There is no better time in the history of movie magic for the independent filmmaker.

Here we are in a major economic downturn. It spells out pain and challenge across many aspects of our everyday lives. However, the time and place we are in also bears the promise of germinating conditions for the ideal indie environment. It has created circumstances that perfectly align with the creative needs of a ragtag group of professionals who want to apply their skills and raise their voices. The elements for this environment are practically optimized ingredients to prepare the creative soil needed to produce storytelling such as we have never seen in the indie world before.

Need

It has been said by many, that in times of economic turmoil, citizens look for emotional escape from their oppressing circumstances. Most turn to entertainment and that is a good thing as that is what the understood agreement is between the filmmaker and the audience - the promise to deliver a momentary journey to a different place that will either inform or distract from your current experience. The problem we face is that we also need stories that the large audience can connect with. Many of the films coming out of Hollywood fall flat on their faces when it comes to presenting an original approach or *gasp* a good story. Their machines are so programmed for formula that they can’t allow for avant guard or anything that falls outside of the probability quotients they use to make story decisions. Yes, Star Trek blew us away with the incredibly well-crafted effects and and art direction but, the story was predictable and flat. Hollywood is now depending on the indie community to bring forward innovation in storytelling.

The public are looking for someone to bring them something that rings true NOW. A well-trained and talented indie crew can turn out a film in a matter of months as opposed to the years that the Hollywood blockbusters require. This allows that message or context of the indie film can still be applicable and can apply emotional relevancy to a story that the big, cold monsters can’t. It will require fingers on the pulse of the community or audience they are addressing and the sensitivity to know how to address it.

However, this is a sophisticated audience we are dealing with now and they will know the difference between inspired, creative work or a noobish attempt at making a Hollywood film with a $99 software package. The indie filmmaker has to write for the constraints they are saddled with. They have to realize that the story is the thing but, a story that must be told in a compelling way with the resources available to them. The good news is that the audience will not notice if the $100k set is not in place if the story is written accordingly. “Know thyself” and thine budget. You never want to draw attention to the existence of the budget. Make the film look perfect for the story so it seamlessly is presented to the hearts and minds of the viewer.

Talent

I don’t know of any other time when there has been such an abundance of talent with great skills with so little to do. I am constantly reading about thousands of digital artists electronically pining over the same position or freelance opportunity. Let’s get these fine artists to work producing content we all can enjoy. Don’t be afraid of technical know how. There is someone out there who can help creatively solve your problem. You just have to find them.

Also, we can’t discount the value of old school approaches. One of the best examples of this is the recently shown film MOON by Duncan Jones. They made great use of a single traditional set with models (practicals, not CG) to create the FX. This film is important not only because it shows that indies are not limited in genre but also the importance of open-minded collaboration. There are talented modelers and set makers out there that can actually save you budget and help you produce incredible elements to tell your story with. I am amazed at the talent I see floating around creating trade show booths and the like when they could be producing the next big thing.

The key is collaboration. The mentality we have to crush is the one guy with a camera and a laptop who thinks he can make it to Sundance without any help from anyone. Film is and always will be a collaborative effort the requires key roles and input. The delight of the process is the organic nature of the resulting work. I marvel at how things of beauty come to existence because of the collaboration of talented individuals. A talented producer and/or director will seek to build a solid team from which they can produce not just one but multiple stories from. If structured correctly, the team can scale according to the need of the story. This is the way to get something produced that will offer compelling content and cost.

Distribution

We are in an age of channels. Cable is nothing compared with the potential of digital distribution. There is so much demand for digital content now as we mix the world of feature films, TV and the internet. With content platforms appearing left and right, the biggest problems are developing content and getting that content to the platform(s). There are an astounding number of options and the indie producer has to open up their minds outside of the “accepted” life of a film. Typically, we have an idea, build a team, find funding and then produce a film that we hope to take to festivals around the world in hopes that someone will pick up the distribution tab and take it to the theaters. This is now just one approach and we need to rewind back to the beginning and think about the other channels available from the orientation of the viewer.

Any filmmaker ultimately just wants their work to be seen, appreciated, and compensated for the appreciation. For a producer, it’s a business proposition. Both of these needs can be met if you first identify who it is that you want and they will want to experience this film. Making this decision in the beginning - before any scripts are written - will give you the context you need to structure the whole process accordingly. This needs to be done at the treatment stage. You can start building the channel relationships at that point so that when this work is completed, the channel is ready for it. A team will have the greatest chance of successfully realizing all of their goals following this approach.

What channels? This is the new mindset we need to embrace. Yes, there are some projects where the traditional approach of the indie -> festival -> distribution deal still makes sense. However, think about all those films that never make it out of that process with a deal and are seen by less than a few hundred (at best) film attendees. This I think is the great tragedy of the festival approach and it needs to be addressed. I want to see these films and I know many others do as well. With that in mind, most films will have specific audiences that will appreciate them the most. Find those audiences. Where do they get their entertainment from? What are their entertainment habits? take the content to them. Into their homes, on their phones, onto their campus’. Anywhere they are, bring the film to them. The opposite doesn’t work.

Don’t be afraid to do something completely different as well. One of the refreshing content experiences I have had recently was Dr. Horrible’s Sing-along blog by Joss Whedon. It’s a 45 minute movie. It features solid talent. It’s a quirky but, delightful film. This is a great example of something that was oriented from the beginning for a specific audience and channel. It took on a life that exceeds the potential it would have had in a traditional approach. This is the way we need to think now. We need to de-shackle our minds of the past approaches and think afresh. It will be better for the audience, the filmmaker and ultimately the economy.

This is a call to arms to all aspiring filmmakers. Now is the BEST time to bring your story forward. Don’t wait for the economy to get better. More people will appreciate what you do, more people will help accomplish it and there are more ways to get this content to the audience than ever before. No excuses. Take that unemployment check and do something real with it. Find your voice and let it be heard. The audience is listening.