22 Jan The Shifting Independent Film Landscape
Independent film has been prevalent in America for over one hundred years, with milestone eras during the 1970’s and the early 1990’s. A film is generally considered independent if the financing and/or distribution is not connected to a film studio or streaming service prior to completion of principal photography. Of course, there are many exceptions to this definition. But in basic terms, it means a producing team is working on its own to put together the shooting crew, casting the project, all logistics and most importantly, securing investment.
I entered the independent film space twenty years ago, after nearly as long in the world of theater. From the time the industry reopened after Covid, I’ve participated in producing eight feature films, including directing one of them. Over this intense three year period, with projects being shot in four different countries, I was exposed to the best and worst personal and professional experiences of my career.
Ultimately, it all led me to deep self-reflection and a sobering outlook on the future of independent film, my passions, and the artists’ position in the business. More importantly, it provided me with a better understanding of why I or anyone else would continue to pursue a career during this tumultuous time in our industry and culture.
This post will be the first in a series where I provide my opinion, insight and speculation about an industry going through constant waves of change. It is my intent to answer questions that have been asked of me, and to shed light on what I feel are methodologies that producers and aspiring filmmakers can consider as they step into the desperately complicated world of independent film.
There is nothing that replaces the rush that comes during pre-production. Whether it is your first or tenth movie, a feature film or short form, it always feels the same. Yet at some point, you must figure out the real reason that you are working so hard to nurture a dream into reality. After all this time I have come to understand, without exception, that the process and the people are the most rewarding facets of the journey.
Why do so many filmmakers choose the Independent Film path?
I’ve never been hired by a studio as a writer, director, or producer. I don’t carry any bias towards “the system” because I’ve never been a part of it. My experiences have all been about building projects from the ground up. I’ve provided a plethora of actors their first on screen roles, and employed diversity and equal pay in companies that I founded, while trying to protect the sacredness of the creative space. So, my perspective is both skewed and, I hope, helpful.
Just the chance to present a project to a Hollywood studio is like winning the lottery. If you get in the door, you’re competing with filmmakers for a relatively limited number of opportunities. Understandably, an unknown or new filmmaker is the highest financial risk. So, it is less of a choice to try it on your own, as it is the only option.
Independent production feels tangible because all pieces can be put together one at a time. Also, the independent space has a history of offering more artistic control, and a semblance of communal participation in a shared goal. That is what I’ve personally experienced when participating in projects where the creative vision and collective goals of producers, financiers and filmmakers are all in alignment.
Studio films have a clear obligation to shareholders and are often carefully built to fit the perceived marketplace. The very nature of that system minimizes new voices, unique stories, and bold ideas. Of course studios can and do provide great films that have commercial success and emotional impact. But the studio system will rarely take a chance in a direction that might cost jobs if a risk proves financially untenable.
There is a natural tension between those in financial control of the projects and the people who are tasked with making magic. In the last few years, I’ve seen the independent space start to mirror the studio system in some very key facets such as financial expectations, personal agendas, and naivety overriding filmmaking experience. What I’ve seen, and what has been a common thread in my conversations, is the increased frustration of those working in physical production. Knowledge and experience in problem solving seems to be valued less by those financing independent projects.
Of course, without financing there is no project; and without filmmaking discipline, there is no blueprint to quality completion. However, the predominant conversations that I’ve had with independent producers and directors recently seem to touch on how the independent film world is more and more replicating the studio system, where the treatment of people and artistic integrity sit well behind other agendas.
The cliche that those who are ‘running the studio’ have never made a film is now a more common reality in the independent film world because of the proliferation of traditional equity, and digital currency. And, people who’ve signed on to contribute their artistry and experience to an independently run project now feel the same limitations as if they were working for a major studio, yet without the generous compensation or perks.
When there is dissonance in a project, it leads to uncertainty and crews often do the minimum to achieve the task for the day. On the other hand, those same crews, empowered and included in the problem solving, will bring their knowledge and experience to logistical solutions in support of a collective vision.
No independent film can throw money at a problem the way it’s done in studio projects. Thus, problems created by inexperienced decision makers end up on the shoulders of those with the capacity to solve them. But with lack of time and money, the film often ends up with the scars of triage and not integrated solutions.
Are there steps toward a solution?
I believe that identifying the key motivation of the decision makers is the best direction for independent film success. Artists need to find partners who truly possess shared ethical, moral, and creative values and who agree on a collective vision as to why they are taking a year long (or more) journey together.
It is a call to creators to spend more time seeking out those in harmony with the film’s intent. It means being dogmatic about assessing partners who reflect your filmmaking values and respect the time, energy and sacrifice that everyone will give to the project. Filmmakers need to resist the illusion that announcements in the industry trades have any impact on the real work ahead of them. It’s about the day to day; hour to hour; sleepless nights of collective work and the experience that ultimately has the largest impact on your life.
I’m not talking about a limited, artistically narrow aesthetic that has no commercial potential. No matter the genre or target audience in the independent marketplace, you must align yourself with those who possess symbiotic motivations or else the project will suffer.
How can we create an optimum situation for alignment?
Invite onto the project those who desire the collective success of the project. This means investors see value in the impact of the creative as much as the financial return. Equally important, it requires the above the line talent (writers, producers, directors & actors) to take less money up front and in lieu of an earned share of potential profits. Further, it also means including profit participation for below the line (shooting crew) to create a fair and unified purpose.
There is no blanket solution, but there are companies like Jason Blum’s, Blumhouse and Artists Equity, launched by Matt Damon and Ben Affleck, that have and will be forging a path in this new direction. They have and are on the forefront of building an artistically protected environment, with a deep understanding of the marketplace.
If the benefit of collective success is the central motivation for everyone involved, greenlit projects can have special purposes and carve out their own unique niche. Recycled content flooding the marketplace might be replaced by new, diverse voices, supported by a team of artists, investors and producers all sharing a vested interest in the same outcome.
Most importantly, if the experience of those involved in all aspects of the filmmaking process starts and ends in alignment, then the film will have achieved its creative mission, which then gives the film its best shot at financial return.