I am working on a script that I think would do really well. I have a certain actor in mind for the part. I was wondering if it is possible to get a celebrity to work on an independent film for low pay? Has anyone had experience in getting a well-known to take a role for much less pay than (s)he is worth if the script is really good?
Getting a Well-Known Actor
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Actors will work for scale if their time permits and they ***OMG REALLY*** Love the script/project/filmmaker.
Your script will need tons more polish to shop to them though, they get 1000's of scripts to poke through with people just like you behind them. Being an unknown entity doesn't help with that kind of competition.
So dig your heels in, be persistent...and present them a script that you've beat the hell out of for 2-3 years and had reviewed by people you trust to be painfully, brutally honest.
Your script will need tons more polish to shop to them though, they get 1000's of scripts to poke through with people just like you behind them. Being an unknown entity doesn't help with that kind of competition.
So dig your heels in, be persistent...and present them a script that you've beat the hell out of for 2-3 years and had reviewed by people you trust to be painfully, brutally honest.
Something very important to keep in mind when you approach a
working actor - especially a recognizable one. This is what they do
for a living. Many are willing to help out a low budget moviemaker,
but this is much more than a hobby to them - working for the SAG
ULBA or on deferred pay takes them off the paying market for the
length of your shoot.
As knightly mentioned, a well known actor gets a lot of scripts.
First on the list are offers at or above their "quote". A guaranteed
paycheck.
Second on the list are scripts from studios and producers for less
than their quote - but these are also firm offers (money is attached,
they get paid when they say "yes"). These are projects like CRASH
- where the script may be more important than the money - but
there is still money (and often a high profile writer, producer or other
actor) attached.
Third in line are pet projects. The star has a pet project they will take
to the studio or producers with no money attached, but it's a story
they really love.
Fourth in line are scripts from friends or friends of friends. No money
attached, but at least brought to them by someone known to them
personally.
Eventually we go all the way down to some total stranger with a script
and no money. Imagine the odds of doing that script instead of any
of the others?
Knowing that you are number five on a very long list of scripts being
offered should help you decide how to approach agents. Maybe you could
offer a producer credit to the actor, or a good friend of the actor. You
might have to do things the old fashioned way. Get the script to a producer
who can make a firm offer to a star.
working actor - especially a recognizable one. This is what they do
for a living. Many are willing to help out a low budget moviemaker,
but this is much more than a hobby to them - working for the SAG
ULBA or on deferred pay takes them off the paying market for the
length of your shoot.
As knightly mentioned, a well known actor gets a lot of scripts.
First on the list are offers at or above their "quote". A guaranteed
paycheck.
Second on the list are scripts from studios and producers for less
than their quote - but these are also firm offers (money is attached,
they get paid when they say "yes"). These are projects like CRASH
- where the script may be more important than the money - but
there is still money (and often a high profile writer, producer or other
actor) attached.
Third in line are pet projects. The star has a pet project they will take
to the studio or producers with no money attached, but it's a story
they really love.
Fourth in line are scripts from friends or friends of friends. No money
attached, but at least brought to them by someone known to them
personally.
Eventually we go all the way down to some total stranger with a script
and no money. Imagine the odds of doing that script instead of any
of the others?
Knowing that you are number five on a very long list of scripts being
offered should help you decide how to approach agents. Maybe you could
offer a producer credit to the actor, or a good friend of the actor. You
might have to do things the old fashioned way. Get the script to a producer
who can make a firm offer to a star.
That is really good advice. Thanks so much for that. I do plan on offering them money, but right now I'm not sure how much. I have some ideas on how to raise funds but who knows how effective it will be. I think it will be effective but of course I'm not sure HOW effective.
Just to put a spin on this...
Film finance is raised against the market value of a film. Therefore a film with a bankable name is going to be able to raise increased production funding.
In your situation I'd not be trying to bring a name on for small money, but instead I'd be looking for a producer who can bring the name on board and the finance to support that name.
However, where this strategy will cause you problems is if you try to hang onto the director's role in the project. If that's the only way you'll do it, then you may end up without the name or the budget.
The low budget, pet project, route is a high risk strategy and will only work if you can support it with an exceptional script and a kick ass show reel of award winning, innovative shorts.
Film finance is raised against the market value of a film. Therefore a film with a bankable name is going to be able to raise increased production funding.
In your situation I'd not be trying to bring a name on for small money, but instead I'd be looking for a producer who can bring the name on board and the finance to support that name.
However, where this strategy will cause you problems is if you try to hang onto the director's role in the project. If that's the only way you'll do it, then you may end up without the name or the budget.
The low budget, pet project, route is a high risk strategy and will only work if you can support it with an exceptional script and a kick ass show reel of award winning, innovative shorts.
That's also a good approach and worth considering if the other idea I have in mind might not work out. Thank you! I get the impression this actor may take the role. That's just a feeling and I'm sure many people have said it. I actually don't want to take the director's seat. I actually want to produce this film and act in it.
Acting is actually my passion as well as wanting to produce really good films of a certain quality. I don't think I'd be crushed if this well-known actor didn't take it though. I just think his mannerisms and style would bring a distinct quality to the film and I think he would appreciate the type of film this is. I'll see how it all goes though... in terms of everything. I'm not in a huge rush to get this done and I'm willing to spend even 4-5 years getting this to the place I want it because there are other important purposes involved.
I'm also self-employed so some of the funds can come from my growing business... but much of it will have to be raised. I have full confidence I could see this through to the end with phenomenal success. However, that doesn't mean I plan on being naive either. I think there's a fine line between naivety and determination and I've spent a good part of my life being naive enough to know when I'm being that way. In this case I'd say my estimation of things so far is fairly logical... which is good.
I'd like to get some experience under my belt with short films and as they've suggested on other posts, to crew with other people. And acting as well. So this is going to be a nice slow process that I can really learn from instead of a fire -- aim -- ready experience.
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What about a co-producer situation? I'm not sure how it all works but what I'd really like to do is raise a lot of the funds for the film and even promote it up to a certain point and then bring on a co-producer for educational reasons--someone I could learn (who's already in the business) who would keep me from making detrimental mistakes. The co-producer could take care of most of the "business side" while I concentrated on small tasks.
Is that a reasonable objective? I know production managers take care of a lot of things but I'm still so new at this it's hard to really know everything I need to know at the moment. Anyway, please correct me on anything I'm wrong about and feel free to lead my thoughts in the right direction. Thank you.
I think co-productions are the smartest way for an indie to boot strap themselves into the money side of the industry.
A smart indie, with a valuable script can easily set up a co-production... and I think it's a good way to learn.
However, none of this works if the script isn't exceptional and unless the concept has genuine market value.
A smart indie, with a valuable script can easily set up a co-production... and I think it's a good way to learn.
However, none of this works if the script isn't exceptional and unless the concept has genuine market value.
Most likely you’re going to find someone who is experienced doing
make-up to do the make-up on your actors.
Most likely you’re going to find someone who is experienced doing
costumes to do the costumes for your movie.
Most likely you’re going to find someone who is an experienced DP
to shoot your movie.
You already know that hiring experienced actors is going to help.
All those are reasonable objectives. So is bring on someone who is
experienced producing.
make-up to do the make-up on your actors.
Most likely you’re going to find someone who is experienced doing
costumes to do the costumes for your movie.
Most likely you’re going to find someone who is an experienced DP
to shoot your movie.
You already know that hiring experienced actors is going to help.
All those are reasonable objectives. So is bring on someone who is
experienced producing.