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selling is all about really it's we're not selling a product you're not selling a service you're not selling value you're not selling whatever you think you're selling a solution you're selling change Welcome
to The Brian Nichols Show your source for common sense politics on the we are libertarians network as a sales and marketing executive in the greater telecommunications cybersecurity industry, Brian works with C level executives to help them future proof their company's infrastructure for an uncertain future. And in each episode, Brian takes that experience and applies it to the liberty movement. And this is why we talk about being the trusted advisor you should be able to help us that expert guidance and all the opinions that I'm sure that you have and help lead them towards not just a decision but the right decisions. Instead of focusing on simply winning arguments or being right. We're teaching the basic fundamentals of sales and their application in the world of politics, showing you how to ask better questions, tell better stories and ultimately change people's minds. And now your host, Brian Nichols. Well, happy Friday there, folks, Brian Nichols here on The Brian Nichols Show. And thank you for joining us on of course, another fun filled episode with of course, you know, another amazing guests today is of course, leading in that charge of amazing guest, Marcus Pittman. He is the CEO of lore TV and he has joined us and Marcus I'm gonna I'm going to go ahead and I'm going to address the elephant the room, you're going to help us fight the culture with great storytelling. Marcus Pittman, welcome to The Brian Nichols Show.
Thanks. Thanks for having me on, Brian. Absolutely, Marcus,
thank you for joining the program. And thank you for what you're doing over at lore TV, you're helping change the way we're having conversations by frankly, changing the topics of conversation and changing the culture by doing great storytelling. That's what we talk about here over The Brian Nichols Show is focusing specifically on reaching people where they're at, and by using the tools that we talked about in the greater sales and marketing world specifically. And one of those areas is telling stories, being able to convey a message and that's what you're doing right now. Overlord TV. So let's start things off. Introduce yourself to the audience. And also, I mentioned it now three times lore TV, what is it and what what's the value? It's been playing here in this greater cultural space?
Yeah, so basically, my name is Marcus Pittman. I'm the CEO of lore TV, I started this idea for a new sort of streaming service that I like to say combines Netflix and Kickstarter together. So it's a way for filmmakers to be able to fund the movie, the movies and TV shows that they want to make while giving the audience a choice of the movies and TV shows they want to stream on the platform. And so the reason I did this is because one, everything is crowdfunded. Right? Like, that's how economics works. That's how the economy functions. Netflix and Disney plus are those streaming services, they take a portion of your monthly subscription and the combined monthly subscribers. And they fund, you know, the TV shows that that you see on the streaming platform. The problem is you don't really get a say in what they choose. It's only about seven to eight people in the United States of America that decide all the content that goes out before everyone. And that's a sort of oligarchy sort of a monopoly. It's, it's a, it's a, it's a very crony capitalist society, in the streaming or entertainment area. And so what I want to do is sort of provide a streaming platform where filmmakers can tell stories Hollywood would reject and not let be told and where the audience can actually feel as if they're actually taking part in the production of these movies and TV shows like their money. actually helping build these platforms as opposed to just being sort of sort of dormant and just watching just consuming. Lore will allow the streamers to actually be creators and help build the streaming platform.
How cool how cool is that? Because I think you articulated it very well there, Marcus, the, the general way of doing things, the way we've consumed content has been just that you are given the content in whatever platform it may be, and you're really kind of forced to consume it. Whether you whether you like it or not, you get your you get your variation, right. But it's still it's not necessarily what you actually want. And we just saw this on, you know, that I'm not sure if you're intubating, the Star Wars world but you know, there was a big fight between the the filmmakers, and the producers over at Lucasfilm, and the fans over the past brand new trilogy that came out here, seven through nine, and how Disney really was battling the the content creator fanbase, and we see this kind of recurring theme here over the past, I'd say five years, it's really reared its ugly head. But to your point, it's actually giving us something exciting to look forward to. And I think we've seen this more. So over the different streaming platforms, you look at YouTube, you look at Twitch, where where you have, all the sudden, these different content creators out there who are being supported by a Rogan network of people in the marketplace, completely away from your traditional streaming platforms or the mainstream traditional news platforms that you go down the Comcast, right, that owns NBC and all the other subsidiaries, they're up. And that's true for name, the organization that's out there, all of a sudden, you have these rogue independent artists and creators who are going out, and they're building an identity for themselves completely on their own without that infrastructure behind them. And you take it a step further to where we're going now with the blockchain with with, you know, the advancement of NF t's not sure if you you dabble into that role or not. But I know that that's one of the worlds are got, yeah, Chris Goyzueta is super excited about NF T's and being used in the music space. So, talk to us, where do you see and where are the conversations from the content creators, and in this case, the audience of people who are disseminating that information, and now playing a real part in helping direct where the conversations are gonna go in terms of the content being produced? Where do you see the actually heading as we kind of go forward here?
