Racket of Indie Film 1

As we all know the last several years has seen an amazingly explosive growth of content available to an audience that can’t seem to get enough. It has been a feverishly expanding dynamic that bodes very well for 21st century content consumers.

But what about content creators? That part of the equation is a mixed bag of contorted market economics, creative despotism, and insecurely complex business models. As usual, indie creators usually get the short end of all those sticks. Even though the consumer usually comes out the winner.

I will attempt not to whine here, because I think the consumer should be a winning part of this equation. It is after all one the main reasons we create, so that others at the end of the process can enjoy those creations. It’s too bad that oftentimes it’s at the expense of the indie entrepreneur. Because yes, today’s indie filmmakers (as well as other indie content creators) have needed to also become entrepreneurs within their little imperial fiefdoms (if you can actually call it that). Self-financiers, self-developers, self-producers, self-distributors, self-promoters, all under one roof, and usually with a team of 2 to 5 (possibly others on specific project contracts) people handling all these duties.

It has been estimated that between 20,000 and 30,000 indie feature films are now produced annually. Most of us have never heard of most of those films, nor will we ever see them or hear of them again. Many of them are micro-budget films (less than $200,000 budget). A fair amount of the others are in the $200-500K realm, and a smattering of others are in the 500K to 2 (maybe 3) million range. Beyond that ‘indie’ range most are not true indies, in that most of them have partners within the mainstream distribution/production/studio world. Then of course there are the mainstream studio films, of which there are usually about 200-300 produced, but that is not what I am writing about.

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For the rest of us who operate in the under 2 million dollar per feature film space, there are no safety nets. We are true, fly-by-the seat, risk takers who have stories, messages, and themes we want to communicate and share with the world. Whether it seems anyone wants us or not. Which we fervently refuse to believe, even if those other gatekeepers tell us so. And they know right, right?

A real problem here? For the past couple decades the barriers to making films has virtually disappeared. The equipment is there. The digital tools are there. More people want in than ever before. The last two barriers have been distribution and marketing, both costly endeavors for indie film entrepreneurs. The last few years the distribution barrier has finally been disappearing, albeit under a different non-traditional model. Online streaming. There are such a myriad of choices now for filmmakers it almost feels like some kind of renaissance. So many ways to get our films out. How do we decide? Even if the distribution deals are usually horrible for the indie filmmaker, and very little if any money is ever made. As in many industries, the distributor, whether the old traditional one or the new online one, still cashes in on the producer’s or creator’s work. But now they have more ways to make money off us.

So what’s the problem, now? Marketing. The final frontier. There are so many films and so many online distribution platforms, how can fans ever find a specific film? We still have to market to our suspected fan base so we can direct them to where are films may be watched, streamed, or downloaded. And that still takes some serious $$ (or something equivalent) to stand out among all these numerous films on numerous streaming sites. Because whether we (indie filmmakers) like it or not, we are in essence still competing for shelf space, like the old video stores, or within the limited available theaters, even if it is a different type of shelf, a virtual digital one.

But the glut of films is really only half the challenge for us now. The service providers, third party merchants, and indie consultants of all types who are a plenty out there. Providing their services and giving their advice, always encouraging us with ‘yes you can do it’ … ‘you can take that chance’ … ‘there is gold at the end of that rainbow’ … ‘and for a fee we can help you get there’ … and so it goes.

You do of course remember your history when they talked about the old gold rush in the 1800’s? Lots of people rushed out west to make their fortune. Most never even got close. But it was the tool peddlers who sold the tools to gold diggers who did well. It’s an old story that has played out many times before. The tool and advice providers who have all the answers for you, but none of the creativity or risk. Aahh, but we do. I guess we always will. Someone always has to be the pioneers. And I guess for now, that still be us.

JAD

Author: Jerry Alden Deal

Writer – Director – Producer of Way To Go Media, LLC.
Over the past thirty years Jerry has been hired numerous times to develop and write screenplays for other production companies. During that same period several of his spec scripts were also optioned. ‘Dreams Awake’ was Jerry’s feature directorial debut. He has several other projects in various stages of development. One of which, the feature documentary ‘The Inner Sonic Key’ is currently in post-production.

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