--ITA (Eng below)--
Salve Bestie!
Si torna su SEEK AND...
Questa volta vado ad intervistare un artista dell'immagine, un cosiddetto (come so usa oggi) videomaker!
Parlo di Andrea Mandozzi di AM Production.
Amico di scorribande da tempo immemore, sempre pronto al confronto ed alla conversazione intelligente.
Non di meno, anche a scontrarsi se necessario, le opinioni taglienti non mancano di certo!
E quindi non potevo esimermi dal torturarlo con le mie domande!
AVANTI TUTTA!!!
Salve Bestie!
Si torna su SEEK AND...
Questa volta vado ad intervistare un artista dell'immagine, un cosiddetto (come so usa oggi) videomaker!
Parlo di Andrea Mandozzi di AM Production.
Amico di scorribande da tempo immemore, sempre pronto al confronto ed alla conversazione intelligente.
Non di meno, anche a scontrarsi se necessario, le opinioni taglienti non mancano di certo!
E quindi non potevo esimermi dal torturarlo con le mie domande!
AVANTI TUTTA!!!
1-Per la scena musicale, più o meno ne siamo a conoscenza qui in Italia, ma per i cineasti indipendenti, come va?
AM-Ciao Ulag, innanzitutto grazie per avermi chiamato per questa intervista nel tuo blog, mi fa piacere ogni tanto ritrovarci tra scoppiati che dello status sociale
se ne fregano e, pure se rischiamo la galera alla fine dell'intervista, vediamo di dire quello che ci passa per la testa, opinioni personali, punti di vista scorretti
e quant'altro... In pratica la "mia verità" sulle domande in questione, poi magari di realtà ne esisteranno molteplici...
Dicevamo comunque ... Cineasti indipendenti? Quali cineasti ?!?! Come spesso, nella scena musicale, il chitarrista di una band "fa successo" quando lascia tutto e diventa
il turnista di Vasco Rossi, così il mercato del video oggi gira attorno al business, ed il business di alto livello di oggi cerca poche menti e molti tecnici.
Professionalmente parlando si "guadagna bene" lavorando per l'industria, per campagne pubblicitarie, per aziende e grossi marchi, e per musicisti di successo, se
vogliamo parlare di videoclip. Adesso immaginate un attimo ogni anno in Italia quante nuove persone possono affermare non dico di essere diventati musicisti di successo,
ma di aver fatto della musica la loro principale fonte di reddito, il loro lavoro... e capirete anche qual'è la realtà dei videoclip di "cineasti indipendenti" per
"musicisti indipendenti". In Italia è come ci fossero due fasce soltanto, quella dei Big, gli artisti mainstream ormai arrivati, su cui i canali ufficiali e le grosse
major riversano soldi, e che possono permettersi investimenti importanti, e quelli che devono fare gavetta, GRATIS o quasi, perchè ogni goccia di sudore e sangue
versata oggi è una moneta sul piatto della visibilità che arriverà... MAI, o quasi, per non essere totalmente pessimisti.
Rispetto i big, il mainstream e tutto, ma non è possibile che, in un'Italia che parla di necessità di un rilancio culturale, il lavoro "normale" in campo artistico non
sia contemplato... E' investendo li che si arricchisce un sottobosco di idee, realmente indipendenti, che potranno sviluppare tutto un movimento artistico locale che
abbracci più campi, video e musica sono legati indissolubilmente a doppia mandata, ma questo discorso vale anche per attori, scultori, 3D Artist e fumettisti, più si
investe sulle realtà locali, più queste daranno frutti creando movimenti artistici, oggi questi mancano, mancano collettivi, giri fiorenti di collaborazioni, scene artistiche
da vivere... oggi va tanto il salotto di borghesi che si sbroda a parlare di quello che c'è da parlare, ma di SCOPRIRE cose di cui parlare non interessa più a nessuno.
Questo almeno per le realtà dove c'è un budget tale da poter considerare "lavoro" quello che si sta facendo, forse nell'underground piccoli movimenti di gente che si
arrangia, che prova a sacrificarsi la dove il budget manca, che vuole crederci per un risultato più alto domani c'è anche, ma il videomaker locale difficilmente riesce
a lavorare SOLO di videoclip musicali o di cinema, si riesce a lavorare di TV, di Marketing e Pubblicità, chi vuole anche di matrimoni, ma la figura del cineasta indipendente
alla David Lynch è duro che qui ci tiri fuori la pagnotta, per dirla volgarmente. Poi oggi, anche qui, credo, come nella musica, non ci sono scene unitarie di avanguardia o
sperimentazione... tutto è asservito ai mercati perchè il lavoro è concesso solo in quei giri funzionali ai mercati ... ma poi si sente: se manca l'anima, perchè dovrei vedere
film nati per vendere, o ascoltare dischi nati con lo stesso scopo? E l'anima difficilmente la esprime chi vuole compiacere, l'anima è sincera espressione di se, quando tocca
vendersi alla necessità dei mercati per poter chiamare "lavoro" quello che facciamo l'anima sparisce sempre di più e diventa altro, tecnicismo, conoscenze estetiche e di
comunicazione, qualunque cosa, neanche necessariamente cose negative, ma si lavora per altri scopi, di sicuro non per creare nuove correnti artistiche o avanguardie.
