Screenwriting and Indie Film Distribution

There are different distribution avenues to consider when looking at marketing your film. Film festivals have been long known to provide filmmakers’ exposure to distributors. However, this kind of exposure is considered ‘dependent’ film distribution. Filmmakers are dependent on the exposure to distributors and eventually become dependent on what the distributor will do for them. The chances of the right distributor screening your film at the right time at the right film festival are not good odds.

Fortunately for us, times are changing and indie filmmakers are not waiting around hoping to get a distribution deal.

Indie filmmakers are finding themselves at the forefront of an online distribution revolution. Considering online distribution for your indie film? You’ll want to weigh the pros and cons in regards to selecting an online distribution platform. Approach an online distributor with the intent of making some $$$ but don’t necessarily expect that you will. Think of this avenue of distribution as a long-term investment. There’s a plethora of new and barely heard of platforms and services for selling your film. Regardless of which platform you choose, you’ll want to consider several things.

• Startup cost
• No up-front costs
• Long-term cost
• Delivery to mobile devices
• No mobile devices
• Exclusive agreements
• Non-exclusive agreements
• Percent of profit
• Tax implications

Also, if your film is under 20 minutes, this may be an issue as far as preliminary qualifications of being accepted as media for distribution on some sites. For example, Amazon’s VOD store requires that content titles be at least 20 minutes long. Most short films would not qualify for this service.

Amazon does appear to be ahead of the curve when it comes to partnering with independent artists of books, CD’s and films. Amazon provides well laid out Features, Pricing and Submission Requirements on Amazon’s CreateSpace.

As far as Apple and iTunes, it’s difficult to even locate information on how to get an indie film into the iTunes store? That in itself is reason alone to not pursue distribution through iTunes. Give it another year and the wizards at Apple will see the revenue generated from streaming indie films from sites like Amazon and indieflix.

Indieflix appears to be a good choice for digital distribution for indie films. They accept short films as well as features, they have a considerable presence across the web and they are based here in the big filmmaking hub of Seattle Washington. Indieflix is an online marketplace and distributor that offers over 2,500 film festival-selected independent films screened from countries worldwide. Indieflix provides a platform for independent filmmakers to market their films, and is notable for being non-exclusive.

Prior to setting up VOD distribution with any company, you would want to know the distributors current customer base, understand their marketing strategies, and have a good understanding of any revenue that could be generated or not realized from hosting your media with such company. If the numbers just don’t add up, it may be a good industry move to get your film out to the masses, views vs. dollars.

The current market for indie filmmakers pursuing revenue generating distribution for an indie film is very bleak at best. Finding an audience for your independent film has never been easier. There are many platforms for digital distribution to choose from, it’s just a matter of dollars vs. views. What route makes the most sense to each filmmaker?

The bigger payoff for indie filmmakers may be the old-school route… Put your work out there and create some buzz!

You have the power to dream. Let the inspiration flow and your creativity will take shape.
- David Spies

2011 in review

The WordPress.com stats helper monkeys prepared a 2011 annual report for this blog.

 

Here’s an excerpt:

The concert hall at the Syndey Opera House holds 2,700 people. This blog was viewed about 11,000 times in 2011. If it were a concert at Sydney Opera House, it would take about 4 sold-out performances for that many people to see it.

Click here to see the complete report.

Screenwriting – The Beginning Middle and End

The opening to your story is the most important part of the whole journey. Before you even sit down and start writing, know your beginning, middle and end.

Some writers have a hard time just getting started. If you take your time to figure out basic story structure (Setup, Conflict, Resolution) you will have a better understanding of how your story should come together. If you know the ending, think the exact opposite for the beginning. This will help you establish your starting point or opening scene. Remember, film is a visual medium, show the reader, and don’t tell them what is happening.

Begin your story with an opening scene that has impact. You’ll want to hook your audience, drawing them in as your story moves forward and continues to grow. Make sure that your theme; tone and pacing make sense for each scene. Establish a compelling plot arc that propels your story forward. Introduce your main characters (i.e. Protagonist, Antagonist), and then introduce a point of conflict or an “inciting incident”.

Each scene should have a beginning, middle and end. Just as your story has setup, conflict, and resolution, a scene should have setup, conflict, and dilemma. This will keep the audience engaged with every scene and launch the audience into the next scene.

