THE MICROBUDGET CONVERSATION: JAMIE HEINRICH SAYS, JUST DO IT

By John Yost

This column usually focuses on one subject per post that tackles one specific aspect of micro-budget filmmaking. I never wanted it to be a place where we talk about the latest gear or tips on how to get a film done; There are other awesome sites for that. However, after talking with filmmaker Jamie Heinrich, about no-budget filmmaking, he sent me the list of important things to remember below. Jamie recently completed his film I Like You, and after seeing the trailer I can’t wait to check it out. Jamie’s advice is funny, to the point, and no nonsense. I felt I needed to share it as it aligns with my outlook to an obscene level. (#4 is my favorite.)

Here is what I’ve learned, and how I made my first feature film for free. If you’ve never made a feature, and want to make one for free, then you just hit the jackpot here. If you have made one for free, then we should start a club. These are my tactics. I’m a pro at making a first feature film for free and complete novice at making a second one. I’ve listed bullet points of the steps for you readers, so you can get a little notebook and have a guide to accomplish a feature film. If you’re cutting edge and own a printer then print it out. I appreciate the opportunity to share some of my tactics with fellow striving human filmmakers.

OPEN SOURCE FILM TOUR – OR HOW I’M TRYING TO SPARK A POPULIST FILM MOVEMENT

By Gregory Bayne

“You have no idea what you’ve created, and how many people this will help”

I was wrapped in warm embrace with a woman I had just barely met when she whispered this sentence into my ear. We were standing in the lobby of the Egyptian Theater in downtown Boise, Idaho where my film, JENS PULVER | DRIVEN, had just let out after a lengthy and fairly emotional Q&A with me and Jens Pulver, the subject of my film. This surprising interaction was the first of many that night, and one that came as quite a shock to both myself and Pulver.

I knew from my very first meeting with Jens that he was of that special breed, that wholly engaging personality you would gladly have bend your ear for hours. As he says, he’s “not famous, just popular,” and for good reason. Not only a champion in his sport (mixed martial arts), but a true underdog who had to pioneer a weight class just to have a shot at the big time. And, outside the excitement of the cage he is warm and approachable, the guy that will give you the shirt off his back, and has on multiple occasions. Jens, as one fan frames it, “creates such emotion for fans…you almost feel like you’re rooting for a relative.”

As I began to understand these things about Jens throughout the process of making the film, it became very apparent to me that the distribution of this film, like the film itself, needed to mirror Jens’ personality and demeanor. So, from early on I was convinced that we would be taking the film, Jens, and his message on a national tour of one night screening events.

For months I’ve been out pounding the pavement to this end, with a modicum of success. My early approach was not unlike others out there now, seeking private finance or sponsorship to conduct such an endeavor which, would then be produced with a ‘top-down’ approach of me and my team dictating the what, when and where of things. It’s not a bad approach, … Read the rest

THE MICROBUDGET CONVERSATION: WHAT ARE FESTIVALS GOOD FOR?

By John Yost

Sorry to all for the week off. A little festival called Sundance was happening, and this column would have been lost in the hustle and bustle. PLUS, I’ve become agoraphobic after editing Orphaned for three weeks straight now. I no longer possess social skills and hygiene. (But the movie looks good so far!) After our second article posted, Blake Eckard contacted me and thought I needed to talk to someone ASAP. It could only be one person, Jon Jost (pictured below). Jon is one of Blake’s favorite film directors and he is a legendary indie filmmaker. It was a no-brainer. But what did he want to talk about? Jon (who’s last name is eerily similar to mine.) was on his way to premiere his latest film Imagens de uma cidade perdida at this year’s Rotterdam Film Festival, and had festivals on the brain. He sent me his thoughts on festivals in general and I’m sharing them below. Jon raises some great questions, critiques, and suggestions just in time for the aftermath of Sundance 2011.

Jan 23, Amsterdam.

In a few days I’ll be going to Rotterdam (all the way from Amsterdam where I’m visiting a friend from very long ago). In the last weeks I’ve been bombarded with festival things sent with the best of intentions, but to the wrong person. These are requests from the Rotterdam staff for publicity things, posters, information for distributors, and all the things that say “your film is a commodity.” Unfortunately, or perhaps from another view, fortunately, it is not. I won’t raise a finger to promote it, sell it, find a distributor, or otherwise try to shovel warm butts into seats. So a few desperate newbie distributors who sent feelers and offers to sell will be disappointed. I won’t.

Not that long ago, for someone like me, festivals, or some festivals, represented a tangible something that might lead to another tangible something — say, for example, exposure to people who might want to take a shot at distributing your film. This of course still goes on, but not for the kinds of things I do. It goes on only … Read the rest

MY YEAR OF DIY — THE GOOD, THE BAD AND THE UGLY

By Gregory Bayne

A short collection of observations from my year of DIY.