2-Stai lavorando a qualcosa in data attuale?
Spara qualche dettaglio!
AM-Attualmente sono in lavorazione due videoclip per una cantante folk ed un altro per un gruppo stoner, entrambe realtà locali, però non so quanto posso parlarne, siamo ad
Agosto e non ho avuto neanche modo di sentirli per sapere cosa potevo dire sulla cosa e beh ... così, a bruciapelo, mi sento di poter dire che, per quanto riguarda i due video
folk, l'artista è molto riservata e penso di non poterne parlare di più, poi troverò il modo di farteli vedere quando saranno ufficialmente disponibili e magari ne
riparleremo ahahahahaha
Invece l'altro video beh ... mi avevi già "sgamato" ahahahahahah! È un videoclip per la band Stoner Manaus, non rivelo il titolo della traccia, ma posso dire che stiamo puntando
a qualcosa di allucinato e fuori di testa, stile psichedelia anni 70/80, tra il vintage ed il moderno.... Spero di riuscire a rendere al meglio la cosa e poi ... buon trip per tutti!!!
Ahahahahahha no davvero, penso che il lavoro ha molto potenziale e siamo sulla strada giusta.
3-Per le giovani band che vorrebbero girare i loro video a livello professionale, tipo chiamare te, cosa puoi consigliare?
Che ne dici di stilare un "workflow" per far capire come cacchio comportarsi in certi contesti, evitando diciture "ammiocuggino lo fa col programma craccato per 30€ a settimana??"
AM-Che posso consigliare? Beh ... che è un mondo di mmerda AHAHAHAHAHAH !!! Che gli vuoi dire? Io non so neanche più che dire per il concetto "ammiocuggino" oggi ... Girano professionisti
capre e miocuggini molto capaci, che però non vedono un soldo dalla loro professionalità. Cosa posso consigliare quindi? Scegliete un videomaker per il suo portfolio, perchè
vi capite bene nel lavorare con lui, per come interpreta in immagini le idee che fornite per il video commissionato, per la professionalità del prodotto finale ricevuto; sceglietelo
perchè vi piace come fa i video per voi, provate anche strade diverse: per me è uno stimolo se un mio cliente ha lavorato, lavora, o lavorerà anche con altri videomaker, e così dovrebbe
essere per tutti, e chi vi sarà piaciuto sceglietelo ancora e ... PAGATELO QUELLO CHE MERITA, se anche fosse "ammiocuggino", perchè solo così, chi merita, potrà trasformare quella che
oggi, troppo spesso, è solo una passione, in professione.
E se portate la macchina dal meccanico e vi chiede 30/40€ l'ora, se il muratore vi chiede 100/150€ a giornata, e se, per fare un video, il videomaker (con tutto l'eventuale staff che mette su,
necessario per la lavorazione del video), mette sul piatto 20, 30, 100 ore di lavoro... poi quanto vale un lavoro del genere diventa abbastanza palese... Bene, il primo consiglio che vi do
è di pagare il giusto compenso al videomaker, o ai videomaker, con cui lavorerete, fidarvi della sua professionalità, delle sue scelte, e dei suoi consigli (il video è un'opera artistica
che accompagna una vostra opera artistica, che è la canzone, gli equilibri sono delicati nella collaborazione, e spesso le professionalità svalicano l'una nell'altra ... diciamo non sempre
con buoni risultati) e, se alla fine il prodotto non vi soddisfa, non fatene solo una questione di "cerchiamo il prezzo più basso", c'è anche da avere la forza di cambiare per migliorare,
per sperimentare, per provare stili diversi di farvideo, e, perchè no, per ritornare sui vecchi passi.
E già vi vedo a fare facce strane, a guardarvi in tasca e dire "Grazie al cazzo, parli bene... ma se uno coi soldi sta sempre in rosso?".
Ed eccoci al punto, accennavo nel rispondere alla prima domanda e ribadisco ora ... Qui stiamo parlando tra artisti e tra professionisti, del video, come della musica. Siete pagati
almeno 30/50/100€ l'ora per il lavoro che fate, prove incluse magari, soprattutto se vorreste che quello che fate sia il vostro lavoro principale, e quindi magari vorreste aprirci
una partita IVA per pagare i contributi, almeno per SPERARE in una pensione un giorno? Quanto è giusto che un musicista non solo non guadagni abbastanza per poter pagare la collaborazione
di un altro professionista, ma soprattutto che... finisco nella domanda sotto, l'ho letta e mi pare pertinente continuare rispondendo li.
4-Una cosa che posso dire, è che manca completamente una vera piattaforma per professionisti, per ricercare figure per un lavoro, investitori e produttori.
Cosa proporresti tu?
E come ti arrangi per creare un lavoro?
AM-Dicevamo quindi ... ma soprattutto che un musicista debba pagarsi da solo ogni sponsorizzazione, videoclip e materiale promozionale, senza aiuti economici sulle lezioni prese e
sulle strumentazioni acquistate, per arrivare a stipendi che chiamare "stipendi" fa ridere, senza che, come già dicevo anche sopra, a parte per "la SERIE A", gli investitori ed i produttori
praticamente non esistono? Io qui divento polemico davvero, taglio corto sul "come" mi trovo i lavori perchè è la parte meno interessante: come fanno tutti... passaparola, qualche
artista che vede i tuoi lavori, di rado e per conoscenza, collaborazioni con colleghi amici, pubblicizzazioni online o perchè ti trovi sul posto giusto e si crea l'opportunità di proporti,
penso esattamente come fa ogni libero professionista della zona ...
