Show Me The Money, The Current State of Indie Films by Steven Hallex

Recently, I attended an Roundtable about the State of Independent Film Directors. The color Green was so prevalent, it could have been St. Patrick’s Day. For nearly two hours, the six filmmaker’s in attendance endured questions of finance and profit with an uneasy grace, while rarely did an audience member come forward with an inquiry into the life and motivations of a director.

After all, this is Washington, and if anything, we know the bottom line; in a town where the residents mull over the gargantuan Federal Budget, film budgets such as the $750,000 Alejandro Hauterman paid to produce “”Little Thieves, Big Thieves”” seem minuscule. So minuscule, in fact, that they are not dignified with a screening in this city, except in the eleven days of FilmFest DC. Nevertheless, the crowd of about forty–packed into a nook at Border’s on 18th & L streets, and largely ignored by patrons skimming the shelves for Marilu Henner’s diet book or the latest “”Chicken Soup”” title– was comprised of independent film enthusiasts, who bore profound concerns for the viability of independent films. Their fears were validated when Brazilian filmakers Claudio Mac Dowell (“”The Call of the Oboe””) and Rosane Svartman(“”How to be Single in Rio””) related the difficulty Brazilian films have cracking into theaters in their own country. “”At best, they get limited showings in Rio and Sao Paulo”” says Mac Dowell. They also lamented the virtual impossibility of their films’ finding commercial success in the United States. Though “”Central Station”” and “”Life is Beautiful”” made tidy profits here last year, they are an under whelming exception to an overwhelming rule. The difficulty, they all agreed, is on account of the language barrier. “”[Americans] don’t want to go to the cinema to read”” Mac Dowell–who had some trouble with English–added, in reference to subtitles. Hauterman currently has three projects in the works–all in English. “”The market for a Spanish film is very, very small. I film in English for better distribution.”” One of the first questions that an audience member was the standard, “”how was the film financed.”” The answers revealed running trends in off-Hollywood financing. Mac Dowell received joint support from Dutch and Brazilian backers, as well as a filmmaker’s prize from HBO. When that ran out, he fell back on a tax-shelter for filmmakers, a program also exploited by Svartman. Svartman, in addition secured the sponsorship of a beer company, only having to add a scene in which patrons at a bar were seen drinking the company’s product. Hautman had a German partner as well as grants from the Venezuelan film board and from TNT Latin America. It has become common as film budgets bloat, for foreign producers, lacking the fat purses found in the U.S., to forge international alliances. In the future, we are likely to see more films with producers from three or more countries. Finances are patchy and profits are sparse, but non-studio filmmaking has its benes. “”The beauty of independent filmmaking”” offers “”The Sky is Falling”” director Florrie Lawrence “”is that you control what you do,”” and in the following minutes all, including moderator Eddie Cockrell (“”Variety”” critic) bandied about the term “”Freedom,”” and nodded to each other’s comments. With your limited budgets, I asked, are there any freedoms you lose? Would your film have been different if you had a big budget? “”Not really”” Lawrence answered. “”I have no trouble with the limited funds. Above all, I didn’t want to compromise. The production values weren’t great, but there were tricks you learn.”” Her producer, David Parks, immediately added: “”You can’t throw dollars at problems. The big studios should learn lessons.”” independent film, over the years, has irreversibly grown apart from the studio product. So much so that a “”Two-tiered”” system has emerged, in which independent films are financed through equity and use small distributors. Increasingly, they are being pushed off the Multiplex screens and are coming to rely on small movie houses and film festivals for screenings. Mac Dowell stated frankly: “”It’s terrible to be dependant on film festivals for distribution.”” But it is the only remaining way for an independent filmaker to get his work in front of distributors. These distributors understand that the character-driven formula of these films, such as last year’s “”Life is Beautiful,”” and “”Affliction,”” appeal to steadily shrinking audience. Late in the day, one intrepid audience member asked the panelists for their thoughts about the future of character-driven narrative, and for once, they disagreed. Lawrence was the most pessimistic:”” I think thoughtful, character-driven films are in great danger in America. However, I will continue to make indies.”” Mac Dowell blamed the domestic distributors: “”The American audiences are thirsty for these films. You have a commercial market that is not being exploited.”” Svartman’s remarks contained some philosophic optimism: “”There will always be thoughtful, character-driven films. It is a universal and timeless thing.”” Unfortunately, so is moolah.

Updated: January 1, 1970 — 12:33 am