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Living in a fishbowl, Dana Trippe
Suspension of Disbelief | Photographer © | AOI
New Harry Potter play to pick up where final book left off
Entertainment
New Harry Potter play to pick up where final book left off
The secret is out: The first-ever Harry Potter play will be a magical sequel. “Harry Potter and the Cursed Child” opens in London next summer and will pick up the story where the seventh and final volume of J.K. Rowling’s saga left off, with a plot involving a grown-up Harry and the youngest of his three children, Albus. The play — based on a new story written in part by Rowling — opens at the Palace Theatre in London’s West End district on July 30, 2016, publicists for the production said on Friday.
As past and present fuse ominously, both father and son learn the uncomfortable truth: Sometimes, darkness comes from unexpected places.
Statement about the new play
A synopsis says Harry is now an overworked civil servant in the Ministry of Magic, while his youngest son is struggling “with the weight of a family legacy he never wanted.” The play will be in two parts, which are intended to be seen in order on the same day or on two consecutive evenings. Publicists have been releasing a drip of information over several months in what appears to be a strategy to tantalize fans, although commercial success for the venture looks extremely likely regardless of any marketing efforts.
The story only exists because the right group of people came together with a brilliant idea about how to present Harry Potter onstage. I’m confident that when audiences see ‘Harry Potter and the Cursed Child’ they will understand why we chose to tell the story in this way.
J.K. Rowling
Friendly reminder to all working artists or (especially) aspiring artists.
If a client says they can’t afford to pay you but you’ll get good exposure, one of two things is happening:
1. They are lying. They can afford to pay you, but they are choosing not to. They will pay the printer to print the books, they will pay the mail service to deliver them, and you’d better believe they’re going to pay themselves for sending you an email explaining that they can’t afford to pay you. They think you are a sucker, and if you take the job you’ll be telling them they are right.
2. They are not lying. They have zero budget, no audience and no real distribution system. They’ll still be paying the printer and mail service because people who work in those professions don’t work for free just because someone promises them a recommendation. But they aren’t paying themselves, they’re running on an incredibly small margin, and there’s a good chance they won’t exist as a corporate entity in a few years. Publishing your work with them will give you less exposure than putting it on tumblr or Instagram for free would. It will never lead to a paying job.
If a client starts ranting about the “short-sightedness” of artists, or otherwise complains about artists in general in their opening offer to you, run. Run as fast as you would run if a blind date spent the whole of dinner ranting about how horrible your entire gender is. Yes, there are doubtlessly clients who’ve been screwed over by artists in the past, but the ones who complain about artists in general will not respect you, they will not treat you well.
Working for free does not prove that you are passionate about something. It proves that you do not need to be paid for your work. How many doctors went into medicine because they are passionate about saving lives? Do you think any of them are asked to perform heart surgery for free?
No one will ever pay $50 for something if they can get something similar for $5. When you charge next to nothing for art that you’ve worked for hours on, art that required years of training to create, you are telling your client that it is worth next to nothing. They will remember that the next time they want to hire an artist.
People who are looking to exploit artists know that artists are hard on themselves. They know that most artists don’t think their work is good enough to charge top dollar. They know that artists have been told from the first day they started taking their art seriously as a career that they’ll never make any money off it, that it’s not a real job, that it has no value to society. They know how to push artists’ insecurities about their profession in order to convince them that that demanding fair compensation is unrealistic and uncooperative.
If you’re just desperate for a job in the arts, any job in the arts, give yourself a job. Start a webcomic, or give yourself illustration assignments that you post on social media regularly, create work for a gallery show even if you don’t have one yet, or make a book. Give yourself a job. If you’re going to work for free, you may as well be working for yourself, setting your own hours and following your own interests. Having original art with original characters and ideas in your portfolio, and making sure your art is visible online will get the attention of publishers who are actually looking to hire people for good jobs. Drawing a shitty comic for a defunct publisher based on someone else’s shitty ideas will not.
Protect yourself, because no one else will. Protect yourself, because no one else will. There are people lining up around the block to exploit you. Protect yourself because no one else will.
Yes. Dang.
This is incredibly important
Always re-blog this. ALWAYS.
Never, ever, ever work for free.
This is so important for people working in production as well. One of the big reasons I don’t do much theatre work. Even for fundraisers and charity events, you should NEVER be doing technical work for free. I know some companies that offer the client a reduced rate or at-cost in exchange for a “sponsorship” spot, basically advertising instead of profit, but the production companies ALWAYS PAY THEIR TECHS IN FULL.
As stated above, if someone is putting on an event, but claims they can’t pay for production, they’re lying. They are paying (FULL PRICE!!!!) for the hotel ballroom, food and drinks, the band(s), valet service, photographers, basically everything. So why should the production “donate” their time and service? Or they actually have no money at all, and everyone is a volunteer, and the event is likely going to be a clusterfuck.
I have very similar views towards (unpaid) internships, in that I think they’re a load of shit, but that’s a rant for a different day
Citycape (Lukas Stogsdill) | ikwt
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