[Reported on July 18, 1997 by Catherine Valeriote]

The last third-party article we ran was so well recieved that we knew we needed another. Since we don't have too much to report on our film's progress, we invited her back for more. Please let her know what you think of her work via e-mail. -- Jerry

WINNING THE LOTTO, OR DOWN THE RATHOLE A SHORT PRIMER ON INDIE FILM SUCCESS

FISHING FOR ANSWERS
Cast out names like "Slingblade," or "Swingers" into a theater audience and you will reel back the conventional wisdom that independent films are booming in popularity and blooming in growing numbers on the big screen. But what folks in the aisle seats often don't see is that the theatrically released "indie" is still the film world's equivalent to a lottery winner. "Indie film-making is just like playing the lotto," says film-maker Michael Carr, "what we don't hear about are those millions of people who purchased lotto tickets, and didn't win." So what are the odds in the film sweepstakes? And how does one movie hit the jackpot while another disappears, so to speak, "down a rathole?"

LONG ODDS
Carr, who edits the on-line publication "Indiezine," says some 3,000 small-budget films are made every year, worldwide, and "only a very-small percentage are even "worthy" enough to be accepted by a festival." (The 1997 Sundance Film Festival got 800 submissions, and accepted 127 for screening). "Of these select few, even festival acceptance is not a guarantee for gaining a worthwhile distribution deal....There will be few Robert Rodriguez's or Quentin Tarantino's." Director of Photography Dave Russell seconds that notion. Of the 18 low-budget independents he's worked on, only one made it to limited distribution and video, and one other to some festivals. How come?

THE WRONG STUFF
Russell has seen a lot of films crash because the filmmakers weren't ready. "Don't try and make a 90 minute film if you don't know how to make a five minute film. Learn the craft first." Of course, when writing a script, write about what you know. But , he says bluntly, "Don't think because it happened to you, it's interesting to the rest of the world." Russell says preparing for the long haul is crucial. On many films, he says, "There'd be a crew of three or four, and a small cast. They'd go out and shoot, like guerrilla film-making, but then the energy would die. Keeping the energy up is difficult. Some were partially finished, some never got past the dailies stage. They would just collapse on themselves."

STONE SOUP AND DONUTS
When you do get the great script, the know-how, and a teensy weensy budget, (financing is a whole 'nother primer) then what? Make "stone soup." Creating something from nothing on the cheap is the trademark of the indie film, according to Holly Willis, West Coast Editor of Filmmaker Magazine ."A lot of them are made with leftover junk, equipment, etcetera, especially women's films, and they get something incredible out of it."

Carr remembers on his first film "TELLURIDE, Time Crosses Over," he begged a local baker for his day-old donuts. "Once production cranked up, he provided us with fresh donuts, pastries, bagels, and coffee every day! This became the typical scenario with the town at large. Everyone pitched in and helped however they could." Of course, if you want to make your money back, Carr recommends you get some recognizable stars along with those donuts.

And when the film is done, KEEP GOING. Holly Willis echoes Dave Russell: "After the year it takes to make the movie, it's so grueling, you're exhausted when you finish. Remember, you have to take the extra year of pushing it. Publicity, and festivals...getting someone to pick it up." And if no distributor does pick it up? "The biggest problem is, nobody knows," says Willis. "Everybody starts from zero ... and nobody shares this information."

SECRETS SHARED
Willis says the festivals are definitely the place to start. Most theaters won't book a film until it has some screenings and some press. Then try creative approaches to self-distribution.

""Four-walling," renting a theater yourself and perhaps sharing the receipts with the owner, is one way. Tamara Krinsky, with the Independent Feature Project, remembers one New York film on a racial theme. "They just went around the country "fourwalling it." They rented the theaters, and held Q. and A. after the film. Discussions, in 18 cities, on race issues. Then they'd say, "If you found this interesting, tell a friend."

(Once, DP Dave Russell went to a "fourwalled" screening of one of the films he'd worked on. It was a huge theater, with about 6 other people there. His business partner started asking him questions about the totally incomprehensible movie, and he tried to explain what was going on. All the other people moved closer to hear him!)

Willis lists some other gutsy approaches and 'alternate venues.' "Director Neil Mandt, actually went around cold-calling theaters, saying, "Will you show my film?" And they did! "Hijacking Hollywood" got a week-long run at the Mann Theater in Westwood... Danny Plotnick was able to premiere his movie about a fake band at the Viper Club...Sarah Jacobson is taking her film for girl punk rocker audiences on the road with a booker from San Francisco. Distributors won't touch a 'girl movie,' but she'll try art house theaters and alternative theaters because she knows her audience is out there." Carr reminds filmmakers to be sure and explore cable and straight-to-video. They're ways of reaching an audience.

PERILOUS BALANCE
Tamara Krinsky describes the "perilous balance of timing, and taste, and deals and companies," that must converge to make a successful film. She says even good films can founder on details. For example, more than one film has died because it featured music whose rights were too expensive to acquire, or permits were not obtained.Dave Russell warns of shady distributors. On one of his films, every time the distributor would sell, say, Russian cable rights for $3,000, he'd bill the filmmaker $5,000 in fees!

REDEFINE SUCCESS
Despite all the pitfalls, a successful independent film might be possible if you get realistic about "success." Holly Willis defines it as "a film that does actually reach its audience and enables you to make another film." Downright pragmatic, Carr says, "A successful indie film is one that gets made. Period....You gotta have a passion to create your film, and by actually doing it, this may be your only reward." And of course, he says, there's the other big payoff- "the memories-no one can ever take those away from you...unless of course you go into a coma."