Your character needs to be capable of change from the very beginning; otherwise the change won’t be believable. As your story progresses, the protagonist must face situations and conflicts that require change in order to stay on track with your character arc. Be sure to outline the consequences that your protagonist will encounter on their hero’s journey. To keep the attention of the audience, and to further the transformation of the protagonist, things must get worse before they get better. The conflict must intensify.

You’ll want to ensure that your protagonist has a proper evolutionary character arc. It’s one of the most important elements of storytelling. When a character grows, we vicariously experience his or her changes and are transformed alongside the evolution of the character. Think of the character arc as a map of your character’s beginning, middle, and end. Your character might start off insignificant and without possibilities, then finds a reason to change even while the odds are stacked against them.

Eventually the protagonist reaches a “tipping point,” a moment when a crucial decision must be made or a truth must be revealed. By the end of your story, the character has left their original identity behind and is now at the end of their journey. Your main character should be changed or develop in some way.

Don’t begin writing your story unless you know how it will end.

- David Spies

Screenwriting and Starbucks

Cafés have long been a writer’s best friend. A cliché perhaps, but take it from me, there’s something special about settling into one of those “comfy” chairs and putting pen to paper while enjoying your favorite cup of coffee. It’s the ambiance, the camaraderie of the morning regulars exchanging pleasantries and the aroma of freshly brewed coffee wafting around creating a constant euphoria.

I moved to Seattle eleven years ago this month and quickly fell in love with Starbucks. I was impressed by their reputation and the wonderful hospitality that I was greeted with when entering any one of their establishments. It’s the kind of recognition that is felt when entering your favorite neighborhood spot, with Starbucks it doesn’t matter what neighborhood you’re in; the atmosphere and hospitality is always the same.

It’s been a while since I’ve been on a writing streak and I always seem to find a bit of inspiration while sitting in one of my favorite neighborhood Starbucks. This week I made my way into the Starbucks on Gilman Blvd in Issaquah expecting to find “Comfy” chairs next to the fireplace. Upon walking inside, I was surprised to find that this Starbucks location had suffered some sort of cafeteria style redesign. The furniture looks like long
craft tables from a kindergarten classroom and has chairs to match.

The many businesspeople sitting at various tables, laptops plugged in and looking as if they were relegated to a timeout, looked comically odd.

I took my time looking around and taking in all the changes. The warm feeling was gone.  I made my way to the counter and placed my order. The baristas were pleasant and cheerful as always. I’m sure they were coached, “change is good, treat the customers the same”. The counter is now much longer; the menu board has changed and now includes beer and wine.

What?

Okay, there it was in black and white. Starbucks wants to make more money. In one hand you have the loyalists to the brand and the other hand you have the stockholders. What business initiatives can the executives’ drive that they haven’t already done to increase shareholder value? Sell beer and wine.

Really?

Why do the executives at Starbucks think they need to serve beer and wine? Starbucks gets the majority of their business before noon. Does Starbucks really need to “tap” into this evening business? Beer and wine is served at bars, pubs and established restaurants that can support an evening crowd with an ambiance that one might expect. I would speculate that the same people that buy their morning coffee and make up the majority of business for Starbucks will NOT be returning in the evening to down a few beers after work.
It’s just not going to happen.

Starbucks needs to look long and hard at the statistics that drive their business and study the elements that will come into play. Some people in the US job force are still lucky enough to be in the 9 – 5 workgroup. Most of the rest of the country is working what I refer to as “half days”. These workers live in urban cities and outlying areas, suburbs and even further away from their workplace. Their commute is long and tiring each way, they must get up earlier, stay later at work and get home later. Hence the half day or twelve hour work shift. This part of the workforce needs to spend as much time as possible at home with their family to make up for their half day work reality. These are the people that swing by Starbucks in the morning and like their coffee fast and perfect each time. It’s what they come to expect and that’s all they want. This routine will likely stay the same for most of these customers of Starbucks. On the other hand, I count these customers completely out of the statistics that would drive any evening business to Starbucks.

Additional customers to Starbucks are retirees that live close by to their establishments. These customers plan their day well in advance even if it’s a day-to-day routine. They venture down to their neighborhood Starbucks for the same consistent pleasant atmosphere that we’ve come to expect. Safe, warm and inviting, they meet with other retirees and even chat with regular customers that are part of the morning hustle.
Retirees are early to rise and home before the sun goes down. I count these customers
completely out of the statistics that would drive any evening business to Starbucks.