La parte interessante è che viviamo in un'Italia che culturalmente è a picco, e mentre oggi gli artisti si tirano il collo l'uno con l'altro per
garantirsi delle collaborazioni, e tirarci fuori la testa è difficile per tutti, questi ci raccontano che non c'è cultura ed andrebbe rilanciata ... Ma dai ?!?! E come la dovremmo
rilanciare? Votando uno dei tanti partiti che ci promettono cultura e da 30anni almeno svendono degrado? Piattaforme online ci sono anche, ti puoi proporre come montatore,
camera-man, colorista, tecnico del 3D ... ricevi anche chiamate, ma a quel punto lavori da tecnico, nel circuito mainstream o li vicino...come lavoro va bene, per carità,
ma non parliamo di artisti che si affermano, qui, ma di tecnici. Solo che se fai il "tecnico" hai un lavoro e guadagni bene, se provi una strada più artistica allora... fai la fame.
Se si vuole rilanciare davvero la cultura c'è da investire sulla base, i musicisti non devono per forza essere Vasco per potersi dire lavoratori nel settore musicale, ed i videomaker
non devono per forza chiamarsi Spielberg; li si parla di circuiti milionari, e per me stanno bene dove sono, però c'è da riconoscere di nuovo il lavoro dell'onesto artista/artigiano
oggi, la fascia media nell'ambito dell'arte non esiste proprio come concetto, per gli investitori, ma anche per i consumatori. Quanti sarebbero disposti a comprare oggi un disco
con copertina nera, un prisma stilizzato in triangolo ed un fascio di luce che, passando, si scompone in un arcobaleno, solo perchè ce l'hanno in CD, in DVD, in Blu-Ray, ed in vinile
d'epoca, ma la remaster 2022 voluta dal nipote del fonico manca, e quanti punterebbero su un disco solo per una copertina che spacca o per un riff che ti pettina i capelli, poi magari
fa schifo, magari è la scoperta musicale del secolo, ma intanto, con un po' di libero arbitrio, ho voluto ascoltare della musica nuova, invece di cercare il feticismo masturbatorio
dello status, dell'ipse dixit, del ricordo caro di un passato sempre presente, davanti ad un futuro che non si cerca neanche più...anche nella musica, anche nell'arte?
5-Facciamoci del male, spesso son stati organizzati fest anche di un certo livello qui nelle Marche, ma se uno volesse organizzare un fest indipendente del cinema?
Un qualcosa tipo la sezione dedicata del fu "Dylan Dog Horror Fest"?
Che si potrebbe fare in merito?
AM-Film festival indipendenti ce ne sono, già nella mia città c'è il Civitanova Film Festival per dirne uno, va avanti da anni ed è anche discretamente affermato.
Il problema è: sono realtà che servono? Al di la dell'evento, che giro si crea da quei circuiti? Si crea davvero giro?
Spesso, e qui parlo a livello nazionale, sono solo fabbriche di nomination e premi, bollini a pagamento da mettere sulla locandina del film per mostrare che si
è qualcuno, e forse, marchetta dopo marchetta, qualcuno lo si diventa anche, ma siamo sicuri che si sta sviluppando davvero il concetto di cinema indipendente così?
O si stanno semplicemente instradando gli artisti in circuiti clientelari che poi, forse, sfocieranno anche in un mainstream, ma a quel punto, di che indipendenza
vogliamo più parlare?
Io spingerei per potenziare queste figure come "lavori", che so, incentivare le aziende locali a cercare forme più originali di marketing che spingano al finanziamento di arte "vera",
non solo per quella direttamente funzionale alle vendite, alla pubblicità, per la creazione di sale concerto e cinema indipendenti, dove gli artisti si possano esibire ed esibire i loro lavori
ricevendo un compenso, almeno relativo al biglietto... offrire spazi che servano alla formazione di collettivi artistici, le TV e le Radio locali potrebbero ricevere finanziamenti SE si
appoggiano su realtà locali per riempire il palinsesto,incentivare la collaborazione fra artisti, anche diversi, spingendo per creare correnti... poi la parte più grande del lavoro resta sempre in mano
alla gente, i soldi sono sempre meno, per tutti, il mondo degli influenzer pare una realtà plastica che fa il verso agli anni 80 in un'Italia che è in costante declino, vista dall'uomo comune,
e di qua dagli schermi, TV, PC o Smartphone che siano, la realtà non è rosea come sembra online.
Sentendo la gente in giro ci sono un sacco di persone che non arrivano a fine mese, o ci arrivano male, nessuno mi pagherà mai per fare un documentario su di loro, uno
prende i lavori pagati, e tutto questo resta nell'ombra, ma l'Italia sta soffrendo.
Per far ripartire l'arte l'uomo comune dovrebbe investire parte delle sue risorse, della sua energia, nell'arte, e se così non succede non ci sarà idea o finanziamento che potrà aiutare,
in questo caso staremmo parlando di un mondo che, tristemente, per ora è destinato a finire, e noi che cerchiamo idee per farlo sopravvivere, e siamo rimasti in pochi, forse in un mondo
dove la sensibilità che va per la maggiore è quella per il denaro, chi parla ancora di "arte" e di "anima" è il mostro, essendo la minoranza, come spesso citi tu.