Yeah, well, I think it's important to note that all movies and storytelling is propaganda. It's propaganda for something, it could be propaganda for the government, or it could be propaganda for something that the artist believes in, or a message that the artist wants to get out. But all all stories mean something and they're trying to convey some sort of messaging and to you. And so what we want to do is we want to be able to create these stories, create these propaganda, create this proper propaganda for, for controversial issues and subjects that that aren't going to be well respected within the Hollywood mainstream, right, like, like having, for example, that we're gonna do a documentary and not documentary series, we're gonna be doing a TV series on the financial the banking collapse in 2008. And so and just and then we're gonna do documentaries, against socialism and Marxism and why that's bad and, and really well done stuff. Stuff that you're not gonna get done in the typical Hollywood liberal environment. But also, we're gonna do conservative family driven stuff that you're not gonna see in the current family driven landscape of events like Pure Flix, or, let's say, VID Angel, right? Those two are the probably the two Christian family options, and it's just a lot of their stuff is just cheesy Hallmark film nonsense that nobody really wants to watch, especially men. And so we're gonna really go for that too. We're trying to be like, what is what is like the MTV of conservative entertainment look like, like, what does that look like? And we're not trying to be just for the record, we're not trying to be a conservative alternative. Because I know conservatives like to invest their money in like, the Christian Facebook, right? Like or the conservative. Facebook is parlor, right? Here's, here's a getter, right? Like these are the conservative versions of Twitter, conservative versions of Facebook or whatever. But that never really works out in the end. What you need to do is you need to build better technology you need to build better brands, and to build better things basically. Good ideas. And you know, it's like, for like Uber was a great idea. Yeah, well, then the Marxists took it over. And now, you know, Uber is used to sort of combat this global warming, Marxist, ideology and stuff. So what we want to do for lore is we want to create a storytelling platform that we can use to counteract Marxism, counteract communism, counteract all these ridiculous government nonsense that we're seeing. And just let artists tell stories, and we believe that the best story will win.
Marcus, we've seen in a couple of those other alternatives, you mentioned parlor being one of them. There was a real push. And this might be a challenge. I'm curious, because maybe you addressed it when you were talking about better technology. But what do you do when you have big tech oligarchs who are out there trying to disseminate where the information not only can go but how it gets out there you're going through and making it almost impossible for organizations like name, the third party that would be out there alternative to Facebook, Twitter, WhatsApp, whatever it may be, to actually have a chance to thrive on the marketplace. Is that something that you're concerned about for your TV? Or if you already addressed that, again, with that, that better technology aspect?
