Strange times - easier to make movies harder to make money from them

[IvonV]

I keep waiting for the next golden age of cinema... and waiting and waiting. In the late 2000's the DSLRs made quality camera work available to anyone for next to nothing and YouTube took off allowing anyone to exhibit their work for nothing. Having made films in the 90s I thought "man this is going to open filmmaking to a new breed of talented and innovative filmmakers". Gone will be the barriers to entry that made it difficult for most people to cross from amateur to professional.

Yet, as I spent time on YouTube I grew more and more disappointed. Most of the work was terrible from a technical point of view and even well-produced things lacked soul. The worst part to me was the narcissism. "Look at me, I'm charming and on camera" was far more prevalent than well-crafted story telling.

So, yes, much easier to make films. Much easier to get your films onto some sort of platform for viewing. Much harder to get anyone to pay for it. That's because there is soooooo much content and so little quality content. It's hard to get people to notice you, but even if they do... are you making stuff that's worth paying for?

I keep going back and forth between a couple of theories.

My first theory is there really isn't a lot of film talent innate to mankind. There are truly a few gifted people that make movies, docs or whatever that any of us are willing to pay for. Almost anyone can pick up a basketball, only a few people are worth paying to watch play. The old system only let people through the door that displayed that talent OR it let you in the door to do a lot of hard work as you gradually learned and developed your talent.

My second theory is that the talent is out there, but it's hard to find. There's so much content, it's hard to wade through to find the really interesting stuff. In that case, it might be a matter of time before you are discovered, but once you are, there is a system in place to bring you into the fold and promote your work.

So... no one will ever pay you for your work, because it's just not that great... or... keep at it, your talent will out at some point.

 

[sfoster]

I keep waiting for the next golden age of cinema... and waiting and waiting. In the late 2000's the DSLRs made quality camera work available to anyone for next to nothing and YouTube took off allowing anyone to exhibit their work for nothing. Having made films in the 90s I thought "man this is going to open filmmaking to a new breed of talented and innovative filmmakers". Gone will be the barriers to entry that made it difficult for most people to cross from amateur to professional.

Yet, as I spent time on YouTube I grew more and more disappointed. Most of the work was terrible from a technical point of view and even well-produced things lacked soul. The worst part to me was the narcissism. "Look at me, I'm charming and on camera" was far more prevalent then well-crafted story telling.

So, yes, much easier to make films. Much easier to get your films onto some sort of platform for viewing. Much harder to get anyone to pay for it. That's because there is soooooo much content and so little quality content. It's hard to get people to notice you, but even if they do... are you making stuff that's worth paying for?

I keep going back and forth between a couple of theories.

My first theory is there really isn't a lot of film talent innate to mankind. There are truly a few gifted people that make movies, docs or whatever that any of us are willing to pay for. Almost anyone can pick up a basketball, only a few people are worth paying to watch play. The old system only let people through the door that displayed that talent OR it let you in the door to do a lot of hard work as you gradually learned and developed your talent.

My second theory is that the talent is out there, but it's hard to find. There's so much content, it's hard to wade through to find the really interesting stuff. In that case, it might be a matter of time before you are discovered, but once you are, there is a system in place to bring you into the fold and promote your work.

So... no one will ever pay you for your work, because it's just not that great... or... keep at it, your talent will out at some point.

Most people dont have any sort of support network.
You spend an entire week laboring on a script and then nobody reads it. You spend 400 hours editing a short film and then 10 people watch it.
And it takes years and years of practice to get good enough that people would want to pay.

without a support network most people give up before they hone their craft to that point.

 

[IvonV]

Yes, you raise a very good point. Without feedback, it's very hard to know if your stuff is relatable to an audience and therefore something worth paying for. Of all the steps for learning craft, that one should be pretty easy to do for most people. I suppose that's a plug for a site like this in fact

 

[Scoopicman]

Sure, here's our website - and library of films so far.

Library – Genre Distribution

filmfestdistribution.com

Cool site!

