June 10, 2025 • 63 mins
In today’s episode, we’re thrilled to welcome Carmen Acosta, also known as Jane Dope, back to the podcast. The experienced LA artist and curator will soon assume her new role as host of the unscripted home design television show “Arthouse.” Produced by Crewest Studio and supported by the nonprofit Arterial, NOT REAL ART’s fiscal sponsor, “Arthouse” aims to bridge the gap between talented artists and everyday people, redefining how art is experienced in personal spaces. With a mission to democratize art, “Arthouse” empowers viewers to curate authentic artwork that aligns with their tastes without straining their budgets. The show's concept centers on eliminating intimidation in art collecting, providing local artists with a platform to showcase their work directly to buyers.
To support this vision, “Arthouse” is launching a crowdfunding campaign with a goal of raising $150,000 to produce a full-length pilot episode. Set in Chicago, the pilot will follow an individual or family as they explore local art scenes, visit artist studios, and make informed purchasing decisions with help from Carmen. The campaign, running from June 10 to July 25, 2025, on Indiegogo, offers a unique opportunity for art lovers to contribute to a project that aims to transform the way we perceive and appreciate art in our daily lives.
Scott “Sourdough” Power, the creator of “Arthouse” and NOT REAL ART, as well as the visionary behind the nonprofit arts media platform Arterial, emphasizes that the show is more than just a way to sell art—it's about cultivating emotional connections between artists, buyers, and viewers. As Carmen steps into her role, she’s eager to lead this movement that celebrates creativity and makes art accessible for all. Don’t miss her insights on how “Arthouse” aims to reshape the way we engage with art and artists alike.
Links mentioned in this episode:
For more information, please visit https://notrealart.com/arthouse-host-carmen-acosta
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
The Not Real Art podcast isintended for creative audiences only.
The Not Real Art podcastcelebrates creativity and creative
culture worldwide.
It contains material that isfresh, fun and inspiring and is not
suitable for boring old art snobs.
Now let's get started andenjoy the show.
(00:48):
Greetings and salutations, mycreative brothers and sisters.
Welcome to Not Real Art, thepodcast where we talk to the world's
most creative people.
I am your host.
Faithful, trusty, loyal,tireless, relentless host.
Sourdough coming at you fromCrew West Studio in Los Angeles.
Man, do we have a great showfor you today.
A dope show for you todaybecause the one and only Jane Dope,
(01:09):
AKA Carmen Acosta, is in thehouse again today, returning Champion
to the show.
But today she's here to talkabout her new role as host of the
show Art House.
The TV show Art House aboutreal people, meaning real artists
to buy real art, real withoutbreaking the bank.
And so this is a very excitingproject that Carmen is involved in.
I'm going to tell you moreabout it in one second, but before
(01:30):
I do, I want to thank oursponsor, Arturial, our fiscal sponsor,
Arturial.
Arturial is an arts nonprofitthat exists to amplify art in the
world.
It's a media platform forshows like ours.
So thank you, Arturo, forsupporting us.
Of course, I want to ask youto support arterial and who will
support us.
And any support you give willbe tax deductible.
(01:52):
So thank you.
Thank you so much forconsidering that.
As always, I want to thank youfor tuning in.
We do this for you.
It's all about you and weappreciate your loyalty so much.
Thanks for showing up.
And of course, I want toencourage you to go to notrelart.com
and check out all the good,healthy stuff we've got for you there.
Nutritious, organic, freerange, no preservatives, gluten free,
(02:13):
amazing stories and artworksabout artists and art and everything
in between.
Things like first Friday'sonline gallery exhibitions.
First Friday of every month,we've got the Remote series with
Badir McCleary celebratingpublic art around the world.
That is new seasons droppingthis month.
So look for that on and on and on.
(02:34):
So many greatthings@naralart.com go check it out.
Okay, as I said, the one andonly Jane Dope, AKA Carmen Acosta,
AKA Carmen Acosta, AKA Jane Dope.
She's back.
And why is she back?
Well, she's back to talk abouther new role, exciting new role as
host of the show Art House, anew TV Unscripted show Art House
(02:56):
about real people meeting realartists to buy real art without breaking
the bank.
And this is a project actuallythat yours truly developed and came
up with a few years ago we'vebeen working on through my company,
Crew West Studio.
And we are just so excitedabout this project because we think
it's going to be a gamechanger for how artists get eyes
(03:16):
on their work.
It's going to be a gamechanger for how people learn about
art and how to buy art andfeeling confident in their taste
and their choice for aesthetics.
And so Art House is thisproject that we've been developing
and Carmen is here to talkabout her role as host and how excited
she is.
And I'm going to talk abouthow excited I am about her being
(03:37):
the host of the show.
And so stay tuned for that.
And also, you know, we'regoing to talk about the crowdfunding
campaign that we've launchedto help fund the production of the
pilot episode we want to make.
We want to get Carmen in frontof the camera.
We want to create the firstpilot episode, which is the prototype
of this for the series.
We'll use the pilot episode asa way of raising more money for additional
(03:59):
episodes and or selling theshow to PBS or to Netflix or one
of the other media companies.
Maybe we'll do it independent,maybe we'll just do it on YouTube.
We don't know.
But we do know that we need toraise $150,000 to shoot the pilot
episode in Chicago this summer.
30 minute episode.
So we've launched acrowdfunding campaign.
(04:20):
Please consider supporting.
Check the show notes for linksand all the information you need
to learn more and support us.
You can always go to arthousetv show.com that'll direct you to
the crowdfunding campaign.
But I'm just thrilled aboutthis and I think you'll really appreciate
what we're trying to do withArt House.
And I know you'll appreciateCarmen Acosta and her role as host.
(04:42):
So without further ado, getinto this and remember Carmen.
I should give her a proper introduction.
I mean, Carmen is fantastic.
She's an artist, she's acreative director, she's a designer,
she's a curator.
She's been in the contemporaryart game here in Los Angeles for
years and very well respected,very highly regarded arts expert
(05:04):
here in LA working withfantastic artists.
And so she's the perfect hostfor Art House.
And we're just so thrilledthat she is taking this on.
So without further ado, let'sget into this fantastic conversation
with the one and only CarmenJane Dope Acosta.
(05:30):
Carmen Acosta, welcome to the show.
Welcome back.
You should say welcome back.
You're like the returning champion.
You know what's amazing aboutthat is that the last time I was
on here, we talked aboutvoiceover, and then I said, you know
what?
I might be doing some oncamera work soon.
Who knows?
And here we are.
And you're.
And you're like a psychic and,like, clairvoyant.
(05:55):
No, come on.
I have an eight ball.
A magic eight ball.
Oh, hey, clarify eight balls.
You know, from Toys R Us.
Okay.
When I was a kid.
Okay, good, good, good, good.
The Magic 8 Ball.
Yeah, relax.
I know some of our listenersare, you know, perked up.
Eight ball.
No, no.
Get your.
(06:15):
Get your head off the plate.
Come on, Seriously.
We're here to talk about art.
Get the straw down and pay attention.
Oh, my God.
All right, this is a family show.
Let's.
We digress quickly.
Well, Carmen Acosta, welcomeback to the show.
But of course, you know, we've got.
We've got.
We're going to have you on the.
On the podcast, which you havebeen on multiple times, but this
(06:37):
interview will also air on thenew podcast we're creating for Art
House.
The Art House podcast.
How fun.
And how great is that, right?
Am I the first guest?
Well, I guess we'll have totalk about that.
Will you be the first guest?
You certainly could be thefirst guest.
So we'll.
We'll.
We'll.
We'll discuss scheduling.
(06:59):
Okay.
Off.
Off.
Mike, as it were.
Nobody cares about how thesausage gets made.
Right?
I just meant, is this.
I just meant, is this thatfirst podcast?
Like, is this the.
You know, it is not the first podcast.
It will.
It will probably be thesecond, actually.
Got it.
But any who.
I am just so glad that youtook time out of your busy schedule
(07:21):
to come back and talk aboutArt House and talk about your new
exciting role on Art House asthe one and only host.
The host with the most.
Carmen Acosta on Art House.
Yeah.
Yeah.
My new favorite show.
Your new favorite show.
About to be everybody's newfavorite show.
And I'm.
(07:41):
I'm.
I'm so grateful that you'rehere for all kinds of reasons, but
not the least of which is Iknow you're so super busy with multiple
things going on.
Not the least of which youhave a really awesome, great show
opening tomorrow.
I know you've got your headdown and getting that show hung and
coordinating with all theartists because it's a group show
and so many moving pieces.
I mean, before we get into themain event here, how are you feeling?
(08:04):
How are you holding up?
Because I know it's stressful.
I do a thing where I make surethat the day before is very light.
So I'm able to do the podcasttoday because I was there very late
last night.
Today should just be wipingthings down, hanging labels, you
know, finishing touches, andall those things that I thought I
might not have time for.
I do them today.
(08:25):
Tomorrow is all about gettingthem nails did, you know, walking
the dog to the park.
The hair did.
Get the nails did.
Relaxy mode.
I love it.
Yeah, it's like, you know,you're getting.
You're getting ready for likea, you know, the.
The main event, the.
The heavyweight championshipbout here.
(08:46):
Yeah.
I want to feel done.
I want to feel done when I goto bed tonight, you know?
Right, right, right, right, right.
Done and ready to.
Ready to celebrate and.
And have a good time tomorrow night.
Yeah, well, tell.
I mean, not.
I mean, just.
I know we want to talk aboutother stuff, but for the listener's
sake, tell us about the showthat's opening tomorrow night that
you've curated.
(09:07):
So for the last 15 years, I'vebeen curating shows with my partner,
Jessica Yost.
And in the last year, ShoutOut Jessica, in the last year, we
decided to call ourselvesHowdy Artner, and we are the creative
duo that is back after sixyears of not curating together.
So this is our first show back together.
So that's fun to have.
(09:27):
Have coming out of retirement, people.
Yeah.
And so the show has a bit of asustainability component.
We provided services forartists to paint and customize, so
pieces from old movie setsand, you know, things we found on
the side of the road.
So it's been really excitingseeing those things come back.
And it's also a bit of awhimsical funeral theme because we
(09:51):
are resurrecting these items.
So we've asked everyone towear black.
It's gonna be really fun.
DJs, food, drinks, you nameit, I'm coming.
I'm attending.
Nice.
So do I need to wear black?
Is that.
Yeah, everybody's wearing black.
Okay.
All right.
The flyer reads, funeralattire encouraged.
So you don't have to, but it'dbe cool.
(10:13):
We're gonna.
I wanna go upstairs and look down.
You've been to my studio.
Look down and see justeveryone in black partying.
Love that.
Love it, Love it.
Well, so if you outlive me andyou Likely will.
I want you to curate my funeral.
Will you do that?
Yeah.
Yes, please.
All right.
I want to make sure everybodyis properly attired, but I want them
(10:36):
to make sure they're havingfun and partying and I know you can
pull that off.
Speaking of, you came byduring setup and there was that funeral
procession.
How amazing was that?
I couldn't take my eyes off of it.
And it just kept going andgoing and going.
I filmed the whole thing.
I posted on my Facebook page.
It was crazy.
I'm like, I don't know whothis dude or woman was, but clearly
(10:58):
they were loved and clearlythey love cars.
It was so beautiful.
That car club was off the charts.
It was, I don't know, over 100 cars.
I don't even know.
It was amazing.
It went on for like 30 minutes.
Yeah, vintage.
Vintage Cadillacs, lowriders.
I mean, just a crowd, mostlyvintage Cadillacs, but some of them
were, Were, were dropped down.
(11:20):
But yeah.
Yeah, that was super great.
That was very cool.
So, yes.
So curate my funeral.
Bring the, Bring that procession.
You got it.
And have a great show tomorrow night.
I cannot wait to check it out.
It's going to be so fun.
It's coordinated with the artwalk, right?
Yes.
So what time.
What time are people welcometo come?
Doors open at 6 and it goespretty late.
(11:43):
Yeah.
All right.
Yeah.
Well, good, good.
Good to know.
Well, this is actually aninteresting segue into kind of our
main conversation here today,which is really about celebrating
and honoring the fact that youare officially the new host of the
unscripted reality show ArtHouse coming out hopefully in theaters
(12:03):
near you very soon.
When I say theaters, I meanyour smartphones and laptops and
everything else.
But we are, are very excitedabout this project.
Art House being a show aboutreal people meeting real artists
to buy real art withoutbreaking the bank.
And we are going to not focuson major metropolitan areas, so called
(12:26):
major markets.
We're concentrating on the.
On the Clevelands and theToledo's and the Madisons and the
Wichitas and the.
And the Albuquerques of the country.
I love that aspect of it.
I mean, when we do travel,because it will get picked up and
it will get funded.
When we do travel, it will beso cool to dig into these tiny little
(12:49):
cities and meet not justartists, but just the community and
people and how.
See how they function and seewhat inspires them.
What I love about the show isthat it's an opportunity to expand
people's consciousness aroundwhat art really, truly is.
And I say this because withyour show Tomorrow night, like, you
(13:09):
have just hit the nail on the head.
It's like, no, no, no.
By the way, that discardedobject, whatever that object could
be, you know, in the hands ofan artist, in the hands of the right
creative, can turn thatdiscarded thing into a super cool
piece of art that can thenhang on your wall and make your place
(13:31):
an expression of one'spersonality and character.
And that's what artists do,and that' art does.
And this is what Art House isall about.
And you're the host.
I'm so excited to be the host.
Oh, my gosh.
Are you ready for me to bethis host?
Because I don't know.
I don't know.
I'm not going to be yourtypical host, Scott.
Like, I don't want that.
I'm coming from a backgroundof speaking art.
(13:54):
I guess I speak that language.
And even with my shows andcurating shows and connecting artists
with buyers, they are the star.
You know, like, help me help you.
I always say to them, youknow, without them, there's no show.
So that goes for Art House aswell, and that goes for all the shows
that I curate.
So I want them to be happy, Iwant them to be represented properly,
(14:14):
and I want people to not justsee it as a strikingly visual piece
of art on their wall, but Iwant them to hear their stories and
hear the inspiration behindwhat motivates them to create.
There's gonna be.
My hope is that you not onlylearn what you love about art and
(14:34):
how to choose art for yourhome, but the process and what goes
into the making of some ofthese works.
Baked into everything you justsaid is our ethos for the show.
