Creative Change in the Movies

Justin Recla:

Welcome back to Incorporating Superpowers. Today you are in for a treat because we’re going to dive down. The Sci-fi rabbit hole has tried to take us to talk about creativity. And what does creativity look like why is creativity so important? More importantly, my guest today is well, in a really good tribe that has known him for quite some time. We’ve done some work together and some projects. He’s a creator. He’s a visionary, and he’s changing the way Hollywood produces content and flipping the industry on its head. My guest today is Louie Olivias the founder and CEO of Cinematic, Cinematic Louie helped me out there I always butcher.

Louie Olivas:

The company is Cinemo Galactic Inc.

Justin Recla:

Hey, Cinemo Galactic Inc. And folks, this is this, this show is going to be something that you’re going to want to pay attention to. Because if you’re tired of the sable just malarkey that’s coming out of Hollywood, the fact that we haven’t seen anything original in a very long time. And it’s just essentially just regurgitation of old storylines, old concepts, and who can create the most CGI effects on screen. It’s gotten old, the industry stale, and people know it. And it’s showing its proof is in the, you know, the box office, where we’re where movies are struggling nowadays, and streaming is coming along. There are all sorts of things coming in. So Louis, you’ve been in this, you’ve been at this for quite some time. And you are working on a couple of new projects. One is the Fidelis project, which we assist with, and help develop some of the arcs for the characters because it’s based on Homeland Security, and so forth. But the big project I want to talk about easily is Jancroon, which is completely something new that we haven’t seen before. Talk to me about specific galactic productions. What is it that your company is trying to do?

And that opened the door for us to start approaching these really talented people to start working on new projects like Jancoon. So first, the first guy we reached out to is a two-time Eisner Award-winning comic writer named Mike Barron. And he wrote The Punisher series for Marvel in the 1990s. So like, Mike is absolutely actually adapting the screenplay into a graphic novel format for us. So then we have another really talented illustrator named Henry Martinez, who also worked with Marvel and some other companies doing the illustration. So it’s, the graphic novel has really turned into a tool to get your story out there. It’s the closest thing to making a movie without filming anything. It’s literally a two-dimensional representation of the film, depending on your artists, but, you know, I have a good friend who is a president of international distribution at a major studio. I won’t say which one but he and I have had major or, you know, Frank, and open conversations and he was he admits to me, the studios do not develop new products anymore. You have to go with a fully developed fully monetized franchise for them to even think about, you know, making it into a movie. And he’s like Lou, your best bet is to finish your graphic novel. And utilize that as your pitch tool to start getting the word out about this new sci-fi IP.

Justin Recla:

Well, I’ve seen the first round of the graphic novel and it is 100 real if you mean, folks, if you love sci-fi if you are looking for something fresh and new in the Sci-Fi world, you got to take a look at Jancoon. I mean, some of you even had artists that were part of the Star Wars Luke Lucas world right?

Louie Olivas:

Yeah, yeah. So our initial concepts for what I created with every big sci-fi story world, there’s always a good versus evil story structure. And I created a new supervillain alien race called Croon. It’s spelled CRO n. And Terryl Whitlatch. was George Lucas’s creature designer on the Star Wars prequels? She did the initial concepts of the crew, and they just came out fantastic. So we’re super excited. Yeah, we’re, we’re super excited to show audiences this new supervillain alien race. And to be honest with you, within the Sci-Fi, you know, fantasies, you know, genres. It’s the villains that really drive the story and the franchise, especially when it comes to Merchandising, toys, and stuff. I mean, if you have a, a hero is only as strong as the villains they overcome. So if you have a weak villain, you’re ultimately gonna have a weak hero. So I made sure that I wanted to make one of the most visually stunning groups of villains I could. And I was just fortunate to get in front of terrible when I did, and I mean, we’re, we’re really excited to, to, to show and showcase the crew.

Justin Recla:

Yeah, this is this folks. If you were, if you could remember what it was like, in 1877, when you went out and saw Star Wars for the first time, or, or you saw sewers, maybe it was 78, or maybe early 80s, when he first saw Star Wars in the big screen and the creatures, the characters that they brought up, and then all the new stuff that got created with the prequels, when that came out and reinvigorated all that same feeling that we experienced in 1877. That’s the level of storyline and characters that are part of the Drag Jancoon series, and I can hardly wait to see it come out. And you know, folks, there’s a lot that you can do to support this, you can go out there and you can get out and take a look at Jancoon, go pick up a copy of the storybook and dive into it. Louis, I want to dive into the conversation of what’s actually going on in Hollywood at the back a little bit further. Because I think a lot of people want to be great to hear kind of an insider perspective of, why we just keep seeing the same old, same old but before we do, where can people go find more about Jancoon and pick up the graphic novel get merchandise, where can they go get all of it?

