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Why Filmmakers FailPosted By David K Greenwald On July 22, 2014 @ 8:15 am In Truly Free Film | 126 Comments

As the manager of a group of 10,000 producers, directors and associated industry professionals, one can’t help

but notice certain fallacies coming up on a recurring basis. So I’d like to briefly consider the question, what are

some of the principal reasons fledgling independent filmmakers fail?

1. BUILDING IT ISN’T ENOUGH While a struggling artist can get by with little more than a canvas or guitar,

film requires an enormous investment of time, money and many. “Build it and they will come” just isn’t enough;

it’s perhaps the easy part.

Making films is akin to launching a new product. Statistics show that most fail. “All we need is money” isn’t the

answer. It requires a marketing plan. To obtain the financing for your product idea (a compelling script), you’ll

need to know who is your target audience, your positioning, competition, opportunities, threats, means of

distribution, budgeting and so on. Plan it, build it, market it, distribute it and promote it and they might just

come. Marketing plans can sometimes be even more creative than the film itself, as the one for “The Blair Witch

Project” demonstrated.

2. FAILURE TO COLLABORATE Some respond to the

challenge of filmmaking by thinking that they’ll just be a

one-man band. But how many of those films have you or

anyone else seen? One has neither the time nor talent to be

accomplished at everything that is required in bringing a film

from inception to completion. The inability to think beyond

themselves holds back many indie filmmakers. Change that

“me” to “we” and the chances for success improve.

3. OBSESSION WITH GEAR While the right gear is

essential, to some it becomes the Holy Grail. Gear is just a

tool. When Einstein’s wife was visiting some observatory,

she was told that some elaborate piece of equipment was

used to measure the size and shape of the universe. She

replied, “Oh. My husband uses the back of an old envelope

to work that out.” Ideas count more than gear.

4. BLAMING HOLLYWOOD Some bash Hollywood as the source of their difficulties. Criticize their film choices,

but understand their business as well as they do. The studios are committed to cost efficient line extensions.

They are still standing a hundred years later. In any business, that’s success. And focus on their overall track

record (the big picture), not on their individual failures. The casinos lose money too occasionally, but that

doesn’t change the adage, in the long term “the house always wins”.

5. FAILURE TO BUILD RELATIONSHIPS A filmmaker I

worked with had an interesting film idea. Convinced that

with 6,000 email contacts and 1,000 followers on Facebook

he’d succeed, he turned to Kickstarter. A good marketing

plan followed by terrible teamwork in execution led to only a handful of backers and less than 1/5 of his funding

goal. But his reaction to that failure suggests that he’s likely to fail again; he refused to do any soul-searching

and did not seem to learn anything from it.

Any marketer will tell you not to get enamored by “numbers” but by the relationships you create. Not just with

your backers, but with your cast and crew as well. When Lawrence Kasdan left all the scenes of a budding actor

in “The Big Chill” on the cutting room floor (he was to play a corpse), Kasdan called to explain, expecting an

argument. Instead, the actor showed such graciousness and understanding for why this was necessary that

Kasdan vowed to use him again. The actor was rewarded with a principal role in “Silverado” and Kevin Costner’s

career took off.

Don’t assume those Facebook “friends” are friends. They are potential friends, but all friendships need to be

nurtured.

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6. LACK OF PERSPECTIVE Everyone has a “great” script.

I’m just struck by how truly great novelists, artists or

filmmakers are rarely satisfied with their work. Some refuse

to look at their novels, artwork or films after release

because all they see are its defects. Many filmmakers would

benefit from that sense of humility and self-reflection. It will

improve the work.

When some filmmaker feels divinely inspired, I’m reminded

of a Peter Sellers anecdote. Working on the Pink Panther

series, he woke up Blake Edwards, its director, one night and

said that he had spoken with God and figured out how to

play a difficult scene. The next day, unimpressed with the results, Edwards told him, “Peter, next time you talk

to God, tell Him to stay out of show business.”

