What's Your Movie's Poster?

Last week, I wrapped up a short consulting gig with a screenwriter who plans to direct the feature script she's written. I worked up a marketing analysis for her script. I wanted to share a few things here from her consultation.

Hers will be an ultra-low-budget HD project, especially given that she plans to direct it and she has no feature directing credits, yet. The question is, should it be a $100K budget, $250K, $500K, or $1M low-budget indie?

The first question we had to address was "what was her movie?"

She had spent the last two years getting her script to the stage it was at. Like most writers, it was hard for her to sum up what the script was about. As I read the script, it seemed to start off as a straight-ahead drama with a female lead, but then it branched off into a quirky-characters, edgy-comedy road trip movie at the top of the second act. I found it competently written, with distinct characters, but confused in its overall tone.

I spent many hours researching comparable titles to hers, based on their budgets, genres, plot elements, and story lines. I sent her that list of 15 titles and asked her to Google them and look at their story lines and especially, posters before our phone discussion. Then, on the phone, I asked her to tell me which posters reminded her the most of her movie.

This was a good place for us to start discussing whether her movie was an art-house drama with a female lead, or an ensemble road trip comedy/drama. Would her poster feature an up-and-coming and/or established actress as the lead -- a prickly screw-up who makes bad choices until she figures out how to love herself? Or, would it feature the lead actress and main supporting actor, plus maybe the road, a car, the motel where she works, etc. with one or two of the supporting characters, too? Would it be SherryBaby or Waitress?

By figuring out that her story was really the former and not the latter, the writer was able to: (a) identify some elements/characters/subplots in her script that were inadvertently leading the reader away from the story she really wanted to tell, and (b) understand a key component of her movie's "sell" -- she'll need to cast her lead with a known actress. What she'll have going for her in her casting efforts is a role that will present an actress an opportunity to play someone unlikable, but ultimately reconciled by the end of the story.

"How much should she make it for?"
This also helped us frame the size of her budget. If she's unable to cast a "name" actress, for whatever reasons, and goes forward with the project, she shouldn't spend more than $100K on its production budget, or even less. This is because of her track record as a first-time feature director and the movie's genre - art house drama with female lead, coming-of-age. The website filmspecific has detailed info/reports for its subscribers on typical sales figures that worldwide territories have paid for films of varied budgets. I gleaned my figure above partly from that website's data and partly from reviewing budget and sales/distribution figures for the comparable titles I researched.

There will also be additional end-game costs to cover like festival submissions, festival/market attendance expenses, publicist(s), deliverable expenses to a distributor (if the movie gets sold), and on and on. Figure that a $100K indie movie may run up $100K in expenses to get out and delivered to paying audiences. If it has no "name" actors in it, and it doesn't become some sort of blessed freak exception/critical darling, it will hard pressed to earn its money back, even at $200K or less, total.

Which does not mean there would be no value in the writer making her $100K movie. She just needs to have an idea what conditions will likely be for her movie's profitability, and plan accordingly (and inform her investors accordingly).

The more known an actress she might cast, and known supporting cast in her movie, the higher she can inch up on the budget scale. If and when the writer-director comes up with a wish list of actresses, I'd be able to do some more specific homework; but, right now, I think $500K is the top of her budget scale...

I know it's anathema for a lot of writers and filmmakers to think of their artfully-crafted stories as a product boiled down to a logline. Your voice is unique, and it's important to be true to yourself. But, by gauging what else is out there BEFORE YOU RAISE MONEY OR SHOOT YOUR MOVIE, you can better articulate your movie, your vision, and be able to enlist others - like sales reps and distributors - to help you reach your audience when it's completed.

Dear Indie Producer

Dear Indie Producer,

What is the best way to go about finding really good actors for a short or independent film? It seems that so many short and indies have bad acting. I'd like to avoid that. Is it the actors or the directors? Basically, how does one make sure that the acting will be good?

Alison Coffey
Iowa City, IA

• Don't cast the wrong actors.

I've been here before. Wrote a short, produced and directed it myself. And, I made a mistake in casting that I won't repeat again. I had a local stage actor in mind for a principal role as I wrote the script. It was someone I had worked with before on theatre productions; someone I'd been really pleased with in that milieu. So, I cast her in my short without auditioning her.

