9. How To Make Money

Sean and Matt walk through their bouts with artistic critique, performance notes, and public reviews. After decades of it, Matt hopes to finally stop talking so fast. And Sean will try to balance 1 bad review with 5 good ones.

Sean & Matt share the launch of Storybrink - a new lit & media journal featuring a great array of superlative talents across the arts. Issue One’s contributors incl. Alix Lambert, Campbell Scott, and more. How did we get here? And what’s to come? Listen here to find out, then check out Storybrink.com

Sean Lewis (author of Image’s SAINTS, THE FEW, and COYOTES) gives Matt the rundown of his personal journey to professional comic book success, plus the ways the IP industry is having to reinvent itself in this brave new world.

Matt & Sean try to surround the new challenges facing large-scale onscreen production. And at the veritable “halftime” in their lives, stripping down and prioritizing helps show some artistic light at the end of the tunnel.

Matt & Sean wonder why the theater seems to be running from its strengths amidst a pandemic. They also ask if only the young and hungry can make street theater.

Matt asks Sean how to get creativity back to basics and divorced from commerce. Topics addressed include the Rough Theatre, playing with Magna-Tiles, and whether Matt is a conservative.

Sean & Matt catch you up on the major upheavals facing the artistic industries (comics, theatre) they’ve long loved and whether it’s possible to pivot Little Ark’s trajectory during shelter-in-place.

Sean & Matt ponder this title, realize there is no hope, proceed nonetheless. Quick rundowns of the money made (and lost) on our indie film ventures and how getting paid in exposure can sometimes be true.

Matt & Sean discuss the sadness of March, take you through the process of getting ADULT ED. together, and advocate for specificity of voice over trying to feel “professional”.

Literally hiding from their sons, Sean and Matt discuss the imperative of carving out time for creative work and how tricky that can be in an industry increasingly favoring “content” over art.