 

[Blaney]

Most people dont have any sort of support network.
You spend an entire week laboring on a script and then nobody reads it. You spend 400 hours editing a short film and then 10 people watch it.
And it takes years and years of practice to get good enough that people would want to pay.

without a support network most people give up before they hone their craft to that point.

That's always been the hard thing. Getting people to watch or read your finished product. The music industry is no different. I've known tons of great bands that should have made it do nothing commercially, while many who had no talent do really well. The difference was usually based on support/distribution/PR. Simply put, how to get people to notice you.It's even harder if you're trying to pay your rent while trying to make your dreams come true.

On the other hand I've spent years laboring on scripts, and though many are read, they never get made. But that doesn't bother me. I was happy in the moment of creating them. Sure it'd be great to get them made, but I'm fulfilled creatively by the act of making them. Make sense?

Even if your project is optioned/bought the chances of it actually being made are very, very slim. I've had so many "almost made" projects it's silly. And most simply didn't get made because of small things out of my control. One project was just a signature away from being a big BBC2 TV series - it would have changed my life. It was a friggin' BBC project! But the signature we fully expected on the contract on Monday morning failed to appear. Simply because the commissioning editor, out of the blue, announced he was moving to the rival UK channel that weekend, because of a better job offer. So my project was in turnaround, or untouchable for at least 5 years. For another project a famous actor died, another one my business partner moved to a different company (again due to a better offer). The list is endless.

Time waits for no man. So I decided not to wait, and create my own network. Over 13 years I set up 3 film festivals, wrote 6 scripts, produced a friend's feature film, directed my first feature film, produced my first online series, launched my own genre magazine, record label and now film distribution company. No more waiting for others anymore. Life's too short.

Do I expect to get rich? Nope. Not at all. That's not why I do it. It's also why I have a day job.

Do I expect to be happier? I am already. From realizing my own dreams, to helping others achieve theirs.

 

[sfoster]

That's always been the hard thing. Getting people to watch or read your finished product. The music industry is no different. I've known tons of great bands that should have made it do nothing commercially, while many who had no talent do really well. The difference was usually based on support/distribution/PR. Simply put, how to get people to notice you.It's even harder if you're trying to pay your rent while trying to make your dreams come true.

On the other hand I've spent years laboring on scripts, and though many are read, they never get made. But that doesn't bother me. I was happy in the moment of creating them. Sure it'd be great to get them made, but I'm fulfilled creatively by the act of making them. Make sense?

Even if your project is optioned/bought the chances of it actually being made are very, very slim. I've had so many "almost made" projects it's silly. And most simply didn't get made because of small things out of my control. One project was just a signature away from being a big BBC2 TV series - it would have changed my life. It was a friggin' BBC project! But the signature we fully expected on the contract on Monday morning failed to appear. Simply because the commissioning editor, out of the blue, announced he was moving to the rival UK channel that weekend, because of a better job offer. So my project was in turnaround, or untouchable for at least 5 years. For another project a famous actor died, another one my business partner moved to a different company (again due to a better offer). The list is endless.

Time waits for no man. So I decided not to wait, and create my own network. Over 13 years I set up 3 film festivals, wrote 6 scripts, produced a friend's feature film, directed my first feature film, produced my first online series, launched my own genre magazine, record label and now film distribution company. No more waiting for others anymore. Life's too short.

Do I expect to get rich? Nope. Not at all. That's not why I do it. It's also why I have a day job.

Do I expect to be happier? I am already. From realizing my own dreams, to helping others achieve theirs.

thats awesome you have been so productive.
well at least you were getting better at screenwriting during all those projects that didnt get made.

I wrote a bunch this past month - i think people here got burned out on reading my scripts.
its a funny thing i guess. I posted a screenplay on here friday and so far it's gotten 0 comments, idk. thats fine. I believe in it.