David K. GREENWALD is a marketing and production consultant on

independent features. He’s guided strategic planning for many blue chip

brands, served as a television commentator on media and technology

and worked on the launches of two media revolutions, home video and

the Internet. Author of a manual on internet marketing, he’s the

Manager of the LinkedIn group, Independent Film Producers, and a

graduate of the Wesleyan University film program.

© 2014 David K. GREENWALD

126 Comments To "Why Filmmakers Fail"

#1 Comment By Paula Landry On July 22, 2014 @ 10:08 am

Thanks for posting this Ted! Well said David – in fact, your first 4 points & 6 all lead to #5 – your genuine

relationships will help your 360-degree strategy, collaborate actively (with the painful truth), find the gear that

serves your vision, and succeed beyond the 2-d vision of Hollywood that filmmakers sometimes get stuck in.

Filmmakers entertain, inform, and are changing the world!

#2 Comment By Jason Brubaker On July 22, 2014 @ 10:54 am

I agree with your points David, especially the part where you mention “lack of perspective.”

#3 Comment By Nadin Hadi On July 22, 2014 @ 11:46 am

Hey David,

Some great points here. Relationships are critical. The first I hear from too many filmmakers is “Come support

my Kickstarter for my amazing film!” Perhaps you’d like to take me to dinner before you try to get into my

wallet? If you want people to support you, you need to build up social capital first.

Maybe it’s because I’ve always been client facing, but I think it’s worth cultivating relationships in person. I have

an interesting people fund. We go for lunch, coffee or drinks. We shoot the breeze about the industry, I listen

and get the benefit of their experience and I don’t ask for favours or freebies. Advice sure and it’s amazing how

many people will offer to help you when you’ve known them a year or two. If you’re not in a film hub, you can

do that by social media. If people pass on helping you for whatever reason, be gracious.

I’m also with Jason on perspective. Most scripts are terrible. The majority of films made are terrible. If you

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don’t believe me, volunteer to read for a script competition and see how many of the entries are badly written,

cliched, too ambitious in terms of budget or missing the boat completely on audience. Go onto IMDB Pro and

look at the trailers for completed films which don’t yet have distribution. Would you pay to see them?

Ask for feedback from beyond the echo chamber of your friends and family. In the words of William Goldman –

“If enough people tell you you’re drunk, it’s not inadvisable for a screenwriter to consider lying down.”

Once you start getting perspective both in terms of quality and marketability, then you’ll have a better chance

of success as a filmmaker.

#4 Comment By David_K_Greenwald On July 22, 2014 @ 12:36 pm

Some great comments as well.

As Paula pointed out, if you can’t build relationships, little else follows. It’s often related to perspective. If

Costner didn’t have perspective on the far bigger picture (no pun intended) of making The Big Chill the best film

it could be, Kasdan might not have considered him again. To be invaluable to your clients, give them the advice

that you think is in their, not your, best interest. You’ll be rewarded for it.

But perspective is not only about building relationships with others by putting yourself in their shoes, but about

your relationship to your work. You need to be your own harshest critic. See the Scorsese spot for AmEx:

His reaction shot when the guy says “It’s pretty”, says it all. You don’t need “yes” men.

As the great writer Cameron Crowe wrote for his Lester Bangs character in “Almost Famous: “You wanna be a

true friend to them? Be honest, and unmerciful.”

#5 Comment By Jennifer Fischer On July 22, 2014 @ 12:44 pm

So many valuable points here. I see over and over filmmakers (and others) who obsess with the quantity (how

many likes, followers, etc.), but not with quality engagement and relationships. Building and nurturing

relationships matters…a lot. We’ve focused on relationship-building with our indie film that we recently

self-distributed and are taking that to another level with our next project, doing it better this time by nurturing

relationships ahead of time and building collaborative, positive experiences and opportunities as we move

forward. Our company name is Think Ten Media Group and we’re trying to emphasis the group aspect by

engaging those who really believe in the types of film and media projects we seek to create and to empower

others create. We want to bring others into the group, into the fold and build engagement and value in the work

that we do.

