Filmmaking is too damn expensive

Hello guys, I wanted to start this new thread as a general discussion, hence in the lobby section too. I assume most of you guys are aspiring indie filmmakers and rather than bringing negativity in the place, the aim of this thread was rather to encourage discussion towards insights into financing. It is after all, the filmmaking topic that I find hardest to tackle.

Speaking of filmmaking budgets, I'd like to share the experience I had if I may, it's by far the experience I know best, and my hope is that this thread is at least relevant to other people's situations too.

I have been a film student, have made several short films both before and part of the film degree, and finally trying to break in with my most ambitious short film as of yet, also being the first that I took as an entirely conscious process - basically slowing down all the main three stages, pre-production, production, and post. It was so so that I KNOW I have nailed every single detail down to the way I wanted it to be. It did come at a cost though, regardless of the fact that it may not seem like much to some.

Although this was written with budget in mind, expecting it to cost around 400 Euros to produce (or 450 USD), it ended up costing 1000 euros (1100 USD) instead. Now it's festival circuit time AND / OR online release, both of which I expect to use a budget of 1000 euros for, or 1500-2000 if IT GOES BOTH WAYS (pun intended, that's the title of the film).

I feel I'd waste money on festivals which may reject the film on the basis of too many factors that might or might not even have anything to do with the quality of my film - I have read too many things about how these festivals go so I'll allow myself a healthy amount of skepticism. But this is kind of irrelevant anyway since what matters here is of course, budget management.
Maybe worth mentioning that this was all out of my pocket, since I kind of feel that it is the only serious way to produce high quality work in a personal style, not letting go of a said personal vision. I did also have the opposite experience, of people invoved wanting to take over certain creative aspects, because of feeling entitled through said investments in the project.

How do you guys tackle this frustrating start, careers wise? I'm sure there's at least a few out there who are downright stubborn like me and prefer to make their own films and hope for the best rather than work for others, for different reasons. But not to say it's all disappointments though, the upside is that I have also managed to invest around 3000 EUR in great filmmaking equipment that I'm very happy to say that I now actually own and won't have to rent in the future. All falling under the philosophy that I'll use this equipment to make money on the side too (cinematography probably being the only area I'd be satisfied make money with doing it for others). But this equipment is far from something actually useable in a production enviroment as of this point, I still need to go 6000-7000 in investments for that. It's only usable on personal projects, where I know how to tackle the needs by DIY-ing the crap out of my productions.

I guess another question would be, am I right in thinking that in order to get on high grounds for investors to take one seriously as a director, one would need to somehow invest as much as possible of their own money to build up that killer portfolio beforehand?

To put things into perspective regarding the title by exemplifying through contrast, to see where I'm kind of coming from, a programmer needs to only invest their time and (not much) money in a computer to code in, after which they start earning like mad, whereas us the insane people who chose filmmaking instead need to invest the same amount of time but also so much money that we don't even make in the first place because, well, what jobs do we generally manage to get? I'm kind of betting it's bartending or something along these lines. I can't seem to figure things out financially regarding this. And time kind of goes by, stuck in this limbo kind of situation.
Any constructive criticism, both in terms of objective approaches that could benefit us all and/or maybe some that applies to my situation specifically?
(Btw, English isn't my first language, I'm sorry if some things may have sounded odd so I kindly ask you to look past that).
 
I'm only just now making my short masterpiece to break in.
So I don't have the experience yet to chime in, but… fight for what you believe in. Don't let other people take over if it's going to make the film worse.

Easier said than done sometimes.
 
I don't really know if I have a definite plan yet for moving into the working world now that I've graduated.

I'm still working to complete my final film that I shot during my final year at art college (SCAD), which I'll be planning to share some images and bits of here on IndieTalk in the coming weeks. But me and my family mutually decided that it was best for me to focus entirely on finishing it so that it could try and go to festivals this fall, and all through next year. It's probably my best shot right now at showing off my core talents and personal artistic vision. "A filmmaker is only as good as his last film" I've been told.

But once I have to start looking for work opportunities, I'll be more than happy to work on film and video projects for other people for a while. I may have a pretty solid imagination and vision for future film projects, but I don't feel that I need to express my own vision all the time. Because I think my second best place on a film is in post-production, both as an assistant editor, an editor, and/or a visual effects artist. These roles are my favorite hats to wear besides Director. So going to work in these areas on someone else's project would be a perfectly satisfying position for me. And I can always work on planning for, writing for, and creating short films on the side which could lead me to my own directing gigs.

There certainly aren't guarantees with that plan and those goals, but its the best shot I have to get to where I want to be. So I'll just be doing all that I can to become an asset to whomever I end up working with or working for. And then on the flip-side, I'll hopefully be a great person for other people to work with and work for.