And that ethos sort of is, youknow, not to be reductive, but it
sort of distills down into acouple of, you know, key phrases
(14:56):
that we.
That we say a lot when we talkabout Art House and we say that,
you know, on Art House, beautyis in the eye of the beholder and
home is where the art is.
And those two littlestatements truly get to.
What you and I both love aboutArt House and what with the show
(15:17):
is about is giving people,empowering people to embrace their
own agency and trust their owntaste and gut.
You know, it's like, okay, youdon't like red?
Well, guess what?
Don't get art.
That's red.
You know, I don't care what.
I don't care what, you know,certain fancy people might say about
red.
If you don't like red, don't have.
Don't buy red.
(15:38):
Yeah, And.
And the.
The reverse is true if youlove red.
Well, God damn it.
Find some art that's red andhang it in your house and it'll make
you happy.
Yes.
But also learning that, youknow, red, maybe a subtle addition
of red would be nice in yourkitchen, but do you really want a
giant red piece of art?
You know, looks like pastasauce got splashed on your refrigerator,
(16:02):
you know, we'll learn thosethings along the way, you know?
Totally.
Totally.
And then, you know, so.
So this idea of beauty and notbeing in the eye of the beholder
and, you know, empoweringpeople to trust their gut and their
instincts and their tastes andgiving themselves permission, right.
To make aesthetic choices,because most people feel like, I
think, that they have to go toTarget or go, you know, somewhere
(16:24):
and buy some mass producedthing that everybody else is buying
because they feel like theycan't trust their own tast.
And I think a show like ArtHouse ultimately will empower people
to trust their gut and trusttheir taste.
And that's why we say beautyis truly in the eye of the beholder.
And I think Art House is greatfor that.
But then also, that otherlittle catchphrase, home is where
(16:47):
the art is.
I mean, you and I both know,because we live with art every day
in our homes.
Original art from many no nameartists, so to speak.
Right.
Artists that we love thatmaybe the rest of the world doesn't
know.
And that's fine.
Yeah.
Because that's the otherthing, too.
It's like, the point is, is tohave art in your home that.
(17:07):
That stirs your soul, thatfeeds your soul, that makes your
heart happy, and it makes a home.
A home.
Yes.
And you and I know that thatart does that.
Like, think about what adifferent show it would be if we
were like, today we'revisiting a home with the Basquiat,
you know, and it's like.
It's like, yeah, I know.
Everyone's heard the name,everyone's seen it, we love it.
(17:28):
But also, how much moreexciting and interesting is it gonna
be to find out that Joe Smithin Toledo makes these incredible
pieces out of his childhoodquilts or whatever the case may be.
You know what I mean?
I'm excited to learn aboutthat, and I think that the viewers
will, too.
Absolutely.
Well, you know, artists arethese mystical, magical creatures.
(17:51):
Right.
That it seems oftentimespeople, you know, can be intimid
and that the other part ofthis show, I think, is about humanizing
artists and demystifying thiswhole world so that people are empowered
and comfortable talking toartists, going to artist studios.
Because if we can, it canbridge that gap.
(18:12):
If Art House can really trulymake viewers, you know, excited about
meeting artists and feelingcomfortable going to artist studios.
And if we could do that atscale, you know, across the country,
you know, with perhaps, youknow, I'm going to say it, millions
of viewers.
Yes.
I mean, that will be afundamental shift, I think, in how
(18:39):
art is, you know, enjoyed andpurchased and at scale over a couple
of seasons, I think artistsare going to enjoy more sales as
a result of that becausepeople watching the show will realize,
oh wait, yeah, I got artistsin my community, I can go buy from
them.
Yes.
And the process might be aseasy as you going into, you know,
(19:01):
I don't want to say the nameof a shop, but like a home decor
shop that has these massproduced prints.
Like, I know that's easy toput that in your cart, but so is
going to an art show andsaying, I want to know more about
this piece and then, you know,it's not a scary thing and we're
going to show you what that means.
That's right.
That's right.
(19:21):
And, and no, no, no, nooffense, you know, to the home decor
industry.
I mean, we, we love, we lovethat industry if for no other reason
that it employs a bunch of artists.
Right?
I mean, yes, even massproduced work, there are artists
and creatives and designersmaking that work that then gets mass
(19:42):
produced.
So it is a great industry foremployment for artists.
So that's wonderful.
But that category, that socalled home decor category is a seven,
almost a $7 billion category.
And I just think that, youknow, and that's great, but a show
like Art House could helpempower people and inspire people
(20:04):
to shift some of that moneyaway from, you know, big companies
and corporate companies to,you know, real artists working in
their communities, 100% plus.
You know, the soul that comeswith original art.
And you've said this before,you love seeing the hand work.
You love seeing a person'shand in painting.
Whether that's a very 3D formof, you know, layers of paint or
(20:29):
if that's unconventional materials.
Like, I love that too.
And it's like, oh, your brain,which we cannot see, took all of
those thoughts and gave theworld this tangible object to look
at and in some cases touch.
Not always, but I think that'swhat's missing from the mass produced
work.
And I want people to sort oflearn that and understand that when
(20:53):
people come into their home,you're going to want to show this
off.
You know, it's not going to besomething that they already saw or
that they might also have, youknow, a phrase or something above
their, you know, kitchen.
Or it's that soul that they'regoing to grow to love and understand
that live.
Live love, laugh.
Yes, Live, love, laugh.
(21:13):
And please buy some art.
Please buy original art.
Dance like no one's watching.
Exactly.
Sing like no one's listening.
Wine o' clock the rest of your life.
Well, and, you know, one ofthe things that gets me excited is
that, you know, as the showevolves and develops, of course,
you know, we'll be facinginteresting little challenges, right?
(21:36):
I mean, you know, we'll go tosome, you know, some town somewhere,
and the good old US of A.
And you're going to meet a.
You're going to meet a familyor a couple or a person who's got
100 bucks, right?
They've got a hundred bucks tospend, and they really, really want
a piece of original art orthey want art on their wall.
(22:00):
And you're going to bechallenged to help them find something
that they love that fits their budget.
Because that's the whole thingabout the show.
Without breaking the bank,everybody's on a budget, whether
it's 100 bucks or 10,000 bucks.
And of course, we'll have afew people, a few shows here and
there where Maybe somebody'sgot 5,000 bucks or 10,000 bucks to
spend.
But.
But this challenge of, of.
(22:21):
Because you are exactly.
One of the reasons why I loveyou as the host for the show is because
you are the perfect person totake that would be buyer to the flea
market.
Right?
Yeah.
And.
And go treasure hunting.
Right.
And yes.
Find something super special.
Well, not only that, you know,I have this group show tomorrow.
(22:42):
There's people that are like,can you help me price my art?
And I'm like, well, you talkto me.
What were you thinking?
I want to hear that number first.
And some people will go that low.
Some people will go very low.
And I'll say to them, that isnot at all what I was thinking.
I was thinking more of this,like, way higher.
And they're like, yeah, but.
Yeah, but I want it to sell.
I would love to walk outgoing, I sold a piece of art.
(23:02):
So there's, there's tiers andthere's ranges.
And I want people tounderstand that, you know, and that
person who priced their.
Their work low might thinkthat they're either new to the game
or shouldn't be pricing it toohigh because they haven't shown very
much, but someone is going towalk in tomorrow night to my show
and the lowest priced piece isgoing to be their favorite piece.
(23:25):
Not because of the price, butbecause it spoke to them.
So the connection can still happen.
You can still buy anincredible piece for that price.
It again, we're going to learnwhat people like.
We're going to show them thatit doesn't have to be scary to purchase
and within your budget.
There's just going to be thislike, wild range for us to play with
and discover so well.
(23:48):
And you and I both know, andthis goes back to this idea of beauty
being in the eye of thebeholder that you can imagine that
as, you know, viewers of ArtHouse, you know, become more comfortable,
become more empowered andbecome a little more knowledgeable,
a little, a little moreconfident in their taste and in their
(24:08):
judgment.
You know, I, I, success for meis when I think about that is like,
okay, imagine five years, youknow, from now, or even a year from
now, whatever, you know, thatperson, that viewer is at the flea
market by themselves, youknow, and they just see something
that they know is just really interesting.
Like it's an object that isunique or special or interesting.
(24:32):
It speaks to them on some level.
And they, they, they realize,you know what?
This is something special and unique.
And I want this.
I'm bringing my home, I'mgonna put a new frame on it and they're
gonna hang on a wall andthey're gonna love it.
And they got it for 50 bucks.
Yes.
And even if it's an objectthat they hang as a piece of art
that wasn't intended to be apiece, like, we're gonna open their
(24:52):
minds to those things and Ihope that they hear me in their ear
with some fun quotes from theshow when they do it.
Absolutely right.
Carmen says.
Oh, yeah, that's right.
What would Carmen do?
This is, this is what we haveto, we have to create a whole thing.
The mystique of.
Okay, just think to yourself.
Channel, Channel.
Carmen, think to yourself.
(25:13):
What would Carmen do?
What would Carmen say?
What would Carmen think?
What would she say about thisrusty spot in the corner?
She would love it.
She would embrace it.
Amazing.
Amazing.
Do I need a catchphrase, Scott?
Well, you're going to have a catchphrase.
Maybe not by the end of thispodcast, but certainly by the, by
the end of the, by the end ofthe first season, I think, you know,
(25:35):
and not only just a catchphrase.
I, I think we have a radio show.
I think we have like, allkinds of things.
Like ask Carmen, call Carmen.
Call carmen.com do's and don'ts.
Yes, yes.
Well, then again, I mean,that's one of the reasons why I was
so grateful that you're thehost of the show, because you have
(25:59):
so many different tools inyour toolbox as an artist, as a creative.
And, you know, yes, you can.
Yes, you're an artist as youmake art.
Yes, you, you know, you canguide people in that world, but you're,
you know, more broadly, youknow, you're also a creative director
and a designer, and you aretrained to kind of look holistically
(26:21):
at something and within context.
And so you'll be able to helppeople think about, well, how's that
going to look in your space?
And what about the color ofthe wall?
Maybe you should think aboutpainting that wall.
Or what about the frame?
Or what about the lighting?
You know, guys, maybe youshould put a lamp next to it or put
a new light, you know, thatkind of thing.
Yeah.
Or things that work well withnatural light.
(26:42):
You know, all of those things.
We're going to look at yourspace differently, and hopefully
the viewers will as well.
That's one of the things thatI love about you being the host of
the show, is that you'll beable to think.
You'll be able to help peoplethink holistically as well about,
you know, the.
What that work's going to looklike in their home and how do they.
How do they, you know, maybeadjust things in such a way to help
that work really shine intheir home?
(27:03):
I love a challenge.
I'm going to.
I'm going to really enjoy themoments where it's like, well, we're
out of wall space because ofX, Y and Z.
Or we have a lot of windows in here.
What are we gonna do?
Or we have this tiny nook, andwe need this.
You know, I'm gonna thoroughlyenjoy those parts where I get to
go, okay, you know.
Have you ever seen Half Bakedwith Dave Chappelle?
(27:24):
Yeah, a long time ago.
I think it's like.
I think it's Stephen Baldwin.
They, like, present him with a challenge.
I won't go into what it is,but he's like, okay, give me an apple,
a toilet roll, and some foil.
You know, like, he's got allthese, like, ways to MacGyver a situation.
I always feel that way whensomeone's like, I need help.
I can't figure this out.
I'm like, okay, give me fiveminutes, a teacup and some glue.
(27:47):
I don't know.
I'm, I'm gonna, I'm gonna, I'm gonna.
Three rubber bands, some ducttape, and a blender.
I can fix it.
Exactly.
I cannot wait.
That's gonna be so fun andunscripted, man.
It's on.
I cannot wait.
Like, just bring all thosechallenges, bring all of the, you
know, unknown, and we're justgonna roll with it and we're gonna
(28:09):
be there to guide them andwhatever happens, happens.
But in the end, people aregonna have an incredible piece of
art in their home.
I hope that they involve me inthe group hug at the end like they
did to you in the group hug is key.
That's gotta be one of thethings, man.
Big group hug.
Cuddle puddle.
Cuddle puddle on the.
(28:30):
Yes.
On the floor on install day.
So.
Well, look, I mean, you know,everything we're talking about right
now, at least for the last fewminutes, has been about what a, what
a value art house is going tobe for the viewer and for the would
be buyer.
But you know, there's thisother side of the, of art house and
(28:53):
the value of art house interms of how it benefits artists.
Right, because the, in theirkind of different nuances to it.
I mean, on one hand,obviously, the three artists that
are featured on the show, theyall win because they're on this show.
They're getting exposurenationally and potentially internationally
(29:15):
that they wouldn't be gettingotherwise, right?
Because they're on the showand whether they get picked by the
would be buyer.
And you know, just for peoplewho maybe don't know, the concept
of the show is that, you know,we find a family, a couple, a person
in somewhere in middleAmerica, call it Kansas City, Kansas,
(29:36):
and they want to buy art.
They don't really know what to do.
They're a little intimidated.
They've never maybe done this before.
And so they've got 500 bucksor 1,000 bucks or 200 bucks.
And so they want to buy orthey don't know what to do.
So they call Art house.
They call Carmen.
Carmen, the expert, affablehost, shows up, meets the people,
meets the family, gets to knowthem, understands their, their how
(30:00):
they're living, their taste,their budget, their vibe, their energy.
And then based on all thoseinputs, Carmen then takes them to
meet three working artists intheir studios.
And we learn about art making,we learn about artistic process and
practice, we learn about theseartists, and these artists are getting
(30:21):
really wonderful.
You know, this word can be adirty word sometimes in the art world,
but they're getting aWonderful exposure.
Eyes on their work.
I like to say, eyes on thework, by the way.
Love that.
Eyes on the work.
And, you know, and.
And so.
And so, you know, we.
We're humanizing the artists.
We're demystifying thesemagical creatures, right?
(30:42):
We're pulling the veil back,and we're getting to see and learn,
and our consciousness is expanding.
And then.
So then the couple or thebuyer then has to make a choice as
to, oh, you know, I reallylike them, and they were really nice,
but I didn't really dig their work.
But, like, that artist.
Oh, yeah, I really love thatone artist.
And, you know, okay, we'regonna go with.
(31:02):
With.
With, you know, artist number two.
And so you and I both knowthat the artists that aren't necessarily
chosen are gonna feel so happyfor the artist that was chosen, because
artists are in.
