
If the corporate cinema system wishes to screen the movie, the cost of cinema tickets for bondsmen and their families, would have to be reduced to 10% of normal cost. Any revenues this generated would reduce the advance further.
Once the advance is repaid in full from viewers, donation or cinema access, the movie is open source on the platform, costing nothing at all for any ‘bondsmen’ within the “need’ bond to view.
If you like the products of a certain cooperative you can pay them an advance of future production, this would allow bondsmen guaranteeing a new project more confidence to commit to a project, as a reserve of funding would already exist.
DVD and Blu-ray discs are a declining market and will disappear in the not too distant future.
The cost of producing an episode of a series is generally much lower than the production of a movie. This is not always the case, for example the Mandalorian cost $15 million an episode, again the same fees and parasites contribute to the incredibly inflated costs of corporate TV production, just as they’re applied to movie production.
A show like the Mandalorian, which had 40 million viewers in America when aired, used green screen extensively, if this level of production were done free of corporate costing structures, it should easily be achieved with a 15th the cost, $1 million an episode or less.
If we take $1 million as the example of a very technical and difficult to produce episode of a series, and the cost of watching an episode is 5c, and we take 50%, of just the American viewer market as a global estimate, so 20 million viewers. This would generate $1 million and repay the advance in full.
Netflix, which accounts for 10% of American viewers market share, using their hosting platform, shows a popular series will get 20 million views or more.
The cost of a production bond using a symbiotic cooperative bond for CGI effects for example, pays the true cost, these cost includes the costs used to fund technological development through a symbiotic cooperative bond, to further develop the technologies of the entertainment industry within symbiotic cooperatives, providing training of bondsmen who work within cooperative bonds connected to the entertainment bond, etc.
Like all bonds those who labour within them earn three or four times the amount presently paid within the corporate model, except for those jobs that are not needed, such as producers, advertisers, and obscenely over paid actors.
There would, of course, be many ways in which actors could increase their earning outside of the production of movies, through personal appearances for example. Fame allows many advantages.
The originator of the movie or series, being the author of the novel and screenplay, would gain the most from the production, presently the national average writers salary is $51,395 a year, this would in the bonding model be 3 times as much, which works out at approx. $75 an hour. The sales of written versions of the production would also generate income for the writer.
The present cost of a movie script as a global average is $60k – $100k, Hollywood pays slightly more $80k – $250k. One page of script averages 1 minute of screen time, the average movie last around 97 minutes, that equals $618 – $2577 a page of completed script. A script writer in the past would take a year to complete a finished script, but today the studio demands a three month time schedule, which would explain the ever declining quality of stories. If it takes, for example, 1000 hours to create a masterpiece script of 97 pages, then at $75 a hour the script costs $773 a page.
As an option on the platform, individual members of production could be given a donation directly, so if people loved the work of the writer they would be free to supplement their writers earning to encourage them to continue to provide the level of work the viewer loves. Similarly the director, or any bondsmen involved in the production of the movie or series, including those bondsmen within symbiotic cooperatives, could also receive donations directly from viewers pleased with their efforts.
If a movie or series was taken, and distributed for viewing without the consent of the bond, to allow a corporation to extort profits from a stolen movie, so allowing those not part of the closed bonding model to gain inequitably, it would be traceable to the source, each download is key pair encrypted to the key of the viewer on the platform, and contains a code stamp hidden throughout the data, that would allow a copy to be traced back to the originator, who would be banned from the bonding and advancing cryptocurrency platform.
If you doubt this model would be possible, consider the growth of bitcoin, a cryptocurrency that does not give advance, but instead is a speculative fiat accounting model, 500,000 unique users either sending or receiving Bitcoin per day.