The self-employed laptop liberators make up another part of Starbucks revenue stream. These customers rely on the same consistent service that they have come to expect from their favorite neighborhood establishment. They plan meetings, draw in other customers for Starbucks, spending several hours within an establishment and making multiple purchases. These customers are burnt out by the end of their day and would likely not be part of the evening crowd that Starbucks hopes they will draw, but I won’t count them out.

Starbucks realizes much of their afternoon business from the teen crowd and select half day workers that need their second shot of inspiration. As for the “schools out crowd”, they come to Starbucks to meet friends after school, drink Frappuccinos and enjoy the same consistent pleasant atmosphere that we come to expect; safe, warm and inviting. The atmosphere will definitely change as a result of Starbucks offering beer and wine. Most parents will not want their kids hanging out in an establishment that serves beer and
wine. As a result, Starbucks will lose some of this consumer group as a result to their redesign. I also count these customers completely out of the statistics that would drive any evening business to Starbucks.

I believe Starbucks is introducing this redesign out of desperation. We see this time and time again, corporate greed. Executives are constantly driving initiatives that reduce resources, increase revenue and realize more profit for shareholder value. What executives NEVER factor into their initiatives is LOSS of customer service. The human element is detrimental to ANY business but requires the most attention.

When you direct your driving workforce to run lean, your workers have less time for customer interactions and mistakes are made. This is hardly the frontline worker’s fault, they are doing what they are told and must do so in order to stay employed. This scenario is likely the reason that sales at Starbucks establishments have dropped off in the morning.

Until this week, my wife stopped at Starbucks three to four times a week and has done so for a decade. In the last several months she has experienced a rapid decline in customer service at our neighborhood Starbucks. I’ve seen this myself, less workers performing more duties and working faster. This has resulted in her coffee being prepared incorrectly on multiple occasions, sometimes twice a week. My wife received a package from Amazon yesterday and informed me that she will now be making her morning coffee at home. Not just more often, but every morning. A bottle of Torani Pumpkin Spice now sits next to our beloved Saeco Espresso machine and will likely be ordered on a regular basis. I imagine that many of Starbucks morning customers that make up the majority of their business have the means to invest in their own espresso machine and some have already found or are looking for their favorite syrup.

As for me; I’m searching out independent coffee shops in and around my neighborhood that offers a safe pleasant atmosphere, the aroma of freshly brewed coffee, hold the hops. If you reside on the Eastside, checkout the Issaquah Coffee Company! http://issaquahcoffee.com

So where are the beer and wine swilling customers going to come from? That’s anyone’s guess. I’m sure the executives at Starbucks have this one figured out; otherwise they wouldn’t be spending millions on redesigns…unless they succumb to the Netflix trap.

Happy Sipping!

Screenwriting and Production Budget

A well executed production begins with a film budget. A budget is typically divided into four sections: above-the-line (creative talent), below-the-line (direct production costs), post-production (editing, visual effects, etc), and other (insurance, legal fees, etc).

The framework of your film budget should list all commitments to your cast, crew, equipment, props, wardrobe, permits, etc. Your budget should detail the total amount of funds available for each category as well as list the individual costs per commitment. The commitments are the agreements that you make with each cast and crew for their services. Never generalized a budget or make commitments that you cannot keep; this will likely lead to budget overrun or worse, a failed production.

A film budget should list all assumed cost responsibilities during pre-production, production and post-production. Never leave any cost to question. In a nutshell, you’ll want to drill down to the amount of funds available for your production and establish whether your budget yields a deficit or a surplus of funds.

A film budget should always be considered when writing a screenplay. Upon developing your story you’ll need to think budget from scene to scene. This may sound like a clinical mathematical process that will interrupt your creative vision, however, if you want to write a script that can be produced at a “reasonable” budget; you’ll always want to consider cost in your writing process.

Building a budget requires a great depth of experience in film production and a general sense of “what things cost”. It also requires exceptional forethought and the ability to conceptualize future costs based on particular events or scenarios. You’ll want to determine how long it will take for your series of events to occur and how much it will cost to create something from nothing.

