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One for the Money; One for the Art
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What happens when creators do a project for money or to fulfill a contract so that they'll have the finances and creative freedom to do their artistic dream project. This can be done indirectly by, for example, an actor or director doing a project for money and then turning around to put the money into an indie film they wanted to do. In this instance, however, the creators still have to deal with all the problems faced by indie film directors. The paycheck is rarely that huge, they have to find a distributor, and they have to hold casting calls. The funding can also be done directly when, as part of a multi-film contract, a creator agrees to do a commercial project for a studio while the studio, in exchange, agrees to fund the creator's artistic project. This version ends up being far more convenient for the actor/director. First, the studio is frequently willing to fork over more money for this, as they stand to take a share of the box office cut, so even if the artistic film takes a minor loss they're not out that much. Second, with the power of a major studio behind them, the actor/director now has A-list stars on speed dial, and doesn't have to worry about finding a distributor. Compare Paying Their Dues for when an artist needs to take smaller gigs before they hit the big time. Contrast with Only in It for the Money, in which the work made for making money clearly is not for personal projects. See also Auteur License. This trope is frequently used as a justification by non-American actors to travel across the Atlantic and/or Pacific, as they use the money from Hollywood to finance their ventures in theatre, independent films, and other lower budget yet artistically appealing projects in their native countries. This isn't necessary a good or bad thing. The "commercialized" work can still achieve immense fame and still be as artistic and quality as the passion project. Can lead to Magnum Opus Dissonance if the project done only for the money is the one that takes flight while the project done for the art never gets off the ground. |
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The last Dirty Harry film, The Dead Pool, came about when Warner Bros. greenlit and financed Clint Eastwood's pet project, Bird. Eastwood, returning the favor to the studio, agreed to make a film for them that would be commercial and carry box-office weight. Warner Bros. suggested another Dirty Harry movie. | |
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In late 2008, John Lydon appeared in an advertising campaign for Country Life butter on British television. He defended the move by stating that the main reason he accepted the offer was to raise money to reform Public Image Ltd. without a record deal. | |
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The main reason SCS Software developed games such as Scania Truck Driving Simulator and Extreme Trucker 2 was to help secure funding and industry backing for Euro Truck Simulator 2. | |
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Blank Check is dedicated to examining director filmographies through this lense. | |
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Lampshaded in Jay and Silent Bob Strike Back: Kevin Smith himself said that he made Cop Out as an attempt to follow this sort of formula, notable for being the only film he directed but didn't write. The Troubled Production with Bruce Willis derailing his efforts as the director officially derailed that plan. Zack and Miri Make a Porno a few years earlier was a related effort to go more mainstream, and the combination of both made him dive heavier into indie films. |
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The profits earned from the merchandising for Sesame Street is distributed to Sesame Workshop and is used to fund the show and other Sesame Workshop projects. | |
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The Chicken from Outer Space was supposed to be John R. Dilworth's next independent project, until he heard about Hanna-Barbera's What A Cartoon! Show initiative, and submitted it to them to receive funding. The Chicken From Outer Space would serve as a pilot short for Courage the Cowardly Dog. | |
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Both stars of Speed 2: Cruise Control - Jason Patric used his entire salary to finance his film Your Friends & Neighbors, while Sandra Bullock did the movie to get the financing for Hope Floats. | |
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Dino De Laurentiis agreed to produce Raw Deal because he needed quick cash for his long-gestating project Total Recall. At that time, he owned the rights to the film. The film's failure to make adequate money (only $16 million) resulted in De Laurentiis' bankruptcy and Total Recall's sale of rights to Carolco. | |
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After getting the boot as director of Alien³, Vincent Ward used his pay off to finance Map Of The Human Heart. | |
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Universal greenlit Schindler's List on the condition that Steven Spielberg did Jurassic Park (a project Spielberg liked even before the book came out) first. And Spielberg seemingly repeated this scheme by releasing both The Lost World: Jurassic Park and Amistad in 1997, and War of the Worlds and Munich in 2005. | |
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Yuji Horii created The Portopia Serial Murder Case to make enough money to fund what would eventually be Dragon Quest. | |
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The late director Gary Winick did a number of romantic comedies (13 Going on 30, Bride Wars, Letters to Juliet) and family films (the remake of Charlotte's Web) so that he could finance smaller independent projects that made use of digital cameras. It ended up working rather well as he produced a number of critically acclaimed films through his company Indigent. | |
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Lottie Tolhurst, British actress (who has only been acting since 2015, so a new-ish actor) has this approach to her roles. However, two of her roles, Becky Teller, in the two-part Silent Witness episode "Covenant", which aired in 2017, and Kitty Carter who was in ten episodes of Harlots until Kitty was killed off by Lord Fallon in Season 2. She takes roles such as this both for the paycheck and the artistic value, of which both series have, but is to a degree, open to many roles. | |
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The Evangelical Lutheran Church in America licensed out Davey and Goliath for an appearance in a Mountain Dew commercial in order to acquire funding for the Christmas Special Davey and Goliath's Snowboard Christmas. | |
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Allegedly, the reason that Aliens: Colonial Marines ended up being poorly received was that Gearbox used the money that they were paid to make the game in order to fund their own properties, including Borderlands, Borderlands 2, and Duke Nukem Forever, and only started working on Colonial Marines in earnest after becoming in danger of violating their contract. | |
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Angela Bettis said as much about her involvement in Carrie (2002). The film was planned as a Pilot Movie for a TV series that she hoped would give her the financial security to pursue indie projects like May. | |
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Jeff Garlin has said he likes The Goldbergs and is very proud of the show, but that the major appeal of doing the series came from the fact that a mainstream sitcom on a major network gives him the financial security he needs to pursue riskier indie projects in his downtime. | |
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