The Daily Grind

I have an official email address for both my own production company and The Rocker’s company, now, as well as an official office in Taiwan.  I’ve been meeting with people who are interested in bringing the Taiwan project to Japan.  It’s clear that I need to develop a rough budget for 10 days in Japan, 8 days of shows, and 11 presentations.  It’s the first time I’ve ever made a budget this big before, but the Rocker tells me to go with my instincts. so I’m going with what I have, tweaking things as we get good deals from friends here.  For example, after meeting with the city council of one of the boroughs of Tokyo this week to find out what sort of deal they can offer us for a theater I was able to lower that line item of the budget.  I’m looking at transport and lodging, artist fees, theatre rental, local crew, shipping, and “production costs” which are essentially The Rocker’s funds to use for discretionary production spending, if we need to tailor-make a lighting design or hire video artists to install something nice, etc. Everything would have to be accounted for, of course.

One thing is sure, it will be hard – nearly impossible – to get a Japanese company to take on the risk themselves.

  • While I am more than willing to keep pounding the pavement with Japanese partners about this project, how sure is The Rocker about the Taiwanese support for the Hong Kong, Canada, and Tokyo tour?  If tomorrow, we magically have the go-ahead to bring the show to Japan, will everything work on the Taiwan side? The Rocker says that one option to bring Taiwanese investors onboard is to do a test tour to see if we can make money in the south of Taiwan first.  If so, they might be willing to consider the jump over to Japan.  How likely is the possibility of such a test tour?  Should we be looking for other partners outside of Japan and Taiwan like my contacts in Boston?
  • What exactly is the ‘touring version’ of this show?  I imagine that it will be strongly based on what we premier in Taipei in the fall, but would we change things for the touring version? Bringing in more Western artists? Push the multimedia aspect?  The thing that I am hearing over and over again on this side is the desire of Japanese companies to be associated with the “cool,” technological, booming music with a hip beat, sexiness, youth.  They even specifically mention the 18-30 year old age group.  It’s like they’re looking for something that will hold them so they can’t escape, and then shake them ‘til all their money falls out… can we deliver?

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