I posted it on a local facebook group and in the last 6 hours now I'd have eight people volunteer to help me make it for free including a professional dp. never seen anything like it. seems like it resonated with some people.

thats great maybe i can build a support network here like i was talking about.
this is also part of why i wrote so many scripts in the last month. They're all in the bag in case i want to keep working.

 

[Blaney]

thats awesome you have been so productive.
well at least you were getting better at screenwriting during all those projects that didnt get made.

I wrote a bunch this past month - i think people here got burned out on reading my scripts.
its a funny thing i guess. I posted a screenplay on here friday and so far it's gotten 0 comments, idk. thats fine. I believe in it.

I posted it on a local facebook group and in the last 6 hours now I'd have eight people volunteer to help me make it for free including a professional dp. never seen anything like it. seems like it resonated with some people.

thats great maybe i can build a support network here like i was talking about.
this is also part of why i wrote so many scripts in the last month. They're all in the bag in case i want to keep working.

That's great. That's what I did. I wrote a script (actually a short film). Then expanded it to feature length. I was trying to get finance, and though it had some interest, things were moving way too slowly and I knew it still may never get made. Since most things never get made I got some people together and we started shooting a short version of it. A version I knew was very do-able to make for no budget. The shoot went so well I decided to make the feature with my new cast and crew. But this time (and I've mentioned this before) I removed all the dialogue and simplified the story and cast. I simply wanted to make sure it was a project that I could not only shoot but finish with no post help. I'd be cutting, doing post FX and scoring the film myself. Cut a long story short, I got it made and am now doing music and post. Took me years but I got it shot. Exactly the way I intended. That's all that's important.

You can build a network of people to help you. It's down to perseverance, luck finding the right people (but there are lots of great, friendly talented people out there who want to get involved in good projects) and having the will power to see it through, no matter what it takes.

As you get older, it's not that you somehow get wiser because you're older, it's just that you see things over a longer period of time. You see people who are so damned sure they're going to be a success, or they're going to make this, that and the other in this business. And as the years go by, you see these (all very talented) people, many way more talented than you, and most simply give up. You see, most people fail because they give up. Some have no choice (through family commitments, work etc), but most just give up for whatever reason. Maybe they see success as something different to the way I see it. I don't see success financially. It'd be great if anything I did made a lot of money. But as long as I don't lose any money, and as long as my day job supports my work, I'm happy. I'm successful because I'm making stuff - my way.

How do I balance my day job with my artistic endeavors? That's simple - it's long hours. Working late. Doing a little every single day. And enjoying it, even when I'm exhausted.

Why do I do it? Well, the secret to not giving up - and I truly believe this differentiates those who stop from those who don't - is it's who you are. It's in your blood. And you'll do it till the day you die. It's the very meaning of life, and it validates your existence and gives purpose to life. Or, to put it simply - it's the most fun you can have with your clothes on.

Good luck with your projects.

 

[Unknown Screenwriter]

I do think the day is coming where Indie films will become trendy enough for people to invest their time and money to pay to watch it. I guess the question might be, "Will you be ready?" And if so? Will you do what it takes to get noticed?

To me personally, this means a STORY where STORY is KING. A story that is compelling on its own so that you don't need any name talent but you will need actors who know how to act. I'm seeing more and more that Indie filmmakers don't need name actors to get their film seen but they do need a compelling STORY (that is of course, assuming the rest of the production is up to snuff).

I tend to call it high concept... You can call it whatever you want but it's got to be something we've not seen before. Sure, you can say all revenge films are about the same subject but if you make a revenge film we've seen before? There's no reason to see yours. That's where OUT OF THE BOX thinking and imagination come in.

Hollywood wants the SAME only DIFFERENT. LOL. Why? Because they know the formula works. It's been proven time and time again and unless you have some other line of promotion to make your film stand out? It's probably best to rely on this formula assuming you want eyeballs on your film. No, I'm not talking about a formulaic movie by any stretch of the imagination.

