Shape History’s Post

Q: What does the creative class get wrong about their understood relationship(s) with a (/the) 'corporate entities'? A: What the Creative Class Thinks the Relationship Is : "I give the studio/network/streamer ideas, and they pay me for them..." What the Creative Class misinterprets about the Relationship : The studio/network/streamer has already heard all the great ideas (collectively and corporately, for well over officially 100 years now...and from the most brilliant people in this industry ((i.e. the Oscar Winners)); what they're 'paying you for' is your ability to EXECUTE whatever idea you're coming to them with in a way that fits their corporate and cultural constitution...

Repost till your creative friend, neighbour or colleague gets to see this👍 Dear creative, this is the best advice you can ever find on the Internet today!!!! #greyshellconsulting #recorddeal #musicpublicist #musicbusiness #MusicIndustry #Musiclaw #entertainmentlaw #EntertainmentAttorney #entertaainmentlawyer #ArtistManagement #arttistoninstagram

Can we talk about this? This is literally every creative person’s fear brought to life in one mediocre ad. I can’t help but feel the pendulum swing towards inhuman cost cutting. But…is the work good? Looking at this ad and the ones featured on their marquee landing page, the answer is hell no. So, creative is an Achilles heel because it takes time? Or because it’s not done in a linear way? Or because you can’t code creativity so the best you can hope for is a piss poor facsimile? But…does taste matter in a world hell bent on making as much money for as little as possible? And what happens to IP when everything created is an amalgamation of stolen work? In the words of Cabaret, “Money makes the world go around.” I have very little faith that creativity will be treasured or protected in the coming world order.

Over 180 Northants creatives have answered our Creative Industries survey. If you are based or working in Northants as an artist or creative, we need your answer to one question - let's make some positive change locally https://lnkd.in/eFA8fkWV

When was the last time you were Wildly Creative? Making time for creative play and exploration gives your brain something magical. It is better than rest. It is refreshing, inspirational and gives you energy. Creative play is a regenerative practice you need. To be able to put down your thoughts and any ideas of purpose and come and play. Wild Art Journaling is a facilitated, (yet utterly free) creative practice that can unlock your creative spirit and make you feel good. I know that it is so hard to make time for your creativity, even if you love it. That is what Wild Artists Club is for. To carve out and commit to that time; to gift yourself the magic of creative play and share that time with other beautiful creative beings.  Normally this is a members only thing. I have a small and delightful group of committed Wild Artists who join me every week which I love. But the next session, 28th Jan, is free, so come and try and and see for yourself. Sunday 10am -11.30am UK time Membership thereafter it is £44 pcm or £20 to drop in. (I do have a student rate, just ask) Sign up to my mailing list to get yourself the invite https://lnkd.in/dEHD8mS #creativeblock #play #regenerativeleadership #regenerativedesign #creativeplay #otherworlding #unblockcreativethinking #designagency #creativeandcultural #culturaltransformation #culturalintelligence #culturechange #creativeleadership

It's time to value your worth. This article empowers creatives to move from free to fair pay. Check it out and let us know your biggest money talk challenges! https://lnkd.in/dZDt6pM5

THE HELL OF FEEDBACK SURVEYS Across both being a Procurement professional and running the Beeston Film Festival, I have always valued data. It can provide perceptive insights in so many ways. However, one cannot engage in a digital service without the reflex survey being issued to you. Why is simply doing business with you not deemed sufficient? Why do you think endless harassing customers provides and enhances customer experience? But my biggest complaint about feedback comes from Arts Granting bodies. There is huge pressure to get feedback data and even more to gather absurd useless demographic information. We recently held an event as part of a broader community arts event. We presented a fabulous program of international films, showcasing world-class filmmaking across many genres. However, before and after the session, the audience was harangued to complete the dreaded, exhaustive feedback form. My thought is that we end such behaviour. A session of wonderful short films will put your mind into a special place, so why interrupt that reverie with bureaucracy? Why shatter that moment of excitement when once the films are over you head to the bar to discuss with your friends? Why interrupt your own deeply personal internal monolog with pens, paper, or voting apps? We should let our customers and filmmakers savour the moment. When running community arts events the only data worth keeping is how many bums were on seats, and whether was it more or less than the previous year. Thoughts appreciated...........

My post, from this time last week, had over 370 comments. Here’s a summary of the best points made: ·     Lots agreed Cannes lacked optimistic, over-excited young people. ·     The whole concept of ‘work expenses’ has changed since Covid. ·     Do the younger generation actually WANT to go to Cannes, anyway? ·     There aren’t many actual Creatives at Cannes (unless collecting Lions). ·     The cost. The cost. The cost. Cannes is so expensive. ·     We shouldn’t just invite young people, we should involve young people. ·     Young people don’t drink much and can see Cannes as just a drunken party. ·     Cannes needs better diversity of all kinds. ·     Jung von Matt & YoungDogs are doing lots to help young people attend. ·     Worryingly, a lot of agencies aren’t hiring junior creatives at the moment. ·     Those who attended while young got lots out of it (more than just partying). ·     Cheaper, more local festivals (eg. Creative Circle Awards in Margate and The Shark Awards in Kinsale) attract a younger crowd. ·     Companies who do cater to young people (eg. Finger Music & Sound Design) are well loved. ·     If our industry doesn’t take care of its youngest, we’re in big trouble.

Would you pay $70 for a game only to find out there are extra charges inside? (Even if it's labelled as a "quadruple-A") Most likely, the answer is "NO, THANKS." 🟢 But, is this concept new? We buy a ticket to an amusement park, ↳ then pay extra for new rides or fast tracks. We buy general admission for a museum, ↳ then pay extra for temporary exhibitions. We buy subscriptions for online news, ↳ then pay extra for exclusive content. 🟢 Extra content production is never cheap. With an entrance fee paywall, businesses limit the top of the funnel. But if you're Disney, the Louvre, or The Economist, people accept it. 🔴 This is the Brand Power. Does 'Skull & Bones' have enough brand power? We'll find out on February 16, 2024.

🏆 The Oscars and the British creative sector 🏆 Last night was the 96th Oscars Ceremony in LA. Whether you were #teamLily or #teamEmma (or even #teamSandra - niche but I'll allow it!), it's fair to say #Barbenheimer was overwhelmingly won by Oppenheimer winning 7 trophies compared to Barbie winning one (although #kenenough won the entertainment of the night!). And Barbie wasn't the only British (commercial) success story that didn't materialise into trophies over the pond: Wonka ended up with 0 nomination 💜... But fear not: last week, the UK government announced a package of over £1 billion of additional tax reliefs for the UK creative industries together with additional support for the sector, including:  ⭐ a new UK Independent Film Tax Credit; ⭐ increasing the generosity of the Audio-Visual Expenditure Credit for visual effects costs; ⭐ permanent extension of higher rates of tax relief for theatres, orchestras, museums and galleries; ⭐ 40% relief from business rates for eligible film studios in England for the next 10 years; ⭐ £26 million of funding to upgrade the National Theatre’s stages and infrastructure, and ⭐ a new Investment Zone dedicated to the digital and creative sectors in the Tees Valley. So watch this space, further big British (commercial & Oscar worthy) successes are on their way ! To know more about last week's announcements, visit the below page on our Spring Budget website or contact Deloitte Expert Luke Lombardo. #SpringBudget #Deloittefiscalnews