My name is Gregory Bayne, and in 2010 I stumbled into a full time “DIY” film career without a back up, without a net, and without, in many respects, a clue. And, though over the course of 2010 I ran two successful crowd-funding campaigns (http://bit.ly/drivenks, http://bit.ly/poiks), made a fully fan-funded documentary feature (that people really seem to love), and released, with my collaborator, a narrative feature…I made less than enough money to scrape by, and currently find myself about to start this process all over again.

While this very fact has caused me to question my sanity, as I look forward to 2011, I take solace in the mere fact that I’ve survived, and at the very least have a much clearer idea of what in the hell I’m doing going forward.

Here are some observations from my year of DIY (in movie reference form).

The Good – Let’s be honest…Independence feels good
There’s a reason, even in this post-indie boom era, that folks like you and me still (perhaps foolishly) indulge ourselves in the art of independent filmmaking. We have stories we want to tell, and we want to tell them the way we want to see them. We love the control, we do…we thrive on the idea of creating something that fully represents our vision, that is ours…recognizably ours. Obviously our general lack of funds, gear, and crew at times inhibits our ability to fully capture that vision, but as a counter-balance our independence, in production, post, and beyond affords us the ability to be nimble, to go with the flow, to make changes on the fly, to go with our gut. The cliché phrase “with great power comes great responsibility” is suddenly ringing through my brain, and yes, it’s true, some of the worst films have been the product of a singular controlling vision, but so have some of the best, and they are the reason we all want to make films.… Read the rest

PERSON OF INTEREST: OFF THE GRID

By Scott Macaulay

I’ve met and talked with filmmaker Gregory Bayne at a couple of events, including this past Summer’s The Conversation, and have admired his tough-minded, perspicacious approach to distributing his feature Person of Interest. So, I was happy when he pitched me a series of posts detailing the movie’s current tour. Here is the first introductory piece. — Scott Macaulay

Volume 1: There is no system. There is only you.

“Listen up, maggots. You are not special. You are not a beautiful or unique snowflake. You’re the same decaying organic matter as everything else.” — Tyler Durden

Filmmakers have an interesting disposition. Our art is rarely fully our creation. Our art fails more than it succeeds. Our art has, in many ways, devolved instead of evolved. Yet, somehow, and across the board, there is an expectation of respect at the mere notion that we make films. Listen up, maggots. Your film is not special. Your film is not beautiful or unique. It’s the same derivative, low-rent digital garbage as everything else.

There is no system to plug into. Not now, not ever. Repurposing corporate lingo, self-help books, panels, social networks, business plans. They’re not a means to an end, they’re distractions. They’re you, spinning your wheels. They’re you, in a bubble. If you want something, you have to take it. If you want something, know it has a price.

There is no system. There is only you.

This sums up my collected thoughts on the current state of independent film after a year of listening to, engaging in, and then stepping away from the never-ending conversation on the current state of independent film. At a time when it seems filmmakers are retreating into their respective camps — to the left we have something resembling an AmWay meeting, and to the right a gathering of the class of 1910 — it occurs to me the only thing to do is head for the door and go it your own way. We are, after all, independent. Right?

You see, I like everyone else in the room, have a film. I think it’s … Read the rest

13 TAKEAWAYS FROM THE IFP NARRATIVE LAB

By Scott Macaulay

The recently concluded IFP Narrative Lab was a dense week of study and mentorship as our participating filmmakers, all with films somewhere between rough and fine cut, were given guidance about picture lock, sound design, scoring and music licensing, festival strategy, distribution deals, and DIY, self and hybrid distribution efforts. Amy Dotson and Rose Vincelli from the IFP did a fantastic job of putting the program together. Susan Stover, Jon Reiss and I were the lab leaders. In addition, an inspiring group of editors, filmmakers, producers and industry vets came in to lend their expertise.

At the end of the Lab I emailed Susan and Jon and asked them to tell me a few things they’d want to stress. Along with a couple of my own, below is that list. It’s not a summary of the week by any means. Rather, these are 13 points, some obvious and some not, that we wanted to emphasize one more time.
Understand Your Goals. Why did you make this film? To tell a personal story? To experiment artistically? To score a commercial success? To break into the industry? Some combination of the above? Understand your own reasons for making the film, and try to make sure that you are aligned with collaborators in the post, sales, distribution and marketing spheres who understand that vision and are working towards it with you.

Or… Make Sure Your Film Knows What It Is. Another way of saying the above — make sure your film knows what it is and is comfortable in its own skin. Is it a flashy commercial proposition or an intriguingly reticent festival flick? Make sure to have an understanding of the current film ecosystem and know where your film sits on the food chain, who its natural audience is, and who its potential supporters will be.

Make the Best Film You Can. A seemingly obvious point, but one that can be hard to achieve. Have you cut short your creative options because you’ve rushed to meet a festival deadline? Or, even worse, is your festival premiere your first test screening? Have you … Read the rest