BY ROBERT J.LABATE
Sitting in a conference room across the table from a first-time independent film producer, I had the feeling that this conversation was all too familiar. The story went something like this:
A young and talented first-time producer has been working on a script which, the producer believes, is just about ready to film. He has between $10,000 and $20,000 in financial support from a few friends and family members and commitments from a dozen or so actors, musicians and techies who are willing to donate their time. The producer has tried, unsuccessfully, to attract the interest of outside financing and hasn’t thought much about distribution of the film.
The producer is now asking me what he should do next.
"Why?" I responded, and then added: "Why do you want to make this film and what are you trying to accomplish?" I know this sounds harsh, but I’m looking for a specific answer.
If the producer’s goal is commercial success, then he must understand that the easiest part of film production is putting the film in the can. The more difficult task is to obtain "meaningful" distribution of the film.
The reality is that, out of the 900 or so full length independent feature films shot every year, less than five percent receive a meaningful distribution agreement; that is, an agreement which allows contributors or investors to recover a significant portion of their investment. Exceedingly few "meaningful" distribution agreements are offered for films costing less than $100,000 and the films that succeed (such as Pi or Blair Witch) almost always involve a few experienced professionals early in the process.
This is not to say that commercial success for a low budget film is impossible. This year, one of my clients won the top prize at two film festivals and is about to ink a "meaningful" distribution agreement for the film. But the entire process, from the commencement of principal photography to the signing of a distribution agreement, has taken almost three years. This is hardly the easy way to find commercial and artistic success.
Often the producer’s goal is not directly commercial. Sometimes, the proposed film is shot as a "calling card" (such as Lucas In Love), intended simply to attract the attention of the film community. Or the production is script driven, that is, the producer strongly believes in the power of a script he has written or acquired and that, when completed, the film will find a market. Other times, the film is a student project, intended largely to provide the producer with experience in the mechanics and art of filmmaking.
The purpose of my question is not to discourage the producer from making his film (which is nearly impossible), but to suggest ways in which he might focus his efforts and resources. Why, I ask, would anyone want to make a poor quality full length feature film for $20,000 when they can make an excellent demo for $10,000. The producer’s response is usually, "A demo? What’s a film demo?"
Any experienced actor will tell you that working in L.A. requires an actor’s demo tape, which contains portions of the actor’s best work in a single 5 to 10 minute video. A studio or casting director normally wants to see what an actor can do before they schedule an interview or cast the actor in a role.
Similarly, production companies and investors often want to see a portion of your picture before they decide whether to spend time and money on your independent film project. Even the best independent film has weaknesses. Your proposed director may not be capable of obtaining the best performances from your actors, you may want to add name actors, your lighting may be poor or your script may need some reworking. Realistically, most sources of funding will want to change significant portions of your film.
Once you’ve shot your film you are stuck with it, warts and all. The beauty of a film demo (also called a "trailer") is that it is, by design, a little gem and a rough draft which shows the potential of your project, but is easily modified, improved and molded.
For example, one of my L.A. based clients, who is well-versed in digital technology, has prepared a single CD containing scenes from four or five of his current projects which he uses when discussing his films with potential production partners. The impact is significant and the cost is rather small. And, his film demo CD becomes a sales device rather than an all consuming feature film project.
I don’t want to minimize the enormous amount of work and dedication required to produce a film or film demo of any length. Nor am I suggesting that film demos are a magic bullet which will solve your problems and enable you to raise lots of money. But why not give yourself every chance to use your limited funds in the most effective manner?
If you want to learn more about film demos and the business side of independent film production, you may want to attend a November 1st evening seminar on "The Business of Film Production: Part 1–From Formation to Principal Photography" sponsored by the Independent Feature Project, Room 40 (Lower Level) at the University of Chicago Gleacher Center, 450 North Cityfront Plaza. You can find out more from my firm’s Web site (www.defrees.com) or from the IFP Web site (www.ifp.org).