Louie Olivas:

Okay, so first, I just want to say that the graphic novel is not done yet. We’re still endeavoring to finish that we were 22 pages in of a 96-page graphic novel. So it’s still in the process. We’re exploring toy licensing. We have a great representative representing us in the toy industry. But right now, we do have some initial Jancoon merchandise like hoodies, shirts, hats, stickers, and posters, on Jancroon.com. And we literally just put up the shop page yesterday. So anything, any support you guys want to your audience wants to throw at us. You know, pick up a T-shirt, you know, anything will help. But in terms of the industry basically Hollywood is that proverbial fortress that is designed to keep people out. Unfortunately, that’s just the way it is. And so for someone like me, who’s just I mean a kid from Tempe, Arizona, with no affiliation to Hollywood, you know, you have to think outside the box. You have to find different ways and different ways to get your stuff moving forward. You know, different products. And it is a challenge. But it’s not to say that it can’t happen, you know? So what it is, what happens is when you have an industry like Hollywood that’s so close to outsiders you have, there’s a lack of new blood and new talent to enter the industry. And so the people inside the industry, it’s only natural for someone to run out of ideas. And so when you happen, what happens is you have these people there, so industry that is running out of ideas. And then that’s when you get the repetition. That’s when you get the remakes. That’s when you get the reboots. That’s when you get to sequels. And you should I mean, if you look at the slate of films coming out over the next five years from the studios, I would say 90% of them are all remakes, reboots, remakes, or sequels. And that’s where the majority is.

Justin Recla:

And this is, I want to touch it here real quick because this is something that that I just want to look at from a different lens here. I know that the reason why they just spit stuff out is that itself, right? Oh, here’s the same thing with a new actor, right? The DC and Marvel worlds? That’s kind of what the multiverse concept of the Multiverse has created for them. Right? It’s luck. We can spit out these types of movies left and right, because all we have to do is throw a different actor in it with a different you know, so like Batman, how many different Batman can there be now? Because it’s, it’s like, because the multiverse exists, right? This is great for actors, which is great for the creators that like, like, like creating that but from a consumer. How many times do we need to see Batman on TV? How where’s the new stuff? Right? What does it what, what do you think that does to society as a whole, and when we’re limiting our own creative ability to be at by the fact that we only consume the same stories over and over and over again?

Louie Olivas:

Well, I think part of it’s intentional, which is probably a topic for another time.

Justin Recla:

And also another conversation.

Louie Olivas:

But I’m also you know, a lot of the repetitive superhero movies still make money. And because, you know, these characters are iconic, they’re embedded in popular culture. So they are, they do a lot of them are successful, at least. And when I say successful, they mean it means they break even and the studio didn’t lose any money. So keep they keep, you know, rewatching them and all that kind of stuff. But our philosophy is, and what we believe is that you know, there can exist fan bases for all that content, and still patron new IPs, like Jane Crone. And I think it’s vitally important for new products and new stories and new content to come out for a thriving and robust entertainment industry. Because eventually, eventually, more and more people will get it called burnout, more and more people will experience burnout. And you’ll have you’ll see more layoffs at the studio level. I mean, Disney as we speak, is laying off 7000 people. And if they were in a, on a hot streak right now, if they were making some money, they would be hiring more people not firing. So

Justin Recla:

Yeah, it’s, it’s, it’s crazy because you would think, I mean, I look at it from, like, the business perspective, right? And I understand processes and systems and processes are your processes and systems that spit out money over and over and over. Yeah, right. And, you know, that’s one thing to do that, but it’s like, at what point in time do you recognize that your audience has gotten frickin bored of seeing the same thing? Or we’ll just wait for it to come out on their free streaming video that costs us 10 bucks a month, right? Just not going to the leaders because it’s why would I Why would we pay particular ticket prices to go see the same thing over and over and over again, and that’s the problem that we’re bringing a solution to something new and fresh and innovative and original. However, the real the when it comes to money, it’s always the fear of putting money behind something unproven and that’s the whole point of developing this on our own, you know, doing our own concepts, hiring artists, you know, putting out a graphic or graphic novel, and hopefully an action figure toy line. That would be that is our goal. was to put forth a graphic novel with an adjacent toy line. But it’s the fear of doing anything new. And that’s ultimately big our biggest obstacle. We there’s the few people that have seen Jankunas in Hollywood, there’s never been any negative feedback is just, they always say, Louis, this is really ambitious. And Justin, that’s code for man, this is gonna take a lot of work.