Creatures are not competitivein that way.
They're going to be superhappy for that artist because artists
really want people just tofind art they love, and hopefully
(31:22):
it's them.
But if not, just go find artyou love, support other artists.
Right?
I can see people watching theshow and pausing and being like,
who is this?
Whether they want or not, andlooking them up and following them
and becoming a collector, youknow, like, again, totally eyes on
the work.
Totally.
And, you know, and that's theexciting part, right?
Like how a show like thiscould create almost a new marketplace
(31:43):
for how artists and art gets,you know, gets traded, you know,
with buyers and how buyers,potential buyers, learn about art
and artists.
And.
And so.
And so the point being is that the.
Then.
Then once that artist ischosen, it's exciting because then
that artist has to place theirwork in the home.
(32:06):
And so there's this excitingkind of scary moment where the buyer
doesn't necessarily knowbecause the buyer isn't picking the
work, they're picking the artist.
The artist gets to pick the work.
And so a little bit of drama,a little bit of mystery, a little
bit.
And we'll.
We'll.
It'll be.
It'll be a entertaining moment.
That's another thing.
I mean, this is not a diss atall to buying a piece at a gallery.
(32:29):
You absolutely should 100% do that.
But in terms of our show, youknow, you could walk into a gallery,
tell the gallerist, I wantthis, or the curator, you buy it,
it gets shipped or whatever toyour home, you might not ever meet
that artist.
So that's gonna be reallyexciting for them to not only see
the studio, hear theirprocess, but see them be A part of
(32:51):
the installation as well,which is pretty rare.
Yeah.
That human connection.
Yes.
And the word humanize is aword I've used a lot about this project
over the years.
Humanize and demystify.
Because you know, the firstworld of art, God bless them, they've
done a fantastic job ofpositioning art and art objects in
artists as a very exclusive thing.
(33:13):
And that art should be acqu.
To, you know, for no otherreason, because it's going to potentially
appreciate in, in, in value,et cetera, et cetera, et cetera.
And okay, fine, that, that's great.
But guess what?
That's just one business modelthat all that doesn't serve 99.9%
(33:36):
of artists.
And you know, so what we needis we need some innovation, we need
some new business models thatare really meant to serve artists
better and help put more moneyin artists pockets.
And this idea of, no offense,galleries, because I had a gallery
once and was in love.
Galleries buy art from galleries.
But you know, at the end ofthe day, you know, if you, if, if
(33:57):
you don't need a middleman,then don't go through a middleman.
Go, go right to the source.
And what.
That's what Art House is goingto do.
We're going to go right to the source.
Yeah, exactly.
Or more just don't be afraidto go to the source.
Right, right.
Because you, you are going tofind times where you're like, I love
this artist so much.
What do I do?
How do I.
And if you do contact them andthey do respond and you do meet them,
(34:20):
you might still have to gothrough the gallery.
But that's right.
How great that you stepped outof your comfort zone.
And we're like, I'm going toreach out.
You know, Art House said thatthis was cool and you know, it's
going to connect me to thisperson and I'll become a collector
and just whatever I got to do.
Gallery.
No gallery.
Yeah, it's going to be great.
Yeah, I could even see again.
I love to, I love imagininglike what we do in season two and
(34:42):
season three.
Right.
Because the show will have to evolve.
Right.
And we have to come up withlike new scenarios and new things
and this idea where you getstumped, you know, you can't find
the right artist or you'rereally looking for the right artist.
Maybe the artist is notexactly in the community and you
have to go on Instagram andyou're like, oh, I found the perfect
(35:03):
artist on Instagram.
I'm going to DM them.
And then you know, and thenthey're going to get right back to
you.
And then people are going to.
The viewers are going to say,wait, wait, I can DM an artist on
Instagram, and they're goingto DM me back.
And.
Yeah, no, it's that.
It can work like that, too.
Yes, maybe.
Right.
Maybe.
Lots of avenues.
Oh, my gosh.
Yes, we love our artists, butartists aren't necessarily the best
(35:27):
communicators in the world.
Side note, there's a reallyfun thing that we do at our shows
that you'll see tomorrow.
If you see anyone wearing aDearly Discarded, which is the name
of the show, Dearly Discarded button.
They're an artist, and weencourage people to say, oh, which
one's your piece?
And not only that, we told theartists when they dropped off their
work and we gave them their button.
It's a sparkly, fun button.
(35:49):
It's really cute to ask otherartists that you don't know, you
know?
So, again, I've just alwaysbeen a connector.
I'm so excited to do it on awhole new level.
You'll get a little taste tomorrow.
Scott, what was the best andworst part of the casting process
for you?
You and two other candidateshad the same screen test.
(36:09):
We gave all three candidatesthe same screen test so that we could,
you know, compare apples toapples, so to speak.
What was the best and worstpart of the casting process for you?
The best part was that whenthe task came through email, which
was find a couple quickly,shoot something on your phone, I
(36:31):
knew exactly where I was going.
My friend Kelly, I was hernanny for many years for her two
babies.
She and I are super close now.
I'm close with the kids still.
They're out of college.
It's amazing.
I just aged myself.
But she's got an incrediblecollection, and I'm like, let me
go there.
They're not necessarily buyingart, but I wanted to talk about,
like, what it meant to them topurchase art as a couple.
(36:54):
They're newly married and theydon't have any artwork together.
So it's like, there's gonna bemoments like that where it's like,
how do we combine, you know,the taste of two very different people?
So I enjoyed filming that withpeople that I love and who love art.
And the worst part was waitingto hear whether or not I got it.
(37:15):
In fact, you called me and Iwas like, yes.
Where were you?
Where were you exactly whenyou got the news, Carmen?
I was taking a eucalyptus bathbecause I was so stressed out waiting
to hear And I thought, ifScott calls me, it's bad news.
If the producer, Laura, callsme, it's good news.
And it was Scott.
(37:35):
And I'm like, hello?
And you're like, what is wrongwith you?
I'm like, nothing, just tell me.
And you're like, you got it.
And I was like, splashing around.
No, I'm kidding.
I was so happy.
But I heard, I heard somewater splash.
I did, but waiting aroundright now.
But the waiting was, I, Iwanted it so bad.
(37:55):
I'm like, this is perfect for me.
This is what I do.
Please, oh my God, give it to me.
Um, but I'm sure the other twocandidates were great, but I was
born for this.
And I cannot wait for you tocall Acton.
Yeah, yeah, yeah, me too.
Well, look, I mean, shout outto the other candidates.
I mean, they were fantastic,you know, and also, to be clear,
(38:16):
not only did I call you togive you the good news, I called
them to give them the bad news.
And that's just the least Icould do, right?
And as the, it's the rightthing to do, by the way.
I've always been a bigbeliever in if there's bad news to
delay deliver.
I'm, you know, human enough todo it, you know, professional enough
to do it, you know, as hard asit is.
(38:38):
And, and, and you know, Icould hear the disappointment, trust
me, I could hear the shock anddisappointment in both the other
candidates voices.
But they also appreciatedhearing it from me.
And they be hearing itdirectly and honestly and candidly.
And they were, you know, whilethey didn't necessarily at the time
know that you were thecandidate that won, but they were
happy for the winner.
(38:59):
They were.
And so anyway, it was, it was,it was wonderful to hear your excitement
splashing around in thebathtub and your little rubber ducky
floating by, I'm sure.
Oh, God, stop.
Hilarious.
How many bath toys you really have.
The rubber duckies you have,you have finger paints in the bathtub.
It's relaxing in there.
(39:20):
It's eyes closed, meditativemusic on until my phone rings and
it's Scott giving you good news.
Yes, yes, yes, yes.
And it is good news onmultiple levels.
And you know, I, I, I've,listen, I've been, I got this idea
initially in 2020 when I sawChef's Table.
It's been something I've beendeveloping ever since.
(39:41):
And I mean it when I say thatI want the show to come to life and
be successful number one,because I believe wholeheartedly
that it is, it is a Good wouldbe and will be a game changer for
artists in terms of gettingeyes on their work.
And it will be a game changerfor how people learn about art.
(40:04):
Yeah, 100%.
And on that note, I wanted toactually thank you because I'm not
just the host.
I've been involved heavily ina lot of these conversations, and
there's just something about,you know, I would not attach myself
to something regarding art ifit wasn't done well.
And you take my notes and youhave just been great in the collaborative
(40:26):
process.
And it's gonna be, you know,there's a really good team.
Oh, my gosh.
Everyone involved is just incredible.
I just, I just know people aregonna love it and just want to support
this project the more theyhear about it.
Right on.
Well, thanks for that.
And yes, we do have a greatteam and.
But that's.
That's what it takes, right?
(40:46):
You know, whether peoplerealize it or not, at least in my
view, to the extent that I'veever had any success in life or with
any project, with anything.
I mean, it's ultimately aboutthe people you surround yourself
with, the people that youcollaborate with, and hopefully they're
smarter than you.
And 10 more talented.
God knows, you know,everybody's smarter than me, but
it's like, it's wonderful.
That's what you want, right?
You want to find experts thatare, you know, killer and pro at
(41:09):
what they do and believe inthe project.
That's the other thing.
Not only is everybody likereally pro at what they do, but everybody
believes in this project in areally deep way.
It's not just some gig for them.
They really, really, reallybelieve in that energy comes through.
And then, you know, and thenwhen you came along, you know, it
(41:30):
was it.
That was that extra benefit, Imean, of.
Of all the tools, you know, inyour toolbox.
The fact that you are adesigner and a creative director.
It quickly, I quicklyrealized, maybe you even said it
to me.
I forget exactly how, how thiscame to be, but it was like, wait
a minute, Carmen can actuallynow help us with the look and feel
of the show and the creativedirection of the show.
(41:51):
And that was just a real epiphany.
And I was just so grate andyou know, because, I mean, initially,
I mean, for a long time I wassaying, ah, you know, we're not gonna.
I don't want a host drivenshow necessarily.
I don't want the show to bebuilt around the host.
I want the show to be builtaround the artists and the art.
And I will still say that thetrue celebrity of the show, the true
(42:11):
star of the show are theartists and the art.
But you are the kind of hostthat actually could, can drive the
show and you know, because ofall the tools in your toolbox, can
add value in so manyinteresting and important ways.
Well, thank you for that.
That's nice to hear.
But now I feel pressure to sayyes to all your notes.
(42:33):
Now that you said that, youknow, I'm on record.
You've said you've said no tosome of my notes and then I show
you and you, you know, I gottamake sense.
People need to see yes to everything.
It's true.
That's true.
That's true.
That's.
But you're badass.
So the good news is, you know,usually your ideas are.
I mean, well, not even usually.
Most of the time, nine timesout of 10, it seems your ideas are
(42:54):
spot on.
Dead.
Dead nuts, I think they say.
Dead nuts.
I've never heard Dead nuts.
You just made that up.
Well, you heard it now right here.
But okay, so, so the questionis, you know, how do we get from
here to there?
Because, you know, the showunfortunately has to, has to get,
get made.
And to make it, you gotta have money.
(43:14):
You gotta pay for shit.
We are, you know, you gottapay your bills, you gotta pay, pay
for good help and whatnot.
And we've budgeted the showand again, I mean, for people to
understand, you know, in thespirit transparency here we talk
about a world class team.
Let's, well, let's celebratethem for a second before I get into
the money aspect, becauseLaura Patterson, our director, I
(43:36):
mean she was, you know, joinedthe directors guild her 20s.
She has done what, 15 plusyears of house hunters for HGTV.
So cool.
She's done multiple seasons orepisodes and seasons of Unsolved
Mysteries and LauraPatterson's been all over this country
(43:56):
doing episodes for House Hunters.
I mean, she knows how to makethe donuts.
Yeah, she knows how to do this.
And she's just so cool and funand smart and strong and tough.
Don't piss her off.
I love that I made that mistake.
And.
(44:16):
But that's what you want, right?
I mean, you want somebodythat, with the courage of their convictions
and the, and the, and theexperience enough to, to, to have
faith in, in their opinionsand faith in their, in their, you
know, in their learnings andtheir, in their, you know, what have
you.
And so Laura is just worldclass and she's our director and
she, again, like we said, shereally believes in this project,
(44:37):
on a deep level, this isn'tjust a gig for her.
I love Laura so much.
Speaking of notes, anytime shegives a note, I'm like, yes.
I'll like, side chat her andbe like, yes, I was thinking that
too.
Yeah.
So that's gonna be really fun.
That's great.
Well, and then.
And again, I mean, how do weknow Laura?
Well, we know Laura throughone of our producers.
Producers, Wendy Marabella.
(44:58):
And Wendy's been, you know,Wendy, you know, she used to be at
IMAX and did development forimax and.
And then she got into event production.
And she's done all kinds ofinteresting events for fancy people
and fancy companies likeDisney and ABC and what have you.
But.
But Wendy, who I've known fora long time, 10, well, 15 years maybe
(45:20):
now.
10, who knows?
Lost track time.
But anyway, Wendy introducedme to Laura because they go back.
Oh, okay, okay.
And because I had.
Because when I, you know,obviously Wendy and I talked a lot
during the pandemic and, and Ishared this idea with her.
She's like, oh, my God, that'sreally great.
She's like, my friend Laura,you know, probably be great for this.
(45:42):
And so that's how Laura and I met.
And Laura had been, you know,such a wonderful thought partner
and collaborator, you know,for free, by the way.
Like, I would just call herand she would talk and give her time
and just such a generous spirit.
And then when the time came,we, you know, to shoot the Proof
(46:04):
of Concept video in Chicago,she brought her people to the table.
I mean, she brought herdirector of photography, Brian, out
of Chicago from Bada Bing Productions.
He was our DP and his crew.
She's worked with them onmultiple episodes of House Hunters.
When it came to casting, shebrought her friend Dana, who helped
(46:24):
us cast, you know, the coupleand all of that.
And so this is what happens, right?
When you are lucky enough andsmart enough to work with people
smarter than you, they bringother smart people, right?
And so Laura just opened thisdoor to all these amazing humans
who helped us get here.
(46:45):
And then when the time came tofind somebody who could really run
the show, AKA a showrunner,and this is a person who is like,
almost like, for lack of abetter example, like the contractor
of a house or a big building.
When you're building a bigstructure, right, you need a contract,
you need a manager, a bossthat's making it all happen, right?
(47:08):
Because it's high stakes, it'sdangerous, it's expensive, it's fast.
