I met with an emerging filmmaker today who said the budget she had a script she was developing was two – three mil. I asked her if she had ever heard of guerrilla filmmaking. Of course she hadn’t.
She then mentioned a film I executive produced in 2019 – Alice. And said how great it looked. I confessed the entire budget, for this film, shot in Paris was just €40,000 ($50,000). The film won the Grand Jury Prize at SWSX out-gunning American indies made for a million or more. A prime example of a guerrilla filmmaking success story.
What is Guerrilla Filmmaking?
Guerrilla filmmaking typically refers to a form of independent filmmaking characterised by ultra-low budgets, minima crews, and using whatever props, locations and equipment is available. Shooting guerrilla style means turning up at a location without permission or permits, and shooting quickly before officials show up. Another definition of guerrilla filmmaking is ‘Run And Gun’ filmmaking.
Advantages of guerrilla filmmaking
Guerrilla filmmaking suits filmmakers in a hurry. It is an ideal filmmaking style that suits a minimal budget meaning a filmmaker can use a wide range of locations, equipment and cast literally for free.
Disadvantages of guerrilla filmmaking
Filmmakers who don’t have the time (or budget) to secure the necessary permits and permissions run the risk of being sued, fined or having their reputation damaged due to negative publicity. Anyone considering guerrilla filmmaking needs to weigh up the pros and cons and make a decision based on the worst possible scenario. And then create a strategy to mitigate the worst case scenarios.
Guerrilla Filmmaking Tips For Beginners
The most fundamental definition of guerrilla filmmaking means shooting on public or private property without permission.
1.Shooting on the street without a permit.
Remember that the way you will get busted is usually from a member of the public who has had their travel route interrupted. The irate motorist or pedestrian then calls the local police station triggering a visit to your set by a cop.
We were shooting a Raindance trailer in the middle of Trafalgar square in the heart of London’s West End. We were there at the crack of dawn, without a permit. We did the closeup first because we knew there were cameras to contend with. We then reset and started shooting the wide shot when a policeman stopped and asked for our permit. I knew we needed about thirty seconds to get the shot. To get the last fifteen seconds I asked in my heavily Canadian-accented voice if this was Leicester Square. The cop told me it wasn’t and that we had to immediately cease filming. Which we did, but we had the shot!
Strategy
The key to shooting on public property to to keep cast and crew to a minimum. And try to avoid tripods and other heavy gear. And if you are confronted by an official, pack up and move on as quickly as possible.
We shoot on the streets around our Central London studios often. But before we shoot, I call the local police station and say the we are shooting a ‘student, test, charily’ film at such-and-such corner, and to let me know if there are any problems.
2. Script/ shoot days
When money is in short supply you need to try and minimise your shoot days. each shoot day means more people and more money for food and transport.
Strategy
When Josephine MacKerras made the multiple-award winning Alice in Paris, she spread the shoot out over many months – and shot 5 times, but never more than a few days each time. She also shot in her apartment, and on street within a walking distance of where she lived.
3. IP
When you make a film, no matter how short, you create a variety of intellectual property assets that need to be protected. Additionally, everyone who work with you, both cast and crew, contribute their IP as well. Be it their voice or face, their sound recording or their cinematography.
You need to understand the IP and make sure you have all the necessary clearances.
Here is a useful Raindance Basic Legal Contracts class that will get you up to speed on the basics in 2 1/2 hours.
4. Passerbys, Background Performers and Street casting
Why do you think that extras and passersby never look at the camera? There are two reasons. Firstly, they would become a higher level performer, and secondly because passersby ad depth and texture to a scene.
You won’t get paid on your mates no-budget films. But you can earn money working on bigger budget TV and movies. Go to Google to find background performers agencies, sign up and have some fun.
When the movie comes out, you get to share the fun and see if they notice the 3rd zombie on the right!
Think your acting career will suffer by work as Background? Tell that to Jennifer Lawrence in Monk! Try to guess where she is:
5. Product placement
Here’s a biggie. Beware that drinks and fashion brands are anal about their logos appearing in a movie. This is why actors ofter cover a drinks label so it won’t show.
Make your own drinks and food labels using this nifty free Fake Brand tool.
6. Legal
Get your paperwork together. Make sure your contracts are in place. Get all of your location release forms signed. and above all else make sure you have your music rights cleared and signed off or you wont be able to have your film screened anywhere.
7 PR/Sales and marketing
Here’s hoping you know why you want to make your film. Before you set off on this adventure, have you considered how you are going to let people know where they can see you film?
Make sure you secure the URL of your film. Grab the relevant social media handles like TikTok, Twitter, Instagram and Facebook.
Secure ample on-set photographs and BTS videos. Prepare trailers of different lengths for your social media. Everything from 15 seconds to to minutes.
And of course, plot your film festival strategy.
And best wishes from the deeply passionate crew at Raindance!
Resources
These Raindance filmmaking classes can be taken in-person or online. They are each designed to give you behind-the-scenes tips that will give you the confidence to grab a camera – any camera – and start making films guerrilla style
Saturday Film School
Lo To No Budget Filmmaking
Smartphone Filmmaking
2-Day Film School with Dov S-S Simens
Did You Know?
- Raindance Film Festival is considered one of the top fifteen film festivals in the world?
- Raindance Film School London offers HND, BA and MA in Filmmaking and Screenwriting?
- Our members support indie film, and enjoy a range of benefits
- Let Raindance guide you on your filmmaking pathway. call +44 (0) 207 930 3412 or email filmschool@raindance.ac.uk
Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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