Indie film financing and movie distribution reminds of what it’d feel 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 manage to dance to a picture investor’s music. It’s their stage and not yours being an indie filmmaker seeking film funding. They want you to create a sellable movie which appeals to movie distributors therefore the production can 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 need subtitles for folks to follow along with the story is what I’ve been told by distributors. Talking head movies can make no sense to viewers that don’t understand subtle lines spoken in a foreign language.

Independent film financing continues to change as indie movie distribution gets more financially shaky. The place it’s hitting indie movie producers hardest is right at the origin – film financing. Film investors right now aren’t feeling worked up about putting money into movies that do not need bankable name actors. This is not like so-called indie movies that have A-list actors or are produced for an incredible number of dollars. Those kind of indie film passion projects you possibly can 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 with an A-list actor, but they do want producers to have actors (B-list or C-list or D-list) with some name recognition or celebrity. The first question film investors and movie distributors ask is who the cast is. This is where most indie movie producers are blown out of the water because they’ve a not known cast of actors. Plus there is a glut of indie movies being made because technology has managed to get more affordable to produce movies.

The bright side is that entertaining indie movies are increasingly being made that might not otherwise ever have experienced 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 one movie distributor that suits releasing independent films and they told me they receive new film submissions daily.

They certainly were honest saying they get very sellable movies and ones which are less than appealing, but with so many movies on the market they no more 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 only happy seeing their movie released. The term they used was “glorified showreel” for an indie filmmaker to display they can produce a feature film. So, they acquire many of these movie releases without paying an advance or offering a “buy-out” agreement.

Not creating a make money from a film doesn’t make financial sense for film investors that expect to see money made. When people put up money to make a movie they want a return on the investment. Otherwise it’s no more a film investment. It becomes a picture donation of money they’re offering without 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 kinds of films are available and what actors or celebrity names attached with a potential project appeal to them. This is not like chasing trends, but it offers producers a sharper picture of the sales climate for indie films. Sometimes distributors gives me a quick set of actors or celebrities to take into account that suit an independent movie budget. Movie sales outside of the U.S. are the place where a majority of the cash is made 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 superb feature to simply help your movie standout from others. Brief cameos of known actors or celebrities was once a good way to 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 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 eye of viewers in some way. But having name talent say several lines without special hook won’t fly anymore.

Another way to produce an indie film in need of funding more appealing to investors is to attach talent that has been around a film or TV show of note. Their name being an actor might not be that well-known yet, but rising stars that have appeared in a well known movie or TV show can give your movie broader appeal. In the event that you cast them in a supporting role keep working days on the set down seriously to the absolute minimum to save lots of your budget. Attempt to write their scenes for them to be shot in a couple of days.

When you’re pitching to serious film investors they would want to get an in depth movie budget and distribution plan how you plan on earning money from the film’s release. The Catch-22 that takes place a whole lot is that a lot of 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 as with studio budget films. Film investors that aren’t traditionally part of the entertainment business could possibly get deterred each time a producer does not need a distribution deal already in place. They don’t understand the Catch-22 of indie filmmaking and distribution. This is the place where a movie producer really needs a great pitch that explains the financial dynamics of indie film distribution.

Most film investors will pass on an indie movie producer’s financing pitch that mentions self-distribution in it. From a film investor’s business perspective it takes entirely too long for an indie movie to generate money going the self-distribution route. It’s like the old school method of selling your movie out of the trunk of your car or truck at places, nevertheless now it’s done online using digital distribution and direct sales via a blog. That’s a long grind that a lot of investors will not be thinking about ready for. Moving one unit of a film at the same time is too slow of trickle for investors.

A possible way around the Catch-22 is to reach out 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 fascination with the movie. It’s always possible a provider will tell you that they would offer an advance or “buy-out” deal. They generally won’t offer you a hard number, but a ballpark figure of what they may offer can inform you if your budget makes financial sense to approach movie investors with.

I know one savvy indie movie producer that produces 4-6 movies annually on affordable budgets and knows they’re already creating a make money 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. Once you’ve a background with a distribution company guess what happens you are able to expect to be paid. Then you can certainly offer film investors a percent on the money invested in to the production that produces sense.

Social networking with other indie filmmakers lets you hear what’s happening with movie distribution from other people’s real life experiences. ดูหนังใหม่ An awesome thing I’ve been hearing about is that there are film investors that won’t put up money to produce movie that is going to be self-distributed, but they’ll roll the dice on a characteristic that is going to 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 aspects of the entertainment business all filmmakers will have to handle and study on each experience. I was in the hot seat today pitching to a picture investor. I’ve streamlined the budget around I will without making the plot lose steam.

The jam I’m in as a company is there are hard costs that cannot be avoided offering a lot 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 the right appeal and name recognition with this indie action movie to rock viewers. There’s nothing that can get lost in the translation in this film for foreign film buyers and movie viewers.

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