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How Budget Independent Film bottleneck can create orgasmic Returns

Introduction

Film independent for generations has been built at the intersection of financial limitation and innovation. One could argue that somewhere in the interdependence of this relationship is the mysterious alchemy that makes good art. This implies that the financial constraint creates innovation, how they build walls around prison units of the creative ideas of the damned. At least, the financial constraint is a factor that can lead to innovation and innovation can lead to great art. I've been part of its manifestation times to believe in these principles, but more important is the curiosity of the question, "Why what these principles are and how we can take independently to create moving images that are truly in motion? "

Of course, the financial constraint can be measured in degrees, and I participate in this debate on the basis that an investment of 1 million + movie has both sufficient resources to finance the practical aspects of making a film in the current climate, and limited resources sufficient to inspire innovation, enable liquidity in the creative process, and aid in the formation of a closely knit family of filmmakers united by a singular vision.

It's easy to find examples in history in films with limited budgets exceeded the scope and cultural impact expected, not to mention the financial returns, dollar for dollar, they represented. It is much harder, however, to wade through the pile and tragic considerable independent films that do not "get into" the spirit of the time, to assembled media are lying in boxes, collecting dust in basements and – after having been through the trash compactors institutions financial, funders and distributors – have become decaying landfill, although conceived with passion.

Attention Easy Rider – $ 400,000 in Vanishing Point – A little more than $ 1M Two Lane Blacktop – $ 875,000 American Graffiti – Mad Max $ 700,000 – $ 400,000 Samson and Delilah – $ 1.5M Sex, Lies & Videotape – $ 1.2M, Swingers – $ 250,000

For this reason, we will see examples of successful independent films that were made for less than $ 2M, to determine from a creative perspective the rule book, tool box and leadership strategies for creating an independent film budget at this level who has the best chance of connecting with your audience.

One day Alice came to a fork in the road and saw a Cheshire cat in a tree.

"What path should I take?" she asked.

His answer was a question: "Where to go? "

"I do not know," replied Alicia.

"Then," said the cat has no importance. "

Lewis Carroll, Alice in Wonderland

As independent filmmakers, it is our responsibility to develop a clear idea of where we are, and actively seeking an innovative path to get there.

1. Embrace Chaos

Swingers, blood Simple, Pepi, there is a level of chaos that comes from working with smaller budgets. A level energy. Organized chaos that became the template for the creation of the work. For example, in Swingers, Doug Liman decided to shoot the scenes the bar of a real bar while it was open, because I had no money to build or rent the premises. The pre-lit place where Heather Graham would sit, and then shot from across the room … Many customers of the bar did not even know the scene was being shot, and embracing chaos, Liman acquired a sense of authenticity in scenes. [1]

Even in larger budget films such as Babel Inarritu, or Coppola Lost in Translation filmmakers to reach the authenticity of the acquisition of documentary style, the option of shooting the contextual basis of their films in the real environment, cinema verite.

Instead of trying to control everything, it is essential to enable a level of chaos to instil the filming process. Grasp reality as possible.

"It was indeed (Doug Liman) idea of using this approach cinéma vérité documentary. His general approach was: "Do not Party Girl with half the money, employees to ten times more money. "He was taking all these possibilities. Of course, for us at the time it seemed like a kind of flying by the seat of his pants, but ultimately the film looked good and we could not have gotten that kind of energy or authenticity if we had done differently … "[2]

John Favreau Re: Swingers

2. It forms a tight, small crew

Not only is there a level of mobility and flexibility that comes with a smaller production team, but a level of intimacy and connection. To create an environment where actors can establish themselves in their characters, and crew can be mobilized to seize the opportunities that arise, a small close-knit team production yet independently can be more productive, and more resources that more and more dependent on computer.

This is more apparent than in the recent success Australia, Samson and Delilah, the feature of Australia recently, shot and directed by Warwick Thornton, who shot a team as small as 6, and rarely more than 12 during filming.