Louie Olivas:

Yeah, you know, thank you for bringing that up. Because that’s really what I was getting at was that it really seems that it’s not so much about the money, so much as it is about the laziness of Hollywood because they don’t want to do the frickin work.

Justin Recla:

Yeah. And that’s, that’s what we’ve encountered. So, you know, especially the gatekeepers of Hollywood, which are the agents and managers. There are the people you come up with first, who you need to contact. And, you know, most, I mean, let’s be honest. I mean, people, like you said they’re innately lazy. They want the highest reward for the most minimal work possible. And Jancroon isn’t as a high concept, ambitious sci-fi story world. That, I mean, the few people who have seen him are like, they use the word ambitious. And I always know what they mean. They’re like, Okay, I’m like, Okay, well, you don’t want to put in the work for that. So which is fine, you know, but, you know, we’re excited because I know there’s a need for original content, and for new and creative story worlds to come out. And, you know, there along the journey, there have been people in the industry that have read the script that has absolutely given us hope. And that fire they move on, like Sir Richard Taylor from Leto workshop, and when a workshop is a studio behind the Lord of the Rings trilogy. Richard Taylor is a five-time Oscar winner geek, I managed to get him the script. He absolutely loved it. He sent me a letter of intent. And we still plan on working with whether it works out for full-story world visual development. What is this? Just it’s this is like that you hear that feedback? And you’re like, Okay, we got something here, you know. And then of course, around that time, I was thinking, maybe this is my, my big break. And I, of course, started showing people that letter, and people were like, Whoa, is he putting in any money? I’m like, in a workshop is for hire you like the producers hire them to work on and so I’m like, Okay, this is not going to work. So, but it’s just, it’s just something you put in your back pocket and say, Look, I have this person on board, this person, this person, and this is going to be a fantastic project. Let’s just keep moving forward. You know, well, this is how greatness gets done. I mean, this, folks, this movie is going to get made one way or the other. I know, Louis, he’s been working on this for some time, the amount of pushback from the industry is unreal. They want you to come to the storyline, they want you to come to the table with a multimillion-dollar franchise already established before they’re even willing to consider picking up any script nowadays. And it’s really, it’s really been done that Natl laziness and out of an out of the fact that the, you know, what do we want to create middle that, like you said, Well, that’s a whole other conversation to why we just see the same thing over and over and over again. But, folks, this is me and my heart because I’ve been involved with this project. I’ve been there with Louis for the last, you know, however many years that we have that he’s been working on this and I can tell you this the momentum that he has, the people he has on board, this movie will get made, it’s just a matter of time. And if you’re ever wanted to be at the start of something before it became huge, and you want to fall in love with a whole new world and a whole new story. Take a look at Jank through because of the work that Louie’s putting out there. The storyline is putting it out there and the team of people that he’s built and continues to build as a parent is that continues to gain momentum is huge and you’re not going to want to miss it. Louis one more time. Where can people go find more information on Jancroon in everything that you’re producing?

Louie Olivas:

Everything’s out on the website, Jancroon.com. And then from there, you can join our discord channel. That’s where I send a lot of messages to our fans with updates on progress. Stuff like that.

Justin Recla:

Awesome. I got to ask you do you have the behind-the-scenes creation of a video of the spaceport on there?

Louie Olivas:

Not yet, that will be uploaded the next week. But that is what’s really cool behind the scenes. So we’re gonna I’m gonna create a behind-the-scenes tab on the website, upload that video. And then you’ll basically to your audience. Emery Watson was one of the lead content designers on the Lord of the Rings. He designed the initial concept of the Galactic Court Jancroon, and so I recorded one of our sessions working with him. While he’s designing the galactic boardrooms. It was a lot of fun.

Justin Recla:

Yeah, yeah, it’s pretty. It’s pretty unreal. What he created as well. So make sure you go, go take a look at that, folks. Go take a look at Jancoon into something new. Open up your imagination and feel alive again while you’re watching the movie. This is what trade assurance is going to do. And until next time, go out there. Incorporate your own superpowers so you can change the world. Take care.

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