Agreed 👍

We love this one too Nkanyiso.

Nkanyiso Innocent Khwane If possible will you contact me 678-414-9971 Jay

I guess that explains why it was so bad

Read his books. They’re really great and make business semse! I’m definitely planning out my film Carreer with his approach.

Love Houston and his teachings. Here is a follow up interview if you ever want a little more - kzfaq.info/get/bejne/esB9Z5ionbW0eIk.html

@@filmcourage thank you! I will check it out

Thanks for watching Nigel! Our best to you.

WoW! What was the most important thing you took from this?

Hi Steve, appreciate you spending some time with us. Here is our follow up interview with Houston - kzfaq.info/get/bejne/esB9Z5ionbW0eIk.html

Film Courage thank you very much. I really appreciate your work. It’s a real legacy project

Sure he is.

@@theunwantedcritic I havent seen the video, but I can assume hes talking about high concept. High concept isnt everything. People will* buy high concept and low concept scripts, not just high concept nor middle concept. His "strategy" stems from the idea that a person is in the "job" for money and pure money. Writers arent after that, thats if anything second to the goal from writing. He speaks from a suit perspective, theyre are if not half right, and half wrong. Look at the Sonic film, why would anyone write or see that garbage. Marketing is key but that will also keep businesses under fire and in debt if people followed his method 100% of the way. Business' way of thinking, what sells or not should never be the writers focus.

As someone who's always thought of himself as caring about the art, I have to say, this feels like info I might not want, but need to know. A lot of the great indie filmmakers of the past are not doing it, or not doing much these days. John Waters, who's films have made money in the past, said recently about the best he could hope to do in today's market is a puppet show. What Houston says about the cost just of marketing a movie now goes a long way to explaining that. I don't know what the solution is for us artists - maybe it's still low-cost web series like High Maintenance - but it does feel like something we need to think about.

Law K you may be misinformed. Look up his book your gonna need a bigger story. I think thats it. He didn’t create Transmedia it’s been around since maybe before Star Wars, but he is definitely one of the experts on it. Transmedia is the greatest method to use for those staring out. You have star wars and Marvel comics as leading example. If you create anything or have enjoyed a great movie the fact is you never want it to end and there are so many unanswered question that’s a grand opportunity for trans media. So many people or denied by investors for various reasons and this gives the advantage to those starting out. Some people have great stories but can’t afford to make a quality movie to compete with the various movies being released. With Transmedia you can release a amazing story through poetry or a letter once people enjoy your art there is your start , now you can take it wherever you would like it doesn’t have to be music or anything else you named, once you show your investor’s that you not only have so many followers on social media but that they are following your story and your fan base is increasing every time you release another part of the story through Shortstory, Web series, books, stage plays, short film I promise you they will invest or forget them you’ll be able to pursue you dream or story while getting paid

How am I misinformed? - I didn't say he invented it. -You seem to be under the assumption that I don't like it. I even said, "... is worth implementing in my work". - You also seem to misunderstand yet again, by inferring erroneously that I don't see the value it would make to investors. - In fact 99% of your response is arguing against something that you conjured up on your own. I will concede that my understanding of movie fatigue was fairly narrow minded. - Why are you under the assumption that what's great must go on. Being great can be an end in and of itself. Just because you have questions about something doesn't mean they need to be answered. It's childlike in it's approach. Or maybe you could answer them on your own. - And your last point about social media basically buttressed my point about being "straight from the marketing department". - Because at the end of the day what is the point of having a universe that answers no burning questions i.e Star War was all about rebellion and hope. That's the entire point of it. Everything else is predicated on that.