La cosa positiva è che l'arte è un'idea, è un sogno, e le idee sono immortali, oggi volano via, domani tornano con nuova forma e nuova forza, quindi chissà... magari è il caso che gli
artisti, musicisti e videomaker che siano, si ricordino che l'arte non sempre è stata "di palazzo", e già Platone, nello screditarla come "copia della copia" della realtà, si capisce fra le righe
che ne era profondamente affascinato, ma la temeva, nel concepire la sua idea di Repubblica perfetta, specchio dell'uno, del mondo perfetto delle idee, perchè l'arte evoca, e crea vicinanze,
e lontananze, e crea mondi ed appartenenze, ed in un concetto di gestione dell'essere umano è pericolosa, se non controllata, così come è pericolosa per l'uomo libero se controllata male.
Magari è il caso che l'artista si ricordi il suo ruolo, venivano chiamati vati, visionari e pazzi, ma nei secoli l'uomo ha sempre sentito la necessità di qualcosa che gli placasse o
infiammasse l'anima attraverso l'estetica, un'innata volontà di plasmare, e scrivere, ed abbellire, e creare per lasciare un proprio marchio, forse effimero, forse eterno,
e fare arte, in ogni sua forma, è da sempre la cosa più vicina alla creazione, e forse oggi, nel renderla stampella del denaro, e del potere, siamo noi i primi ad approcciarla senza rispetto,
forse l'associazione più importante che ogni artista (qualunque sia il suo settore) possa fare è imparare a non svendersi, per se, e per gli altri, e cominciare a mandare a fare in culo chi vuol
pagare in visibilità, tanto più la soggezione ci imporrebbe di asservirci, perchè se l'operaio che ha una band può aver difficoltà a pagarsi un video, e meriterà sempre il massimo rispetto,
di sicuro problemi non ne ha una multinazionale per uno spot o per la colonna sonora di una campagna pubblicitaria, e magari lavorare a due euro l'ora non vale la pena, mai,
qualunque sia la futura promessa di immane successo.
CONTATTI
CONTATTI
--ENG--
Hi, Beasts!
Go back to SEEK AND ...
This time I'm going to interview an artist of the image, a so-called (as I know he uses today) video maker!
I'm talking about Andrea Mandozzi of AM Production.
Friend of raids since time immemorial, always ready for confrontation and intelligent conversation.
Nevertheless, even to clash if necessary, strong opinions are certainly not lacking!
And so I couldn't help but torture him with my questions!
FULL SPEED AHEAD!!!
I respect the big names, the mainstream, and everything, but it is not possible that, in an Italy that speaks of the need for a cultural revival, "normal" work in the artistic field is not
be contemplated ... It is by investing there that the undergrowth of truly independent ideas is enriched, which will be able to develop a whole local artistic movement that
embraces more fields, video, and music are inextricably linked to double delivery, but this is also true for actors, sculptors, 3D artists and cartoonists, the more yes
invests in local realities, the more they will bear fruit by creating artistic movements, today these are lacking, collectives are missing, thriving rounds of collaborations, artistic scenes
to live ... today the bourgeois parlor goes so much that it is drooling to talk about what there is to talk about, but to DISCOVER things to talk about no longer interests, anyone.
This is at least for the realities where there is a budget that can consider what you are doing as "work", perhaps in the underground small movements of people who are
arranged, who try to sacrifice themselves where the budget is lacking, who want to believe in it for a higher result tomorrow is also there, but the local video maker hardly succeeds
to work ONLY of music video clips or cinema, you can work on TV, Marketing and Advertising, who also wants weddings, but the figure of the independent filmmaker
David Lynch is hard to get the loaf out of here, to put it bluntly. Then today, here too, I believe, as in music, there is no avant-garde or unitary scenes
experimentation ... everything is subservient to the markets because the work is allowed only in those tours functional to the markets ... but then you hear: if the soul is lacking, why should I see
films born to sell, or to listen to records born with the same purpose? And the soul hardly expresses those who want to please, the soul is a sincere expression of itself, when it touches
on selling oneself to the needs of the markets in order to call what we do "work" the soul disappears more and more and becomes something else, technicality, aesthetic knowledge and
communication, anything, not necessarily negative things, but we work for other purposes, certainly not to create new artistic currents or avant-gardes.
Hi, Beasts!
Go back to SEEK AND ...
This time I'm going to interview an artist of the image, a so-called (as I know he uses today) video maker!
I'm talking about Andrea Mandozzi of AM Production.
Friend of raids since time immemorial, always ready for confrontation and intelligent conversation.
Nevertheless, even to clash if necessary, strong opinions are certainly not lacking!
And so I couldn't help but torture him with my questions!
FULL SPEED AHEAD!!!
1-For the music scene, we are more or less aware of it here in Italy, but how are you doing for independent filmmakers?
AM-Hi Ulag, first of all, thank you for calling me for this interview in your blog, I am pleased every now and then to find ourselves between "broken heads" and social status
they don't care and, even if we risk jail at the end of the interview, let's try to say what goes through our heads, personal opinions, incorrect points of view
and so on ... In practice, "my truth" on the questions in question, then maybe there will be many realities ...