Rule of thumb for screenwriters just starting out, keep special FX to a minimum or not at all. No CGI’s, no gun fights and definitely no explosions. Don’t write a screenplay that requires a lot of green screen. A little digital effect in post production may be okay, but not recommended if you’re writing a screenplay to produce yourself. Write your script with that fewest possible locations in mind. It helps to have many of the locations in your immediate area.

You’ll want to have complete control over any sound (pedestrians, traffic, planes, air conditioning, cell phones, etc.). Huge consideration in the audio levels in each environment will save you from post production hell. You’ll also want to consider electrical issues for the lighting of your environment for each scene. If you can’t control the light and sound for each environment don’t write that particular location into the script.

Each and every script is unique and will ultimately rely on the writer’s vision and attention to cost. No matter how well your research and plan, when finalizing your budget it’s a good idea calculate a contingency at a reasonable percent. I would recommend thirty percent as the standard contingency for all production budgets. All low-budget films have constraints. It’s much better to work around them in the story stage than attempt to deal with them in production.

Sample short film budget: ShortFilmBudget.xls

The secret of success is to know something nobody else knows. – Aristotle Onassis

Screenwriting and the Shooting Script

Throw out the notion that the shooting script is written by the screenwriter… IT IS NOT.

The shooting script is created right after your film enters pre-production. Ideally, the director and cinematographer will work side-by-side while determining the desired shots for your film. Think of the shooting script as an elaborate version of your screenplay.

The shooting script is broken into shots, featuring precise cinematography terminology such as close-ups, dolly, canted angle. Scenes are assigned numbers which are included in the script alongside the scene headers. The numbers provide a convenient way for the various production departments (Makeup, Wardrobe, Set Design, etc.) to reference individual scenes.

After a shooting script has been widely circulated, page numbers are locked, and any revisions are distributed on revision pages. Revisions are made distinctively by implementing techniques such using different colored sheets of paper and revision symbols. A great way to inform your crew members of script revisions is to place a symbol in the corrected area. Most film studios implement asterisks and place them in the left hand side of the script page. This will help anyone searching for the newest revisions made on your script.

The idea here is to inform the crew what is going on. Before principle photography starts, the shooting script will be divided into dates, so everyone knows what is being shot when. This ensures that everyone involved will be on the same level once the filming process begins.

Rather than shoot chronologically, from the first scene to the last, most directors group shots by location or set required. This method maximizes productive shooting time, facilitates the work of set designers, lighting and sound and ensures a smooth production process is achieved.

The assistance director prepares shooting scripts, which group together all the scenes (or parts of scenes) scheduled for each shooting day. Shooting scripts take two main forms. Either the AD lists the scenes/parts of scenes scheduled for each day or assembles each day’s scenes into a packet. The latter is preferable, providing a compact document which actors and crew can annotate and work from while preparing to shoot.

Either the AD or the producer then issues the relevant shooting script to the actors and to each member of the crew. The assistant director or producer should issue shooting scripts at least a week in advance of the relevant shooting date. But the more time the crew and actors have to prepare, the more efficient the shoot.

Each crew member should work carefully through the shooting script and note exactly what he or she needs to prepare, find, check, or practice prior to shooting. Actors should apply their own notes on the shooting script from rehearsals indicating any changes needed for their performance.

On location or set, as each scene/part of scene is shot, producers, directors, actors and crew should cross out (preferably in black or fluorescent marker) the completed segment on the day’s shooting script. Everyone thus tracks the progress of the shoot, and can check that no scenes/parts of scenes scheduled for the day are forgotten.

When you get to a point in your life and say, “I never thought I would be here or doing this?” It’s because you tried.

- David L. Spies

Screenwriting for Success

Writing for film is likely one of the most sought after and best-paying careers available to a writer. It’s increasingly difficult to make a living as a screenwriter, though, thousands of people write screenplays every year. Only about one percent of screenplays that are registered make it into full production. Though, a long-shot and the fact that the opportunity exists, thousands of people will continue to write spec scripts every year with the dream they have a chance at the impossible.

When I first imagined the life of a screenwriter, I had thoughts of people that spent time alone on a sunny beach with a pad of paper and a strong drink nearby. The idea of being a writer spending countless days, weeks and years turning out thousands of pages of fantastic stories sounded mysterious and appealing.  Then, reality set in, I would have to come up with impressive stories that people would want to see on the screen.  I would have to write characterizations that would resonate with actors as well as a large audience. I would have to consider locations and most importantly, budget.