Yeah, no, I don't think I'm too concerned about it, it probably will happen at some point. But it's we're preparing for it. It's not something that we're not going to be like, Oh, wow, we never saw we never saw this happen. But the other thing, too, is like in advance. We're at work. We're talking like how do we build a streaming platform that encourages subscribers to encourage subscribing, right? Or size? Encourage subscribers to tell their friends to subscribe, right? So how do we do that on platform on our own platform, and not using Facebook or being dependent on on YouTube or all these other platforms? So one of the good things about a regulated economy, I mean, if there is any good thing to regulation, the only good thing about regulation is that it causes companies to find ways around it. Uber is a great example of that the New York City taxi cabs, right where they're regulated. Yeah, it was like a million dollars to buy taxi cab. And then Uber comes along, and just completely decentralizes the entire cab industry. Yep. And do pretty much destroys it. And I think that happens, you know, that's gonna happen in Hollywood, where you have seven or eight people who are making the decisions on who's going to be the directors, who's gonna be the big time producers. And once you create a model that people can actually fund movies and stories, at scale at that level, then I think you're gonna, you're gonna sort of solve all those problems. And it's like the lion in, in Jurassic Park was like nature finds a way, but it's like, it's like capitalism, capitalism finds a way. Oh, I
like that. And let's kind of go into some of the stories that you're telling already over at lore TV, because obviously, this is all content being curated and supported by the subscribers. So let's dig into what are you seeing right now? You mentioned it's leaning more conservative leaning traditional family values leaning, but not necessarily, again, into that whole Mark kind of feel? What's the average, I guess, show? Or? Or is there many different categories? What can someone expect when they go to Lord TV,
we already have about 13 projects lined up that we'll be releasing as our subscriber base grows. And so and then, of course, obviously, we're getting more and more all the time, because we found a lot of people were talking to our top Hollywood artists, they've won Emmys, they've won Oscars, they've won all these different awards, but they're just sick of having to keep their head down. worried that they're going to be fired, because they don't call, you know, their co worker by the right pronoun, right. Like, that's a real fear and concern that they have. And so what we're seeing is there's all these really talented artists, for example, one of the projects that we're working on is called exposed. And it's an animated short series, sort of like, you know, you see these short short cartoons on Disney plus, like the Pixar shorts or something like that. But it's a short series, completely based on abortion. And it's graphic, and it's detailed, and it's not going to make everybody happy. But it's animated by secret undercover Disney artists and DreamWorks artists. And it just goes to show that there is a market for the talent to be able to make really interesting and different stuff that Hollywood would never let them know like you'll never see exposed on Disney plus. And so that's going to be up there for people to fundraise for and then And then we have a documentary series on like, like a ghost hunting demon possession sort of documentary series. That's really fascinating and interesting. That's called Dark collar. And then we have another zombie Irish zombie comedy movie. That's one, pretty much every film festival it's ever been to. And it's made in Ireland was made in Ireland by some Irish guys, and just a really good zombie movie that takes a jab at everyone being addicted to media and what they see on their phones, and not being able to distinguish truth from reality or because of fake news. So there's a lot of really cool and interesting stuff that we're working on. And there's there's more stuff that we'll announce later on, for sure, as we grow. But right now, we're about to launch the beta in a few weeks. And then that beta will eventually go into an alpha and we'll start taking over.
I mean, you hear the libertarian or conservative themes in certain Hollywood movies, so you know, that they're there. There are folks out there, they're the content creators are there. I mean, I was watching Harry Potter. Now granted, this is JK Rowling, who I guess has now become an arbiter of the right she right wing now. Right. Welcome. I know, we're getting some strange bedfellows. But she I mean, when you're watching, like Order of the Phoenix, and you see the overtly anti state narrative, whether she intended it or not, I mean, Dolores Umbridge was literally the government school like that. That was her job. She was a command, she was government and putting her role in the private school, as government what should be taught and what shouldn't be talking about I taught her Hogwarts like, there are libertarian narratives we see. And that was just one example. Meaning there are people out there who are likely willing to produce that content. So let's give them that that platform, and I've heard this time and again, Marcus, this has been the biggest challenge is that people are so afraid of being canceled, they're afraid of losing their jobs, losing losing their friends, losing their livelihoods. So there is a very real concern that a lot of these these content creators likely face and do face. And you mentioned, the the dream, the DreamWorks Disney artist who's going anonymous. Do you see that right now, a lot of the artists and content creators are coming to you in that form of anonymity, or are they going out of their way, and maybe taking a step and saying, Hey, we're gonna put our name to these projects, overlord TV,
some are, some aren't, we've actually coined a term called law redacted. And so, you know, sometimes you might see a film directed by redacted. And we're going to do that as we're gonna do that as a marketing play. But the goal is, over a long, the long haul, not immediately, overnight, the goal is that there should be no financial difference. Or there should be no differing financial incentive to run your film on lor, and get paid or to go through the Hollywood system and get paid. So that's essentially the goal is like, how do we turn the film industry back into a free market, where it's just artists getting paid for making good content that people want to see. And if we do it, right, I think artists with law are going to have more freedom, then then they're even if they don't get the amount of money right away, that they would get that they typically have, they're gonna have more freedom immediately. We've already seen artists who are willing to take the price cut, just because they're just starving for freedom. You know, we've caught it. The artists in Hollywood have golden handcuffs. That's what they have, they're getting paid really well. And they just have to, you know, put their head down and shut up. But sometimes the desire to make whatever you want, is bigger than the money. But my hope is that in the long term, that won't be an issue.
