I was speaking to a group of 400 students. I asked who had seen an independent film. There was a general murmur of WTF is this guy talking about. I asked who in the audience had seen The Blair Witch Project. Not one. I went a bit more mainstream and asked who had seen Reservoir Dogs. Two hands popped up out of four hundred. Pulp Fiction? Maybe two dozen hands. How about The Avengers? Nearly every single hand went up. Bam! I realised why we must create indie film education
Ironically, the Russo Brothers first film , Pieces, played at Raindance in 1997.
What does this mean? That I stumbled into a group of 400 indie-film haters? Or, as I suspect, have we become so numbed by the relentless Hollywood advertising machine? As a result we have become numbed and insensitive to stories without the marketing hype and blitz.
The challenge indie films face
I’ve made a few films in my time. And my network of friends through Raindance have made tonnes. If you are reading this and haven’t made a film yet, let me tell you: It’s hard. And if you are reading htis and have made a film, you’ll know that the making of the film is a mere 10% of the job. Marketing and selling a film is the lion’s share of the deal.
Here’s the rub. People don’t rent or buy films. They buy movies. And the quickest way to turn a film into a movies is by using the tool of marketing. Marketing requires acres and acres of cash. If you don’t have a marketing budget you are pretty much doomed to obscurity.
The role of film festivals
I knew you’d wonder when I was going to bring this one up! But it’s true. A festival screening can start to build the hype for your film. And this approach to marketing your film should result in sales for your film-turned-to-moviie. Throw in a couple of awards, and presto – you now have a movie. Of course, it implies that you have managed to safely navigate the film festival circuit.
Film festivals is where you go to reach new audiences. It’s where a filmmaker goes to convince potential film investors that their idea is marketable. It’s as simple as that. And everyt festival I know of works their socks off trying to bring people to see films made by a nobody and starring a group of talented nobody newcomers! It’s not exactly the easiest recipe to cook up.
Of course, the pandemic has thrown this transitional approach into disarray. Time will surely tell.
What filmmakers can learn from musicians
Low-cost high quality digital technology has empowered musicians. In the 1980’s it suddenly became feasible to own one’s own equipment and work from home rather than an expensive studio. Who can forget the explosion of House and Garage music in the 1980’s and 90’s?
As our musical colleagues, filmmakers have benefitted from the benefits of high quality, low cost filmmaking equipment. I think the fact that anyone can make professional looking film on their own equipment is a huge step forward. But who among our population will know that making a film that has commercial viability is even possible?
Why We Must Create Indie Film Education
If we have any chance of reversing the tide towards mediocrity and to increase the culture awareness of the nation’s lowest common denominator we must start now. And by start with doable activities.
Here the the things we must do to create awareness and appreciation of independent film.
1.Make independent film accessible
The general public needs to realise that independent film is as entertaining and enjoyable as Hollywood. Filmmakers and distributors of indie films need to make sure the marketing of their films is cleverly placed to relay the message of the film. And however cinemas do it, they need to make sure that independent films are placed with the same pride of place on their marquees as the heavily marketed Hollywood fare.
And BTW, this goes for the films that are made by British filmmakers too.
2. Publicity is everything
With the huge wave of content being released, booth theatrically on on the streamers, a filmmaker needs to carefully consider the messaging about their film. Learning howe to maximise the power of a press release is a great place to start.
3. Exposure is everything too!
It’s like trying a new food. Usually we resist the exotic menu because we are afraid to explore new tastes. My theory is that once exposed to great independent film, the general punter on the street will be more willing to return to experience something more exciting, more diverse and more challenging than your simple fare.
Fade out
And what about you? You too can enjoy the very best of independent film at the 29th Raindance Film Festival. These are the films about the down-trodden. Films about the victims of social injustice. Movies about the whistle-blowers. These are the films that change people’s lives. And offer each of us new awareness about this troubled world we all inhabit.
Did You Know?
- Raindance Film Festival is considered one of the top fifteen film festivals in the world?
- Raindance has a Higher Education programme offering HND, BA and MA in Filmmaking and Screenwriting?
- Raindance members support indie film, and enjoy a range of benefits
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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