Though, what I have learned since, screenwriters are just like you and me. They exist all around us, living and working in everyday life, their world seen from a slightly different perspective. If you’re like me, you analyze situations and create scenarios based on action around you, picking out pieces of information that will serve as dialog or references to create descriptive scenes.

The formula for success is one’s own interpretation of happiness. Write what you know, work off your inspiration and pull ideas from all around you. Life is moving at 24 frames per second. You just need to take a snapshot at the right moment and write it down. Before you know it, you’ll have some material for a screenplay.

Though, you’ll need to understand the importance of scene structure. Good screenplays are built on the three-act structure; the beginning middle and end. The best way to approach this structure is to think of your stories setup, conflict and resolution.  The first act sets up the story, establishes the crisis and hooks the audience. The second act develops the conflict further, making it more complicated and brings the hero’s crisis to its peak. The third act resolves the conflict, concludes the story and gives the audience their payoff.

Multiple scenes make up each act that connects your story together. Each scene plays a special part. Ensure that your main characters have a goal; with obstacles to they must overcome in order to reach their goal. The basic rule of writing any scene is to know that each scene must move your story forward. You’ll want to ensure that each scene has a good pace and the action flows; think cause-and-effect. If you’re debating a scene for too long, it probably doesn’t move your story forward and should be removed, no matter how good the dialogue.

We perform a multitude of actions in our day-to-day life. Most of what we do could be considered trivial and just plain boring. When writing your screenplay it’s best to leave out the trivial and stick to the story. Remember that film is visual; show, don’t tell.

Let the inspiration flow and your creativity will take shape.

- David L. Spies

Screenwriting and Reaching for the Stars

In early December of last year, I was driving home and listening to an interview on 97.3 KIRO in Seattle, WA. Ron and Don were talking with Karolyn Grimes in regards to her experience working on “It’s A Wonderful Life”. It was a nice surprise and brought back so many memories of my childhood and what Christmas is all about.

I was eight years old when I experienced “It’s A Wonderful Life” for the first time. Even at that young age, I remember the message was clear; things aren’t so bad and life is worth living because people really do care. Life is what you make of it. Resilience makes a difference and there are rewards to be found for believing.

The power of the story resonated with me more as I grew up and remains with me today. At this time, I had already started writing a story set in the Christmas season with connections to both the main character’s childhood in the 1950’s as well as current day. Just before Christmas Day, I registered the “Silver Bells” script with the WGA. It was on this day that I also made the decision that Karolyn Grimes would be absolutely perfect for the role of Marjorie in Silver Bells.

It wasn’t until the mid part of February that I reached out to Karolyn Grimes. To my surprise; I received an email back with her kind words of support. Now to any writer looking to direct their own work, I can say that this is a dream come true. To have an actress and veteran from the film industry not only like your work, but to offer their support is just wonderful.

Silver Bells
A short film by David Spies

Logline: While visiting a candy shop on Christmas Eve an aging man discovers his first love may be more than a recollection from his past. 

Synopsis: On a snowy Christmas Eve, an elderly man steps inside a quaint neighborhood candy shop. He’s surrounded by the nostalgia of warm smells, twinkling lights and memories from his childhood. As he slips back into the comfort of his memories from a Christmas over fifty years ago, he’s greeted with an unexpected surprised. In this moment he finds that what he’s always cherished was never really lost.

Silver Bells is a story of hope, the human spirit and a lesson that love can last forever…

In the sea of media that focuses on darkness and despair, I would like to think that this short film will provide the audience with a re-captured glimpse into a story with heart that is wrapped in the wonder of the Christmas season.

This will be my second short film that I will direct and by far the most significant considering how it’s coming together. I look forward to working with the entire cast and crew of Silver Bells and most importantly the experience of being a part of a truly wonderful project.

silverbellsfilm.com

Be sure to “Like” Silver Bells Film on Facebook! Silver Bells

“I wish we could put up some of the Christmas spirit in jars and open a jar of it every month.” ~ Harlan Miller

Writing out Charlie Sheen

First off, we all know that a character as well known as Charlie Harper would be a big role to fill. Two and a Half Men had a run of eight seasons. Definitely the biggest hit comedy on TV in the last decade. In order to fill his role and make it work the writers would have to come up with a storyline that would make sense to the current fans as well as new viewers.