#6 Comment By Iulia Nastase On July 22, 2014 @ 2:12 pm

Loved the article, David! Very realistic point of vue.:)

#7 Comment By Cody Knotts On July 22, 2014 @ 2:13 pm

Amazing article. I hate watching my own films. The problem stems from what the filmmakers goal is…to make

art or to be important. ..one seeks to improve…the other seeks praise

#8 Comment By filmexec On July 22, 2014 @ 2:23 pm

Hi David, I read your article and totally agree with all your points. I recently posted a story on a LinkedIn

Group about an incident several years ago when I went to an Awards Show with a Friend (He was getting a Life

Achievement Award).. We were seated at the at the Table for the recipients of the Awards and the President of

the University. He asked me what I thought about his Film School. When I told him that because they don’t

teach his Students haw to market their films he was setting them up for “Failure”! So I agree with you about

Marketing your Films! I would also tell those filmmakers need to do their research before they shoot one frame

of footage. Go to a Film Market find out which Distributors are “Pirates” and what kind of Films are selling. To

many filmmakers make “Heart” Films as their first film and never get a chance to make any others. If they

would make a film that they could sell first then they would have “Happy” Investors for their second. And

whatever they do Please, Please don’t spend all your Money in the Production Process. Save a portion of the

funds for the Marketing of the Film at Film Markets and Film Festivals.Don’t make choices from “Hunger” when

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you make choices about Distributors and because of Investors Demands.I have seen too many filmmakers

never go beyond the first film because of poor planning for the First!

Best regards,

Lou Mitchell

#9 Comment By Brian_Padian On July 22, 2014 @ 2:42 pm

I agree w/ most of this – it is easy to get caught up in gear fetish and excitement about making the movie

instead of what comes after – but I would rather see a film by someone who knows how to write/direct than by

someone who has mastered social media or building relationships. Directing is still an art form. Having a solid

marketing plan doesn’t indemnify you from making a bad movie.


Of course, Brian. But it is not a case of one or the other.

If you are a bad filmmaker, it’s likely you will fail. I think the industry and most of us will accept that.

(Hopefully, the bad filmmaker will too.) Great advertising and publicity only helps bad products fail faster. The

word gets out.

However, if you are a GREAT filmmaker with a POOR understanding of how to market your film, or having those

on your team who do, you will fail too. That is what needs to be avoided.

#11 Comment By Adam_Leipzig On July 22, 2014 @ 3:10 pm

Excellent points, David!

#12 Comment By Brian_Padian On July 22, 2014 @ 5:26 pm

yes, agreed

#13 Comment By SGHFAS On July 22, 2014 @ 9:18 pm

Awesome.

#14 Comment By Douglas Pritchard On July 23, 2014 @ 3:00 am

Hello David,

Great thread – your point about building relationships is spot on. I was at a panel discussion in LA a few years

back, having a great talk with some of the writers/producers from Lucky # Slevin & the Fast & Furious

franchise. As I was from Orlando, they asked my advice about working as an indie director/producer outside the

LA scene. My response was to build a loyal team & to treat each person from the exec prod to the guy holding

the broom with dignity and respect & to listen to ideas no matter where they came from. You still need to follow

on-set protocols & have ideas passed along the chain to dept heads etc. You don’t want chaos on set – but I

want the best possible result on screen, so as long as it’s handled correctly I invite that kind of input. When

people realize they are coming to a creative & immersive place like that, where everyone is respected – it goes

along way toward a positive on set attitude which can make or break an indie project. Filmmaking is a

marathon not a sprint & it’s about long term biz relationships. I remarked how often I’d seen some filmmakers

just using people, the sharks or fakes thinking short term etc, and how they never seemed to get past that first

production. All the panelists seemed emphatic in their agreement on that point as they’d all seen it as well –

Hollywood is a small town with a long memory… that’s true regardless of geography as everyone knows

everyone in the biz and once you get a bad rep, it can be very hard to undo that damage. It’s better to put that

positive energy out there instead because people will want to work with you on the next thing, as your

reputation will have proceeded you in the affirmative.

