Small productions in different arenas allowing Kaiser Johnson to reach a growing global audience
Seattle, WA -- (SBWIRE) -- 03/08/2013 -- In less than one year, Kaiser Johnson has taken himself from relatively unknown newcomer to in-demand working actor, by utilizing the principles of an economic theory known as distributism. Distributism suggests that all workers should have a stake in what they create, and be able to benefit from it, instead of all just working for someone else. Kaiser Johnson explains: “To do the work that you really want to do, you need to be intimately involved in the production process. Instead of waiting for a job, you make your own work, and build a career of integrity, trust, and mutual respect.”
Kaiser Johnson is not alone. The filmmakers behind the most profitable films of all time, such as Paranormal Activity, El Mariachi, The Brothers McMullen, and Mad Max, were self-starters who told the stories they wanted to tell, with the people they wanted to work with. With the confluence of digital technology, new media, easy information sharing, and a rise in entrepreneurship, independently produced and distributed media is becoming the rule rather than the exception. Even within Hollywood, studios are trying to capitalize on this changing landscape of the entertainment world. Small may be the next big thing.
For example, in just a few short months, Johnson has brought his unique brand of intelligent, intellectual charm to roles in such diverse projects as tonal suspense thriller Frankenstein, Missouri (due out this fall), his third season in cable cult favorite The Apostle of Common Sense, the “life after Power Rangers” mockumentary webseries No Nerds Here, and has been cast as killer Tex Watson in the Untitled Dennis Wilson/Charles Manson biopic. The projects range from “low budget” ($30 million), to microbudget ($15,000), but Johnson says that that’s one of his favorite aspects. “On small projects, the best part is being not just an actor, but actually involved in the production process. It lets me work on projects I’m passionate about, with people I love.”
And as YouTube, FunnyOrDie, and even Redbox and Netflix provide platforms for small producers, success is measured in subsidiarity and solidarity, rather than in big budgets and Hollywood buzz. Kaiser Johnson explains: “For all the projects I’m working on, thriving communities exist. For Frankenstein, we’ve plugged in to die-hard horror fans, who are searching for something new. No Nerds Here had over 300 fans clamoring to be extras by the first day of shooting, because we shot at a Power Ranger convention. Through relationships on other films, the Dennis Wilson film already has Redbox and Netflix distribution. When you’ve got a tight budget, you can recoup your investment much faster; you just need to know and understand the ‘family’ who will love and support your project.”
And that’s what this new entertainment revolution is all about: family, community; our culture from the ground up.
For more information, visit www.imdb.com/kaiserjohnson.
Contact: Kaiser Johnson
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