One storyline that I came up with would have Charlie missing; Berta or Alan finding a note that was left by Charlie indicating he had traveled to Mexico. It would then be assumed that Charlie was incarcerated for drugs and would not be returning anytime soon. Fast forward – Charlie’s Lawyer holds a meeting to declare Charlie officially dead and to execute on his will.  

It wouldn’t make sense for Alan (Jon Cryer) to step into the role of “head of household” in Charlie’s beach-front Malibu home on his chiropractic salary. We all know that Alan isn’t the brightest of bulbs in the pack. Therefore a new-comer must fit the bill. Charlie knew this and indicated in his will that his estranged half brother would be his only choice as beneficiary of his home.

This main storyline would setup all kinds of layered storylines that would work well for the characters and continue delivering laughs to the viewers.

Evelyn Harper, Charlie and Alan’s mother would break her silence and divulge an affair she had that resulted in their half brother. Alan would be upset that he wasn’t made aware of his half brother and Charlie knew the entire time. Alan’s attitude quickly changes and he’s excited that he now has a half brother.

In order to execute a believable transition in the first episode, the half brother character would need to resemble Charlie Harper and take on mannerisms that initially reminded us (the viewers) of Charlie. Though, Charlie and Alan looked nothing alike it would be imperative for the introduction of a half brother to resemble Charlie in some way.

As for the rest of the cast of Two and a Half Men, they must stay in their role and continue without skipping a beat. The show must go on!

CBS should hold a national casting call to fill the role of Charlie’s half brother. Think of the media frenzy… this approach would keep Two and a Half Men on top of the ratings chart. Imagine “CharliesHalfBrother” on twitter and Facebook. Two and a Half Men CAN continue without Charlie Sheen but in order to work, Charlie Harper must die. The writers of Two and a Half Men just need to continue doing what they have been doing all along, writing some of the best material on TV.

- David Spies

Screenwriting and Directing

Every year, about half the population of LA is writing a screenplay with lofty plans to direct it. With that many budding Spielbergs out there… there’s little room to be mediocre on your writing or directing skills. There are thousands of people in LA seeking a movie-related career.  The ones that will even have a chance to see their script come to life on-screen come armed with training, experience and connections.

The possibility of a great screenplay or very good concept opening doors in Hollywood is still achievable. With the saturation of writers delivering screenplays every year, agents and studio executives don’t have the time or the resources to read and filter through all the scripts they receive. Your screenplay needs to standout or it will end up in the pass pile.

Do you have what it takes to write a great screenplay? It’s important to know a few basic details. A feature-length screenplay runs between 90 – 120 pages, an average or ideal short screenplay about 15 pages. If you’re not currently an exceptional writer with a finished blockbuster script, you may want to consider a faster route to getting your name to stand out among the masses in Hollywood.

In order to increase your chances of making a connection, securing a meeting or having your project considered for production, you’ll need to have a really tight script. You must know your story, know who you are making your film for and most of all, write a script you can produce. Yes. If you’re seriously planning to make a career in the movie industry you’ll need to consider moving right into producing/directing your own work. Make the next leap… right into film. This is a big leap, but once you make it, there’s no going back. Look for other creatives in the film industry in your local area. Don’t hesitate to partner with other like-minded individuals that have a similar filmmaking vision. Jump right in and collaborate on a project. The time will come when you’ll need to make the decision to move from screenwriter to director. Believe in your writing and the decision to direct will make itself.

Unless you already have experience in writing and directing films, a feature film may be too big a project to start with. Consider a short film as your first project/calling card. A short film can get you noticed and can obviously be produced on a much smaller budget than a feature film. It takes far less time to watch a short film than spending time reading a screenplay. This is why short films are so much more appealing to studio executives than spending their time reading another screenplay.

If you’re serious about directing your first short film, there are several things to consider:

1.)    The Team – Almost every film production, regardless of the size or scope, needs a producer, director, DP, script supervisor, set designer, gaffer, audio mix/boom, catering/craft services, hair/makeup, wardrobe, and a couple of production assistants. If I’ve missed anyone… then you have more left for your budget, right?