You got a deadline, you got A budget.
And.
And so these people inHollywood are called showrunners.
And it's a very high stress job.
It's a very complicated gig.
And Stacy Schneider, who wasgood friends with Laura and they
met 20 some years ago, I thinkactually Stacy hired Laura and brought
(47:30):
Laura on to House Hunters.
A little fun fact.
And since then, Stacy, Ithink, has been a showrunner on five
different series and over 300episodes for HGTV.
She's been on House Hunter,she's been on Designer's Challenge.
She may have even been onUnsolved Myst.
But, but she's again, justworld class.
And again, all of these peopleare so kind and sweet and generous
(47:54):
and just good people.
You just want to hang out with them.
Yeah, I've been enjoyinghanging out with them, actually.
Such a dope crew, 100%enjoying the whole process.
And we haven't even gottenstarted yet.
Well, we haven't gotten started.
And so what are we waiting on?
People are wondering, well,what are you waiting on?
(48:14):
We're waiting on money.
You got money?
Give us money.
How much money do we need?
A lot.
We need a lot.
How much?
Well, okay, let's talk about that.
How do you eat?
Do you know how you eat an elephant?
Karma.
Yes.
One bite at a time.
One bite at a time.
And you've, you've heard mesay my favorite phrase many times,
which is crawl.
(48:34):
Well, I have many favoritephrases, but one of them is crawl,
walk, run.
Yeah.
And so you combine this ideaof eating an elephant one bite at
a time and this idea of crawl,crawling, before you walk, before
you run.
It's sort of like, okay, wegotta break this down and, and, and
figure out how we can make the show.
(48:56):
And by the way, make it evenindependently if we have to.
Right.
Because Hollywood is a messright now.
It's imploding.
I happen to be friends with aguy who's been the manager for Dolly
parton for like 40 years.
Okay.
And I had breakfast with himnot too long ago.
Wonderful guy.
(49:17):
And he was telling me thatDolly Parton, his client, was having
a very hard time finding moneyfor her projects right now in Hollywood.
And I thought to myself, oh,my God, if Dolly Parton is having
a hard time, what chances dowe have?
Right?
So we have to be prepared togo independent, but we also have
to be prepared to kind of of,you know, go out and try to sell
(49:39):
the show if we want to do itthat way.
And so because what maybepeople don't understand, it's like,
you know, classicallyConventionally, traditionally, what
happens is independentproducers like us get a great idea.
You go out to Hollywood, tryto pitch it and sell it to Netflix
or Hulu or ABC or NBC or whathave you.
(50:00):
And that was always difficultin the best of times, always challenging.
But these aren't the best oftimes anymore.
It's even, you know, probably10,000 times more challenging now.
Yeah.
Because of the economics ofthe business changing and, you know,
and of course, the impact ofthings like streaming and YouTube
and, and consumer behaviors changing.
(50:21):
I mean, people, you know, thecool kids these days aren't watching
cable television.
They're not what they may nothave the money for multiple streaming
platforms.
They're watching on YouTube iswhat they're doing.
So more TikTok tock.
But so we want to create ashow that is obviously very high
quality, high productionvalue, which requires, you know,
a lot more money than if wewere just going to be shooting something
(50:45):
on YouTube maybe.
Right.
Because, you know, it's two different.
Two different animals, so to speak.
Right.
And, and so we want our showto look great because we want the
artists to look great, we wantthe art to look great.
We want to honor that.
And we feel like, you know,you need a certain production value
to do that.
That.
And so because we want to, youknow, for the show to look great
(51:06):
and there's great and thenthere's greater and then there's.
There's good.
What was it good, better, best.
Right.
So the initial inspiration forArt House was Chef's Table on Netflix.
Love.
And Chef's Table was gorgeousto watch, award winning for Netflix,
(51:27):
but as I understand it,economically not profitable because
it costs way too much money tomake the show.
They poured millions ofdollars into that because that's
why it looks so beautiful.
But it was a lost leader.
They wanted it to be.
They wanted it to do something beautiful.
They didn't work.
They weren't worried aboutmoney because they wanted to win
awards.
They wanted to build theirbrand around this.
(51:48):
And so I was like, okay, well,you know, if Chef's Table's the inspiration,
great, but we don't.
We're not going to maybe havethat kind of money.
Then of course, being a fan ofshows like shows like House Hunters
and what have you was like,okay, well, how do you take that
DNA of House Hunters and takethe DNA of something like Chef's
(52:08):
Table and, you know, create ashow for art and artists and, you
know, a budget for an episodeof Chef's Tables, you know, millions
of dollars.
Okay.
An episode, a budget forepisode of House Hunters is probably
like 300,000 bucks or a couplehundred thousand bucks, you know.
Yeah.
And.
(52:29):
But I don't necessarily wantit to look like House Hunters.
I want to look better thanHouse Hunter.
So it's like, okay.
Right.
And so because we have Lauraand Stacy and Dana, you know, we
were able to put together a budget.
And long story short, youknow, we're looking at about $300,000
(52:50):
an episode.
Okay.
We're looking at about.
And if you're making oneepisode at a time, it's going to
cost you more than if you'rein production on a full season of
making eight episodes at once,so to speak.
Because you're gettingeconomies of scale.
Like when you're, when you'reproducing eight episodes at once,
(53:10):
you're a well oiled machine.
You're just making the shows.
And so you can save money that way.
So we've sort of budgeted 2.5million for eight episodes, which
is actually, as a show likethis goes, as Hollywood productions
go, is a bargain.
It's like not.
That's not bad at all.
And we know the show's gonnalook great.
So ultimately we're gonna haveto find $2.5 million to make a full
(53:33):
season.
And I do believe we're gonnaget there, of course, otherwise I
wouldn't be doing this.
But where are we at right now?
What are we doing right now?
What do you and I want to doright now?
Well, what we want to do is wewant to make the pilot episode featuring
you as the host.
Yeah, baby.
And we want to do that for allkinds of reasons.
(53:54):
And one of those reasons isbecause once we have the pilot, we
have an exact prototype of theshow that we want to make.
And then we can show it topeople, say, this is what we're doing.
This is the show we want to make.
And that will help us findmore money, help us sell the show,
help us raise more money tomake more episodes.
And so this pilot episode,really, this prototype, if you will,
(54:16):
is critically important.
And so we're in this phasewhere we're raising money for the
prototype, we're raising moneyfor the pilot 30 minute pilot episode
featuring you as the host.
And right now we are about tolaunch, as of, I think today or tomorrow
when this podcast drops, acrowdfunding campaign to raise $150,000
(54:41):
to fund the pilot.
Now, why only 150,000?
Because I just said it cost 300,000.
Well, well, the good news isthat we actually have been working
on this For a while.
We have a lot of footage inthe can already.
We don't have to shoot.
We did our proof of conceptvideo in Chicago.
We're going to go back to Chicago.
We.
We know the people there.
We've already been there.
(55:02):
We got a bunch of stuff.
Footage, you know, already inthe can.
We've already done a lot of work.
So we're.
So there's some cost savings there.
We can do it for $150,000.
And so that's exciting.
And this crowdfunding campaignwill, you know, be the answer to
our question here, you know,finding the money to do the pilot
(55:23):
so we can, you know, raise therest of the money for the show.
And either way, we'll.
We'll be able to go.
We'll be able to do itindependently or we'll, you know,
potentially be able to sell toone of the streamers.
So that's what we're going to do.
We're going to launch acrowdfunding campaign to raise $150,000.
So.
So those of you listening,please consider supporting this amazing
(55:47):
project.
You should also know, by theway, that.
And I'm on a rant right now.
I fully re.
I should shut up and let youtalk, shouldn't I?
I'm just going to keep going.
I just want to say this.
I'll shut up.
That.
Because we have a fiscalsponsorship partnership with Arterial,
a 501c3 nonprofit arts nonprofit.
(56:07):
All of the donations are tax deductible.
And so whether or not somebodygives us 10 bucks or 10,000 bucks,
they can write it off on theirtaxes because of our fiscal sponsorship
with Arturial.
And so that's pretty cool.
Love that.
What was I going to say about that?
If we're going to talk aboutall the.
I know what you're going totalk about.
You were going to talk aboutall the cool rewards and incentives
(56:28):
that we're offering inaddition to.
I mean, there's tax benefits,there's art, there's experiences,
there's.
You can nominate artist inyour town to be on the show.
You can nominate yourself tobe one of the buyers.
You can receive executiveproducer credit.
There's so many things that Ican't even think about right now,
but you.
(56:49):
Hit all the highlights.
You hit all the highlights.
Oh, good.
Yes.
Good, good, good.
You hit the coolest ones.
Yes, people, you too can be anexecutive producer.
The low, low price of $25,000.
I am not worried about it.
I have such a good feelingabout it.
We're going to Be in Chicagobefore you know it.
Calling action.
I'm gonna be like, in my trailer.
(57:09):
Stylus, baby makeup, you know,someone fanning me and feeding me
grapes is gonna be dope.
You're like, okay, hey, I'mhappy to feed you grapes if that's
what I have to do.
So, yes, we have producerscredits for people who really want
to get behind this and havethe means to do so.
Wonderful.
If you have.
If you on the.
(57:30):
On the other side of that, youknow, for 30 bucks, you can nominate
an artist you know to be onthe show.
For 30 bucks, you can nominateyour town.
Maybe we can come to your town.
For 150 bucks, we're going tohave these limited edition art prints
that all these amazing artistsare going to create for you.
We have for a thousand bucks,you could get special thanks at the
(57:52):
credits.
Shout out the credits.
What else?
I mean, on and on and on.
Oh, by the way, one of the coolest.
What perks and rewards thatI'm excited about is not just your
show poster, by the way, whichI need an image of just letting you
know.
Okay, okay.
One of the cool.
And there is an official showposter people that you can get.
(58:14):
I think it's for 30 bucks.
Not to mention the officialtote bag, which is super cool that
you all that Carmen also designed.
But one of the cool things isthat our.
Our dear friend front of theshow, you know, fellow artist, musician,
dj, the one and only ConniePrice, AKA DJ Constantine, has curated
(58:36):
three hours of music thatessentially is the official music
playlist of Art House.
So cool.
And you can download thatplaylist for, I think, I think the
donations for 30 bucks.
So you get three hours ofmusic for 30 bucks.
That is the official playlistfor the Art House show, pilot show.
(58:57):
And I mean, just so manyfantastic, relevant rewards and incentives.
Like you said, interestingart, cultural experiences and fun
things like producers credits.
So dope.
Jane Dope.
Jane Dope in the house, people.
What if I just.
What if we.
What if I use Jane Dope as myname on the show?
(59:20):
Hey, everyone.
Welcome to Art House.
I'm Jane Dope.
Just kidding.
Don't worry, Scott, we'll keep.
By the way, you raise aninteresting point.
I mean, I'd be amenable.
I'd be amenable to having that conversation.
I mean, what's gonna resonate,right, really with people the most?
You've seen all the promos forthis art show that I'm doing.
(59:41):
I feel like a lot of peopleknow me as Jane Dope or just through
the art scene.
It started out as my rollerderby name and I curated shows for
that organization and that'show that happen happened.
So it kind of stuck.
But I now go, hey, I'm CarmenJane Dope Acosta.
Which is lengthy.
I get it, it's wordy.
But people know me as JaneDope or Jane Dopeness on the Internet
(01:00:04):
and that's never going to change.
Scott.
Don't make me try and changeit for television.
I would never.
Don't go change it and try toplease me, Carmen Jane Dope Acosta.
Well, I mean, it's a, it's a,it's a.
It's an embarrassment ofriches, right?
Because obviously Jane Dope is.
Is the dopest name, but CarmenAcosta is actually quite beautiful
as well.
So, you know, we can't, we can't.
(01:00:26):
Carmen Acosta.
Carmen Acosta Art house.
Coming to a theater near you.
I'd say if we're goinghighbrow, we do Carmen Acosta.
If we go low brow, it's Jane Dope.
Well, how about in thecredits, it reads Carmen quotes Jane
Dope a Costa.
Carmen.
Carmen.
I've always liked the name Carmen.
(01:00:47):
It's like Carmen.
It's very like, just be.
Hi, I'm Carmen.
Like the opera.
Yes, yes.
So I don't know.
I think we have a lot of funthings to play with and levers to
pull and dials to turn andbuttons to push.
And it's all because of you,Carmen Jane Dopacosta.
You tell.
It's gonna be great.
Our future's bright.
(01:01:07):
So bright.
I gotta wear shades.
Where are my shades?
I mean, that's a classic.
It's classic dating myself.
I turned 55 the other day, Carmen.
Oh, yeah, I turned 50 in two days.
Whoa.
That's right.
We have to celebrate.
Cut that out.
We need the young viewers tothink I'm cool.
If they don't know you're coolin spite of your age, well, then,
(01:01:28):
you know, then they need, youknow, I don't respect them.
That's really what it was.
I don't care.
All right, well, happy birthday.
Ahead of time, we have tofigure out how to celebrate.
Thank you.
You and I want to thank youfor coming through today.
You took time out of your busyschedule to come in and chop it up
a little old me.
And this is going to be, ofcourse, released on the not real
(01:01:48):
art podcast, but will also bereleased on the new art house podcast.
And I was thinking about theshow, like, we'll talk more, but
I think The.
The art.
The.
The Art House podcast.
There's some interestingopportunities for us to.
To.
To compliment the show andunpack the show and add the kind
of, you know, behind thescenes kind of.
Of stories, and we'll talkmore about where that goes.
(01:02:11):
But I'm excited about it.
I got a vision for it, too.
We'll talk.
Yes.
Vision.
Without a vision, people.
Perish.
Get a vision, people.
Okay, I'll see you there.
Bring your checkbook.
See me there, like it or not.
Yeah.
What do I want for my birthday?
I want you to buy art at my show.
Buy art?
Art indeed.
(01:02:32):
Well, I mean, what about Venmo?
I'm into Venmo these days.
Oh, yeah?
Can I do Venmo?
Yep.
Okay.
Okay.
We're doing something.
Crypto.
Are we doing crypto?
No, no, no, no.
We're doing a thing where wedon't take.
Are you on crypto?
Do you own crypto?
No, I never got into it.
NFTs were a thing during COVIDNFTs blew up.
Did you play that game at all?
Nope.
Nope.
Okay.
(01:02:53):
Smart, smart.
Neither did I.
Be.
Yeah.