#15 Comment By Phil Taylor On July 23, 2014 @ 6:48 am

Hi David thanks for a great article some very salient points. May I too share an article I wrote a few months


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ago TEN REASONS WHY YOUR LOW BUDGET FILM WILL NEVER GET FINANCED. It was aimed at first time film

makers and I hope its of benefit to some in your forum. Click on or paste the link below

#16 Comment By Brian Frankish On July 23, 2014 @ 10:02 am

David… Your essay is efficient and to the point. The harmony between script (story), financial plan and

marketing is essential in understanding how to make your project move toward gaining financing and

distribution. Sometime finding the project is the easy part. Putting the energy behind building the package of

financial plan and marketing can be difficult to the producer. But in order to “Ease his pain” the producer must

“Go the distance”. Sometimes the producer needs to find collaborators who have the skills to help build the rest

of that package.

#17 Comment By Mike Chinea On July 23, 2014 @ 11:35 am

A most elegant essay. On point with every point. Thanks!!!

#18 Comment By FrankinSac On July 23, 2014 @ 12:25 pm

Agree David… However not EVERY film project should be considered to be a “commercial” endeavor. Some may

be only intended to be “art” projects, and are just as valid (see some of the great artists works). However, the

moment a filmmaker says” Hey, let’s try to get a distribution deal”… they have crossed into the world of

business and all the business concepts apply… Frank Casanova, The Studio Center / IndyFilmSchool.com

#19 Comment By TSF Films On July 23, 2014 @ 9:25 pm

Excellent article, David!

For me on Abel’s Promise, teamwork or lack thereof played a huge part.

My partners were either unable or unwilling to make timely changes and

adapt our campaign to address criticism from outside observers. They

lacked dedication and will. About a week out, I received an email that

they were quitting the production, since it was obvious we weren’t going

to meet our goals.

I think that collaboration piece is an essential subject not really

discussed much. Relationships and networking, yes, but dedicated

collaborators? Not without a paycheck. What began as a cool project a

few local film makers could produce, became a business initiative for

some, which lost focus on the reason why we were doing it in the first

place. In the end, relationships were spoiled and bridges were burned in

an already tiny community of artists in the high desert.

But other doors are opening, now, so we’ll see.

Trailer:

#20 Comment By RJG67 On July 23, 2014 @ 11:13 pm

Inspirational with five very actionable points. Thanks for helping me refocus. Sometime self reflection is all I

have. I, unfortunately, am becoming a producer who is coming up on two years of trying to package our current

project. So I realize trying to change the me to a we can be a challenge. “Setbacks are just an opportunity in

work clothes.” ~ Melvin van Peeples. David, your insight is very much appreciated.

#21 Comment By Adam Krentzman On July 24, 2014 @ 12:50 am

David – Excellent points. Thank you for sharing. Younger directors often feel that they don’t want anyone

(studio, indie financier) telling them what to do, they know best. If that director wants to spend their own

money…have at it. They want to spend someone else’s money, then your point #2 is well taken. You must

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collaborate.

#22 Comment By CRUMBLOUIEFILMS On July 24, 2014 @ 9:10 am

Filmexe: You hit the nail right in the sweet spot. You expressed exactly what I thought as I read David’s article.

Film schools do not teach its students how to market their products. One reason filmmakers market badly is,

they do not want niche markets. They want the widest possible audience because they have seen that even

reaching a niche market there are films that have failed. In regret, they sit back second-guess themselves and

bemoan the fact that they did not seek a wider market.

Very good article.

#23 Comment By Ole-André Rønneberg On July 24, 2014 @ 9:49 am

Here is many good points in this brief article, and it helped me to refocus and will find lots of people to

collaborate with.

#24 Comment By filmexec On July 24, 2014 @ 11:08 am

Croumblouiefilms, The smartest thing I ever did was to go to the American Film Market in the mid-eighties and

hang out in the Lobby and ask lots of Questions of everybody that would talk to me. Most were to busy, some

were as ignorant as me. but some would give me some “Pearls of Wisdom”. I sifted them out and the next year

when I couldn’t afford the entry fee I climbed over the back wall and went from room to room asking for

product “they couldn’t Sell”. I ended up with many Business Cards before they caught me and asked me to

leave. The point is that I DID my Homework in advance and that research showed me that I had to have

something to offer them. In my case it was small VHS Companies hungry for Product. I sold 7 of the 15 titles I

was allowed to Represent. Filmmakers I met today have no idea how to make a film happen, only how to

“make” a film. Production is only 1/2 of the Job of making a profitable Film and Marketing is the downfall of

many talented filmmakers that never get to make a second Film? A real shame when what I do is only the

result of years of “Trial and Error” and never settle for a “No” answer. Having a short memory when you get a

“No” has got me many friends when I came back to them with new product that they were interested in!