It was a mistake.

I still don't know if it was an incompatibility with the role, or a poor transition from stage to screen work. But, I didn't fully see the gap until we were filming, and then I couldn't do much to change it. I think I kept hanging on to the good impressions of the prior work we'd done together, hoping that good things would translate... I kept hoping we could rehearse ourselves to a performance I wanted. Ultimately, nope.

It was a mistake as a producer, and a failure as a director.

So, a piece of advice for casting your ultra-low-budget short or indie feature film. Hold auditions for everybody. You need to see and feel the dynamic among different combinations of auditioning actors. One actor may read beautifully as Character A; but, when paired with another actor auditioning for Character B, they don't match up somehow. You'll have to make some hard choices.

You've got to be selfish with your movie. If someone looks the role, but can't act themselves out of a box, don't cast them. Worst-case scenario will be that they won't improve during rehearsals/filming, you won't be able to direct them or edit them into an acceptable performance, and your movie will suffer for it. Badly.

• Contact local casting directors and/or acting coaches and schools.

If you're making a feature, find the money to work with an established casting director. Casting is their business. They'll know actors you've probably never heard of. They'll know which actors have agents and don't. They'll have an idea who's reliable, and who's a flake. They'll have an idea who's a consistent performer, and who's not. They'll know SAG rules. They'll know politics and etiquette with agents.

If you don't have enough money for their casting fee(s), barter. Figure out how to make the situation a win-win for you and them. Or, hold a fund-raising garage sale, benefit concert, etc. to raise the dough. It will be money well-spent.

If you're casting a short, a casting director will be overkill. Instead, contact local acting coaches and acting schools. Ask them for their help getting the word out about auditions for your movie. Ask them for recommendations of local actors. Cast the net (pun intended) as wide as possible in your community about your upcoming auditions: web sites, college acting departments, local acting schools, community and professional theaters, audition fliers in coffee shops and community bulletin boards, etc.

Plus, each state has a film commission. Check out their website and resources. Do they post an audition announcement page? Get yours on it.

And, don't forget your peers. Ask your fellow filmie friends what they've done and how for casting their short/indie movies.

• Be prepared for auditions.

Be sure to choose "sides" (audition scenes from your script) that give actors something to bite into during their auditions. If it's a scene where two characters are brooding silently in a car -- not much to work with there for an auditioning actor, y'know? On the contrary, if it's a scene where two characters are hiding from someone and heatedly discussing their next move, there'll be more subtext and dynamism in the scene for auditioners to work with. And, sides should be no longer than two pages, three max.

Assemble a team for the auditions. A sign-in person, who may or may not be the person who scheduled actors' audition times. The director, the producer, a camera person if you're shooting auditions. And, an extra person who can read lines with an actor, if necessary. Plan for and manage your time so that your team can get actors in and out of auditions on a timely basis. Do your best to create an atmosphere of efficiency and respect, so that actors can give their best auditions.

• If the director is inexperienced or uncomfortable with actors, s/he could benefit from auditing or taking an acting class.

To collaborate on a good performance, it helps for both parties to speak the same language. Learn what actors look for in scripts, in their roles. Learn their vernacular. The better to guide them (or get out of their way).

Thanks for the question, Alison!

Intro to Meet The Producer...

I don't know how many times over the years that I've wished for a producing mentor to guide me, to bounce ideas off of, to even reassure me that I'm doing fine as I keep stumbling along following my Muse.

So, I've come up with this questionnaire, and I plan to ask fellow creative producers to respond to it at this blog for your illumination and hopefully, inspiration:

Sustaining the Muse
A Producing Questionnaire

• How did you get started as a producer?

• What do you look for in a project, and how do you decide whether to commit to getting it made?

• Do you have a Big Dream or career goal? What inspires you to produce movies?

• What’s the hardest part of producing, in your opinion?

• Name a movie, or several, that you wish you had produced.

• How much time tends to pass between projects for you? Is this intentional? What do you do during this downtime?

• Do you produce multiple projects simultaneously, all the time, or do you prefer to focus on one at a time? Why?

• How do you pay the bills? Do you earn your livelihood from producing, or do/did you have a “day job” or do other income-earning activities?
  

• How long did it (will it) take to support yourself as a producer?