All right, on that note.
Okay, well, we're gonna signoff here, people.
Carmen Jane Dopacasa, you'rethe best.
Thanks for coming through.
Can't wait to invade your homes.
Lock your refrigerator, hideyour valuables.
All right, thanks for having me.
You gotta come back anytime.
Peace.
(01:03:21):
Thanks for listening to theNot Real Art podcast.
Please make sure to like thisepisode, write a review, and share
with your friends on Social.
Also, remember to subscribe soyou get all of our new episodes.
Not Relart is produced by CrewWest Studios in Los Angeles.
Our theme music was created byRicky Pageau and Desi Delauro from
the band parlor Social.
Not Real Art is created by.
(01:03:43):
We edit podcasts and hosted by Captivate.
Thanks again for listening toNot Real Art.
We'll be back soon withanother inspiring episode celebrating
creative culture and theartists who make it.
The Not Real Art podcast isintended for creative audiences only.
The Not Real Art podcastcelebrates creativity and creative
culture worldwide.
It contains material that isfresh, fun and inspiring and is not
suitable for boring old art snobs.
Now let's get started andenjoy the show.
(00:48):
Greetings and salutations, mycreative brothers and sisters.
Welcome to Not Real Art, thepodcast where we talk to the world's
most creative people.
I am your host.
Faithful, trusty, loyal,tireless, relentless host.
Sourdough coming at you fromCrew West Studio in Los Angeles.
Man, do we have a great showfor you today.
A dope show for you todaybecause the one and only Jane Dope,
(01:09):
AKA Carmen Acosta, is in thehouse again today, returning Champion
to the show.
But today she's here to talkabout her new role as host of the
show Art House.
The TV show Art House aboutreal people, meaning real artists
to buy real art, real withoutbreaking the bank.
And so this is a very excitingproject that Carmen is involved in.
I'm going to tell you moreabout it in one second, but before
(01:30):
I do, I want to thank oursponsor, Arturial, our fiscal sponsor,
Arturial.
Arturial is an arts nonprofitthat exists to amplify art in the
world.
It's a media platform forshows like ours.
So thank you, Arturo, forsupporting us.
Of course, I want to ask youto support arterial and who will
support us.
And any support you give willbe tax deductible.
(01:52):
So thank you.
Thank you so much forconsidering that.
As always, I want to thank youfor tuning in.
We do this for you.
It's all about you and weappreciate your loyalty so much.
Thanks for showing up.
And of course, I want toencourage you to go to notrelart.com
and check out all the good,healthy stuff we've got for you there.
Nutritious, organic, freerange, no preservatives, gluten free,
(02:13):
amazing stories and artworksabout artists and art and everything
in between.
Things like first Friday'sonline gallery exhibitions.
First Friday of every month,we've got the Remote series with
Badir McCleary celebratingpublic art around the world.
That is new seasons droppingthis month.
So look for that on and on and on.
(02:34):
So many greatthings@naralart.com go check it out.
Okay, as I said, the one andonly Jane Dope, AKA Carmen Acosta,
AKA Carmen Acosta, AKA Jane Dope.
She's back.
And why is she back?
Well, she's back to talk abouther new role, exciting new role as
host of the show Art House, anew TV Unscripted show Art House
(02:56):
about real people meeting realartists to buy real art without breaking
the bank.
And this is a project actuallythat yours truly developed and came
up with a few years ago we'vebeen working on through my company,
Crew West Studio.
And we are just so excitedabout this project because we think
it's going to be a gamechanger for how artists get eyes
(03:16):
on their work.
It's going to be a gamechanger for how people learn about
art and how to buy art andfeeling confident in their taste
and their choice for aesthetics.
And so Art House is thisproject that we've been developing
and Carmen is here to talkabout her role as host and how excited
she is.
And I'm going to talk abouthow excited I am about her being
(03:37):
the host of the show.
And so stay tuned for that.
And also, you know, we'regoing to talk about the crowdfunding
campaign that we've launchedto help fund the production of the
pilot episode we want to make.
We want to get Carmen in frontof the camera.
We want to create the firstpilot episode, which is the prototype
of this for the series.
We'll use the pilot episode asa way of raising more money for additional
(03:59):
episodes and or selling theshow to PBS or to Netflix or one
of the other media companies.
Maybe we'll do it independent,maybe we'll just do it on YouTube.
We don't know.
But we do know that we need toraise $150,000 to shoot the pilot
episode in Chicago this summer.
30 minute episode.
So we've launched acrowdfunding campaign.
(04:20):
Please consider supporting.
Check the show notes for linksand all the information you need
to learn more and support us.
You can always go to arthousetv show.com that'll direct you to
the crowdfunding campaign.
But I'm just thrilled aboutthis and I think you'll really appreciate
what we're trying to do withArt House.
And I know you'll appreciateCarmen Acosta and her role as host.
(04:42):
So without further ado, getinto this and remember Carmen.
I should give her a proper introduction.
I mean, Carmen is fantastic.
She's an artist, she's acreative director, she's a designer,
she's a curator.
She's been in the contemporaryart game here in Los Angeles for
years and very well respected,very highly regarded arts expert
(05:04):
here in LA working withfantastic artists.
And so she's the perfect hostfor Art House.
And we're just so thrilledthat she is taking this on.
So without further ado, let'sget into this fantastic conversation
with the one and only CarmenJane Dope Acosta.
(05:30):
Carmen Acosta, welcome to the show.
Welcome back.
You should say welcome back.
You're like the returning champion.
You know what's amazing aboutthat is that the last time I was
on here, we talked aboutvoiceover, and then I said, you know
what?
I might be doing some oncamera work soon.
Who knows?
And here we are.
And you're.
And you're like a psychic and,like, clairvoyant.
(05:55):
No, come on.
I have an eight ball.
A magic eight ball.
Oh, hey, clarify eight balls.
You know, from Toys R Us.
Okay.
When I was a kid.
Okay, good, good, good, good.
The Magic 8 Ball.
Yeah, relax.
I know some of our listenersare, you know, perked up.
Eight ball.
No, no.
Get your.
(06:15):
Get your head off the plate.
Come on, Seriously.
We're here to talk about art.
Get the straw down and pay attention.
Oh, my God.
All right, this is a family show.
Let's.
We digress quickly.
Well, Carmen Acosta, welcomeback to the show.
But of course, you know, we've got.
We've got.
We're going to have you on the.
On the podcast, which you havebeen on multiple times, but this
(06:37):
interview will also air on thenew podcast we're creating for Art
House.
The Art House podcast.
How fun.
And how great is that, right?
Am I the first guest?
Well, I guess we'll have totalk about that.
Will you be the first guest?
You certainly could be thefirst guest.
So we'll.
We'll.
We'll.
We'll discuss scheduling.
(06:59):
Okay.
Off.
Off.
Mike, as it were.
Nobody cares about how thesausage gets made.
Right?
I just meant, is this.
I just meant, is this thatfirst podcast?
Like, is this the.
You know, it is not the first podcast.
It will.
It will probably be thesecond, actually.
Got it.
But any who.
I am just so glad that youtook time out of your busy schedule
(07:21):
to come back and talk aboutArt House and talk about your new
exciting role on Art House asthe one and only host.
The host with the most.
Carmen Acosta on Art House.
Yeah.
Yeah.
My new favorite show.
Your new favorite show.
About to be everybody's newfavorite show.
And I'm.
(07:41):
I'm.
I'm so grateful that you'rehere for all kinds of reasons, but
not the least of which is Iknow you're so super busy with multiple
things going on.
Not the least of which youhave a really awesome, great show
opening tomorrow.
I know you've got your headdown and getting that show hung and
coordinating with all theartists because it's a group show
and so many moving pieces.
I mean, before we get into themain event here, how are you feeling?
(08:04):
How are you holding up?
Because I know it's stressful.
I do a thing where I make surethat the day before is very light.
So I'm able to do the podcasttoday because I was there very late
last night.
Today should just be wipingthings down, hanging labels, you
know, finishing touches, andall those things that I thought I
might not have time for.
I do them today.
(08:25):
Tomorrow is all about gettingthem nails did, you know, walking
the dog to the park.
The hair did.
Get the nails did.
Relaxy mode.
I love it.
Yeah, it's like, you know,you're getting.
You're getting ready for likea, you know, the.
The main event, the.
The heavyweight championshipbout here.
(08:46):
Yeah.
I want to feel done.
I want to feel done when I goto bed tonight, you know?
Right, right, right, right, right.
Done and ready to.
Ready to celebrate and.
And have a good time tomorrow night.
Yeah, well, tell.
I mean, not.
I mean, just.
I know we want to talk aboutother stuff, but for the listener's
sake, tell us about the showthat's opening tomorrow night that
you've curated.
(09:07):
So for the last 15 years, I'vebeen curating shows with my partner,
Jessica Yost.
And in the last year, ShoutOut Jessica, in the last year, we
decided to call ourselvesHowdy Artner, and we are the creative
duo that is back after sixyears of not curating together.
So this is our first show back together.
So that's fun to have.
(09:27):
Have coming out of retirement, people.
Yeah.
And so the show has a bit of asustainability component.
We provided services forartists to paint and customize, so
pieces from old movie setsand, you know, things we found on
the side of the road.
So it's been really excitingseeing those things come back.
And it's also a bit of awhimsical funeral theme because we
(09:51):
are resurrecting these items.
So we've asked everyone towear black.
It's gonna be really fun.
DJs, food, drinks, you nameit, I'm coming.
I'm attending.
Nice.
So do I need to wear black?
Is that.
Yeah, everybody's wearing black.
Okay.
All right.
The flyer reads, funeralattire encouraged.
So you don't have to, but it'dbe cool.
(10:13):
We're gonna.
I wanna go upstairs and look down.
You've been to my studio.
Look down and see justeveryone in black partying.
Love that.
Love it, Love it.
Well, so if you outlive me andyou Likely will.
I want you to curate my funeral.
Will you do that?
Yeah.
Yes, please.
All right.
I want to make sure everybodyis properly attired, but I want them
(10:36):
to make sure they're havingfun and partying and I know you can
pull that off.
Speaking of, you came byduring setup and there was that funeral
procession.
How amazing was that?
I couldn't take my eyes off of it.
And it just kept going andgoing and going.
I filmed the whole thing.
I posted on my Facebook page.
It was crazy.
I'm like, I don't know whothis dude or woman was, but clearly
(10:58):
they were loved and clearlythey love cars.
It was so beautiful.
That car club was off the charts.
It was, I don't know, over 100 cars.
I don't even know.
It was amazing.
It went on for like 30 minutes.
Yeah, vintage.
Vintage Cadillacs, lowriders.
I mean, just a crowd, mostlyvintage Cadillacs, but some of them
were, Were, were dropped down.
(11:20):
But yeah.
Yeah, that was super great.
That was very cool.
So, yes.
So curate my funeral.
Bring the, Bring that procession.
You got it.
And have a great show tomorrow night.
I cannot wait to check it out.
It's going to be so fun.
It's coordinated with the artwalk, right?
Yes.
So what time.
What time are people welcometo come?
Doors open at 6 and it goespretty late.
(11:43):
Yeah.
All right.
Yeah.
Well, good, good.
Good to know.
Well, this is actually aninteresting segue into kind of our
main conversation here today,which is really about celebrating
and honoring the fact that youare officially the new host of the
unscripted reality show ArtHouse coming out hopefully in theaters
(12:03):
near you very soon.
When I say theaters, I meanyour smartphones and laptops and
everything else.
But we are, are very excitedabout this project.
Art House being a show aboutreal people meeting real artists
to buy real art withoutbreaking the bank.
And we are going to not focuson major metropolitan areas, so called
(12:26):
major markets.
We're concentrating on the.
On the Clevelands and theToledo's and the Madisons and the
Wichitas and the.
And the Albuquerques of the country.
I love that aspect of it.
I mean, when we do travel,because it will get picked up and
it will get funded.
When we do travel, it will beso cool to dig into these tiny little
(12:49):
cities and meet not justartists, but just the community and
people and how.
See how they function and seewhat inspires them.
What I love about the show isthat it's an opportunity to expand
people's consciousness aroundwhat art really, truly is.
And I say this because withyour show Tomorrow night, like, you
(13:09):
have just hit the nail on the head.
It's like, no, no, no.
By the way, that discardedobject, whatever that object could
be, you know, in the hands ofan artist, in the hands of the right
creative, can turn thatdiscarded thing into a super cool
piece of art that can thenhang on your wall and make your place
(13:31):
an expression of one'spersonality and character.
And that's what artists do,and that' art does.
And this is what Art House isall about.
And you're the host.
I'm so excited to be the host.
Oh, my gosh.
Are you ready for me to bethis host?
Because I don't know.
I don't know.
I'm not going to be yourtypical host, Scott.
Like, I don't want that.
I'm coming from a backgroundof speaking art.
(13:54):
I guess I speak that language.
And even with my shows andcurating shows and connecting artists
with buyers, they are the star.
You know, like, help me help you.
I always say to them, youknow, without them, there's no show.
So that goes for Art House aswell, and that goes for all the shows
that I curate.
So I want them to be happy, Iwant them to be represented properly,
(14:14):
and I want people to not justsee it as a strikingly visual piece
of art on their wall, but Iwant them to hear their stories and
hear the inspiration behindwhat motivates them to create.
There's gonna be.
My hope is that you not onlylearn what you love about art and
(14:34):
how to choose art for yourhome, but the process and what goes
into the making of some ofthese works.
Baked into everything you justsaid is our ethos for the show.
And that ethos sort of is, youknow, not to be reductive, but it
sort of distills down into acouple of, you know, key phrases
(14:56):
that we.
That we say a lot when we talkabout Art House and we say that,
you know, on Art House, beautyis in the eye of the beholder and
home is where the art is.
And those two littlestatements truly get to.
What you and I both love aboutArt House and what with the show
(15:17):
is about is giving people,empowering people to embrace their
own agency and trust their owntaste and gut.
You know, it's like, okay, youdon't like red?
Well, guess what?
Don't get art.
That's red.
You know, I don't care what.
I don't care what, you know,certain fancy people might say about
red.
If you don't like red, don't have.
Don't buy red.
(15:38):
Yeah, And.
And the.
The reverse is true if youlove red.
Well, God damn it.
Find some art that's red andhang it in your house and it'll make
you happy.
Yes.
