Togetherland Vision: Part 4
The End of the Celluloid Footprint
Marcia (Lucas) nodded and offered more context. She said that the “big screen”
should beused to deliver important messages to audiences and tell a more spiritual story, one that has a good foundation in the truth, not just another director’s dream.
Quote From Article, Secret Behind Star Wars Inspiration
turning point, pinpoint, a condition at which a small development causes major changes
Mutation and Adaptation of Show Business
Survival of the most innovative, creative and altruistic
We put forth the proposition that the ‘big screen’ can do a lot more than deliver important messages and tell a spiritual story. In modern times, it can play a pivotal role in delivering new realities… and the ultimate Infinite Reality Platform. What does it look like, feel like, to up level filmmaking to its most wondrous possibilities as a tipping point for social action, sustainability and transformation?
FROM SPECIAL EFFECTS TO SOCIAL EFFECTS
“Sets” “Locations” “Stunts” “Costumes” and “Food Services” etc. They all become regenerative solutions in real life while simultaneously fulfilling roles in the “production” for the storylines, plots and unfolding narrative.
No Waste, No Silos, Full Optimization, Pristine Efficiency
The Desert Dolphin Skatepark was constructed as a part of the international feature film titled ‘SKATER GIRL’
Situated on an one acre campus, the 14,500 sqft skatepark is one of India’s largest and Rajasthan’s first skatepark. The skatepark was built with the team from 100 Ramps with the help of Indian and International volunteers, and skateboarding andacting workshops began in October 2018. After filming completed in April 2019, the skatepark remains a free public use skatepark, with the aim of continuing the social impact such skateparks have on rural Indian villages.
THE CELLULOID FOOTPRINT
Inspired by the idea of the Carbon Footprint, which is the amount of carbon dioxide and other carbon compounds emitted due to the consumption of fossil fuels by a particular person, group, etc. – the Celluloid Footprint is a metaphor related to the amount of resources used and emitted due to the consumption of major motion pictures and their productions. I am also juxtapositioning the status of mainstream film production to fossil fuels. In that, it is fossil-like (antiquated) and unsustainable to continue producing films in the silo of entertainment and profit and even social good, compared to shifting into a more unified, whole systems and regenerative paradigm where film making and its consequences are positioned within a wider and deeper context. Because human beings are ultimately brilliant, altruistic, innovative, adaptive and loving- there is no reason why we cannot find a new path and role for film that retains entertainment and educational value while also being completely in harmony with greater truths and planetary solutions.
Why make films about the future when we can create that future through films?!
FROM PROP HOUSE TO INNOVATION HOUSE
A prop house is a vendor to the Entertainment industry… Prop Houses provide set dressings and props for movies and television productions. They contain objects that decorators and production designers need to describe scenes and decorate movies and television sets.
Well.. how about PROPS and INNOVATIONS being one and the same?!
A movie that creates the illusion of awesome props, technologies, sets and settings, OR a movie that simultaneously funds and incubates technologies, products, goods and services and weaves them into the story to advance the narrative AND to make them available to cast, crew, audience and local residents.
No Waste, No Silos, Full Optimization, Pristine Efficiency
A SHIFT IN PRIORITIES SHIFTS THE PARADIGM
Some of the regenerative aspects of Togetherland include using the production budget to ‘buy’ the ‘lands’ and design the ‘props’ and build the ‘locations’ and ‘sets’ as well as staging ‘the ongoing music festival’. Part of any partnership with all co-creators, crew and actors involved would be decentralized and shared cooperative stewardship of all lands and sets, and props, and locations and IP. This way we are building ‘real’ locations with things like housing, etc. and creating regenerative healthy value, and after filming the locations are co-stewarded and governed collectively and unitively by the ‘film crew and actors and audiences’.
We will build regenerative eco-city communities and villages demonstrating alternative energy, organic food and every paradigm shifting technology (of all kinds) available. Then, when we film the concert’s scenes, we will sell tickets, food, shirts, etc. to the ‘concert festival audience extras’. The paying audience will be told and assured ahead of time that 100% of the gross profits from concerts go towards the mission of regenerating and revitalizing our civilization. —it would be an infinite win for people, Planet and Life itself. We can easily transform a major film budget into a regenerative initiative that entertains audiences and provides massive positive (beyond disruptive into synergistic) impact for the world. There is a new frontier available to us as our every choice and action in the world becomes more creative, conscious and creatively driven from holistic and unifying perspectives.
Most critically, in terms of ‘Regeneration,’ and this new paradigm of Filmmaking. In sharing and producing the Storyliving Screenplay of Togetherland, and implementing a Fractal Impact Entertainent media environment through “Regenerative Filmmaking” when an appropriate medium, IT IS important to be clear that it’s people before production. The people involved are of the utmost importance compared to the stories and objects we create. Regenerative Filmmaking includes the inside-out understanding that ‘Whole People Create Whole Systems,’ and that Acts of Co-creation are healing for both people and planet.