In regards to Festivals, I can completely understand the concern that paying $35-$80 per festival without any guarantee that your film will make it in can seem like a crap-shoot or a waste of good money.

One of the most notable things I learned while attending college was that film festivals are a political venture, just like many other aspects of film. Most of the time, as long as your film is 10 minutes or less, you actually have a pretty good chance of getting accepted if they like your story and your filmmaking skills. But, if your film is over 10 minutes, then the pre-screening teams will simply look at the run-time and throw out the film entries, unless of course someone can vouch for the quality of your film: specifically another festival that already played it.

So thankfully I've kept my current film exactly 10 minutes and no more, which should give me a reasonably good chance of making it into a few festivals this year and next. And if your film is under 10 minutes as well, then you might just have that much better of a chance of making it in to a few yourself.
 
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With directing as your perspective, I think you need to take a big step back and take a look at the bigger picture.

Directing is about storytelling. About the human condition. It's also telling the story that's visually, auditorily and emotionally appealing to the audience.

Don't get caught up in the gear race. Take stock of what your friends own. Beg, borrow but most importantly, lead them to making your films. If you're going to invest in equipment, invest in audio, lighting and grip gear. It tends to hold its value (when you resell). They're also the areas in where the equipment (and people - at least in my area) are less willing to work pro bono.

Last but not least, don't be afraid to tell other people's stories. It's part of how I avoid spending lots of my own money to make my films. Others come to me to make their films and bring the required budget.

am I right in thinking that in order to get on high grounds for investors to take one seriously as a director, one would need to somehow invest as much as possible of their own money to build up that killer portfolio beforehand?

The issue is most people spend their money haphazardly. Most portfolios don't appeal to most investors.

Kind of like this, but different:

"A filmmaker is only as good as his last film"

Your value is determined by your previous success. I'd like to modify that saying to "You're only worth as much as the profit on your last film"

The perspective of most investors will be their return. The catch-22 issue, as a director you need to answer. What can you do, that an investor won't be able to do by hiring others? The catch-22: You need the money to prove your worth, but you need to prove your worth to get the money. Make any sense?

This is just one viewpoint on the subject. There are many others.

As for festivals. I'm still determining where I am with them. I have to admit, I've only submitted 4 films to 2 festivals (tiny, local festival). We won both festivals with what I'm convinced was the weaker of the two submitted films. Outside tier 1 or leading genre festivals, I'm pretty much convinced festivals don't matter.
 
...whereas us the insane people who chose filmmaking instead need to invest the same amount of time but also so much money that we don't even make in the first place because, well, what jobs do we generally manage to get? I'm kind of betting it's bartending or something along these lines.

(Btw, English isn't my first language, I'm sorry if some things may have sounded odd so I kindly ask you to look past that).

I am completely ignorant about how it is in France, or whether the French like to have their wedding's filmed, or more importantly, whether they pay for the service. Or pay well for the service. I would be surprised if it did not, but I do not want to assume that market exists for you in Paris. If it does, have you considered shooting weddings? Or maybe corporate gigs?

I know you said you don't want to work for other people, but I might have thought that weddings and other similar jobs would be impersonal enough to tolerate in that regard. But of course, maybe that is just my inexperience talking.

About the gear, I think it's great that you have some good gear you are happy with. But there are any number of experienced filmmakers on this forum (that does not include me) who would probably suggest you rent, especially since you are a professional, or about to be a professional.

Your English is excellent, better than many native speakers (writers, anyway). Nothing but impressive.

:)
 
Wow, woke up to these amazing answers.
if your film is over 10 minutes, then the pre-screening teams will simply look at the run-time and throw out the film entries, unless of course someone can vouch for the quality of your film: specifically another festival that already played it.
Wrote mine with that in mind too, I kept it down to 8 minutes. I felt like there's enough obstacles as it is to start a solid career out of directing, so why set additional obstacles for myself? I mean you always hear about X filmmaker's first film being 18 minutes or whatever, but chances are there were other factors at play. They knew somebody who knew somebody to put it so, or they had a nice "incentives" for the programmers (which I heard some festival programmers were actually jailed for, I think it was Bangkok IFF) and so on.

As for festivals. I'm still determining where I am with them. I have to admit, I've only submitted 4 films to 2 festivals (tiny, local festival). We won both festivals with what I'm convinced was the weaker of the two submitted films. Outside tier 1 or leading genre festivals, I'm pretty much convinced festivals don't matter.
There was that nice post on Vimeo entitled A Case Study in Gaining Exposure for your Film on Vimeo. It kind of shows that the Internet as a release platform can be controlled better to yield results than film festival route. The only reason I am still taking film festivals into consideration is because it would help me with the web release in the first place.
Also Sweetie, care to share what film festivals do you respect and why?