@@lawrencekajura7580 You made a valid point in your former post. I add that the best margin of ancillary income arises from the theatrical release of the film. The prints and ads expenses still reach a wider audience, because 75% of that revenue comes from overseas theatrical markets. Beginning a film production with dribs and drabs of patrons over personal devices and gizmos to establish the widest girth of revenue appears to be flying an arrow backwards, at this point in film marketing genesis. Stories are attempts at expressing matters of life that are larger than life. No other medium has achieved that mark as the cinema in the service of story. The "thing" still begins with the script that goes through the door to a production company and depends upon one of the seven major studios for wide release and distribution. Meanwhile, other markets exist for other kinds of stories and artistic presentations which are limited to the unique nature of the consumer points. So far, the cinema brings home the amplest catch, in the shortest space of time during the first months of release, and investors prefer short-term ROI. Studios have remained afloat by making blockbusters and a balancing number of smaller movies that maintain the cinematic art form. For the latter, secondary markets make up the deficit dollar balance, over time. Therefore, Houston Howard's "rolling stories" of the nouveau business plan has no advantage over the studio system, and only serves as an alternative that still has a gate and an entry-level choke point.

Love this stuff with Houston. Glad you found this one.

Thank you watching. "Prints and Advertising" - This link might explain more? stephenfollows.com/prints-and-advertising/

nvmd haha

They didn’t. Beastly was a retelling of Beauty and the Beast. Retelling is a form of adaptation. Houston is talking about expansion.

@@daviewz9335 Not really relevant

@@futurestoryteller Dude, you’ll never understand the power of additive comprehension and dynamic connections 🙄! Every standalone story in your narrative universe needs to include and communicate something new and unique about your storyworld that can’t be found in any other standalone story set in it. Information that’s communicated in the standalone story can’t be found in any other story and can’t ever use the information again. Ever! SERIOUSLY!! You’re gonna need unique information the audience will unlock about the event your standalone story dramatizes in the timeline of your universe. The audience has to experience a unique, “visual,” part of your setting’s geography rather than simply learning new details. New things must be revealed about your characters. Reveal a new piece of information about another standalone story in the universe. Every standalone story plot is impacted by at least TWO prequel standalone story plots. Every standalone story plot impacts at least two sequel standalone story plots. Every standalone story has to connect to at least one extensive (or innovative) experience of another story in some way. Every standalone story connects to every other standalone story you have in the 24 story beats of your world’s overall story in some way at least three times. Standalone stories should always be both impacting and being impacted by other standalone stories in your storyworld. Your standalone story will deal with an event or action that takes place in a past story’s plot. Plots from a past standalone story needs to affect the actual plot in the current standalone story you present. The plot of every standalone story needs to be somehow impacted and altered due to the plot of a standalone story that is located earlier on your narrative universe’s timeline. The only minor exception to this is if your standalone story is actually the very first standalone story on your universe’s timeline. Obviously, since it’s the first, there’s no standalone story that takes place before it. The plot of every single standalone story needs to somehow impact and alter the plot of a single standalone story located later on your narrative universe’s timeline. This means all of your standalone stories will be dealing with the past while also affecting the future. Make chameo appearances of your characters in multiple stories. A character from one standalone story should be referenced in another standalone story. A family member of a character from one standalone story should appear in another standalone story. An exact same location from your storyworld should physically appear in multiple standalone stories. If you can’t actually revisit them, at least talk about them because when you do, your standalone stories will begin to feel like one big story. A location from one standalone story should be simply referred to in a different standalone story. An exact same object from your storyworld should physically appear in multiple standalone stories. If you can’t actually reuse it, at least talk about it because when you do, your standalone stories will again begin to feel like one big story. An object from one standalone story should be simply referred to in a different standalone story. There has to be a reference to an event that took place in a previous standalone story and the audience has the ability to go to the previous standalone story and see firsthand the event that was referenced. Like callbacks, story seeds refer to events that take place in other standalone stories. However, there’s one major difference between the two. Unlike with callbacks, the audience can’t go and experience the referenced event because that particular standalone story has never actually been produced or released to the public. Because the audience members can’t get their hands on the standalone story, the reference simply plants a seed in the audience members’ minds (hence the name) and sets them up for a future story. Beastly didn’t do any of this. So, it’s not a good example of the transmedia 360 degree Storyweave Super Story model.

@@daviewz9335 Are you trying to win an argument, because it seems like you're trying to get me to join a cult

@@futurestoryteller This is not a cult. It’s a new way of telling stories.