Joe Carnahan's BLOOD GUTS, BULLETS and OCTANE is an Indie film that comes to mind. The actors were reasonably talented. The story moved fast. The dialogue was easily at a professional level and the twist at the end of the film is what to me? Brings it all together. SAME only DIFFERENT. Don't think it ever made much money but it certainly launched Carnahan's career.

I remember being at a theater in Sacramento, California where THE BLAIR WITCH PROJECT was showing. Because I read a lot of what's going on in the business and I happen to know a few people that had THE BLAIR WITCH PROJECT sent to them before it ever became anything, I sat in that theater and watched a film that I kind of thought was okay but not particularly compelling to me personally. However, once the lights came on and people in that theater stood up? Everyone was silent. People were shaking their heads. Then came the comments... LOL. Almost everyone in that theater THOUGHT that what they had just seen was REAL. That was their OTHER LINE OF PROMOTION. They had built a website... A forum like this if I remember correctly. Where they discussed the Blair Witch. They basically CREATED their very own URBAN LEGEND. This launched FOUND FOOTAGE films.

PARANORMAL ACTIVITY also comes to mind... Another FOUND FOOTAGE film that is done so well, a lot of people THOUGHT IT WAS REAL. SAME ONLY DIFFERENT.

EL MARIACHI -- It was okay but the PR there was that it was made for $7K. It also didn't hurt that Columbia (?) was actively seeking a Latino Filmmaker/Director at the time. This is where, “Luck is when opportunity meets preparation” comes into play. It also didn't hurt that Rodriguez wrote the book, REBEL WITHOUT A CREW where he revealed how he financed a lot of El Mariachi. Many Indie filmmakers TRIED like HELL to copy that model i.e., shoot a movie for hardly any money but once the original has been done? It's difficult to duplicate.

The original TEXAS CHAINSAW MASSACRE and HALLOWEEN. Out of the box slasher films that have been copied over and over and over.

NAPOLEON DYNAMITE where the nerds are the heroes. This one needed no other line of PR because it stood on its own. We'd seen nerd films before but not like this one.

OPEN WATER -- shot on the legendary Panasonic DVX-100 (PR line) . Hell, every Indie filmmaker I knew at the time went to go see that film. They all wanted to see what the footage from the DVX-100 looked like once it was transferred to film. Not saying the film was bad but it certainly wasn't great. I could be wrong, but I'm thinking its initial PUSH came from a lot of people like us and grew from there.

TANGERINE -- PR line? Shot on the iPhone and follows a transgender sex worker. If anything? It makes one CURIOUS.

PI made by Darren Aronofsky. More of an art house film to me but it was so different from anything we'd seen before that it got our attention.

I could go ON and ON with other films... I think you get the point I'm trying to make. I also want to say that even if I personally didn't like any of these films? I take my hat off to each and every filmmaker for putting it on the line and getting it out there. That? In and of itself is damn near a miracle.

I guess what I'm ultimately trying to say here is that if we go BACK and look at how many of these films launched careers and or made money? We can FIND some clues. We can FIND some similar ingredients.

So many Indie filmmakers I know NEVER ever perform this kind of research before they start making a film. Don't get me wrong... They don't have to. They can do whatever they want to do. But at the end of the day, if you hope to launch a career or make some money? It might be prudent to study some or all of the MASTERS of Indie films and see how you can profit from what they did before you.

I can't even count on all my fingers and toes how many Indie no-budget filmmakers I've met over the last two decades who jumped in with both feet just because they thought they had a cool character or a cool story when in fact? They were both derivative. Worse yet? I even remember a few of those filmmakers jumping in with both feet just because they had bought a camera. LOL.

Not saying derivative can't work... It's worked and continues to work in the professional side of the industry. LOL. But if you're an Indie? I personally think you've got to figure out a way to MAKE people NOTICE your film and that's either going to be from its STORY or from a line of PR that you've managed to come up with.

Just my two cents of course... But I would love to hear YOUR OPINIONS.

