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One for the Money; One for the Art

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"Do one for them; do one for you. If you can still do projects for yourself, you can keep your soul."

What happens when creators do a project for money or to fulfill a contract so that they'll have the finances and creative freedom to do their artistic dream project.

This can be done indirectly by, for example, an actor or director doing project for money and then turning around to put the money into an indie film he or she wanted to do. In this instance, however, the creators still have to deal with all the problems faced by indie film directors. The paycheck is rarely that huge, they have to find a distributor, and they have to hold casting calls.


The funding can also be done directly when, as part of a multi-film contract, a creator agrees to do a commercial project for a studio while the studio, in exchange, agrees to fund the creator's artistic project. This version ends up being far more convenient for the actor/director. First, the studio is frequently willing to fork over more money for this, as they stand to take a share of the box office cut, so even if the artistic film takes a minor loss they're not out that much. Second, with the power of a major studio behind them, the actor/director now has A-list stars on speed dial, and doesn't have to worry about finding a distributor.

Compare Paying Their Dues for when an artist needs to take smaller gigs before they hit the big time. Contrast with Only in It for the Money, in which the work made for making money clearly is not for personal projects. See also Auteur License. This trope is frequently used as a justification by non-American actors to travel across the Atlantic and/or Pacific, as they use the money from Hollywood to finance their ventures in theatre, independent films, and other lower budget yet artistically appealing projects in their native countries.


Can lead to Magnum Opus Dissonance if the project done only for the money is the one that takes flight while the project done for the art never gets off the ground.


  • In late 2008 John Lydon appeared in an advertising campaign for Country Life butter on British television. He defended the move by stating that the main reason he accepted the offer was to raise money to reform Public Image Ltd. without a record deal.


  • Brian Michael Bendis, Mark Millar, Matt Fraction and Warren Ellis are all writing or have written Marvel Comics titles to raise money for publishing their personal projects. The first three also use Marvel's creator-owned publishing line Icon, while Ellis publishes his personal titles through smaller companies, like Avatar Press.
  • After alienating much of the comic-book industry with his embrace of Objectivism (and losing the rights to many of his most famous creations to DC when they acquired Charleston Comics), Steve Ditko spent the 80s taking low-prestige jobs like drawing for coloring books in order to fund his own Objectivist-themed comics.

Film - Animated

Film - Live Action

Live-Action TV

  • Jeff Garlin has said he likes The Goldbergs and is very proud of the show, but that the major appeal of doing the series came from the fact that a mainstream sitcom on a major network gives him the financial security he needs to pursue riskier indie projects in his downtime.


  • Famously inverted by David Bowie. After getting a raw deal on his contract, he spent the next several years producing experimental and highly acclaimed but not-very-commercial material. When his contract expired, he produced some more mainstream (but again, highly acclaimed) work for the money.

Video Games

  • Allegedly, the reason that Aliens: Colonial Marines ended up being such a terrible game was because Gearbox used the money that they were paid to make the game in order to fund their own properties, including Borderlands, Borderlands 2, and Duke Nukem Forever, and only started working on Colonial Marines in earnest after becoming in danger of violating their contract.
  • Suda51 and his company, Grasshopper Studios, will occasionally make quick and cheap licensed games to get some extra money to fund the projects he's truly passionate about, as he knows most of his original work doesn't turn a profit.
  • Treasure agreed to develop McDonald's Treasure Land Adventure for Sega only so that Sega would help them fund the development of Gunstar Heroes. Although Treasure Land Adventure finished development first, Treasure managed to complete Gunstar Heroes quickly enough to release a week ahead of the other game so they could claim Gunstar as their true debut game.
  • This is WayForward Technologies' way of life. One particularly evident instance of this is making a game based on The Mummy in-between installments of Shantae (one of which was a fan-funded Kickstarter project, no less).

Western Animation