Indie producers deserve our respect

[Copywriter2]

After attending the AFI Festival in Dallas this past week and hearing from many (primarily indie) producers, it has reinforced/renewed my appreciation for them. A few reasons:

- These producers spent on average seven years to get their films produced -- from start to finish. This included raising the initial funds to taking the finished product around to festivals like this in order to seek distribution deals. These producers have put everything they have into their productions -- and they're not getting rich.
- Many of these producers make wonderful, heartfelt documentaries and narrative films that blow most of the studio productions out of the water in terms of story, character and emotion.
- Most of these producers are extremely down-to-earth and very accessible. They're not in the business for the glamour; they're in it for the love of film.

I think writers are quick to get angry at producers when they reject their screenplays or don't return their calls. Yes, there are many wannabe producers out there that take advantage of writers. These producers have never made a film and probably won't. They offer dollar options and have writers do tons of free rewrites -- to no avail. They tell writers that they have funding in place, or are close to getting it. I've fallen for this kind of B.S. several times myself.

My point is that there is a set of producers out there -- primarily indies -- who deserve the writer's respect. Like the studio types, they need to turn a profit in the end for their financiers. But in my mind they are the ones that make the industry so great. I urge all screenwriters to attend indie film festivals and stay for the Q&A sessions after the screenings. It's truly inspiring. And you'll learn a lot.

By the way, one of the attendees asked a producer what his next project was going to be. He said, "I'm not sure yet. This one took me eight years of my life. So I really have to love the story, not just like it." This is something for all writers to remember. When you query a producer, you're asking for a HUGE commitment on their part: dollars, time, personnel, etc.
So don't get easily offended if and when they reject your project.

[OzFade]

Kudos to the producers and to Copywriter for the great post.

[Bellabell]

Thank you for your great post. As a writer/producer I face rejection on almost every level, from the script to the financiers to attaching actors. Sometimes I wonder why I continue, but it really comes down to the love of the project. It is so satisfying, even in the face of rejection.

[Cesahr]

Ditto!! Thanks, it's a great post.

[sasqits]

Yes, there are many wannabe producers out there that take advantage of writers. These producers have never made a film and probably won't. They offer dollar options and have writers do tons of free rewrites -- to no avail.


It's a great post, Copywriter2, but many of those same great indie producers also offer dollar options and ask for free rewrites. It's not necessarily a bad thing if everyone's on the same page. It's true what you say though, there are those that will take advantage.

Indies are churning out great work and gaining respect. I think we can expect the trend to continue.

[Bellabell]

There are so many good producers out there who do pay decent and value the writer. All it takes are a few bad seeds and experiences and the producer in general gets a horrible rep.

I have found a disgruntled crew is the worse thing you can do on a shoot. If your crew has decent pay, a good lunch and a good leader, they will go the extra mile for you. It's my goal to apply this standard in all aspects of a film project, from the writer to the editor.

With my co-producer we've had to do several budget cuts, but we swore we wouldn't touch salaries, unless we cut ours first.

[SBScript]

Amen :love:

[nic.h]

My agent is negotiating right now with one example of the "good" indie producer who, from the beginning, has told me she'll offer me "an embarrassingly small fee" to option, but will pay guild rates on sale and production. I also know from her previous film and various TV shows that she's very consultative with original writers, allows the writer to do (where possible, and so far it always has been) rewrites (always paid) and believes the creative process doesn't end for the writer at the script. Though she's worked with lots of writer/directors so that might be why. (I'm not expecting this level of involvement as I have no directing skills or aspirations - yet;) .)

I should hear if she's onboard today or tomorrow. (Or, knowing how film works, next week. Or next month. Or, or... Ideally by 2008.) But they're talking right now and I have to say I feel "safer" working with this indie producer than I would if I were dealing with the big guys. She's real, accessible, smart and gets films made with little fuss, though no doubt, huge amounts of work.

Give me smart indie over Hollywood factory any day. (Based on my completely non-existent experience with the latter and my barely attributable experience with the former. Course, if HW big dude wants to pay me huge sums of money, I'll probably revise this attitude. :D)

[Bellabell]

nic, You've amazed me so far. In the little time you've posted, you've managed to get representation and peak a producer's interest. That speaks volumes. You must have a great story behind you.

Best of luck!

[nic.h]

Don't worry, Bella. I spent ten years getting nowhere in publishing first. :o

I shouldn't have said anything because now I've mozzed myself. Haven't heard anything from either of them. My agent is so damn chirpy about it, like it's all just a matter of formalising things... but I KNOW nothing counts until it's written down. (She knows it too. She's been great so far and very level headed but also consistently positive about the "pitchability" of the script.)

My script is, well, different. I guess that's the hook. It seems to deal with an area in life that is pretty much not covered in western film and I'm hoping won't be ... until mine gets made. :D

Having said that, it's still very much indie territory because it deals with a foreign subculture, BUT it can't easily be done on the cheap. Or not cheap by Australian standards (though probably cheap by US standards), so there's some measure of risk for the indie producer that a low budget script doesn't present.

I'm being realistic, but I'm trying to enjoy the action as we move along too. A less than satisfactory attempt at striking a balance.

[DMNY]

Kudos to copywriter for the thread and info. I remembered going all gung-ho toward the big studios and dreaming about the possibility of getting there first before anything else. Right now, my attitude has changed and so did my writing (other than the anime project) which is now focused much more toward the Indie circuit than anything else.
Got to love them.

[Adam Isaac]

Well said, CW.

I think the important quality in an Indie producer who truly cares becomes immediately visible in the creative development phase. A producer throwing ideas around with his Director and Writer from the development stage is an inspiring way to start working on a film. In a manner that remains true to the film's intentions, so long as it's within the film's best interest--particularly in terms of quality content.

These are filmmaking producers. Willing to take a loss of capital for the experience of free filmmaking. I'll always admire that. It's completely inspiring to see them reach success in both Worlds at once....profit and acclaim, a high not many are lucky enough to reach.

[NikeeGoddess]

and don't forget... almost all of the academy award nominations and winners are from independently produced films. tentpoles and most studio pics only get special effect awards and the like. it's quality vs quantity and if your quality is excellent you will get the quantity without spending so much on advertising and over-saturated distribution.

write on!