 

[Blaney]

I do think the day is coming where Indie films will become trendy enough for people to invest their time and money to pay to watch it. I guess the question might be, "Will you be ready?" And if so? Will you do what it takes to get noticed?

To me personally, this means a STORY where STORY is KING. A story that is compelling on its own so that you don't need any name talent but you will need actors who know how to act. I'm seeing more and more that Indie filmmakers don't need name actors to get their film seen but they do need a compelling STORY (that is of course, assuming the rest of the production is up to snuff).

I tend to call it high concept... You can call it whatever you want but it's got to be something we've not seen before. Sure, you can say all revenge films are about the same subject but if you make a revenge film we've seen before? There's no reason to see yours. That's where OUT OF THE BOX thinking and imagination come in.

Hollywood wants the SAME only DIFFERENT. LOL. Why? Because they know the formula works. It's been proven time and time again and unless you have some other line of promotion to make your film stand out? It's probably best to rely on this formula assuming you want eyeballs on your film. No, I'm not talking about a formulaic movie by any stretch of the imagination.

Joe Carnahan's BLOOD GUTS, BULLETS and OCTANE is an Indie film that comes to mind. The actors were reasonably talented. The story moved fast. The dialogue was easily at a professional level and the twist at the end of the film is what to me? Brings it all together. SAME only DIFFERENT. Don't think it ever made much money but it certainly launched Carnahan's career.

I remember being at a theater in Sacramento, California where THE BLAIR WITCH PROJECT was showing. Because I read a lot of what's going on in the business and I happen to know a few people that had THE BLAIR WITCH PROJECT sent to them before it ever became anything, I sat in that theater and watched a film that I kind of thought was okay but not particularly compelling to me personally. However, once the lights came on and people in that theater stood up? Everyone was silent. People were shaking their heads. Then came the comments... LOL. Almost everyone in that theater THOUGHT that what they had just seen was REAL. That was their OTHER LINE OF PROMOTION. They had built a website... A forum like this if I remember correctly. Where they discussed the Blair Witch. They basically CREATED their very own URBAN LEGEND. This launched FOUND FOOTAGE films.

PARANORMAL ACTIVITY also comes to mind... Another FOUND FOOTAGE film that is done so well, a lot of people THOUGHT IT WAS REAL. SAME ONLY DIFFERENT.

EL MARIACHI -- It was okay but the PR there was that it was made for $7K. It also didn't hurt that Columbia (?) was actively seeking a Latino Filmmaker/Director at the time. This is where, “Luck is when opportunity meets preparation” comes into play. It also didn't hurt that Rodriguez wrote the book, REBEL WITHOUT A CREW where he revealed how he financed a lot of El Mariachi. Many Indie filmmakers TRIED like HELL to copy that model i.e., shoot a movie for hardly any money but once the original has been done? It's difficult to duplicate.

The original TEXAS CHAINSAW MASSACRE and HALLOWEEN. Out of the box slasher films that have been copied over and over and over.

NAPOLEON DYNAMITE where the nerds are the heroes. This one needed no other line of PR because it stood on its own. We'd seen nerd films before but not like this one.

OPEN WATER -- shot on the legendary Panasonic DVX-100 (PR line) . Hell, every Indie filmmaker I knew at the time went to go see that film. They all wanted to see what the footage from the DVX-100 looked like once it was transferred to film. Not saying the film was bad but it certainly wasn't great. I could be wrong, but I'm thinking its initial PUSH came from a lot of people like us and grew from there.

TANGERINE -- PR line? Shot on the iPhone and follows a transgender sex worker. If anything? It makes one CURIOUS.

PI made by Darren Aronofsky. More of an art house film to me but it was so different from anything we'd seen before that it got our attention.

I could go ON and ON with other films... I think you get the point I'm trying to make. I also want to say that even if I personally didn't like any of these films? I take my hat off to each and every filmmaker for putting it on the line and getting it out there. That? In and of itself is damn near a miracle.