"There is seized, not electricians, no cranes and not too many lights on the set … The money creates problems. You know, films become that kind of big circus and clown shows in a sense and it was important for me, only to have that kind of personal space with the two actors and be able to run that way. Do not run through a crew. "[3]

Warwick Thornton Re: Samson and Delilah

According to sociologists Jon Katzenbach and Douglas Smith [4] there are six bases of cooperation necessary for high performance groups:

– A small number of people – usually less than twelve

– The complementary expertise of group members

– Common Purpose to work

– Specific performance objectives that are commonly accepted

– Shared working approaches

– Accountability mutual between all members

His study covers the difference between "real teams" and "extra-ordinary equipment," and cited "a real team is a group with complementary skills committed to equality and that are mutually accountable, and an" extra-ordinary team is a real team, which also has a deep commitment on the other is personal growth and success.

It could be very useful to have actors and members crew, before the team's formation, write a summary of why they want to participate in the film, and how the movie will benefit them, professional and / or personally. This exercise will provide a solid platform for leadership, as it would ensure that there are fewer expectations implicit in the process, and give knowledge of the skills side that could potentially be available on the computer (ie, the sound recorder can have a witty and ironic style writing that could be used to blog about the production while on the road).

3. Develop a style born of the limitations

In a large majority of independent films made on low budgets, style is innovative due to the filmmakers who covers the budget constraints lower. Using the challenge as a point of stylistic.

"As we got closer to production, I said, 'you have to pull color, because nobody is going to a movie in black and white. But Scott said, "If we shoot in color that we'll have to rent a light package, because all we can not use fluorescent shop lights. "And I said, 'So if you shoot in black and white, we can only lighting store and some keys? F * k # it – shoot in black and white! "

Kevin Smith, Re: Clerks

In the case of the creation of films that normally required more resources, such as road movies or action movies, the rules should be in place that serves the dramatic effects of the film, and maintain production within the available budget. For example, a road movie is typically about altering the status quo, and the need to escape, so the option of shooting the majority of dialogue from inside the car, to emphasize the isolation of the characters, could serve the dramatic purpose of the film, and therefore expand the issues.

During production of Easy Rider, most of the film was shot outside with natural light. While this can be attributed to the film is a road movie, while Hopper said all outdoor shooting was a deliberate choice on his part because "God is a great guy." The production used two five-ton trucks, one for the team and one for motorcycles, with the cast and crew who live outside a motor home alone [5].

In contemporary cinema, a growing number of tools available to modern film director. It is on creativity and innovative use of these tools that can create a seismic shift in the possibilities of a modest budget. A great example is Slumdog Millionaire, during the chase sequence at the beginning of the film, Danny Boyle chose to use a combination of traditional film cameras and stills cameras capture HD capabilities to capture the dynamics of coverage necessary to create a muscular, fast pace action sequence. These cameras also allowed Boyle to capture images in a noninvasive and covertly in from the slums of India in a way that does not draw attention to the process of filmmaking, using bystanders as extras, which added to the authenticity of the film.

"I just wanted to get in the middle of everything, while preserving the natural, unscripted energy: If people see a camera still images do not think it is the live recording. "[6]

Danny Boyle, Re: Slumdog Millionaire

4. Cultivar Property and shared risk / return

There is a spirit that exists within the fabric of success of independent films, a cohesion of purpose, ruthless ambition and a passion shared by cast and crew.

According to writer and sociologist, Dan Pink, the people in the workforce is looking for ways to invest in themselves what they do, and are increasingly willing to abandon the "safety" of a regular salary for the freedom to work free agents in the projects they are passionate. Also, people have the opportunity to share the fruits of their own efforts, whether personal or business efforts, they are more productive and more heavily invested in their work, creatively and emotionally, [7].

It seems intuitive that the "independent film," This trend is also occurring. Therefore, I see the need to create plaster models and crew members share equally in the relative risks and rewards the creation of an independent film.

Robert Connelly, in its White Paper, incorporating innovation: a new methodology for the production feature films in Australia, says "In order to negotiate a viable industry for low wages in budget films that we have find a reasonable combination of the minimum allocation and a significant portion of revenue from the movie "and while this contract is a common for 'above the line' creative, this structure could apply for 'below the line' and crew members, and adjusts the roadmap for the creation of independent film.