#25 Comment By Rolando Teco On July 24, 2014 @ 11:50 am

David, what a great piece! I especially appreciate your emphasis on cooperation. I am convinced, a failure to

connect with others and to enter into symbiotic relationships with people who are trying to do the same thing

you are, is the root of most failure in this biz. Making a film is sort of like building a utopian society. You have a

singular vision. And slowly, with a little luck, more and more people are convinced. And hopefully, the

experience is rewarding enough that they want to come back and do it all over again.

Also, the “Build it and They Will Come” myth is so pervasive and sooooo dangerous. I think that it’s

understandable why writer/directors should shy away from questions of target market and ideal audience, etc.

etc. It’s natural for artists to believe that what we create ought to be loved and consumed by all mankind. In

fact, that irrational enthusiasm is, in a way, necessary for the creative process. But eventually we all have ask

and answer that question. Who is this for? Or, who might buy a ticket? We don’t always answer exactly correctly

but I think the asking and exploring is essential nonetheless.

Thanks for bringing all these important issues up in such a concise form.

#26 Comment By Michael Kennedy On July 24, 2014 @ 1:01 pm

David, your article cuts right to the heart of what new filmmakers confront and sadly in all to many cases are

not willing to look at honestly. As stated in the last few sentences of the last post by Rolando is the filmmaker

making a product – yes product – that will and can standup to security by the public. All the points brought up

by David are essential and should be embraced by every filmmaker – inexperienced or experienced – i

generally just shack my head when i see the credit of “A Film By …” did that person write it – produce it – film it

– direct it (usually at least that) – where did all the rest of the crew go!



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Filmexec, you hit on something here. You don’t have to have all the answers. But you do need to ask the right

questions and draw on other knowledge. Scientists do this all the time. it’s scientific discovery

Years ago I was was able to arrange a meeting with the Managing Director of a new division at Olivetti. He was

leading a “secret” project. He told me that his mission was to launch this new initiative in Italy, the Internet,

and asked what I knew about it. My reply: “Absolutely nothing.” He laughed and said, “You’re perfect for us. I’ve

got a company full of engineers who think they know everything.” A part time one month project for a single

division, turned into a two year full time engagement working with three divisions. That led to a book about

internet marketing, many press interviews, and many new projects.

The key is to be curious and learn. If something doesn’t work, figure out why. Come up with a new hypothesis

and test again. So yes, you need to do your homework, your research and lots of critical thinking..


Roland, your comments preempt another article on this very subject which will appear here next week. Stay

tuned.

#29 Comment By filmexec On July 24, 2014 @ 8:15 pm

It’s called “Common Sense” something that’s in short supply nowadays. Especially in our Politicians and

President. Shame that they can’t find a way to do their jobs? Filmmakers are allot of times Dreamers and don’t

want to do the Dirty Work of fighting for their films, after they have finished the enormous task of finishing the

Film. Half way done they drop the ball for a number of reasons; Lack Funds, No Research, Investor Pressure!

This leads to making hurried choices and trusting the wrong people with your Opus! As I always tell my Clients

in front of AFM “If you believe 1/2 of what you hear inside you may have chance of making a good deal?”.

#30 Comment By David_K_Greenwald On July 25, 2014 @ 7:55 am

Make that Rolando. My apologies. Typing and proofreading are not my forte.

#31 Comment By Michael Carnes On July 25, 2014 @ 8:42 am

David, Bravo. I have been in the development side of a studio before plus i have written a book recently about

Winning in Life. Teamwork, corporation, getting good business people around you that don;t know a lick about

film, these are essentials to getting a film distributed. Notice i didn’t say produced. David is right, we are not

just a painter that can paint a canvass and be satisfied with that work, we want our work distributed, we want

people to watch. I call it eyeballs, where are you going to have your film viewed, who is going to play it for you

in front of an audience? If your not left and right brained, get someone who is right brained and listen to them.