• Whose producing career(s) do you respect/admire?

If you have ideas, suggestions for additions or deletions, I'm all ears (and eyeballs)! I'm hoping to post responses from my first guest producer in August.

Downtime and Day Jobs

Okay, I admit it, I'm a loser. I have so many ideas for this blog that I've been constipated from actually DOING anything about them. I'm disappointed with myself that it's been so long since I've posted.

My excuses: always, baby time with my toddler daughter. Plus, my husband's still doggedly pursuing a full-time job, and in the meantime, he's home with us, and that gets distracting. And, it took a while to get the laptop operational, so that I can leave the baby and husband at home and go off yonder to post to this blog. :)

Okay.

So here I am, let's move forward!

Something I always wonder about fellow indie filmmakers is how they manage to pay the bills while building their careers?

• What do they do between projects?
• Do they have downtime between projects, or do they always keep 3, 5, 8 plates in the air at all times?
• Do they consistently eek out money from their producing work, or do they have to supplement with other income-generating activities?
• Was/is there a turning point for them into profitability/revenue stability?

I've been on this journey for over 12 years now. I'd consider at least half that time as a sort of personal grad school for myself. But, in the rest of the time, although I've earned income from my efforts along the way, I'm still not in the black with my filmmaking/producing efforts. And, I haven't made a consistent living at it, yet.

Things I've done for money while trying to build a filmmaking career, so far:

• Had a corporate day job as an instructional designer.
• Managed a native plant nursery outside of Austin, Texas.
• Garden design and maintenance for homeowners (this lasted a couple years, until I got poison ivy for a third and vicious time, ack!@).
• Screenplay consulting.
• Coaching other filmmakers and screenwriters. Either on creative/writing objectives, or on the marketing/business aspects of developing their scripts into feature films.
• Temping. At studios, and not.
• Water fitness instructor.
• Teaching filmmaking to high school students at an "alternative" high school.
  

I'm sure I'm forgetting some stuff, too.

I like the coaching, consulting and teaching gigs. I really like that exchange between my client and me. It's very gratifying if/when I can be an effective catalyst for someone's creative process. And, I've been fortunate that those types of gigs are picking up for me since my move to the Great North.

I'm still figuring out some formatting and organizing schema for this blog, but I plan to query other producers on their income-generation habits and efforts. Please stay tuned.

Or, post a comment with your experience(s) paying the bills while pursuing your muse!

New Gate Keepers?

Another link here, commenting on Mark Gill's "The Sky Is Falling" speech:

http://springboardmedia.blogspot.com/2008/06/gill-gibney-and-numbers.html

The part of the entry where the author, Brian Newman, remarks that new "gatekeepers" are needed in the indie world piqued my attention.

I'd like to be a Gate Keeper. I love putting people together. And, that extends to audiences meeting filmmakers...

Hm.

Food for distribution thought

Some great, great stuff over on the Filmmaker Magazine blog.

Check out the links below to filmmakers' stories about the state of indie film distribution.

http://johnaugust.com/archives/2008/nines-post-mortem

http://www.wonderlandstream.com/stream_blog.aspx?blog_id=711

At Filmmaker's blog -- check out the entry, "GOING THEATRICAL AND PROJECT 281 ," for Scott Macaulay's addendum to the link above.

http://www.indiewire.com/biz/2008/07/ballast_steadie.html

Lots to think about for a creative producer trying to forecast the endgame of her indie-films-to-be...

There always is.

To Do's

Figure out budget ranges of indie films I want to produce. For the genres I'm interested in, is the "sweet spot" $1M, $3M, $15M?

Research comparable, recent titles in the genres I like -- figure out their budgets, markets/"windows", and marketing costs.

Spend more time at download-able movie websites -- Hulu, Vudu, Netflix, etc. Figure out who's starting/operating which web-based movie sites (Amazon, Apple, Sony, HD Net, etc.) and what their goals are for expanding their customer bases/services and content offerings.

I don't need theatrical releases to motivate my movie producing. If a project and its economics and the state of the marketplace support a theatrical release for it, totally cool. But, there are plenty of other outlets to target for reaching audiences and consumers/buyers for the movies I want to make. I want to get a better idea of who my buyers can be for my movies...