We’ve all heard about the horror stories of independent films gone to hell. Whether it is the deeply personal story, the social impact film dying to be made, or the genre thriller/spiller that turned out to be a road to hell, Fortunately, the independent filmmaking mistakes are less dramatic. But if you aren’t aware, you’ll almost certainly make them too. here are the four most common filmmaking mistakes to watch out for:
1.Missing out on your dream
Many writers and directors have a knack of feeling public sentiment. What this means is that their scripts and movies have a really good chance of finding an audience.It would seem to be the ideal time to act and get a project completed and out into the marketing cycle.
But then, delay creeps in. And its horrible relative, self-procrastination. The reality of life, be it money, family and/or mental health are issues we all have to face. And often, delay is caused by your basic lack of confidence in your project.
Power through. develop a good, strong work ethic, as my good friend Dov S-S Simens says. The next time you have an idea that is timely, remember you have to get to get it written and made.
2.Underestimating costs and overestimating your budget
This is a mistake that is easily avoided. It’s something debut screenwriters often make when creating a story world that requires an expensive film set. A film that costs too much money to get made will die a long lingering demise.
Conversely, should you think your film can be made at a much lower price, and you start going over budget, you will find that your project stalls, sputters, and can fail near the finish line.
Even worse is coming up with a 7 or 8 digit budget on your first film. This is a rookie mistake that will likely mean that you spend countless hours pursuing a dream that the industry thinks is unrealistic.
If you want 20 mil for your film
Make a 2 mil film that makes money.
If you want 2mil to make a film that costs a few hundred thousand, and makes money
If you need a few hundred to make a film, make a no-to-no budget film, win festival awards and use it as a calling card.
or, make a proof of concept shorts that you cn use to get the money for your film.
One of the best proof-of-concept short films is Alive in Joburg by Neill Blomkamp, who is slated to produce the above-mentioned Leviathan. Upon release, the film turned a lot of heads, including that of Peter Jackson, who jumped on to produce District 9.
3.Not getting legal advice before you sign
It’s true! Your script or film is a property, intellectual property. And IP laws and governance is nearly identical to real estate property. Would you ever consider investing in a new home without consulting a lawyer? Yet somehow, novice filmmakers barge into their passion project without considering the consequences of failing basic legal requirements.
Filmmakers actually make films without signing cast and crew contracts, without clearing music and by using props, music and locations that breach copyright laws.
None of this is difficult. It can seem complicated. But a bit of time with an entertainment attorney before your pet project leaves the station, so to speak, will pay handsome dividends later.
4.Wearing your rose-tinted glasses
You know your project is amazing because you dreamt it up! And very likely, your friends and family financed it! Which means that you have over-estimated the commercial (and artistic) value of your work.
Receiving criticism for your work can be really hard to swallow. don’t let rejection burst your dream. a letter of rejection from a festival like Raindance doesn’t mean your film isn’t good. It simply meant that your film didn’t meet the taste of the programmers at the moment in time they watched your film.
Move on with your festival strategy. There are many film festivals in the world.
5. Script
Are you really sure your script is any good?
Have you got written feedback? Can you handle the real truth about your script?
Once you are truly satisfied with your script, go get it made!
How you you avoid making these mistakes?
Now that you know what the mistakes are, it should be easy to avoid them! If only that were true. You see, the answers to these questions are best left to filmmakers who have been there before you, so you can learn from their mistakes.
This is where Raindance comes in. We have a whole series of excellent evening and weekend courses that will help you avoid these mistakes:
Producers Foundation Certificate [5 Tuesday evenings, at Raindance or on Zoom]
– get the paperwork together you need to make your film
Lo-To No Budget Filmmaking [Weekend Masterclass at Raindance or on Zoom]
– find all the tricks about shooting low budget, and how to turn your indie debut into this year’s cult classic
Screenwriters Foundation Certificate
-get that idea out of your head and onto paper
Mastering Genre Workshop
-understanding genre is the secret to successful screenwriting and filmmaking
Did You Know?
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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