I am completely ignorant about how it is in France, or whether the French like to have their wedding's filmed, or more importantly, whether they pay for the service. Or pay well for the service
:)

I'm not in Paris anymore, moved out for good two weeks ago, to a place forgotten by the world. Won't get into details, but I can't get my hands on weddings and corporate here. Upside is that I've got much more free time here, and am using this time for studying and practicing the areas of filmmaking that simply need time, like screenwriting. Things are never black or white, they are many shades of grey. More shades than in that film I think.

So, for money, do you reckon a well made indiegogo campaign to raise 1500-2000 dollars would succeed? When I made the film, I always made sure to get behind the scenes stuff, which I assumed would come in handy with marketing. And maybe I'll ask the people who were involved to shoot a video saying things about the experience that I'll edit down for impact?
 
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Raising 2000,- on IGG could be inefficient if it takes you 2 months to prep and run the campaign succesfully...

Not in Paris anymore?
So, I'm just too late to ask for a nice skyline shot of Paris?
 
Raising 2000,- on IGG could be inefficient if it takes you 2 months to prep and run the campaign succesfully...

Not in Paris anymore?
So, I'm just too late to ask for a nice skyline shot of Paris?

Most of the prep work will have to be done for a succesful web release anyway. Walter, do you need a skyline shot of Paris for a work of your own? If so, I've had an experience in the past where I needed footage of Florence Italy and what I did was I started asking vimeo users who had work shot in Venice, they agreed to let me use some of their stuff. Just be specific. In my case, it had been for a student short doc, so non-commercial, that's where I was lucky, but I am confident you'll get what you need this way anyway. And Paris footage is much more common than Florence anyway.

Anybody else care to chime in on the topic of indiegogo campaign. What about the fact that the film is in French, reckon people would support that if the campaign is made in English and excerpts from the film with English subtitles? Dubbing is out of the question, it was sound that took most of the time in production anyway.
 
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Value is relative, what price would you pay for the interview you never got around to making of your parents, which then was never shown to your children?
 
There was that nice post on Vimeo entitled A Case Study in Gaining Exposure for your Film on Vimeo. It kind of shows that the Internet as a release platform can be controlled better to yield results than film festival route. The only reason I am still taking film festivals into consideration is because it would help me with the web release in the first place.
Also Sweetie, care to share what film festivals do you respect and why?

Just be aware, not all exposure is created equal. A front page spread in your local high school paper is worth a fraction of a tiny mention in the NYT. It's the same for film festivals. Festivals like Cannes and Sundance have dedicated press departments and for most films are well worth the investment, especially for fledgling filmmakers... whether it's worth it for the film is another point worth discussing. My understand is most films get bought for less than their budget, so most films will make a loss. It's kind of sad that you hit the jackpot only to make a loss. If that's the case, the festivals are bad for the films, great for the talent/director. It'll depend on your goals.

As for respect, I'd have to say currently none. Festivals have moved from a vehicle to promote filmmakers to a vehicle to line their own pockets with very little accountability. Take that in mind from someone like me, who really doesn't sit down to study film festivals. It's a somewhat uninformed opinion.

Maybe it's just my skepticism coming into play.
 
So, for money, do you reckon a well made indiegogo campaign to raise 1500-2000 dollars would succeed? When I made the film, I always made sure to get behind the scenes stuff, which I assumed would come in handy with marketing. And maybe I'll ask the people who were involved to shoot a video saying things about the experience that I'll edit down for impact?

I'm sorry I can't comment on the feasibility of an indiegogo campaign to raise that for you, having no experience with such things or the smarts myself to form any intelligent view or opinion to share regarding that.

All I can really say is that I think I've decided it will be my personal policy to no longer contribute to indiegogo campaigns. It just doesn't sit well with me after reading this I.T. thread. A number of people smarter than I am expressed their misgivings about it. So, and this is of course just my personal view, the reasons for it explained immediately above and in that other thread, I would rather you, or anyone, use Kickstarter. That is, at least, speaking as a potential contributor to your or any other crowdfunding campaign. I don't know that that would be in your best interests. But, like I said, speaking as a potential contributor, I don't think I will give any more $ to indiegogo campaigns.
 
I think filmmakers need to constantly ask themselves some questions:

1. How can I lower my expenses for making a film?
a. What am I going over budget on?
b. What are my biggest expenses in making a film and what can I do to lower those expenses?
c. How can I get the highest quality for the lowest price?
d. Am I spending way too much money to make a film as opposed to spending way too much on going to festivals?

2. How can I make a film that makes money?
a. How does my films rate against other films in the same budget?
b. What are others doing different if their films are making money and mine are not?
c. How can I improve building a fan base and market to sell my films?
d. Where can I find a bigger market?
 
I'm sorry I can't comment on the feasibility of an indiegogo campaign to raise that for you, having no experience with such things or the smarts myself to form any intelligent view or opinion to share regarding that.