We were saying anyway ... Independent filmmakers? Which filmmakers?!?! As often, in the music scene, the guitarist of a band "is successful" when he leaves everything and becomes the shift worker of Vasco Rossi, so the video market today revolves around business, and today's high-level business seeks few minds and many technicians.
Professionally speaking, you "earn well" working for the industry, for advertising campaigns, for companies and big brands, and for successful musicians, if
we want to talk about video clips. Now imagine for a moment every year in Italy how many new people can say I am not saying that they have become successful musicians, but to have made music their main source of income, their work ... and you will also understand what is the reality of the video clips of "independent filmmakers" for "independent musicians".
In Italy, it is as if there were only two bands, that of the Big, the mainstream artists now arrived, on which the official channels and the big
majors pour money, and who can afford important investments, and those who have to make up their ranks, FREE or almost, because every drop of sweat and blood paid today is a coin on the plate of visibility that will arrive ... NEVER, or almost, not to be totally pessimistic.
be contemplated ... It is by investing there that the undergrowth of truly independent ideas is enriched, which will be able to develop a whole local artistic movement that
embraces more fields, video, and music are inextricably linked to double delivery, but this is also true for actors, sculptors, 3D artists and cartoonists, the more yes
invests in local realities, the more they will bear fruit by creating artistic movements, today these are lacking, collectives are missing, thriving rounds of collaborations, artistic scenes
to live ... today the bourgeois parlor goes so much that it is drooling to talk about what there is to talk about, but to DISCOVER things to talk about no longer interests, anyone.
This is at least for the realities where there is a budget that can consider what you are doing as "work", perhaps in the underground small movements of people who are
arranged, who try to sacrifice themselves where the budget is lacking, who want to believe in it for a higher result tomorrow is also there, but the local video maker hardly succeeds
to work ONLY of music video clips or cinema, you can work on TV, Marketing and Advertising, who also wants weddings, but the figure of the independent filmmaker
David Lynch is hard to get the loaf out of here, to put it bluntly. Then today, here too, I believe, as in music, there is no avant-garde or unitary scenes
experimentation ... everything is subservient to the markets because the work is allowed only in those tours functional to the markets ... but then you hear: if the soul is lacking, why should I see
films born to sell, or to listen to records born with the same purpose? And the soul hardly expresses those who want to please, the soul is a sincere expression of itself, when it touches
on selling oneself to the needs of the markets in order to call what we do "work" the soul disappears more and more and becomes something else, technicality, aesthetic knowledge and
communication, anything, not necessarily negative things, but we work for other purposes, certainly not to create new artistic currents or avant-gardes.
2-Are you working on something on a current date?
Shoot some details!
Shoot some details!
AM-Currently two video clips are being worked on for a folk singer and another for a stoner group, both local realities, but I don't know how much I can talk about it, we are at
August and I didn't even get to hear them know what I could say about it and well ... so, point blank, I feel I can say that, as far as the two videos are concerned
folk, the artist is very reserved and I think I can not talk about them more, then I will find a way to show them to you when they are officially available and maybe we'll talk again ahahahahaha
Instead the other video well ... you found me out ahahahahahah! It is a video clip for the band Stoner Manaus, I do not reveal the title of the track, but I can say that we are aiming
for something hallucinatory and crazy, psychedelic 70/80 style, between vintage and modern .... I hope to be able to make the most of it and then ... a good trip for everyone !!!
Ahahahahahha no really, I think the work has a lot of potential and we are on the right track.
August and I didn't even get to hear them know what I could say about it and well ... so, point blank, I feel I can say that, as far as the two videos are concerned
folk, the artist is very reserved and I think I can not talk about them more, then I will find a way to show them to you when they are officially available and maybe we'll talk again ahahahahaha
Instead the other video well ... you found me out ahahahahahah! It is a video clip for the band Stoner Manaus, I do not reveal the title of the track, but I can say that we are aiming
for something hallucinatory and crazy, psychedelic 70/80 style, between vintage and modern .... I hope to be able to make the most of it and then ... a good trip for everyone !!!
Ahahahahahha no really, I think the work has a lot of potential and we are on the right track.
3-For young bands who would like to shoot their videos professionally, like call you, what can you recommend?
How about drawing up a "workflow" to show how the hell to behave in certain contexts, avoiding the words "my bro does it with the cracked program for €30 per week?"
How about drawing up a "workflow" to show how the hell to behave in certain contexts, avoiding the words "my bro does it with the cracked program for €30 per week?"
AM-What can I recommend? Well ... that's a world of shit AHAHAHAHAHAH !!! What do you want to tell him? I don't even know what to say about the "my bro" concept today ... They are professionals
goats and "my bros" the very capable, who however do not see a penny from their professionalism. What can I recommend then? Choose a videomaker for his portfolio, because
you understand each other well in working with him, for how he interprets in images the ideas you provide for the commissioned video, for the professionalism of the final product received; choose it
because you like how he does videos for you, also try different paths: for me it is a stimulus if a client of mine has worked, works, or will also work with other videomakers, and so he should
be for everyone, and whomever you like, choose it again and ... PAY FOR WHAT IT DESERVES, even if it were "my bro" because only in this way, who deserves, will be able to transform what
today, too often, it's just a passion in the profession.
