Transcript generated automatically by AI and may contain errors.
Chapter 1: What is the main topic discussed in this episode?
I found something. In the store.
Okay. What did you find?
This film, by 20-year-old YouTuber Kane Parsons, is a blockbuster movie hit.
I think Iggy is going through something. Like what? Is she okay? No.
And this one by 26-year-old Curry Barker, who is one half of the YouTube sketch comedy duo, outperformed the latest Star Wars offering. The one with Sigourney Weaver and that cute mini Yoda thing. We've all heard stories of the Mandalorian bounty hunter.
Two low-budget horror films, both in theaters now by creators taking a different route to Hollywood and bringing their own online communities with them.
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Chapter 2: How are YouTube creators outperforming Hollywood blockbusters?
They used a platform that went just 20 years ago from a place where pirated material landed to the world's biggest home of original video content.
Hi, I'm Connor McClay, and on The Detail today, we're looking at this digital first phenomenon with Dr Kenny Ching, who has somewhat provocatively suggested in a newsroom article that New Zealand is backing the wrong end of the pipeline when it comes to subsidising movie and game production.
I'm a researcher with University of Auckland. Prior to this, I spent many years actually working in the tech sector. And I was also an academic after I finished my PhD. And I relocated to New Zealand about two years ago. And I'm here. I'm very excited to be talking to you.
I'm excited too. So what does your day-to-day consist of? What are you researching right now?
Right. So on the research side, I'm basically focusing a lot on entrepreneurship related topics as well as organization behavior topics. The last few months or so, I've been really focusing a lot more on entrepreneurship. AI-related topics like the impact of AI on society at large in general.
That's what everyone's interested in.
That's why everyone's interested in it. But overall, I would say over the course of my research career, I have been looking a lot at digital communities. looking at digital platforms and just basically trying to understand and study them.
And not just on the impact on society at large, but also the fact that many of them are very interesting entrepreneurial case studies that I think that has great lessons for would-be entrepreneurs, for consumers, also for policymakers.
So from your perspective, how do these digital communities, broadly speaking, differ from traditional communities?
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Chapter 3: What factors contribute to the success of low-budget films by YouTubers?
I wouldn't say so. So I think it's interesting you mentioned YouTube community. Right. So initially you would say that there are there's a community that's being formed on YouTube. Right. That goes, you know, believe it or not, YouTube is only like 20 years. Right. I cannot even imagine how it was like, but it's actually only 20 years ago. Right. So anyway, we used to think of like YouTube form.
There was a community on YouTube, but now YouTube has been so entrenched in society that we're seeing communities form around creators on YouTube itself.
So YouTube has gone more from the community to the platform as a whole. Exactly. The community housed on. Exactly, right? Yep. So we're here to talk about this – I don't know if I'd even describe it as a new phenomenon, but this new trend that we've had of recently we've got a few creators who started on YouTube and are popular on YouTube who have made it big in Hollywood. Yep.
And I guess the core of that is how the – The transition worked. Is this a sign of a new thing?
Chapter 4: What is the significance of digital communities in film production?
Is it just a coincidence? To clarify for our listeners, the Backrooms movie by Kane Parsons, a 20-year-old director who started making movies in this universe, the Backrooms, when he was only 16, has created A24 Films' most successful film ever, $118 million US dollars internationally on the opening weekend. Biggest debut for an indie horror film ever.
How is this possible when more established films were competing with it?
Well, so I think – I wouldn't even say it's a new phenomenon, and I could talk more about why I think that isn't the case. Please do. So I think that when YouTube – so you imagine, right? When YouTube first started about 20 years ago – There were two effects. And I think the first effect many might not remember is that it used to be like a repository for pirated materials.
So basically at that time, before they really started enforcing on digital rights and so on, if you have a movie that you want to watch, go search for it on YouTube. I don't know how many of you recall that, but I am revealing my age actually here.
You won't watch it in five parts.
That used to be the case until they really started enforcing on digital rights and so on. And that became a bit more commonplace. Now on YouTube, you could still do that on other media sharing sites.
Let's not mention any of them.
Let's not mention any of them, right? Okay. So that was one effect. But the other is also that it really spawned the creative community, right? I think that was actually an unintended sort of effect. I think the makers of YouTube, the originators of YouTube, I think, they wanted a platform to allow people to share video. But I don't think they really intended for that platform
people became creators themselves. Like, they're really literally creating content and making that their lives, their entrepreneurial passion, in fact, right? Or even their, basically, the way that they live, right? How they finance themselves, how they make a scratch of living and so on, that became part of it.
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Chapter 5: How do digital communities differ from traditional communities?
Do you think with this sort of new aspect of the amateur and YouTube moving up to professional that maybe we're backing the wrong end of the pipeline?
Yeah.
So I think maybe in my article, I was deliberately being provocative and saying that is the wrong end. I mean, I would probably walk that back a little. I would say that we need to back both ends. Right. I think that we in New Zealand, there's a lot of great strengths. Particularly, I think that some of the studios, so both gaming as well as film studios, are actually really world-class.
So I think we should continue backing them. But at the same time, I think that it's important to think through that the dynamics are changing in this world. I think that imagers are... just as capable now in creating great content that could be what we would think would be the professional content, quote unquote, that you want to watch.
What caused that? Is that a difference in technology?
I think technology is a big thing. I also think it's generally the culture, right? I think the people are very used to this idea that, oh, you know what? I had a great meal. Let me take a photo of that. Let me take a video of that. Let me put a little TikTok video saying, oh, wow, it's really good stuff, right?
I think the idea of documenting something has become so ingrained in culture these days that many, many amateurs, so to speak, are very good at creating content. And this is also obviously helped by the fact that technology has gotten so good, right, both in production technology and as well as that post-production technology.
So how do we do this? If we wanted to, as you say, back that end of the pipeline and encourage more amateur content rising from below to give an easier path and help our industry, what's the path to doing that, do you think?
Yeah.
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