Years ago in Los Angeles as a younger pup in the industry i had an amazing opportunity to sit with Robert Wise

and actually chit chat, we got done with our business about some studio needs and he asked if he could hang

around and have some coffee. Of course i said yes. As we chatted i asked him this question, (i was 28 and an

aspiring film maker that had landed a job as V.P. of a studio who wanted to be in production, not administrating

a studio) “Mr. Wise”, I said, “What makes you the great director you are?” He looked at me with a little smile

after taking a sip of his coffee and said,” that is an easy one to answer, i used to be a screamer and yeller,

everything had to be my way back in the early days, but one day i didn’t listen to a grip that came up to me

and saw something that was going to ruin this outside shot we were prepping for all day. He was only a grip,

how dare he come and talk to me. I shooed him away and went on with the day. Come golden time when

everything was ready, a huge tree on an adjoining hill cast a large shadow right over where i was going to shoot

this scene. From that day forward, i noted that i had a large number of professionals out there to see that my

vision was realized and i now listen to anyone on my crew, it is not about me directing it is about me listening

and believing in my team.”

You need the business side of the team as well as the creative side, stop thinking it is all about you and your

vision. The canvass on the screen take a village not one person.

#32 Comment By giorgio grasso On July 25, 2014 @ 9:35 am

Great David! ..”not to get enamored by “numbers” but by the relationships you create”..


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in Italy we tell: Sacrosanct words!!

#33 Comment By Anne Gentry On July 25, 2014 @ 10:01 am

Wonderful article! I graduated from Northwestern U in acting and work as a film actress extensively in Indies. I

can tell you when a film will click or not. How do I know? What you articulated so well!

In a recent film a Director recited the script line by line with the actors. The actors were then supposed to recite

to the camera with same inflexions as the Director had spoken them – ! This is the worst possible example of

not trusting people around you. I don’t know how he expected any continuity of emotion or even presence of

mind from us.

In Indies, in particular, if it works well, it is a matter of developing a single mind and will with everyone

involved inside the production. I really enjoy working in situations where everyone pulls together and you know

it’s going well. That’s why I became an actor.


Michael, thank you for that comment and Robert Wise anecdote. To many, the job of a film director or a

corporate CEO is to bark orders. Rather, it’s to pick the right members for your team, to trust in their abilities

and to create the conditions for them to do the best work. Motivate them and they’ll give you everything they

have to offer.

I’ll never forget early in my career making a presentation to the President of the video division at Sony. When I

had finished, he said I have just one question. “Are you telling me that if I do this, I am guaranteed to

succeed?” I shot a quick glance over to my boss, to defer to him if necessary. He just smiled and gave me one

of those, “It’s all yours” looks. And I responded as honestly as I knew how. “No one can promise you that. What

I can promise you is that if you don’t do this, you will fail.” He was very satisfied with that answer, but my far

greater sense of pride that day was in knowing that my boss had trust to let me handle it. When you create that

spirit of collaboration with cast, crew, collaborators, there isn’t anything that they wouldn’t do for you. If you

can’t, then perhaps you’ve chosen the wrong people.

#35 Comment By Out in the Street Films On July 26, 2014 @ 12:45 am

David, good stuff. But I would take exception to #4. Exhibit A: summer blockbusters downturn. What happened

there David? You view Hollywood from the perspective of the reapers. How about the investors, especially in

indie film? Is it not true that most investors don’t expect a return, and don’t get one. They’re in it for the

glamor.

So then Hollywood assumes they are successful because their reap the profits. But they ignore facts such as

only 50% of product ever sees a profit (yes?). Or that women are pretty much discounted except as sex objects

of attraction, despite the fact that there is a proven huge untapped female market.

Sorry David, the status quo does not cut it. Ergo, summer blockbusters slide. Do you have to land in the gutter

wondering what happened before you wake up and smell the coffee? Guess what? The economy sucks. More

people are out of work every day. The media and government LIE to us.