All right, Marcus, we talked about the who, we talked about the what now we got to talk about the how, how does this all work? Right? Because obviously, there needs to be the financial means to incentivize content creators to come over to lore TV, and I looked over at the website, there is an invest button. So I'm sure there must be a fun story there. So let's kind of explain to the audience how this whole system over at lore TV works, where content creators are actually getting paid, and the audience is paying for the content they want to see.
Yeah, so we have three tabs right now. One is subscriber which is you just want to join Lor once it launches. And so we're just taking your email there. And then the other thing is creators so if you're in the film industry, if you do film work, if even if you're in, you know, we will talk a lot of people that are really talented that are just in the commercial advertising industry, and so maybe not Not even thought they would ever get a chance in Hollywood. But they're super talented. So whatever you do in terms of television, in production, or whatever, you can go to the Creator tab and submit some of your work. And we'll call you and hear your pitch. And then the third category is investors, of course. And so for that we're looking at we're looking to be a major tech company, we want to be a top global brand, just like a McDonald's, just like a Netflix. But the difference is, we want to be that global brand that doesn't cave to canceled culture that doesn't cave to the government, every whim, we want. Because there there aren't any global brands right now that are willing to just tell the government no and actually fight against the government and use their company as a means to do so. Could you imagine if Netflix was pushing out pro capitalism, like narratives and their films and TV shows like all the time, like that, that would be incredible. And so what we need is conservatives, conservatives and libertarians to invest their money, big risk investments, with a mate with a with a great outcome, the potential potential for a great outcome, and, and a lot of profit. And so that's our goal, our goal is to be a global brand, that doesn't sell itself to the first Marxist bitter, and that we do really well. And that we can, as it says, on our webpage, we can create stories that fight the culture.
So okay, now let me put my on my naysayer hat. But Marcus, isn't this just creating more of an echo chamber? Isn't this just isolating us from the mainstream conversation and making us go into our bubble?
No, cuz I say global brand. I didn't say I want to be the top Christian brand. I didn't say I want to be the top conservative brand. See, every every company is run by some sort of ideology. And so I don't think it's, you know, it's not, it's not it's not, it's not a lie to say Netflix is driven by Marxist, communist ideologies, and a lot of what they do, or at least they're being pulled in those directions. So every company has these sort of ideologies. What I want is I want a global, create a global brand, just like a McDonald's, just like a Chick fil A or A Hobby Lobby. They have different worldviews that drive what they do. But the question isn't, necessarily what do the people believe at the top? But do they make a good product? Right? It does do? Are they efficient? Are they productive with what they do? Are they profitable? Like those are the core standards of every sort of business is in that in that in that sense? And so no, we're not trying to create a sort of bubble. And also I don't believe that bubbles should be done with movies because I I pretty much know every conservative, I know that's gone to see you know, the latest Spider Man or they've gotten to see the latest Star Wars movie or whatever. And the truth is that just good stories. If you just tell a good story, everybody's gonna want to watch it. And I really believe that's just the key to running a streaming company is just good content. And no, you don't have to have incredibly preachy author call sermon stuff like you know Pure Flix has to be able to get people to watch your stories, especially on the conservative side. I think you just need good stories. Good stories where they know that they're not being swindled Yeah. Did for Superman and Lois. Season two, episode two, right, like where it took that long? You know, I don't know if you guys you've watched Superman Lois and CW first season was this incredible story of Superman trying to raise his family and you know, it's just very patriarchal in the sense not feminist, none of that just really just traditional family on the farm. Superman has to decide if he's going to you know, save the lives of these people falling off a bridge or if he's gonna be back in home time in time for dinner, right? Like those are real consequences of Superman. Having a family and it was really great. And then you know, it they started to push the LGBT agenda to you know, the second episode of the second season for them and they do it in such a way that you know, they're doing it right, and they don't have to do it. And it's just it just comes off as annoying like, you know, the altar call scenes and Pure Flix, movies so, they Do it the same way that everybody else does. And so we just want to tell good stories. That's it.
