Indie Motion picture Capital and also Movie Syndication : Grooving Bare
Indie film financing and movie distribution reminds of what it’d feel just like dancing nude on stage (much respect for exotic dancers at Larry Flynt’s Hustler Club!). You show up to pitch your movie project and need to have the ability to dance to a video investor’s music. It’s their stage and not yours as an indie filmmaker seeking film funding. They want you to make a sellable movie which attracts movie distributors and so the production will make money.
Most investors I’ve met with are not interested in putting hard money into indie art house films because those are tough sells to movie distributors and overseas film buyers aren’t usually interested in seeing them. The dialogue and scenes of certain art house type films don’t translate well to foreign buyers and movie viewers. Action, horror and skin does not require subtitles for folks to check out the story is what I’ve been told by distributors. Talking head movies will make no sense to viewers that don’t understand subtle lines spoken in a foreign language.
Independent film financing continues to improve as indie movie distribution gets more financially shaky. The spot it’s hitting indie movie producers hardest is right at the origin – film financing. Film investors today aren’t feeling stoked up about putting money into movies that not have bankable name actors. This is not like so-called indie movies which have A-list actors or are produced for countless dollars. Those form of indie film passion projects you may make once you’ve managed to get in the entertainment business at the studio level.
Indie film investors and movie distributors won’t expect you to have A-list actor, nevertheless they do want producers to own actors (B-list or C-list or D-list) with some name recognition or celebrity. The initial question film investors and movie distributors ask is who the cast is. That is where most indie movie producers are blown out of the water because they’ve an as yet not known cast of actors. Plus there is a glut of indie movies being made because technology has managed to get more affordable to create movies.
The bright side is that entertaining indie movies are now being made that may not otherwise ever have observed light of day before. The downside is meaningful movie distribution (getting paid) for indie produced films continues to shrink as indie films being made rises (supply and demand 101). I talked to at least one movie distributor that suits releasing independent films and they told me they receive new film submissions daily.
These were honest saying they get very sellable movies and ones that are significantly less than appealing, but with so many movies available they no longer offer most producers advance money against film royalties or pay a lump cash “buy-out” to secure distribution rights. Their business viewpoint is most indie filmmakers are just happy seeing their movie released. The definition of they used was “glorified showreel” for an indie filmmaker to produce they are able to produce a feature film. So, they acquire many of their movie releases without paying an advance or offering a “buy-out” agreement.
Not making a profit from a movie does not make financial sense for film investors that expect you’ll see money made. When people set up money to make a movie they want a reunite on the investment. Otherwise it’s no longer a movie investment. It becomes a video donation of money they’re giving away with no expectations. I’ve been on the “dog and pony show” circuit meeting with potential film investors and learning invaluable lessons.
I’m in the habit now of speaking with indie movie distributors before writing a screenplay to see what types of films are available and what actors or celebrity names attached to a potential project interest them. This is not like chasing trends, but it provides producers a sharper picture of the sales climate for indie films. Sometimes distributors can give me a short listing of actors or celebrities to think about that suit an unbiased movie budget. Movie sales outside the U.S. are in which a bulk of the money is good for indie filmmakers.
Movie distributors and film sales agents can inform you what actors and celebrity talent is translating to movie sales overseas at the indie level. These won’t be A-list names, but having someone with some sort of name is a good selling point to greatly help your movie standout from others. Brief cameos of known actors or celebrities was once a good way to help keep talent cost down and put in a bankable name to your cast.
That’s changed lately from my conversations with distribution companies. Movie distributors now expect any name talent attached to really have a meaningful part in the movie instead of a couple of minutes in a cameo role. Cameo scenes can still work if there is a visual hook that grabs the attention of viewers in some way. But having name talent say several lines with no special hook won’t fly anymore.
Another way to create an indie film in need of funding more attractive to investors is to attach talent that has been doing a movie or TV show of note. ดูหนัง HD Their name as an actor mightn’t be that well-known yet, but rising stars which have appeared in a favorite movie or TV show will give your movie broader appeal. If you cast them in a supporting role keep working days on the set down seriously to a minimum to save your budget. Make an effort to write their scenes for them to be shot in one or two days.
When you’re pitching to serious film investors they would want to get a detailed movie budget and distribution plan on how you plan on earning money from the film’s release. The Catch-22 that occurs a lot is that most movie distributors that appeal to releasing indie films won’t commit to any deal until they’ve screened the movie.
There’s not built-in distribution like with studio budget films. Film investors that are not traditionally the main entertainment business can get deterred whenever a producer does not have a distribution deal already in place. They don’t understand the Catch-22 of indie filmmaking and distribution. That is in which a movie producer really will need a good pitch that explains the financial dynamics of indie film distribution.
Most film investors will spread an indie movie producer’s financing pitch that mentions self-distribution in it. From a movie investor’s business perspective it will take entirely too long for an indie movie to generate money going the self-distribution route. It’s such as the old school way of selling your movie out of the trunk of your car or truck at places, however now it’s done online using digital distribution and direct sales using a blog. That’s a lengthy grind that most investors won’t be interested in ready for. Moving one unit of a movie at a time is too slow of trickle for investors.
A possible way round the Catch-22 would be to touch base to movie distributors when you are pitching to film investors. With a firm budget number and possible cast attached you are able to gauge to see if there is any meaningful distribution interest in the movie. It’s always possible a provider can tell you that they’d offer an advance or “buy-out” deal. They often won’t provide you with a hard number, but a ballpark figure of what they might offer can tell you if your financial allowance makes financial sense to approach movie investors with.
I know one savvy indie movie producer which makes 4-6 movies per year on very good budgets and knows they’re already making a profit from the advance money alone. The film royalty payments really are a bonus. The producer keeps budgets extremely affordable and streamlined at every phase of production. After you have a history with a distribution company you know what you are able to expect you’ll be paid. Then you can offer film investors a percent on the money invested into the production which makes sense.
Social networking with other indie filmmakers lets you hear what’s happening with movie distribution from other people’s actual life experiences. A very good thing I’ve been hearing about is there are film investors that won’t set up money to create movie that will probably be self-distributed, but they’ll roll the dice on a function that will probably specific film festivals. Not the art house film festivals. The ones that are very genre specific like for horror or action films. Like Screamfest Horror Film Festival or Action on Film (AOF). Film buyers attend these events and meaningful distribution deals are made.
Independent film financing and movie distribution are regions of the entertainment business all filmmakers must handle and study from each experience. I was in the hot seat today pitching to a video investor. I’ve streamlined the budget as much as I could without making the plot lose steam.
The jam I’m in as a maker is you can find hard costs that cannot be avoided that include plenty of gun play including two rigging shots where baddies get shot and are blown backwards off their feet. Badass action films need experienced and seasoned film crews to pull-off hardcore action shots off clean and safe. The cast I do want to hire has an ideal appeal and name recognition because of this indie action movie to rock viewers. There’s nothing that may get lost in the translation in this film for foreign film buyers and movie viewers.
What I believe got lost in the translation with the potential film investor today is if I keep taking out below-the-line crew to save money I’m likely to have to do rewrites to the screenplay to take out action scenes. They’re selling points that may hurt sales if they’re written out. But it’s my job as an indie filmmaker to balance a budget that attracts film investors. We’ll observe how this goes. That is indie filmmaker Sid Kali typing fade out.