And if you take the car to the mechanic and he asks you € 30/40 per hour, if the bricklayer asks you € 100/150 per day, and if, to make a video, the videomaker (with all the staff who,
necessary for the processing of the video), put on the plate 20, 30, 100 hours of work ... then what a job like this is worth becomes quite clear ... Well, the first piece of advice I give you
is to pay the right compensation to the videomaker, or videomakers, with whom you will work, to trust his professionalism, his choices, and his advice (the video is an artistic work
that accompanies one of your artistic works, which is the song, the balances are delicate in the collaboration, and often the professionalism goes one into the other ... let's say not always
with good results) and, if in the end, the product does not satisfy you, don't just make it a matter of "we are looking for the lowest price", you also need to have the strength to change to improve,
to experiment, to try different styles of making videos, and, why not, to go back to the old steps.
And already I see you making strange faces, looking in your pocket and saying "Thanks to the fuck, you speak well ... but what if someone with money is always in the red?".
And here we are, I mentioned in answering the first question and I repeat now ... Here we are talking between artists and professionals, about video, as well as about music. You are paid
at least € 30/50/100 per hour for the work you do, tests included maybe, especially if you would like what you do to be your main job, and therefore maybe you would like to open up
a VAT number to pay contributions, at least to HOPE for a pension one day? How fair it is that a musician not only does not earn enough to be able to pay for the collaboration
of another professional but above all that ... I end up in the question below, I have read it and it seems pertinent to continue answering them.
goats and "my bros" the very capable, who however do not see a penny from their professionalism. What can I recommend then? Choose a videomaker for his portfolio, because
you understand each other well in working with him, for how he interprets in images the ideas you provide for the commissioned video, for the professionalism of the final product received; choose it
because you like how he does videos for you, also try different paths: for me it is a stimulus if a client of mine has worked, works, or will also work with other videomakers, and so he should
be for everyone, and whomever you like, choose it again and ... PAY FOR WHAT IT DESERVES, even if it were "my bro" because only in this way, who deserves, will be able to transform what
today, too often, it's just a passion in the profession.
And if you take the car to the mechanic and he asks you € 30/40 per hour, if the bricklayer asks you € 100/150 per day, and if, to make a video, the videomaker (with all the staff who,
necessary for the processing of the video), put on the plate 20, 30, 100 hours of work ... then what a job like this is worth becomes quite clear ... Well, the first piece of advice I give you
is to pay the right compensation to the videomaker, or videomakers, with whom you will work, to trust his professionalism, his choices, and his advice (the video is an artistic work
that accompanies one of your artistic works, which is the song, the balances are delicate in the collaboration, and often the professionalism goes one into the other ... let's say not always
with good results) and, if in the end, the product does not satisfy you, don't just make it a matter of "we are looking for the lowest price", you also need to have the strength to change to improve,
to experiment, to try different styles of making videos, and, why not, to go back to the old steps.
And already I see you making strange faces, looking in your pocket and saying "Thanks to the fuck, you speak well ... but what if someone with money is always in the red?".
And here we are, I mentioned in answering the first question and I repeat now ... Here we are talking between artists and professionals, about video, as well as about music. You are paid
at least € 30/50/100 per hour for the work you do, tests included maybe, especially if you would like what you do to be your main job, and therefore maybe you would like to open up
a VAT number to pay contributions, at least to HOPE for a pension one day? How fair it is that a musician not only does not earn enough to be able to pay for the collaboration
of another professional but above all that ... I end up in the question below, I have read it and it seems pertinent to continue answering them.
4-One thing I can say is that there is a complete lack of a real platform for professionals, to search for figures for a job, investors, and producers.
What would you propose?
And how do you manage to create a job?
AM-So we were saying ... but above all that a musician has to pay for every sponsorship, video clips, and promotional material himself, without financial aid on the lessons taken and
on the equipment purchased, to get to salaries that calling "salaries" makes you laugh, without that, as I said above, apart from "MAJOR LEAGUE", investors and producers practically do not exist? Here I really become controversial, I cut short on the "how" I find the jobs because it is the least interesting part: as everyone does ... word of mouth, some artist who sees your works, rarely and for knowledge, collaborations with fellow friends, online advertising or because you are in the right place and you create the opportunity to propose yourself,
What would you propose?
And how do you manage to create a job?
AM-So we were saying ... but above all that a musician has to pay for every sponsorship, video clips, and promotional material himself, without financial aid on the lessons taken and
on the equipment purchased, to get to salaries that calling "salaries" makes you laugh, without that, as I said above, apart from "MAJOR LEAGUE", investors and producers practically do not exist? Here I really become controversial, I cut short on the "how" I find the jobs because it is the least interesting part: as everyone does ... word of mouth, some artist who sees your works, rarely and for knowledge, collaborations with fellow friends, online advertising or because you are in the right place and you create the opportunity to propose yourself,
I think exactly like every freelancer in the area does ...