But also learning that, youknow, red, maybe a subtle addition
of red would be nice in yourkitchen, but do you really want a
giant red piece of art?
You know, looks like pastasauce got splashed on your refrigerator,
(16:02):
you know, we'll learn thosethings along the way, you know?
Totally.
Totally.
And then, you know, so.
So this idea of beauty and notbeing in the eye of the beholder
and, you know, empoweringpeople to trust their gut and their
instincts and their tastes andgiving themselves permission, right.
To make aesthetic choices,because most people feel like, I
think, that they have to go toTarget or go, you know, somewhere
(16:24):
and buy some mass producedthing that everybody else is buying
because they feel like theycan't trust their own tast.
And I think a show like ArtHouse ultimately will empower people
to trust their gut and trusttheir taste.
And that's why we say beautyis truly in the eye of the beholder.
And I think Art House is greatfor that.
But then also, that otherlittle catchphrase, home is where
(16:47):
the art is.
I mean, you and I both know,because we live with art every day
in our homes.
Original art from many no nameartists, so to speak.
Right.
Artists that we love thatmaybe the rest of the world doesn't
know.
And that's fine.
Yeah.
Because that's the otherthing, too.
It's like, the point is, is tohave art in your home that.
(17:07):
That stirs your soul, thatfeeds your soul, that makes your
heart happy, and it makes a home.
A home.
Yes.
And you and I know that thatart does that.
Like, think about what adifferent show it would be if we
were like, today we'revisiting a home with the Basquiat,
you know, and it's like.
It's like, yeah, I know.
Everyone's heard the name,everyone's seen it, we love it.
(17:28):
But also, how much moreexciting and interesting is it gonna
be to find out that Joe Smithin Toledo makes these incredible
pieces out of his childhoodquilts or whatever the case may be.
You know what I mean?
I'm excited to learn aboutthat, and I think that the viewers
will, too.
Absolutely.
Well, you know, artists arethese mystical, magical creatures.
(17:51):
Right.
That it seems oftentimespeople, you know, can be intimid
and that the other part ofthis show, I think, is about humanizing
artists and demystifying thiswhole world so that people are empowered
and comfortable talking toartists, going to artist studios.
Because if we can, it canbridge that gap.
(18:12):
If Art House can really trulymake viewers, you know, excited about
meeting artists and feelingcomfortable going to artist studios.
And if we could do that atscale, you know, across the country,
you know, with perhaps, youknow, I'm going to say it, millions
of viewers.
Yes.
I mean, that will be afundamental shift, I think, in how
(18:39):
art is, you know, enjoyed andpurchased and at scale over a couple
of seasons, I think artistsare going to enjoy more sales as
a result of that becausepeople watching the show will realize,
oh wait, yeah, I got artistsin my community, I can go buy from
them.
Yes.
And the process might be aseasy as you going into, you know,
(19:01):
I don't want to say the nameof a shop, but like a home decor
shop that has these massproduced prints.
Like, I know that's easy toput that in your cart, but so is
going to an art show andsaying, I want to know more about
this piece and then, you know,it's not a scary thing and we're
going to show you what that means.
That's right.
That's right.
(19:21):
And, and no, no, no, nooffense, you know, to the home decor
industry.
I mean, we, we love, we lovethat industry if for no other reason
that it employs a bunch of artists.
Right?
I mean, yes, even massproduced work, there are artists
and creatives and designersmaking that work that then gets mass
(19:42):
produced.
So it is a great industry foremployment for artists.
So that's wonderful.
But that category, that socalled home decor category is a seven,
almost a $7 billion category.
And I just think that, youknow, and that's great, but a show
like Art House could helpempower people and inspire people
(20:04):
to shift some of that moneyaway from, you know, big companies
and corporate companies to,you know, real artists working in
their communities, 100% plus.
You know, the soul that comeswith original art.
And you've said this before,you love seeing the hand work.
You love seeing a person'shand in painting.
Whether that's a very 3D formof, you know, layers of paint or
(20:29):
if that's unconventional materials.
Like, I love that too.
And it's like, oh, your brain,which we cannot see, took all of
those thoughts and gave theworld this tangible object to look
at and in some cases touch.
Not always, but I think that'swhat's missing from the mass produced
work.
And I want people to sort oflearn that and understand that when
(20:53):
people come into their home,you're going to want to show this
off.
You know, it's not going to besomething that they already saw or
that they might also have, youknow, a phrase or something above
their, you know, kitchen.
Or it's that soul that they'regoing to grow to love and understand
that live.
Live love, laugh.
Yes, Live, love, laugh.
(21:13):
And please buy some art.
Please buy original art.
Dance like no one's watching.
Exactly.
Sing like no one's listening.
Wine o' clock the rest of your life.
Well, and, you know, one ofthe things that gets me excited is
that, you know, as the showevolves and develops, of course,
you know, we'll be facinginteresting little challenges, right?
(21:36):
I mean, you know, we'll go tosome, you know, some town somewhere,
and the good old US of A.
And you're going to meet a.
You're going to meet a familyor a couple or a person who's got
100 bucks, right?
They've got a hundred bucks tospend, and they really, really want
a piece of original art orthey want art on their wall.
(22:00):
And you're going to bechallenged to help them find something
that they love that fits their budget.
Because that's the whole thingabout the show.
Without breaking the bank,everybody's on a budget, whether
it's 100 bucks or 10,000 bucks.
And of course, we'll have afew people, a few shows here and
there where Maybe somebody'sgot 5,000 bucks or 10,000 bucks to
spend.
But.
But this challenge of, of.
(22:21):
Because you are exactly.
One of the reasons why I loveyou as the host for the show is because
you are the perfect person totake that would be buyer to the flea
market.
Right?
Yeah.
And.
And go treasure hunting.
Right.
And yes.
Find something super special.
Well, not only that, you know,I have this group show tomorrow.
(22:42):
There's people that are like,can you help me price my art?
And I'm like, well, you talkto me.
What were you thinking?
I want to hear that number first.
And some people will go that low.
Some people will go very low.
And I'll say to them, that isnot at all what I was thinking.
I was thinking more of this,like, way higher.
And they're like, yeah, but.
Yeah, but I want it to sell.
I would love to walk outgoing, I sold a piece of art.
(23:02):
So there's, there's tiers andthere's ranges.
And I want people tounderstand that, you know, and that
person who priced their.
Their work low might thinkthat they're either new to the game
or shouldn't be pricing it toohigh because they haven't shown very
much, but someone is going towalk in tomorrow night to my show
and the lowest priced piece isgoing to be their favorite piece.
(23:25):
Not because of the price, butbecause it spoke to them.
So the connection can still happen.
You can still buy anincredible piece for that price.
It again, we're going to learnwhat people like.
We're going to show them thatit doesn't have to be scary to purchase
and within your budget.
There's just going to be thislike, wild range for us to play with
and discover so well.
(23:48):
And you and I both know, andthis goes back to this idea of beauty
being in the eye of thebeholder that you can imagine that
as, you know, viewers of ArtHouse, you know, become more comfortable,
become more empowered andbecome a little more knowledgeable,
a little, a little moreconfident in their taste and in their
(24:08):
judgment.
You know, I, I, success for meis when I think about that is like,
okay, imagine five years, youknow, from now, or even a year from
now, whatever, you know, thatperson, that viewer is at the flea
market by themselves, youknow, and they just see something
that they know is just really interesting.
Like it's an object that isunique or special or interesting.
(24:32):
It speaks to them on some level.
And they, they, they realize,you know what?
This is something special and unique.
And I want this.
I'm bringing my home, I'mgonna put a new frame on it and they're
gonna hang on a wall andthey're gonna love it.
And they got it for 50 bucks.
Yes.
And even if it's an objectthat they hang as a piece of art
that wasn't intended to be apiece, like, we're gonna open their
(24:52):
minds to those things and Ihope that they hear me in their ear
with some fun quotes from theshow when they do it.
Absolutely right.
Carmen says.
Oh, yeah, that's right.
What would Carmen do?
This is, this is what we haveto, we have to create a whole thing.
The mystique of.
Okay, just think to yourself.
Channel, Channel.
Carmen, think to yourself.
(25:13):
What would Carmen do?
What would Carmen say?
What would Carmen think?
What would she say about thisrusty spot in the corner?
She would love it.
She would embrace it.
Amazing.
Amazing.
Do I need a catchphrase, Scott?
Well, you're going to have a catchphrase.
Maybe not by the end of thispodcast, but certainly by the, by
the end of the, by the end ofthe first season, I think, you know,
(25:35):
and not only just a catchphrase.
I, I think we have a radio show.
I think we have like, allkinds of things.
Like ask Carmen, call Carmen.
Call carmen.com do's and don'ts.
Yes, yes.
Well, then again, I mean,that's one of the reasons why I was
so grateful that you're thehost of the show, because you have
(25:59):
so many different tools inyour toolbox as an artist, as a creative.
And, you know, yes, you can.
Yes, you're an artist as youmake art.
Yes, you, you know, you canguide people in that world, but you're,
you know, more broadly, youknow, you're also a creative director
and a designer, and you aretrained to kind of look holistically
(26:21):
at something and within context.
And so you'll be able to helppeople think about, well, how's that
going to look in your space?
And what about the color ofthe wall?
Maybe you should think aboutpainting that wall.
Or what about the frame?
Or what about the lighting?
You know, guys, maybe youshould put a lamp next to it or put
a new light, you know, thatkind of thing.
Yeah.
Or things that work well withnatural light.
(26:42):
You know, all of those things.
We're going to look at yourspace differently, and hopefully
the viewers will as well.
That's one of the things thatI love about you being the host of
the show, is that you'll beable to think.
You'll be able to help peoplethink holistically as well about,
you know, the.
What that work's going to looklike in their home and how do they.
How do they, you know, maybeadjust things in such a way to help
that work really shine intheir home?
(27:03):
I love a challenge.
I'm going to.
I'm going to really enjoy themoments where it's like, well, we're
out of wall space because ofX, Y and Z.
Or we have a lot of windows in here.
What are we gonna do?
Or we have this tiny nook, andwe need this.
You know, I'm gonna thoroughlyenjoy those parts where I get to
go, okay, you know.
Have you ever seen Half Bakedwith Dave Chappelle?
(27:24):
Yeah, a long time ago.
I think it's like.
I think it's Stephen Baldwin.
They, like, present him with a challenge.
I won't go into what it is,but he's like, okay, give me an apple,
a toilet roll, and some foil.
You know, like, he's got allthese, like, ways to MacGyver a situation.
I always feel that way whensomeone's like, I need help.
I can't figure this out.
I'm like, okay, give me fiveminutes, a teacup and some glue.
(27:47):
I don't know.
I'm, I'm gonna, I'm gonna, I'm gonna.
Three rubber bands, some ducttape, and a blender.
I can fix it.
Exactly.
I cannot wait.
That's gonna be so fun andunscripted, man.
It's on.
I cannot wait.
Like, just bring all thosechallenges, bring all of the, you
know, unknown, and we're justgonna roll with it and we're gonna
(28:09):
be there to guide them andwhatever happens, happens.
But in the end, people aregonna have an incredible piece of
art in their home.
I hope that they involve me inthe group hug at the end like they
did to you in the group hug is key.
That's gotta be one of thethings, man.
Big group hug.
Cuddle puddle.
Cuddle puddle on the.
(28:30):
Yes.
On the floor on install day.
So.
Well, look, I mean, you know,everything we're talking about right
now, at least for the last fewminutes, has been about what a, what
a value art house is going tobe for the viewer and for the would
be buyer.
But you know, there's thisother side of the, of art house and
(28:53):
the value of art house interms of how it benefits artists.
Right, because the, in theirkind of different nuances to it.
I mean, on one hand,obviously, the three artists that
are featured on the show, theyall win because they're on this show.
They're getting exposurenationally and potentially internationally
(29:15):
that they wouldn't be gettingotherwise, right?
Because they're on the showand whether they get picked by the
would be buyer.
And you know, just for peoplewho maybe don't know, the concept
of the show is that, you know,we find a family, a couple, a person
in somewhere in middleAmerica, call it Kansas City, Kansas,
(29:36):
and they want to buy art.
They don't really know what to do.
They're a little intimidated.
They've never maybe done this before.
And so they've got 500 bucksor 1,000 bucks or 200 bucks.
And so they want to buy orthey don't know what to do.
So they call Art house.
They call Carmen.
Carmen, the expert, affablehost, shows up, meets the people,
meets the family, gets to knowthem, understands their, their how
(30:00):
they're living, their taste,their budget, their vibe, their energy.
And then based on all thoseinputs, Carmen then takes them to
meet three working artists intheir studios.
And we learn about art making,we learn about artistic process and
practice, we learn about theseartists, and these artists are getting
(30:21):
really wonderful.
You know, this word can be adirty word sometimes in the art world,
but they're getting aWonderful exposure.
Eyes on their work.
I like to say, eyes on thework, by the way.
Love that.
Eyes on the work.
And, you know, and.
And so.
And so, you know, we.
We're humanizing the artists.
We're demystifying thesemagical creatures, right?
(30:42):
We're pulling the veil back,and we're getting to see and learn,
and our consciousness is expanding.
And then.
So then the couple or thebuyer then has to make a choice as
to, oh, you know, I reallylike them, and they were really nice,
but I didn't really dig their work.
But, like, that artist.
Oh, yeah, I really love thatone artist.
And, you know, okay, we'regonna go with.
(31:02):
With.
With, you know, artist number two.
And so you and I both knowthat the artists that aren't necessarily
chosen are gonna feel so happyfor the artist that was chosen, because
artists are in.
Creatures are not competitivein that way.
They're going to be superhappy for that artist because artists
really want people just tofind art they love, and hopefully
(31:22):
it's them.
But if not, just go find artyou love, support other artists.
Right?
I can see people watching theshow and pausing and being like,
who is this?
Whether they want or not, andlooking them up and following them
and becoming a collector, youknow, like, again, totally eyes on
the work.
Totally.
And, you know, and that's theexciting part, right?
Like how a show like thiscould create almost a new marketplace
(31:43):
for how artists and art gets,you know, gets traded, you know,
with buyers and how buyers,potential buyers, learn about art
and artists.
And.
And so.
And so the point being is that the.
Then.
Then once that artist ischosen, it's exciting because then
that artist has to place theirwork in the home.
(32:06):
And so there's this excitingkind of scary moment where the buyer
doesn't necessarily knowbecause the buyer isn't picking the
work, they're picking the artist.