5. Plan to involve communities in working

Is difficult to put a price on the value of community involvement in a film project. In my own short film, Echo, we approached the Ku-ring-gai Council to help us with permits and access to the National Park they were filming a sequence that is a young man falling from a small boat and drowning.

To film the sequence, which included a scene of dialogue in a vehicle and underwater photography, you also need a small boat and permission to close one of the roads leading into the park. One worker for the Council was involved in the film, and helped us with all sorts of things. If I had to figure the dollar value of their contribution, including food for the crew, standing in the way of holding a stop sign, standing as a bonus, getting a discount on the rental boat local marina, and come to work two hours before the park gates open for us, would have to reach hundreds, if not thousands of dollars.

In the end, all it cost me was a thank you letter and a copy of the DVD was sent to Council. His response to my letter of thanks that "… Thanks! I did not know what was going on in making a movie, and now I have had the opportunity to see what happens behind the scenes. It was a great experience. Just saw him in the office here, and everyone loved it … Well done! "

This is just a small example of how community participation can be mutually beneficial, in addition to the resource base of any film, especially if shooting in rural or small communities where a film can make a huge impact, socially, culturally and economically.

6. Make use of available resources

With all social networks, things and Internet connectivity in the hand of contemporary filmmaker, opens a variety of forms of power you need for a film session. From accessories to apparel specialty vehicles, which can often be easier to find things within their social network as could go and buy.

One of the advantages of independent productions have is time. Without the constraints typical of most commercial productions, independent films usually have more time to, for example, investing in pre-production, editing, or to create a wave of market support line. Filmmakers Joel and Ethan Coen, while Blood Simple, discussed the process of using people who were committed to the process and the film saying:

"We do not pay anyone. Well, I paid the minimum. That's the only thing I always say when people ask about these things: makes more sense to find people who do not necessarily have the expertise to do what you want, but you think you are ready to do it and record for longer time, which makes trying to find about four thousand dollars a week you think DP is going to save time and allow at least shoot for a week. It works. That was the philosophy that he [Mark Silverman, line producer] introduced in the film and was very helpful to us. [8]

7. Create a process that is aligned with the tone of his film

This is a relatively esoteric, but I think the emotional context of a creative effort feeds directly the result of that effort. As director, you will begin to see the creation of a conversational tone with his actors, a dialect you use with your computer or a way of phrasing things to a picture of the effects of tonal results of the movie you are creating. This is why the actors try to maintain a distance sure the talk of the crew to reduce the consciousness of artifice, and why can give a picture about the address on the cover in a scene if you want an amount of chaos in the capture of that scene.

Since the start of pre-production process until the last day in the post, it is important realize that the decisions you make affect the outcome tone of the film. It is a natural process of human creativity to match the emotional tone and psychological our most profound and creative investment, it is not uncommon for filmmakers to find a parallel between what is happening on the screen and what happens in the life of the cast and crew.

The important thing is to understand that this happens, and to be aware of its power to choose what tone or approach that will take in creating your movie. For example, if you're creating a road movie taking risks, challenging the status quo and embrace the adventure, then you could create a context for the cast and crew in which you would expect them to take risks, accept the adventure, and show a level of anarchy at times.

8. Implement a Marketing Plan From the Beginning

Marketing an independent film in the present situation can be heartbreaking, as filmmakers, film festivals and studios are increasingly forced to adopt a business model if it is to survive. This form of big-budget advertising has been met with diminishing returns in the last number of years, with increased marketing budgets to capture the same market. But opportunities, however, on the other end of spectrum, great for 'cut-through' niche markets. Jeff Levick, president of AOL advertising and strategy, said of the Internet, the market niche is the new mass, and even large companies are trying to figure out how to participate in the market by appealing to small pockets of people around similar interests.

In other words, they are trying to implement what the Independent do well …. Coincides with a production with a niche market and build a relationship with that market around the movie.

"People today say that the word of mouth online has become one of the most important elements of their decision to make films, and is, paranormal activity undoubtedly benefiting from this change in behavior, "said Amy Powell, senior vice president of Internet marketing, Paramount Pictures.

Find ways to interact with the market from the beginning. Develop supporters on Facebook, blogging sites, get someone to Twitter on production. Start a behind of the daily video scenes, people to engage with the filmmakers about the making of the film. Tap into an existing market for its line of film, and in interest groups that exist in the real world, ie. create an awareness of road movie in groups of collectors.

