Film Courage: Houston with your first book Make Your Story Really Stinking Big, is this sort
of an entrepreneurial view of storytelling or do you also cover craft
and technique? Houston Howard: Both. I think that it you need to approach storytelling from an
entrepreneurial mindset it's just so that you can as a writer and a producer
in a crater you can you can have more you can be empowered more rather than
I'm gonna write something and then I'm gonna push it out and now I'm at the
mercy of the entertainment gods to do whatever they want with my stuff if you
approach it from an entrepreneurial mindset you can now have more
opportunity to take control of of your work but here's here's the trick is that
if you don't approach everything you do with craft and technique then your
products won't be good and so in an transmedia business model we have a
diversified product line if not just the film but a film Plus this Plus this Plus
this that all work together for one amazing experience if you if if you
don't perfect your craft and technique for all of them then all of a sudden
nothing's gonna work and it doesn't matter how good your business model is
if your stories aren't good and people don't care about them and people don't
engage with your characters and if your products aren't good your business isn't
good and so there's it's an interesting balance of understanding the
entrepreneur model and then being able to harness the craft and technique for
the individual products within that model that's the sweet spot of how to
have a how to make the whole thing work because a lot of people say well you
know what do you think every movie needs transmedia do you think every it can't
you just leave room for a film that that doesn't need it because you know does
this hit that Hemingway really needed to franchise old man in the sea did you
know this moonlight really need you know transmedia extensions and and because
typically any offshoot that you have of an original work isn't as good as the
original and you know if you have sort of the companion this and the spin-off
this and the tie and this sometimes they're just
as good and they actually diminish they can diminish the original work because
you surrounded it with this crap and and and I can't argue that necessarily that
that doesn't happen because it does this is why the creators need to approach the
the the transmedia model and every touch point of that model with that the the
craft and the technique and to make sure that everything is great because if you
tell me that not not everything needs you know Manchester by the sea like does
that really need you know a first-person shooter that goes along with it well
maybe not a first-person shooter but but maybe there is a book of poetry that
goes along with it maybe there's a novel that goes along with it maybe there's a
a companion album that's different than the soundtrack and an album that tells a
story from another character's perspective that adds to the story in a
really interesting way maybe the things that fit the brand maybe it could use
that because what you tell what you're telling me when you say not everything
needs transmedia this is what you're really telling me you're telling me that
audience doesn't need more of your story and you're also telling me that your
investors don't need any more money and neither one of those things to be true
the highest the highest compliment up for an artist for a filmmaker is for an
audience to say I love what you did and I want more of it it's the highest
compliment you could ever receive not just it was great it was great and I
want more it's the highest compliment you can get and so for you as a
filmmaker you have to try to figure out how do I give them more how do I give
them more how do I continue to cultivate and engage my fan base but it's too
expensive to be able to do movies all the time so now we have to look at the
rest of our toolkit I mean imagine going to a imagine going to a restaurant and
you have the most amazing entree you've ever had in your life like life-changing
meal and you call the waiter over and you say I love this I'm still hungry it
was the greatest meal I've ever had I want to order something else off the
menu and they say absolutely not you say well that's kind of weird
because I'm still hungry I want more can i order maybe a dessert nope
can i order an appetizer absolutely not well why because I have money in my
pocket that I want to give you because I love the first meal so much well the
chef feels the chef feels that if he gives you anything else it could
diminish the experience of the first so the chef thinks you shouldn't you need
to be happy with this one thing right now it doesn't make sense for it in a
consumer arena to have that conversation but if we now port that back over into
entertainment that's the conversation we're having you're telling me that this
audience member that says I love the first thing I want more than that you're
telling me you know what me the chef the filmmaker I don't feel like it you
should have anything else I think because it could diminish the experience
that the first so you just need to be happy that's not a way to build to build
a brand it's not a way to build a business it's not a way to build an
audience base I would never go back to that restaurant but here's how if if
that if I somehow convinced them to bring me another dish and then there was
a there was a hair in it or a fingernail in it or something awful then maybe it
would diminish the experience the first and that's what we've all experienced in
multimedia franchises you know even even some transmedia franchises where the
where the creators create the first thing and then for all the other stuff
they leave it to other people they license it out through a license
model they just like and and they and all those other things aren't approached
with the same passion technique and care that the original was and then it does
diminish the value of the first so to be able to take care of this to take
advantage of this model now the creator needs to have this mindset from the
beginning so that they can now approach those other things with the same
technique and the same craft and and now when they get the second dish and they
get the third dish and the fourth dish they're just as good if not better than
the original and and then the the the experience is
actually enhanced rather than diminished so for example Quentin Tarantino when
Quentin Tarantino did Django Unchained there was a there was a multimedia comic
book that was produced that was Django the comic book it was the same story in
both places and and it wasn't very good and people were complaining about it and
there was just it was just barely very poorly put together well later Quentin
Tarantino released the official sequel to Django Unchained so the official
sequel to Django Unchained is in a movie it's actually a comic book that was the
story was created by Quentin Tarantino himself and it's called Django / Zorro
so it's a Zorro Django crossover that's the official sequel to the movie Django
Unchained but the story one its new story so it
continues the story of Django but the story was created and cultivated and
designed by Quentin Tarantino and then he just had comic-book people put it put
it together because he doesn't know comic books but he worked with the team
and made sure that the craft the passion and the technique that he put into the
original film was then put into this trans mediated extension and then all of
a sudden that where the fans hated the first comic book they loved the second
comic book because not only was it new story but it was new story that was
crafted by the creator in the same way he crafted the original so that's a very
long way to answer the question but it but it's an intersection of both it's an
entrepreneurial mindset for the business model and then and then how you execute
within that business model is with craft and technique at every single touch
point to work together that I think is the sweet spot
you
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