The interesting part is that we live in an Italy that is culturally steep, and while today artists are pulling their necks with each other to
guarantee collaborations, and getting our heads out is difficult for everyone, they tell us that there is no culture and it should be relaunched ... Come on?!?! And how should we do it raise? By voting for one of the many parties that promise us culture and have been selling off degradation for at least 30 years? There are also online platforms, you can propose yourself as an editor,
cameraman, colorist, 3D technician ... you also get calls, but at that point, you work as a technician, in the mainstream circuit or nearby ...
but we are not talking about artists who are establishing themselves here, but about technicians. Only if you are a "technician" do you have a job and earn well, if you try a more artistic way then ... you go hungry.
If you really want to relaunch culture, you have to invest in the base, musicians don't necessarily have to be Vasco to be able to call themselves workers in the music sector, and videomakers
they don't have to be called Spielberg; there we talk about millionaire circuits, and for me, they are fine where they are, but we have to recognize again the work of the honest artist/craftsman
today, the mid-range in art doesn't just exist as a concept, for investors, but also for consumers. How many would be willing to buy a record today
with a black cover, a stylized prism in a triangle, and a beam of light that, as it passes, breaks up into a rainbow, just because they have it on CD, DVD, Blu-Ray, and vinyl
vintage, but the remaster 2022 wanted by the grandson of the sound engineer is missing, and how many would bet on a record only for a cover that breaks or for a riff that combs your hair, then maybe
it sucks, maybe it's the musical discovery of the century, but in the meantime, with a bit of free will, I wanted to listen to new music, instead of looking for masturbatory fetishism
of the status, of the ipse dixit, of the cherished memory of an ever-present past, in the face of a future that is no longer sought ... even in music, even in art?
5-Let's get hurt, festivals of a certain level have often been organized here in the Marche, but what if one wants to organize an independent film festival?
Something like the dedicated section of the older "Dylan Dog Horror Fest"?
What could be done about it?
AM-There are independent Film festivals, already in my city there is the Civitanova Film Festival to name one, it has been going on for years and is also fairly well established.
The problem is: are they realities that are needed? Beyond the event, what lap is created from those circuits? Does it really make you ride?
Often, and here I speak nationally, they are just factories of nominations and awards, paid stamps to put on the movie poster to show that
is someone, and perhaps, hustler after hustler, you become someone too, but are we sure that the concept of independent cinema is really developing like this?
Or they are simply routing the artists in patronage circuits which then, perhaps, will also lead to mainstream, but at that point, what independence
do we want to talk more?
I would push to enhance these figures as "jobs", that is, to encourage local companies to seek more original forms of marketing that lead to the financing of "real" art,
not only for that directly functional to sales, advertising, for the creation of concert halls and independent cinemas, where artists can perform and exhibit their works
receiving a fee, at least relative to the ticket ... offer spaces that serve the training of artistic collectives, local TV and radio stations could receive funding IF yes
they rely on local realities to fill the schedule, encourage collaboration between artists, even different ones, pushing to create currents ... then the largest part of the work always remains in hand
to the people, the money is less and less, for everyone, the world of influencers seems a plastic reality that makes the verse to the 80s in an Italy that is in constant decline, seen by the common man,
and on this side of the screens, whether they are TVs, PCs, or Smartphones, the reality is not as rosy as it seems online.
Listening to people around there are a lot of people who don't make ends meet, or make ends meet, no one will ever pay me to make a documentary about them, one
he takes paid jobs, and all this remains in the shadows, but Italy is suffering.
To restart art the common man should invest part of his resources, of his energy, in art, and if this does not happen there will be no idea or financing that can help.
in this case, we would be talking about a world that, sadly, for now, is destined to end, and we who are looking for ideas to make it survive, and we are few left, perhaps in a world
where the sensitivity that is most popular is that of money, who still talks about "art" and "soul" is the monster, being the minority, as you often quote.
The positive thing is that art is an idea, it is a dream, and ideas are immortal, today they fly away, tomorrow they return with a new shape and new strength, so who knows ... maybe it is the case that
artists, musicians, and videomakers who remember that art has not always been "of the palace", and already Plato, in discrediting it as a "copy of the copy" of reality, you understand between the lines
who was deeply fascinated by it, but he feared her, in conceiving his idea of a perfect Republic, a mirror of the one, of the perfect world of ideas, because art evokes, and creates proximity,
and distances, and creates worlds and belonging, and in a concept of management of the human being it is dangerous, if not controlled, just as it is dangerous for the free man if badly controlled.
Maybe it is the case that the artist remembers his role, they were called vate, visionaries, and madmen, but over the centuries man has always felt the need for something that would appease him or
inflamed the soul through aesthetics, an innate will to shape, and write, and embellish, and create to leave its own mark, perhaps ephemeral, perhaps eternal,
and making art, in all its forms, has always been the closest thing to creation, and perhaps today, in making it a crutch of money and power, we are the first to approach it without respect,
perhaps the most important association that any artist (whatever her sector) can make is to learn not to sell out, for herself, and for others, and to start screwing up whomever she wants
pay in visibility, the more awe would force us to enslave ourselves, because if the worker who has a band may have difficulty paying for a video, and he will always deserve the utmost respect,
a multinational certainly has no problems for a commercial or for the soundtrack of an advertising campaign, and maybe working at two euros an hour is not worth it, ever,
whatever the future promise of resounding success.