One marketing idea being carried out for rock concerts and bands Posse (www.posse.com) is allow members to earn a commission for every ticket they sell at concerts or merchandise sold through links from your website or Facebook page. This and other Similar engines exist to increase awareness, promote and spread the word about his movie, but a strategy should begin as soon as possible.

9. Get it Done

Creating a movie is better than creating a movie, so it never ceases to energize the process. Do not let than a week without achieving something, no matter how small the victory. Call a production designer. Go to a bookstore and pick up reference images. Watch movies you move and stopped. Read the script. Take notes. Read the script again. Map emotional arc of the film. Find the drama in every scene. Take photographs of the things that inspire. Go to an art gallery and find an artist who makes you feel like you want your movie to make people feel. Read the script. Buy a box crayon and find your color palette. Search records music for his film. The people left in the street and the tone of his film for them. Call an editor and get their perspective on the pace. Read about independent filmmakers who are making films and how they are doing. Tattoo the title of his film in his ass. Come on.

I am an independent film maker first. I always cut my own cloth.

Mira Nair

No matter what you do. Just keep building the momentum for the project.

Finding a way. Get it done. No excuses.

And finally …

Film is an art form that is a natural extension of our need to communicate through stories. The films chosen to undertake should be personal and based on our personal character. It follows that crystallizes through our greater understanding of the world.

By expanding our database of experience, even in non-film efforts, we inform the stories we tell. Sometimes the best thing for the creative process is a step aside and renew our creativity. Obsessions often can not control, but it becomes distance weapons for several minutes while the prospect of gain.

There will setbacks. There will be triumphs.

Feature films are often born through persistence of vision, a determined and tenacious resistance to commitment and knowledge of that the film they are doing is an essential volume in the lexicon of the stories that "must be told."

My opinion is that the limitations are a necessary evil in the creation of art in motion. There is a guttural inventiveness that comes from the depletion of creation. Reaching for that last piece of inspiration is the key to finding the inspired thought, the right shot, the perfect tone. The job of a director is to limit your choices, after all, to choose the right way to illuminate the story, capture the emotional moment, creating a reality as vivid as what is happening around us. The film is also reality, and the experience of an audience has is real. It is tangible. And if you embrace the limitations that come with the independent film, and watch as empowerment, there is no inspiration for take.

There are more stories to be told. That could well be you telling them.

[1] Horowitz, Josh. The mind of the modern filmmaker. New York, NY: Penguin Group, 2006.

[2] Lowenstein, Stephen. My first movie: twenty celebrated Administration discussion of his first film. New York, NY. Pantheon Books. 2000.

[3] ABC News Online "low-budget masterpiece strip focus on indigenous issues" by Rebekah van Druten Posted May 12, 2009

[4] Katzenbach, Jon R. and Douglas K. Smith. The wisdom of teams. New York, NY: HarperCollins, 2003.

[5] "Easy Rider: 35 Years Later" Moviemaker.com

[6] Mackay, Mairi. Shooting 'Slumdog' in Mumbai, the city of extremes. January 12, 2009. CNN.com / entertainment

[7] Pink, Daniel H. Free Agent Nation: How independent workers are transforming the way we live, 2nd Edition. New York, NY. Warner Books, 2007.

[8] Lowenstein, Stephen. My first movie: twenty celebrated Administration discussion With his first film. New York, NY. Pantheon Books. 2000.

About the Author

Born in Seattle, Jim Lounsbury grew up telling stories through pictures. Straight out of high school, he began taking photos for the Chattanooga Times and soon joined the theatre company Destiné as a player, and travelled the South-Western United States, writing and performing stage plays from 1993 – 1995.

In 1999 he moved to Australia for love, and began working as a film director and writing about himself in the third person.

Co-founder of production company eponine ( http://www.eponine.com ) Jim is passionate about telling bold stories that have the lasting quality of truthful observation. His work has played at numerous International Film Festivals.

Jim lives in Sydney, Australia with his wife Lynnette, and two sons, Tenzin and Finnian.

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