I guess what I'm ultimately trying to say here is that if we go BACK and look at how many of these films launched careers and or made money? We can FIND some clues. We can FIND some similar ingredients.

So many Indie filmmakers I know NEVER ever perform this kind of research before they start making a film. Don't get me wrong... They don't have to. They can do whatever they want to do. But at the end of the day, if you hope to launch a career or make some money? It might be prudent to study some or all of the MASTERS of Indie films and see how you can profit from what they did before you.

I can't even count on all my fingers and toes how many Indie no-budget filmmakers I've met over the last two decades who jumped in with both feet just because they thought they had a cool character or a cool story when in fact? They were both derivative. Worse yet? I even remember a few of those filmmakers jumping in with both feet just because they had bought a camera. LOL.

Not saying derivative can't work... It's worked and continues to work in the professional side of the industry. LOL. But if you're an Indie? I personally think you've got to figure out a way to MAKE people NOTICE your film and that's either going to be from its STORY or from a line of PR that you've managed to come up with.

Just my two cents of course... But I would love to hear YOUR OPINIONS.

The big difference now is that all those films came out in very different times, times when making large amounts (or even any amount) of money from indie films was still possible. And some of those mentioned, were only successes after the involvement of major studios and the marketing power/dollars they consequently had at their disposal. Take PARANORMAL ACTIVITY. A film (and not many people known this story) that was purchased initially to be remade by a studio, then Spielberg asked why not just release the original, and (because Spielberg is Spielberg) that's what happened. Backed by a massive marketing budget of course.

But what we have now is a massively different distribution scene than what it was only a few years ago. We're living through one of the greatest periods of filmmaking in our history. Never have so many films (both commercial and non-commercial) been made - and all fighting for attention in an ever diversifying market. It's therefore both an exciting time and also one where you could become despondent if your film is buried in the crush. So it's no longer just about waiting for a time when films will become trendy again, it's that the market share for indie films (and most non-blockbuster) films has radically changed. What we also have is ever growing alternatives to watching films. There's an entire generation that simply doesn't really care about movies and would rather play computer games, or even watch people paying computer games instead. And all those great aforementioned films are by definition flukes, happy chances - the equivalent of winning the lottery. We all know of better films that either never got distributed, or even if they did never became widely seen. And winning the lottery isn't a good business plan. So what should a filmmaker do?

What filmmakers have to do is think before they make a film. That's if they want to recoup some of their investment, or have an audience. If you don't care about either then feel free to make a film about anything you want to. That's perfectly valid. A film, to be a film neither needs and audience nor make money. But if you do need to pay back investors then pick the genre carefully. Talk to distributors and sales agents BEFORE you even write the script. Find out what sells. And what doesn't. That way, if you want to make a film about the sexual politics in the 11th century or the history of Marxism in Peru, you can do it subtly within the confines of whatever genre is most popular in the marketplace - be it horror, romance, sci-fi, action etc...

And make it cheap. As probability tells you that it most likely won't make its money back, but will be a great showcase for everyone involved if made right. And may lead to someone actually paying you to direct/write/edit or act in the future.

 

[Unknown Screenwriter]

What filmmakers have to do is think before they make a film. That's if they want to recoup some of their investment, or have an audience. If you don't care about either then feel free to make a film about anything you want to. That's perfectly valid. A film, to be a film neither needs and audience nor make money.

Damn near every Indie film success is a fluke... LOL. That's exactly my point. There are and have been better films made. THE BURNING PLAIN is a perfect example as far as I'm concerned. A-list talent. Decent story -- good film but NOT decent ENOUGH to put butts in theater seats. It basically LANGUISHED on the shelves until Showtime picked it up. Why? Because the distributor had NO IDEA how to market it... Even WITH Charlize Theron, it sat on the shelf. It made the bulk of its money overseas but not enough to recoup its budget.