2.)    Budget – The biggest contributors to your indie film budget are usually salaries, costumes, props, location scouting, set design, meals and transportation. In a low-budget indie film this may be negligible, but at the very least budget for marketing materials and meals. The majority of your films budget will be spent in the production phase.

3.)    Production – is considered any day you’re shooting, although on large productions budget categories tend to blend together. The largest portion of most big studio budgets will be salaries for actors and crew. On an independent set, actors and crew may be paid with points, deferred salary (collecting on the back end if your film is successful) or not at all. The remaining production costs will likely fall into the following categories: catering/craft service, transportation, lodging, lighting, makeup, equipment, location rentals, cinematography (including the camera and all accessories, tripod, filters, batteries, and media). If you’re shooting digital (which will likely be the case) you’ll also want to budget for a laptop/MAC and or an external hard drive for backup (absolute necessity). 

4.)    Post-production – For most independent films, post-production will consist of utilizing digital non-linear editing (NLE) software on a high-end modern computer (Mac). Indie filmmakers shooting in HD will realize the cost associated with hardware and the amount of data captured in a few days worth of shooting can easily add up to a couple of 2TB. Post-production budgets for a digital production will typically include an editing workstation, software (FCP), special effects software (Adobe AE), a sound mixing program and salaries for the postproduction crew. Whether you are hiring others, or planning to do the work yourself, there is a ‘cost’ associated to everything during post production. The cost will likely be more obvious when someone has been hired to perform a task. A critical mistake that many independent filmmakers make is assessing any work they do themselves as ‘free’. This may be true in the sense the filmmaker doesn’t need to cut a check to someone for a particular task, but everyone’s time has a cost. The key is in knowing what your time is worth. It may seem appealing and cost-saving to not hire an editor, but if it takes the filmmaker 4 months to assemble a rough cut and an experienced editor can do the same job in 2 months, is doing it yourself really saving money? This is where you need to take account of what other jobs you could be getting done with that time. There are tradeoffs that every filmmaker must consider and reflect on during post-production. 

5.)    Marketing – Once you have a film, you’re not out of the woods yet… Additional costs associated will include converting your film into a workable DVD with menus, motion windows, behind the scenes footage, directors narrative, running chapter points, and any other options that enhance the quality of your DVD. Most independents will utilize recordable DVD technology. If your project has a larger budget and funds allocated, you’ll want to consider master duplication; this can decrease the per-unit cost significantly. A movie poster is where you’ll want to spend a considerable amount of time and efforts. Your poster is a make-or-break creation when it comes to marketing your film. A poster should be aesthetically pleasing, capturing attention so the message is delivered. It should focus and communicate on a single message to your target audience. Your design should be well-ordered and obvious. Also keep in mind that a poster will be printed in a relatively large format so you should be working in a high resolution and output at a minimum of 300ppi (pixels per inch). There are other factors you need to consider when designing your poster, such as the film title, genre, cast, directors, producers, writers, etc. Study other movie posters to get a good idea of what you should be applying to your poster to make it stand out a winner.

Unless you have the knowledge and experience, you’ll also want to budget for a professional to assemble and review your press kit before submission to film festivals. Ever hear the saying “You’ll never get a second chance to make a first impression”? Money WILL be tight at the end of your project. However, you’ll want to ensure that your budget allows for shipping, film festival submissions, conversions to alternate media and a website.

Film production templates, be sure to visit the “Dependent Films” Download Center. Tools and Utilities for Filmmakers: www.dependentfilms.net

6.)    Insurance – Errors & Omissions Insurance (E & O) protects indie filmmakers from a variety of lawsuits such as copyright infringement, using music without proper permission, chain of title issues (i.e. who owns the movie) and a host of other lawsuits dealing with movie production. Without E & O insurance most film distribution companies will not release a movie through retailers. It’s a necessary cost of doing business with a majority of distributors, even at the independent film level.

MovieMaker magazine’s article: How to Avoid a Lawsuit in Waiting www.moviemaker.com

Also visit Mark Litwak’s: Entertainment Law Resources www.marklitwak.com

How do I start a film production company? www.filmmaking.net

Filmmaking is all about careful planning. This is important because a well produced film is like a calling card for a filmmaker which can open doors to film festivals and increase the chances of getting a return on a film’s investment.

David L. Spies