All I can really say is that I think I've decided it will be my personal policy to no longer contribute to indiegogo campaigns. It just doesn't sit well with me after reading this I.T. thread. A number of people smarter than I am expressed their misgivings about it. So, and this is of course just my personal view, the reasons for it explained immediately above and in that other thread, I would rather you, or anyone, use Kickstarter. That is, at least, speaking as a potential contributor to your or any other crowdfunding campaign. I don't know that that would be in your best interests. But, like I said, speaking as a potential contributor, I don't think I will give any more $ to indiegogo campaigns.

I will only contribute to Kickstarter campaigns and it always baffles me the stuff I see on IGG with flexible campaigns. People are getting out of hand with them.

Also to the original poster - I think most film festivals are a waste of money and do no good for the filmmaker in terms of increasing the likelihood of selling their movie. It can be a fun enjoyable social experience though.
 
I feel I'd waste money on festivals which may reject the film on the basis of too many factors that might or might not even have anything to do with the quality of my film - I have read too many things about how these festivals go so I'll allow myself a healthy amount of skepticism.

Not applying to festivals that you won't have a chance is a good strategy. But you always have to try the top 10 or 15. If you know your niche, apply to those! BIAS alert - I run a competition specifically created to avoid the politics of judging by letting the community decide what is good and what to fund.


How do you guys tackle this frustrating start, careers wise? .....

To put things into perspective regarding the title by exemplifying through contrast, to see where I'm kind of coming from, a programmer needs to only invest their time and (not much) money in a computer to code in, after which they start earning like mad, whereas us the insane people who chose filmmaking instead need to invest the same amount of time but also so much money that we don't even make in the first place because, well, what jobs do we generally manage to get? I'm kind of betting it's bartending or something along these lines. I can't seem to figure things out financially regarding this. And time kind of goes by, stuck in this limbo kind of situation..

A computer programmer that starts his (lets just keep it masculine for typing purposes) own business is comparable to a filmmaker, Because he needs to think about not only the product, but the market, the marketing, their advantage and disadvantages, execution, customers, etc.

The problem is that a lot of filmmakers think that they're going to compete with a studio film. They are Fortune 500 companies with 5k employees. Computer programmers don't start off thinking "I'm going to make a product that's going to take Google out." They invent a product that satisfies an unknown demand.

Film as Entertainment is a luxury product (in North America - in france, art may be considered culture and therefore a right). Career wise, your skills are a service to market companies who need well shot footage.
 
Career wise, your skills are a service to market companies who need well shot footage.

And here's the paradox again. Career wise, I make my own films hoping to control it well enough to become an established director. I cannot do this by being a service to market companies. Time management wise, it is humanly impossible because making your own films with a decent-to-high degree of control over the final results takes too much time to be able to do both. Unless we turn 8-hour workdays into 2-hour workdays. And 8-hour workdays is just the lie too in the real world.

Sometimes I feel like one should spend 5 years per feature project in order to get there. 3 years in preproduction just to get that project up to the indie directors of today standards (Wes Anderson comes to mind for some reason, even if I'm not particularly fond of his films), 3 months in production for budget reasons, the rest in post production. Oh and add one more year for independent release be it so.

I'd also have to disagree with Film as Entertainment as a luxury product, merely for not a good enough reason I guess, but that being that I feel I could make something up to entertainment standards if I went down that route. But film as entertainment only defo shouldn't be one's goal. I call these people who do it set coordinators, can't call them directors, since if it is so, they "filmmake" with conventions as the guiding principle, never through a certain vision. Keep a degree of entertainment in your films because you want to be able to keep making films, just find the balance. Michael Haneke is a great example at that, Chan Wook Park, and Kim Ki Duk also.
 
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maybe they should focus more on entertainment, because i've never heard of any of them

Well, they do make profits too on top of really being unique directors, that's where the trick was.

I do recommend you to watch Oldboy by Chan Wook Park. Just give it go. If that isn't one of the best cases of balance between entertainment and personal touch I don't know what is.
 
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If I could choose my career path, I would choose to make independent films like Whiplash or The Signal, and move up to things like The Life Aquatic and The Grand Budapest Hotel, before then moving to a full Hollywood project to adapt a cartoon or video game to film: but, only as long as I liked the project, approved of the concept and script, and knew in my heart that I could do the film justice despite whatever production limitations or marketing decisions I might run into. Plenty of people enjoy working on big-budget films, even the ones that are average or mediocre. In my case, it would just depend on how comfortable I am with the prospects and the ultimate vision that everyone on the production staff agrees on. Because if I could work on a film like Star Trek, The Dark Knight, Scott Pilgrim, Hellboy, or Guardians of the Galaxy, I think at least a few of us here would leap at that chance.
 
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