Quote:
Originally Posted by B.Barnato
For many reasons.
First has to be budget. You simply can't make a silk purse with a sows ear budget. No matter how good a shooter is, if he's working on a shoe string. He's not got a lot of time, money or incentive to produce great porn.
Second has to be models. For a number of reasons. They have seen porn on the Internet and think what they saw is what is right. Often it's not. It's faked badly and shot on a shoestring.
Also their attitude. Todays models are far harder to work with. Prior to the Internet and the deluge of porn production if a model fucked up or failed to deliver the goods, she was soon out of work. Unless very very beautiful. Today there are too many places she can work badly and not have it effect her career.
And many have picked up bad habits from shooters who don't know better or accept them.
If the model wasn't doing it right, there was no, "Shooting something so the day isn't a complete loss." It was "Go home.". Because paying her/him and the film wasn't worth it. Best to lose the M/U fee, Boys/girls fee and other costs than add to the disaster throwing more money after lost money.
Even with digital we would just give up and call it a day. Assuming we couldn't turn a couple shoot into a solo shoot.
The ease of selling. This has a lot to do with it. When selling a set to an editor he had 8 slots to fill and often 50+ sets to choose from. If your work wasn't good, not good enough, it didn't get accepted and even then it might not get used. We were paid on publication. What is accepted today would never get accepted by an editor.
Similar goes for the good video markets. They had more than enough work submitted to them. So if it wasn't good it wasn't accepted.
It's easier to sell today and harder to produce good work.
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I am not on the Internet and my * adaption * was / is
1) To continue to get my product closer to my clients without loosing control of it.
2) It was also to become my own distributeur in order to strengthen my control.
3) Look at what is popular on the Internet and make sure I do not film anything remotely similar
4) Hire performers that have almost no internet presence on social networks.
5) Build long term relations with performers.
6) Make sure that my finished product is something that can and often will stimulate social interaction amongst porn and recreational sex fans.
( not open for discussion for obvious reasons)
Budget can be worked around if you work with quality people and have origional ideas. There is still a world of possibilities for the pornographer that can think past just the act of sex.
But the 2 biggest problems are ;
A) that new potential buyers go first to the Internet, see garbage and then becom jaded. For most their search starts and stops at the Internet. This is where word-of-mouth marketing becomes vital and strong direct lines of communcation are obligatoires. I can not stress the importance of answering your own telephone and returning telephone calls quickly enough.
B) Quality performers are rare because of all the reasons you have mentioned. Not as a rule but as a practice I find it best to avoid most performers that find me without knowning someone that I know. I have the benefit of having learned some things from claudine beccarie who in my experience was the most professionnelle performer in that existed. She was always working and I asked her once how she did it and she told me that she only builds relationships with people that are like her. Thefore if you place quality people around you and you will be successful.
So also if the girl looks like and acts like a Barbie Doll... Do not be surprised if your films are uploaded to tube sites and no one is willing to pay for them.
Instead hire the girl that is professional, has a great personality and can act. Her beauty and what she is willing to do should always be the last concerns.