The interesting part is that we live in an Italy that is culturally steep, and while today artists are pulling their necks with each other to
guarantee collaborations, and getting our heads out is difficult for everyone, they tell us that there is no culture and it should be relaunched ... Come on?!?! And how should we do it raise? By voting for one of the many parties that promise us culture and have been selling off degradation for at least 30 years? There are also online platforms, you can propose yourself as an editor,
cameraman, colorist, 3D technician ... you also get calls, but at that point, you work as a technician, in the mainstream circuit or nearby ...
but we are not talking about artists who are establishing themselves here, but about technicians. Only if you are a "technician" do you have a job and earn well, if you try a more artistic way then ... you go hungry.
If you really want to relaunch culture, you have to invest in the base, musicians don't necessarily have to be Vasco to be able to call themselves workers in the music sector, and videomakers
they don't have to be called Spielberg; there we talk about millionaire circuits, and for me, they are fine where they are, but we have to recognize again the work of the honest artist/craftsman
today, the mid-range in art doesn't just exist as a concept, for investors, but also for consumers. How many would be willing to buy a record today
with a black cover, a stylized prism in a triangle, and a beam of light that, as it passes, breaks up into a rainbow, just because they have it on CD, DVD, Blu-Ray, and vinyl
vintage, but the remaster 2022 wanted by the grandson of the sound engineer is missing, and how many would bet on a record only for a cover that breaks or for a riff that combs your hair, then maybe
it sucks, maybe it's the musical discovery of the century, but in the meantime, with a bit of free will, I wanted to listen to new music, instead of looking for masturbatory fetishism
of the status, of the ipse dixit, of the cherished memory of an ever-present past, in the face of a future that is no longer sought ... even in music, even in art?
5-Let's get hurt, festivals of a certain level have often been organized here in the Marche, but what if one wants to organize an independent film festival?
Something like the dedicated section of the older "Dylan Dog Horror Fest"?
What could be done about it?
AM-There are independent Film festivals, already in my city there is the Civitanova Film Festival to name one, it has been going on for years and is also fairly well established.
The problem is: are they realities that are needed? Beyond the event, what lap is created from those circuits? Does it really make you ride?
Often, and here I speak nationally, they are just factories of nominations and awards, paid stamps to put on the movie poster to show that
is someone, and perhaps, hustler after hustler, you become someone too, but are we sure that the concept of independent cinema is really developing like this?
Or they are simply routing the artists in patronage circuits which then, perhaps, will also lead to mainstream, but at that point, what independence
do we want to talk more?
I would push to enhance these figures as "jobs", that is, to encourage local companies to seek more original forms of marketing that lead to the financing of "real" art,
not only for that directly functional to sales, advertising, for the creation of concert halls and independent cinemas, where artists can perform and exhibit their works
receiving a fee, at least relative to the ticket ... offer spaces that serve the training of artistic collectives, local TV and radio stations could receive funding IF yes
they rely on local realities to fill the schedule, encourage collaboration between artists, even different ones, pushing to create currents ... then the largest part of the work always remains in hand
to the people, the money is less and less, for everyone, the world of influencers seems a plastic reality that makes the verse to the 80s in an Italy that is in constant decline, seen by the common man,
and on this side of the screens, whether they are TVs, PCs, or Smartphones, the reality is not as rosy as it seems online.
Listening to people around there are a lot of people who don't make ends meet, or make ends meet, no one will ever pay me to make a documentary about them, one
he takes paid jobs, and all this remains in the shadows, but Italy is suffering.
To restart art the common man should invest part of his resources, of his energy, in art, and if this does not happen there will be no idea or financing that can help.
in this case, we would be talking about a world that, sadly, for now, is destined to end, and we who are looking for ideas to make it survive, and we are few left, perhaps in a world
where the sensitivity that is most popular is that of money, who still talks about "art" and "soul" is the monster, being the minority, as you often quote.
The positive thing is that art is an idea, it is a dream, and ideas are immortal, today they fly away, tomorrow they return with a new shape and new strength, so who knows ... maybe it is the case that
artists, musicians, and videomakers who remember that art has not always been "of the palace", and already Plato, in discrediting it as a "copy of the copy" of reality, you understand between the lines
who was deeply fascinated by it, but he feared her, in conceiving his idea of a perfect Republic, a mirror of the one, of the perfect world of ideas, because art evokes, and creates proximity,
and distances, and creates worlds and belonging, and in a concept of management of the human being it is dangerous, if not controlled, just as it is dangerous for the free man if badly controlled.
Maybe it is the case that the artist remembers his role, they were called vate, visionaries, and madmen, but over the centuries man has always felt the need for something that would appease him or
inflamed the soul through aesthetics, an innate will to shape, and write, and embellish, and create to leave its own mark, perhaps ephemeral, perhaps eternal,
and making art, in all its forms, has always been the closest thing to creation, and perhaps today, in making it a crutch of money and power, we are the first to approach it without respect,
perhaps the most important association that any artist (whatever her sector) can make is to learn not to sell out, for herself, and for others, and to start screwing up whomever she wants
pay in visibility, the more awe would force us to enslave ourselves, because if the worker who has a band may have difficulty paying for a video, and he will always deserve the utmost respect,
a multinational certainly has no problems for a commercial or for the soundtrack of an advertising campaign, and maybe working at two euros an hour is not worth it, ever,
whatever the future promise of resounding success.
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