The artist gets to pick the work.
And so a little bit of drama,a little bit of mystery, a little
bit.
And we'll.
We'll.
It'll be.
It'll be a entertaining moment.
That's another thing.
I mean, this is not a diss atall to buying a piece at a gallery.
(32:29):
You absolutely should 100% do that.
But in terms of our show, youknow, you could walk into a gallery,
tell the gallerist, I wantthis, or the curator, you buy it,
it gets shipped or whatever toyour home, you might not ever meet
that artist.
So that's gonna be reallyexciting for them to not only see
the studio, hear theirprocess, but see them be A part of
(32:51):
the installation as well,which is pretty rare.
Yeah.
That human connection.
Yes.
And the word humanize is aword I've used a lot about this project
over the years.
Humanize and demystify.
Because you know, the firstworld of art, God bless them, they've
done a fantastic job ofpositioning art and art objects in
artists as a very exclusive thing.
(33:13):
And that art should be acqu.
To, you know, for no otherreason, because it's going to potentially
appreciate in, in, in value,et cetera, et cetera, et cetera.
And okay, fine, that, that's great.
But guess what?
That's just one business modelthat all that doesn't serve 99.9%
(33:36):
of artists.
And you know, so what we needis we need some innovation, we need
some new business models thatare really meant to serve artists
better and help put more moneyin artists pockets.
And this idea of, no offense,galleries, because I had a gallery
once and was in love.
Galleries buy art from galleries.
But you know, at the end ofthe day, you know, if you, if, if
(33:57):
you don't need a middleman,then don't go through a middleman.
Go, go right to the source.
And what.
That's what Art House is goingto do.
We're going to go right to the source.
Yeah, exactly.
Or more just don't be afraidto go to the source.
Right, right.
Because you, you are going tofind times where you're like, I love
this artist so much.
What do I do?
How do I.
And if you do contact them andthey do respond and you do meet them,
(34:20):
you might still have to gothrough the gallery.
But that's right.
How great that you stepped outof your comfort zone.
And we're like, I'm going toreach out.
You know, Art House said thatthis was cool and you know, it's
going to connect me to thisperson and I'll become a collector
and just whatever I got to do.
Gallery.
No gallery.
Yeah, it's going to be great.
Yeah, I could even see again.
I love to, I love imagininglike what we do in season two and
(34:42):
season three.
Right.
Because the show will have to evolve.
Right.
And we have to come up withlike new scenarios and new things
and this idea where you getstumped, you know, you can't find
the right artist or you'rereally looking for the right artist.
Maybe the artist is notexactly in the community and you
have to go on Instagram andyou're like, oh, I found the perfect
(35:03):
artist on Instagram.
I'm going to DM them.
And then you know, and thenthey're going to get right back to
you.
And then people are going to.
The viewers are going to say,wait, wait, I can DM an artist on
Instagram, and they're goingto DM me back.
And.
Yeah, no, it's that.
It can work like that, too.
Yes, maybe.
Right.
Maybe.
Lots of avenues.
Oh, my gosh.
Yes, we love our artists, butartists aren't necessarily the best
(35:27):
communicators in the world.
Side note, there's a reallyfun thing that we do at our shows
that you'll see tomorrow.
If you see anyone wearing aDearly Discarded, which is the name
of the show, Dearly Discarded button.
They're an artist, and weencourage people to say, oh, which
one's your piece?
And not only that, we told theartists when they dropped off their
work and we gave them their button.
It's a sparkly, fun button.
(35:49):
It's really cute to ask otherartists that you don't know, you
know?
So, again, I've just alwaysbeen a connector.
I'm so excited to do it on awhole new level.
You'll get a little taste tomorrow.
Scott, what was the best andworst part of the casting process
for you?
You and two other candidateshad the same screen test.
(36:09):
We gave all three candidatesthe same screen test so that we could,
you know, compare apples toapples, so to speak.
What was the best and worstpart of the casting process for you?
The best part was that whenthe task came through email, which
was find a couple quickly,shoot something on your phone, I
(36:31):
knew exactly where I was going.
My friend Kelly, I was hernanny for many years for her two
babies.
She and I are super close now.
I'm close with the kids still.
They're out of college.
It's amazing.
I just aged myself.
But she's got an incrediblecollection, and I'm like, let me
go there.
They're not necessarily buyingart, but I wanted to talk about,
like, what it meant to them topurchase art as a couple.
(36:54):
They're newly married and theydon't have any artwork together.
So it's like, there's gonna bemoments like that where it's like,
how do we combine, you know,the taste of two very different people?
So I enjoyed filming that withpeople that I love and who love art.
And the worst part was waitingto hear whether or not I got it.
(37:15):
In fact, you called me and Iwas like, yes.
Where were you?
Where were you exactly whenyou got the news, Carmen?
I was taking a eucalyptus bathbecause I was so stressed out waiting
to hear And I thought, ifScott calls me, it's bad news.
If the producer, Laura, callsme, it's good news.
And it was Scott.
(37:35):
And I'm like, hello?
And you're like, what is wrongwith you?
I'm like, nothing, just tell me.
And you're like, you got it.
And I was like, splashing around.
No, I'm kidding.
I was so happy.
But I heard, I heard somewater splash.
I did, but waiting aroundright now.
But the waiting was, I, Iwanted it so bad.
(37:55):
I'm like, this is perfect for me.
This is what I do.
Please, oh my God, give it to me.
Um, but I'm sure the other twocandidates were great, but I was
born for this.
And I cannot wait for you tocall Acton.
Yeah, yeah, yeah, me too.
Well, look, I mean, shout outto the other candidates.
I mean, they were fantastic,you know, and also, to be clear,
(38:16):
not only did I call you togive you the good news, I called
them to give them the bad news.
And that's just the least Icould do, right?
And as the, it's the rightthing to do, by the way.
I've always been a bigbeliever in if there's bad news to
delay deliver.
I'm, you know, human enough todo it, you know, professional enough
to do it, you know, as hard asit is.
(38:38):
And, and, and you know, Icould hear the disappointment, trust
me, I could hear the shock anddisappointment in both the other
candidates voices.
But they also appreciatedhearing it from me.
And they be hearing itdirectly and honestly and candidly.
And they were, you know, whilethey didn't necessarily at the time
know that you were thecandidate that won, but they were
happy for the winner.
(38:59):
They were.
And so anyway, it was, it was,it was wonderful to hear your excitement
splashing around in thebathtub and your little rubber ducky
floating by, I'm sure.
Oh, God, stop.
Hilarious.
How many bath toys you really have.
The rubber duckies you have,you have finger paints in the bathtub.
It's relaxing in there.
(39:20):
It's eyes closed, meditativemusic on until my phone rings and
it's Scott giving you good news.
Yes, yes, yes, yes.
And it is good news onmultiple levels.
And you know, I, I, I've,listen, I've been, I got this idea
initially in 2020 when I sawChef's Table.
It's been something I've beendeveloping ever since.
(39:41):
And I mean it when I say thatI want the show to come to life and
be successful number one,because I believe wholeheartedly
that it is, it is a Good wouldbe and will be a game changer for
artists in terms of gettingeyes on their work.
And it will be a game changerfor how people learn about art.
(40:04):
Yeah, 100%.
And on that note, I wanted toactually thank you because I'm not
just the host.
I've been involved heavily ina lot of these conversations, and
there's just something about,you know, I would not attach myself
to something regarding art ifit wasn't done well.
And you take my notes and youhave just been great in the collaborative
(40:26):
process.
And it's gonna be, you know,there's a really good team.
Oh, my gosh.
Everyone involved is just incredible.
I just, I just know people aregonna love it and just want to support
this project the more theyhear about it.
Right on.
Well, thanks for that.
And yes, we do have a greatteam and.
But that's.
That's what it takes, right?
(40:46):
You know, whether peoplerealize it or not, at least in my
view, to the extent that I'veever had any success in life or with
any project, with anything.
I mean, it's ultimately aboutthe people you surround yourself
with, the people that youcollaborate with, and hopefully they're
smarter than you.
And 10 more talented.
God knows, you know,everybody's smarter than me, but
it's like, it's wonderful.
That's what you want, right?
You want to find experts thatare, you know, killer and pro at
(41:09):
what they do and believe inthe project.
That's the other thing.
Not only is everybody likereally pro at what they do, but everybody
believes in this project in areally deep way.
It's not just some gig for them.
They really, really, reallybelieve in that energy comes through.
And then, you know, and thenwhen you came along, you know, it
(41:30):
was it.
That was that extra benefit, Imean, of.
Of all the tools, you know, inyour toolbox.
The fact that you are adesigner and a creative director.
It quickly, I quicklyrealized, maybe you even said it
to me.
I forget exactly how, how thiscame to be, but it was like, wait
a minute, Carmen can actuallynow help us with the look and feel
of the show and the creativedirection of the show.
(41:51):
And that was just a real epiphany.
And I was just so grate andyou know, because, I mean, initially,
I mean, for a long time I wassaying, ah, you know, we're not gonna.
I don't want a host drivenshow necessarily.
I don't want the show to bebuilt around the host.
I want the show to be builtaround the artists and the art.
And I will still say that thetrue celebrity of the show, the true
(42:11):
star of the show are theartists and the art.
But you are the kind of hostthat actually could, can drive the
show and you know, because ofall the tools in your toolbox, can
add value in so manyinteresting and important ways.
Well, thank you for that.
That's nice to hear.
But now I feel pressure to sayyes to all your notes.
(42:33):
Now that you said that, youknow, I'm on record.
You've said you've said no tosome of my notes and then I show
you and you, you know, I gottamake sense.
People need to see yes to everything.
It's true.
That's true.
That's true.
That's.
But you're badass.
So the good news is, you know,usually your ideas are.
I mean, well, not even usually.
Most of the time, nine timesout of 10, it seems your ideas are
(42:54):
spot on.
Dead.
Dead nuts, I think they say.
Dead nuts.
I've never heard Dead nuts.
You just made that up.
Well, you heard it now right here.
But okay, so, so the questionis, you know, how do we get from
here to there?
Because, you know, the showunfortunately has to, has to get,
get made.
And to make it, you gotta have money.
(43:14):
You gotta pay for shit.
We are, you know, you gottapay your bills, you gotta pay, pay
for good help and whatnot.
And we've budgeted the showand again, I mean, for people to
understand, you know, in thespirit transparency here we talk
about a world class team.
Let's, well, let's celebratethem for a second before I get into
the money aspect, becauseLaura Patterson, our director, I
(43:36):
mean she was, you know, joinedthe directors guild her 20s.
She has done what, 15 plusyears of house hunters for HGTV.
So cool.
She's done multiple seasons orepisodes and seasons of Unsolved
Mysteries and LauraPatterson's been all over this country
(43:56):
doing episodes for House Hunters.
I mean, she knows how to makethe donuts.
Yeah, she knows how to do this.
And she's just so cool and funand smart and strong and tough.
Don't piss her off.
I love that I made that mistake.
And.
(44:16):
But that's what you want, right?
I mean, you want somebodythat, with the courage of their convictions
and the, and the, and theexperience enough to, to, to have
faith in, in their opinionsand faith in their, in their, you
know, in their learnings andtheir, in their, you know, what have
you.
And so Laura is just worldclass and she's our director and
she, again, like we said, shereally believes in this project,
(44:37):
on a deep level, this isn'tjust a gig for her.
I love Laura so much.
Speaking of notes, anytime shegives a note, I'm like, yes.
I'll like, side chat her andbe like, yes, I was thinking that
too.
Yeah.
So that's gonna be really fun.
That's great.
Well, and then.
And again, I mean, how do weknow Laura?
Well, we know Laura throughone of our producers.
Producers, Wendy Marabella.
(44:58):
And Wendy's been, you know,Wendy, you know, she used to be at
IMAX and did development forimax and.
And then she got into event production.
And she's done all kinds ofinteresting events for fancy people
and fancy companies likeDisney and ABC and what have you.
But.
But Wendy, who I've known fora long time, 10, well, 15 years maybe
(45:20):
now.
10, who knows?
Lost track time.
But anyway, Wendy introducedme to Laura because they go back.
Oh, okay, okay.
And because I had.
Because when I, you know,obviously Wendy and I talked a lot
during the pandemic and, and Ishared this idea with her.
She's like, oh, my God, that'sreally great.
She's like, my friend Laura,you know, probably be great for this.
(45:42):
And so that's how Laura and I met.
And Laura had been, you know,such a wonderful thought partner
and collaborator, you know,for free, by the way.
Like, I would just call herand she would talk and give her time
and just such a generous spirit.
And then when the time came,we, you know, to shoot the Proof
(46:04):
of Concept video in Chicago,she brought her people to the table.
I mean, she brought herdirector of photography, Brian, out
of Chicago from Bada Bing Productions.
He was our DP and his crew.
She's worked with them onmultiple episodes of House Hunters.
When it came to casting, shebrought her friend Dana, who helped
(46:24):
us cast, you know, the coupleand all of that.
And so this is what happens, right?
When you are lucky enough andsmart enough to work with people
smarter than you, they bringother smart people, right?
And so Laura just opened thisdoor to all these amazing humans
who helped us get here.
(46:45):
And then when the time came tofind somebody who could really run
the show, AKA a showrunner,and this is a person who is like,
almost like, for lack of abetter example, like the contractor
of a house or a big building.
When you're building a bigstructure, right, you need a contract,
you need a manager, a bossthat's making it all happen, right?
(47:08):
Because it's high stakes, it'sdangerous, it's expensive, it's fast.
You got a deadline, you got A budget.
And.
And so these people inHollywood are called showrunners.
And it's a very high stress job.
It's a very complicated gig.
And Stacy Schneider, who wasgood friends with Laura and they
met 20 some years ago, I thinkactually Stacy hired Laura and brought
(47:30):
Laura on to House Hunters.
A little fun fact.
And since then, Stacy, Ithink, has been a showrunner on five
different series and over 300episodes for HGTV.
She's been on House Hunter,she's been on Designer's Challenge.
She may have even been onUnsolved Myst.
But, but she's again, justworld class.
And again, all of these peopleare so kind and sweet and generous
(47:54):
and just good people.
You just want to hang out with them.
Yeah, I've been enjoyinghanging out with them, actually.
Such a dope crew, 100%enjoying the whole process.
And we haven't even gottenstarted yet.
Well, we haven't gotten started.