But those flukes had SOMETHING that a lot of Indie films simply DO NOT HAVE. Whether it be story, hook, characters, or direction... They all had SOMETHING that made them stand out head and shoulders above the competition except for the ones that had some additional line of PR. You're saying filmmakers have to think before they make a film. I said research. Pretty much the same thing. You said if you don't care about either then feel free to make a film about anything you want to. Again, that's what I said. LOL.

I hear people in the screenwriting world i.e., professionals... Always telling newbies to write what they're passionate about. I must hear or read that 50 times a month and so yeah... Lots of newbies do exactly that and a small amount even end up executing a well written screenplay but at the end of the day? Nobody's interested in buying it and then throwing at least a few more million into it because it's just not a compelling enough story that puts butts in theater seats. It could work with streaming services because those platforms aren't as adverse to risk as Hollywood is but most of the time? Those specs end up as nothing more than writing experience.

I think you've got to know your market if you want to succeed even in a small way. If you want to succeed in a large way, you not only need to know your market but you need to know what's worked before and what's working now and then figure out how to do something similar.

The big difference now is that all those films came out in very different times, times when making large amounts (or even any amount) of money from indie films was still possible. And some of those mentioned, were only successes after the involvement of major studios and the marketing power/dollars they consequently had at their disposal.

Again... That's exactly what I'm talking about but it can still be done today. I'm not saying to remake any one of those films I mentioned. That would be an exercise in futility but one can still learn from those films when it comes to making SOMETHING DIFFERENT. The simple fact of the matter is that (if I had to guess) just like spec screenplays, 99% of what people write simply isn't marketable. Nobody cares. It's not a story that's compelling enough for anyone to want to invest their time or money in watching it. I think the same thing goes for Indie films. I've seen more than my share that were well made and worth watching but if you want to launch a career or careers? Make enough money to live on? You've pretty much gotta do something that's going to make Hollywood sit up and take notice.

 

[Blaney]

I think you've got to know your market if you want to succeed even in a small way. If you want to succeed in a large way, you not only need to know your market but you need to know what's worked before and what's working now and then figure out how to do something similar.
You've pretty much gotta do something that's going to make Hollywood sit up and take notice.

Not really sure what you mean when you say indie. Real indie (i.e. most people here, and films with around zero budgets) or just an off-shoot of a major or corporation? Regardless, in today's market the only successful (i.e. being able to make a full-time living) directors I know who are indie are those who make run-of-the-mill features for cable channels (they pay very well). In-between these they make "indies" that make zero. Or, like myself, you make commercials and corporate stuff that pays well enough to pay the bills, and then you make your indie yourself. The glut of films made every year and the laws of supply and demand mean that most films never make any money.

How best to make an indie feature film is don't quit your day job and don't expect to become a millionaire. Or more realistically, don't expect to make more than your day job. Just do your due diligence, and...

1. Research at film markets and find what distributors and sales agents are looking for. Just ask them.
2. Know the realistic value of your completed film. How? Ask around at film markets. Ask other filmmakers.
3. Be VERY realistic in your expectations. Expect to make very, very, very, very, very, very, very, very little. If anything at all. Expect your film to flop financially. Then if you do make $20 you'll be ecstatic!
4. Make your film for next to nothing. It increases the chance of your film being profitable. If you own a house, do not mortgage it.
5. Make sure your film looks like it cost $10 Million.
6. Pay for a very good sound mixer on set/location. Do not pay anyone else.
7. Have a marketing budget (that also includes film festivals).
8. Only enter good film festivals.
9. Only enter festivals you seriously can get into.
10. Go back to the distributor who said they wanted "x" genre and show them your "x" genre film.
11. Better still, establish a long-term relationship with them - so you show them everything you're doing as you write, cast and shoot your movie.
12. Don't expect MGs. Try not to have a distributor who takes out expenses (for obvious reasons).
13. Don't self-distribute at all if you want to find a distributor - it devalues your film.
14. Promote the hell out of your film on social media.
15. Then sit back and wait for Spielberg to call you.
16. And take some/all this advice with a pinch of salt.