You can’t tell me that Hollywood has it down in light of this reality. You don’t actually live in a Hollywood

fantasy. You’re going down by your own hand. Like all corporate mindheads, you’ll cry “I’m winning” until the

last finger sinks below the water line. Come on man. Admit it. Everything is not coming up roses.


In Philly we say Kiss Ass.

#37 Comment By David_K_Greenwald On July 26, 2014 @ 5:14 am

Out in the Street, thanks for your comments. Questioning things is always good. Let me try to briefly address

the issues you raise.

First, this is not an article about Hollywood. A much longer one would be needed. The gist of this article is to not


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focus attention on Hollywood if you are making independent films. It’s a distraction.

Second, as pointed out, look at their bottom line, not their failures. Their business model is to spend behind

several big budget productions and hope that one takes off. That one success pays for everything. Besides, we

don’t have access to their data. Only what they tell us (translation: spin).

Third, every product needs to concentrate on its target audience. Hollywood films are targeted to teenage boys

and foreign markets. Most of their revenue stream now comes from overseas. That isn’t the usual target or

markets for independent films. Even Tarantino, with the power of Weinstein behind him, had trouble cracking

China.

Fourth, I can’t address social issues, the state of the economy, the abuses of the banking industry, government

ineffectiveness, rampant exploitation, or even the mistreatment of women in Hollywood. I see all those issues

and they disturb me. I address many of them as they relate to film in my group. There just isn’t space to cover

them here. Besides, they are not focused on the objective of this article, to improve the success rate for

independent productions.

Lastly, your concerns are one of the very reasons why there needs to be independent films. You make films

about issues that concern you. Let you voice be heard. If you market them right, perhaps I’ll see them.

#38 Comment By Brent On July 26, 2014 @ 10:37 am

This article is not only very excellent – it is also timely in an argument I had just this afternoon.

While the idea may be everything, the strategy on how to bring the idea to life is key – so many cannot figure

out why it just doesn’t happen like a silver platter placed in their lap:)

Great insights, facts, and observations

#39 Comment By Andrew Heard On July 26, 2014 @ 12:29 pm

Glad to have stuff like this. “Just do it” never actually works as well as people want it to.

#40 Comment By raindancefestival On July 26, 2014 @ 3:26 pm

Wow David and well said. from yours (and Ted’s) secret admiration society in London, england.


Thanks David.

#42 Comment By Dana Sullivan On July 27, 2014 @ 9:49 am

Again, David, your insights are appreciated. I agree, surround yourself with those good in their areas of

expertise, and the project has a chance to succeed. Thanks for sharing your wisdom, I’ve learned a lot from

your posts!

#43 Comment By Darryl Hutchins On July 27, 2014 @ 11:36 am

Nice article! This will either teach you something or confirm you are on the right track. Thanks David for taking

the time out to educate us.

#44 Comment By Perfidious Albion On July 28, 2014 @ 3:18 pm


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” Their business model is to spend behind several big budget productions and hope that one takes off.”

I’m wondering if you can expand on this? I’m not necessarily doubting its true, but it doesn’t feel like it makes

sense as a business model? A (stated) 200mill’ film that doesn’t make back 200mill’ opening weekend is usually

(advertised as being) considered a loss (home media notwithstanding), right? I can understand that if every

fifth film is an Avatar then that covers the overall losses, but why such precarity?

History is littered with X million productions that bankrupted a studio. So again, can you elaborate?

#45 Comment By Mike Cervello On July 28, 2014 @ 3:40 pm

All points are on target. The problem, I see, on the low/no budget end is getting people to collaborate. Too

much ego for one man shows and productions and not enough sense to take a step back to look at the

possibilities of how much more can be accomplished by combining resources to make bigger and better films.


Perfidious, thank you for your comment and question.

While I’m not an expert on all the workings of Hollywood acounting, their business model has undergone

significant changes The dvd business died (Hollywood’s assured profit margin), production costs increased

exponentially requiring increased ad spends to create awareness (hence focus on known properties with

pre-awareness) and the business turned to foreign markets (particularly China, but also India, Russia and I

believe, Brazil).