And so what are we waiting on?
People are wondering, well,what are you waiting on?
(48:14):
We're waiting on money.
You got money?
Give us money.
How much money do we need?
A lot.
We need a lot.
How much?
Well, okay, let's talk about that.
How do you eat?
Do you know how you eat an elephant?
Karma.
Yes.
One bite at a time.
One bite at a time.
And you've, you've heard mesay my favorite phrase many times,
which is crawl.
(48:34):
Well, I have many favoritephrases, but one of them is crawl,
walk, run.
Yeah.
And so you combine this ideaof eating an elephant one bite at
a time and this idea of crawl,crawling, before you walk, before
you run.
It's sort of like, okay, wegotta break this down and, and, and
figure out how we can make the show.
(48:56):
And by the way, make it evenindependently if we have to.
Right.
Because Hollywood is a messright now.
It's imploding.
I happen to be friends with aguy who's been the manager for Dolly
parton for like 40 years.
Okay.
And I had breakfast with himnot too long ago.
Wonderful guy.
(49:17):
And he was telling me thatDolly Parton, his client, was having
a very hard time finding moneyfor her projects right now in Hollywood.
And I thought to myself, oh,my God, if Dolly Parton is having
a hard time, what chances dowe have?
Right?
So we have to be prepared togo independent, but we also have
to be prepared to kind of of,you know, go out and try to sell
(49:39):
the show if we want to do itthat way.
And so because what maybepeople don't understand, it's like,
you know, classicallyConventionally, traditionally, what
happens is independentproducers like us get a great idea.
You go out to Hollywood, tryto pitch it and sell it to Netflix
or Hulu or ABC or NBC or whathave you.
(50:00):
And that was always difficultin the best of times, always challenging.
But these aren't the best oftimes anymore.
It's even, you know, probably10,000 times more challenging now.
Yeah.
Because of the economics ofthe business changing and, you know,
and of course, the impact ofthings like streaming and YouTube
and, and consumer behaviors changing.
(50:21):
I mean, people, you know, thecool kids these days aren't watching
cable television.
They're not what they may nothave the money for multiple streaming
platforms.
They're watching on YouTube iswhat they're doing.
So more TikTok tock.
But so we want to create ashow that is obviously very high
quality, high productionvalue, which requires, you know,
a lot more money than if wewere just going to be shooting something
(50:45):
on YouTube maybe.
Right.
Because, you know, it's two different.
Two different animals, so to speak.
Right.
And, and so we want our showto look great because we want the
artists to look great, we wantthe art to look great.
We want to honor that.
And we feel like, you know,you need a certain production value
to do that.
That.
And so because we want to, youknow, for the show to look great
(51:06):
and there's great and thenthere's greater and then there's.
There's good.
What was it good, better, best.
Right.
So the initial inspiration forArt House was Chef's Table on Netflix.
Love.
And Chef's Table was gorgeousto watch, award winning for Netflix,
(51:27):
but as I understand it,economically not profitable because
it costs way too much money tomake the show.
They poured millions ofdollars into that because that's
why it looks so beautiful.
But it was a lost leader.
They wanted it to be.
They wanted it to do something beautiful.
They didn't work.
They weren't worried aboutmoney because they wanted to win
awards.
They wanted to build theirbrand around this.
(51:48):
And so I was like, okay, well,you know, if Chef's Table's the inspiration,
great, but we don't.
We're not going to maybe havethat kind of money.
Then of course, being a fan ofshows like shows like House Hunters
and what have you was like,okay, well, how do you take that
DNA of House Hunters and takethe DNA of something like Chef's
(52:08):
Table and, you know, create ashow for art and artists and, you
know, a budget for an episodeof Chef's Tables, you know, millions
of dollars.
Okay.
An episode, a budget forepisode of House Hunters is probably
like 300,000 bucks or a couplehundred thousand bucks, you know.
Yeah.
And.
(52:29):
But I don't necessarily wantit to look like House Hunters.
I want to look better thanHouse Hunter.
So it's like, okay.
Right.
And so because we have Lauraand Stacy and Dana, you know, we
were able to put together a budget.
And long story short, youknow, we're looking at about $300,000
(52:50):
an episode.
Okay.
We're looking at about.
And if you're making oneepisode at a time, it's going to
cost you more than if you'rein production on a full season of
making eight episodes at once,so to speak.
Because you're gettingeconomies of scale.
Like when you're, when you'reproducing eight episodes at once,
(53:10):
you're a well oiled machine.
You're just making the shows.
And so you can save money that way.
So we've sort of budgeted 2.5million for eight episodes, which
is actually, as a show likethis goes, as Hollywood productions
go, is a bargain.
It's like not.
That's not bad at all.
And we know the show's gonnalook great.
So ultimately we're gonna haveto find $2.5 million to make a full
(53:33):
season.
And I do believe we're gonnaget there, of course, otherwise I
wouldn't be doing this.
But where are we at right now?
What are we doing right now?
What do you and I want to doright now?
Well, what we want to do is wewant to make the pilot episode featuring
you as the host.
Yeah, baby.
And we want to do that for allkinds of reasons.
(53:54):
And one of those reasons isbecause once we have the pilot, we
have an exact prototype of theshow that we want to make.
And then we can show it topeople, say, this is what we're doing.
This is the show we want to make.
And that will help us findmore money, help us sell the show,
help us raise more money tomake more episodes.
And so this pilot episode,really, this prototype, if you will,
(54:16):
is critically important.
And so we're in this phasewhere we're raising money for the
prototype, we're raising moneyfor the pilot 30 minute pilot episode
featuring you as the host.
And right now we are about tolaunch, as of, I think today or tomorrow
when this podcast drops, acrowdfunding campaign to raise $150,000
(54:41):
to fund the pilot.
Now, why only 150,000?
Because I just said it cost 300,000.
Well, well, the good news isthat we actually have been working
on this For a while.
We have a lot of footage inthe can already.
We don't have to shoot.
We did our proof of conceptvideo in Chicago.
We're going to go back to Chicago.
We.
We know the people there.
We've already been there.
(55:02):
We got a bunch of stuff.
Footage, you know, already inthe can.
We've already done a lot of work.
So we're.
So there's some cost savings there.
We can do it for $150,000.
And so that's exciting.
And this crowdfunding campaignwill, you know, be the answer to
our question here, you know,finding the money to do the pilot
(55:23):
so we can, you know, raise therest of the money for the show.
And either way, we'll.
We'll be able to go.
We'll be able to do itindependently or we'll, you know,
potentially be able to sell toone of the streamers.
So that's what we're going to do.
We're going to launch acrowdfunding campaign to raise $150,000.
So.
So those of you listening,please consider supporting this amazing
(55:47):
project.
You should also know, by theway, that.
And I'm on a rant right now.
I fully re.
I should shut up and let youtalk, shouldn't I?
I'm just going to keep going.
I just want to say this.
I'll shut up.
That.
Because we have a fiscalsponsorship partnership with Arterial,
a 501c3 nonprofit arts nonprofit.
(56:07):
All of the donations are tax deductible.
And so whether or not somebodygives us 10 bucks or 10,000 bucks,
they can write it off on theirtaxes because of our fiscal sponsorship
with Arturial.
And so that's pretty cool.
Love that.
What was I going to say about that?
If we're going to talk aboutall the.
I know what you're going totalk about.
You were going to talk aboutall the cool rewards and incentives
(56:28):
that we're offering inaddition to.
I mean, there's tax benefits,there's art, there's experiences,
there's.
You can nominate artist inyour town to be on the show.
You can nominate yourself tobe one of the buyers.
You can receive executiveproducer credit.
There's so many things that Ican't even think about right now,
but you.
(56:49):
Hit all the highlights.
You hit all the highlights.
Oh, good.
Yes.
Good, good, good.
You hit the coolest ones.
Yes, people, you too can be anexecutive producer.
The low, low price of $25,000.
I am not worried about it.
I have such a good feelingabout it.
We're going to Be in Chicagobefore you know it.
Calling action.
I'm gonna be like, in my trailer.
(57:09):
Stylus, baby makeup, you know,someone fanning me and feeding me
grapes is gonna be dope.
You're like, okay, hey, I'mhappy to feed you grapes if that's
what I have to do.
So, yes, we have producerscredits for people who really want
to get behind this and havethe means to do so.
Wonderful.
If you have.
If you on the.
(57:30):
On the other side of that, youknow, for 30 bucks, you can nominate
an artist you know to be onthe show.
For 30 bucks, you can nominateyour town.
Maybe we can come to your town.
For 150 bucks, we're going tohave these limited edition art prints
that all these amazing artistsare going to create for you.
We have for a thousand bucks,you could get special thanks at the
(57:52):
credits.
Shout out the credits.
What else?
I mean, on and on and on.
Oh, by the way, one of the coolest.
What perks and rewards thatI'm excited about is not just your
show poster, by the way, whichI need an image of just letting you
know.
Okay, okay.
One of the cool.
And there is an official showposter people that you can get.
(58:14):
I think it's for 30 bucks.
Not to mention the officialtote bag, which is super cool that
you all that Carmen also designed.
But one of the cool things isthat our.
Our dear friend front of theshow, you know, fellow artist, musician,
dj, the one and only ConniePrice, AKA DJ Constantine, has curated
(58:36):
three hours of music thatessentially is the official music
playlist of Art House.
So cool.
And you can download thatplaylist for, I think, I think the
donations for 30 bucks.
So you get three hours ofmusic for 30 bucks.
That is the official playlistfor the Art House show, pilot show.
(58:57):
And I mean, just so manyfantastic, relevant rewards and incentives.
Like you said, interestingart, cultural experiences and fun
things like producers credits.
So dope.
Jane Dope.
Jane Dope in the house, people.
What if I just.
What if we.
What if I use Jane Dope as myname on the show?
(59:20):
Hey, everyone.
Welcome to Art House.
I'm Jane Dope.
Just kidding.
Don't worry, Scott, we'll keep.
By the way, you raise aninteresting point.
I mean, I'd be amenable.
I'd be amenable to having that conversation.
I mean, what's gonna resonate,right, really with people the most?
You've seen all the promos forthis art show that I'm doing.
(59:41):
I feel like a lot of peopleknow me as Jane Dope or just through
the art scene.
It started out as my rollerderby name and I curated shows for
that organization and that'show that happen happened.
So it kind of stuck.
But I now go, hey, I'm CarmenJane Dope Acosta.
Which is lengthy.
I get it, it's wordy.
But people know me as JaneDope or Jane Dopeness on the Internet
(01:00:04):
and that's never going to change.
Scott.
Don't make me try and changeit for television.
I would never.
Don't go change it and try toplease me, Carmen Jane Dope Acosta.
Well, I mean, it's a, it's a,it's a.
It's an embarrassment ofriches, right?
Because obviously Jane Dope is.
Is the dopest name, but CarmenAcosta is actually quite beautiful
as well.
So, you know, we can't, we can't.
(01:00:26):
Carmen Acosta.
Carmen Acosta Art house.
Coming to a theater near you.
I'd say if we're goinghighbrow, we do Carmen Acosta.
If we go low brow, it's Jane Dope.
Well, how about in thecredits, it reads Carmen quotes Jane
Dope a Costa.
Carmen.
Carmen.
I've always liked the name Carmen.
(01:00:47):
It's like Carmen.
It's very like, just be.
Hi, I'm Carmen.
Like the opera.
Yes, yes.
So I don't know.
I think we have a lot of funthings to play with and levers to
pull and dials to turn andbuttons to push.
And it's all because of you,Carmen Jane Dopacosta.
You tell.
It's gonna be great.
Our future's bright.
(01:01:07):
So bright.
I gotta wear shades.
Where are my shades?
I mean, that's a classic.
It's classic dating myself.
I turned 55 the other day, Carmen.
Oh, yeah, I turned 50 in two days.
Whoa.
That's right.
We have to celebrate.
Cut that out.
We need the young viewers tothink I'm cool.
If they don't know you're coolin spite of your age, well, then,
(01:01:28):
you know, then they need, youknow, I don't respect them.
That's really what it was.
I don't care.
All right, well, happy birthday.
Ahead of time, we have tofigure out how to celebrate.
Thank you.
You and I want to thank youfor coming through today.
You took time out of your busyschedule to come in and chop it up
a little old me.
And this is going to be, ofcourse, released on the not real
(01:01:48):
art podcast, but will also bereleased on the new art house podcast.
And I was thinking about theshow, like, we'll talk more, but
I think The.
The art.
The.
The Art House podcast.
There's some interestingopportunities for us to.
To.
To compliment the show andunpack the show and add the kind
of, you know, behind thescenes kind of.
Of stories, and we'll talkmore about where that goes.
(01:02:11):
But I'm excited about it.
I got a vision for it, too.
We'll talk.
Yes.
Vision.
Without a vision, people.
Perish.
Get a vision, people.
Okay, I'll see you there.
Bring your checkbook.
See me there, like it or not.
Yeah.
What do I want for my birthday?
I want you to buy art at my show.
Buy art?
Art indeed.
(01:02:32):
Well, I mean, what about Venmo?
I'm into Venmo these days.
Oh, yeah?
Can I do Venmo?
Yep.
Okay.
Okay.
We're doing something.
Crypto.
Are we doing crypto?
No, no, no, no.
We're doing a thing where wedon't take.
Are you on crypto?
Do you own crypto?
No, I never got into it.
NFTs were a thing during COVIDNFTs blew up.
Did you play that game at all?
Nope.
Nope.
Okay.
(01:02:53):
Smart, smart.
Neither did I.
Be.
Yeah.
All right, on that note.
Okay, well, we're gonna signoff here, people.
Carmen Jane Dopacasa, you'rethe best.
Thanks for coming through.
Can't wait to invade your homes.
Lock your refrigerator, hideyour valuables.
All right, thanks for having me.
You gotta come back anytime.
Peace.
(01:03:21):
Thanks for listening to theNot Real Art podcast.
Please make sure to like thisepisode, write a review, and share
with your friends on Social.
Also, remember to subscribe soyou get all of our new episodes.
Not Relart is produced by CrewWest Studios in Los Angeles.
Our theme music was created byRicky Pageau and Desi Delauro from
the band parlor Social.
Not Real Art is created by.
(01:03:43):
We edit podcasts and hosted by Captivate.
Thanks again for listening toNot Real Art.
We'll be back soon withanother inspiring episode celebrating
creative culture and theartists who make it.
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