Yeah, I'm not sure your your thoughts on the Mandalorian I'm not sure if you watched the Mandalorian. Okay, I called the Mandalorian effect, because
I think the Mandalorian isn't I think, I think Disney sometimes makes the shows that are really incredible, but they don't know why.
Yep. And that's why that's right there. That's I like pointed the Mandalorian effect today, I think maybe because
they're like, Oh, the Mandalorian is doing really well. So we should bring in feminist narratives. And it's like, no,
no. Well, and I, that was my intro for my wife to Star Wars, and she got hooked on the Mandalorian. Despite, you know, we'd gone to see the newer movies, in the theaters. And she, whenever, when we watched the Mandalorian she was hooked. And it was entirely because of the story being told. And I mean, it wasn't, you know, it wasn't sexy graphics. It wasn't, you know, revolutionary way of doing things. It was just telling a good story and to the point, and this just proves your model. It was what the fans wanted. The fans have been just demanding that authentic real steam like the old Star Wars feel. And this is really given Star Wars are really necessary. I say necessary, maybe not necessary. But if Star Wars was to continue to be the brand that had been really iconically become they need to have a little jumpstart and I think the trilogy it didn't really help with that.
Yeah, I think that's because Star Wars is an inherently at its core. It's it's a John Wayne film. Yeah, right. It is. It is the man rescuing the woman. It is you know, right. It is it is kill the dragon get the girl at its foundation. Like that's the message
even though she's your sister.
What is that even
though she's your sister?
Yeah, I mean, you didn't know. But But still, I mean, of course, of course, my brother should protect the sister too. So but but it's still that there's that masculinity there. And then when you go to the Mandalorian you see it again? With a father taking care of a child. Yeah. And then there's of course all this cool stuff about adoption and stuff that's intertwined in there. And that's the John favour house. Credit, because every story he does he talks about how every story he does has an inherent father son plot. So if you look at like Jungle Book, you look at elf elf s say, Yeah, Lion King, father and son narrative in it. And that's because his mom died when he was little and him and his dad would watch movies. And so so I think they don't realize that they just think Jon Favreau is a great director, and he has a great director, but they don't understand the underlying why everybody's attached to this when when you see a movie, like the Mandalorian. When your wife watches the Mandalorian she's, she's attracted to a strong man protecting a child. That's what most women are supposed to be attracted to. And, you know, not the effeminate stuff that we see nowadays. But so I think there are these inherent cool undertones. But yes, that's a great exam. And Lauren's a great example of a really good story that doesn't need to sway back and forth. And all these weird plotlines that push an agenda, because the story itself is a good story that upholds that father son relationship that we need to hear more, we don't ever hear that anymore. So
authenticity sells, and people are looking for that real authentic story being told, and hey, let's go ahead and tell some more of those stories. If you want to go ahead and start doing that lore TV is the place to go. So with that being said, Marcus, we are unfortunately hard pressed for time. So where can folks go ahead? The call to action today? Obviously, go ahead, support lore TV support you and obviously they want go ahead and start getting some content out there. We're going to head and go to that.
Yeah. So if you go to laura.tv, we're about to launch in a few weeks, we haven't started yet. The beta will be soon we'll be sending out some beta invite links. So just check your email, go go to laura.tv Sign up for the email list to get to get ready. And then we'll be sending out the notices very soon.
Exciting stuff, exciting stuff. And how about this, folks, if you subscribe to The Morning Sales huddle when the day comes that we officially have the beta launch, I'll make sure I include that as a little snippet. Because yet finding the culture with great storytelling, I dare say that is one of the tools in the proverbial tool belt that we need to be focusing on. So thank you for that all you're doing Marcus and folks if you want to go ahead and do your part, please Yes, I will make sure we include all the links to today's episode in the show notes for both Marcus Lord TV and the entire transcript of today's episode. But with that being said Marcus Pittman Lord TV, thanks for doing the program.
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Transcribed by https://otter.ai
Marcus is the CEO of LOOR.tv, a streaming service with the hope to decentralize the film industry. As a documentary filmmaker, marketer and studio director Marcus decided to create a streaming platform as his most recent movie was removed on Amazon. He lives in Northern Idaho and is married to his wife Laura.
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