The combination of these factors (spelled out in Linda

Obst’s book, “Sleepless in Hollyood”) has resulted in high spending franchise movies, with most of the profits

derived from overseas. Hollywood would like them all to be hits. However, overseas markets and the

blockbusters tend to cover the losses.

While studios get bankrupted, the majors are still standing, as they diversity their risk.

Two small examples. The Lone Ranger was a reported “flop”.

It did $29.2 million opening weekend domestically. (Not good). It did $89.3 million domestically lifetime (not

good either). However, it did $171.2 million in foreign lifetime (not bad). So 2/3 came from overseas and

$260.5 million total for a “flop” that had a reported production budget of $215 million. A loss factoring in ad

spend, but not a total loss.

Avatar cost a reported $280 million. With gross revenues of

$2.8 billion worldwide (70% from overseas), many other losses were covered.

Remember too, we only know what’s reported

#47 Comment By Pierre Lapointe On July 28, 2014 @ 6:12 pm

Great points, David! Film schools and other quasi industry pundits who encourage filmmakers to go out and

shoot do them a huge disservice; how many filmmakers have a $20k+ “feature” on their computers that is

unsaleable? Understand the business, understand the deliverables, understand the legal requirements and you

increase your odds for success a hundred fold.

Looking forward to more of your articles and wisdom and wishing you much success!

#48 Comment By Perfidious Albion On July 28, 2014 @ 9:06 pm

That streamlines a lot of complex ideas, thanks.

One criticism thrown at Hollywood which I think sticks, is that oftentimes they seem to sabotage a sure thing by

putting test-marketing second guessing before intuitive reason (eg, adapting an established genre work in a

particular way, to seemingly universal consternation, then bombing just as any schoolboy might have predicted)

I guess the problem there, is that of those two groups – teenage boys, and foreign markets respectively – the

two have very little in common. And while one is in the bag for now (Comic-con etc.) the latter remains greatly

a mystery.


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And yeah, I never believe the reported numbers.

Cheers.

#49 Comment By Darryl Hutchins On July 28, 2014 @ 11:16 pm

Stopped by to read it for a 3rd time…. That’s how good this article is.

#50 Comment By suchitab On July 29, 2014 @ 2:52 am

“ideas count more than gear” absolutely.. Thank you David for sharing.

#51 Comment By SophiasLaw8 On July 29, 2014 @ 4:15 am

Yes, David, Thank you for this article! You’ve nailed most of the problems people are having when making film

nowadays. I just want to add a couple of things to that:

1. It seems to me that most people do not know how to make a film anymore. They worry and learn how to

use more and more sophisticated equipment, but they ignore the need for “mastery”. Even when they have a

great idea, they do not know what to do with it, how to use it. Talent and equipment are vital, I grant you that,

but without the know-how it turns into a never-ending discovery of the same old “America”. This explains the

arrogance we perceive – the more you learn about film, the more you know what an encompassing subject it is,

and the more humble you feel.

2. As a consequence of this arrogance, the filmmaker ignores the needs, the wishes, and expectations of their

audiences. It is true that publicity can “create” a need we do not have, we know how that works. Some films we

go see because all the media outlets call them “the film of the year”. But when they are ALL called the same, we

are back to square one. (Speaking about Antonioni’s “Zabriski Point” Elisabeta Bostan once said: “you cannot

fool ALL of the people ALL of the time.”)

We have to begin giving our audiences quality, thought and identification. Nowadays, it is rare to find someone

who identifies with any traditional “Greek hero archetype”, and our films repeat the motif “ad nauseam”. We use

archetypal cliches in lieu of looking around, and observing what is happening in the here-now.

When Visconti made “Il Gatopardo” he was speaking about the death of a way of life – this had not yet

happened! Where are our visionaries?

One thing I know for sure: we are losing our audiences. There are countries I have visited in the past 3-4 years

where nobody goes to watch a film anymore.

Thinking of this, I am preparing a “How to make a good film” webinar, to be able to reach a wider circle than I

accomplish in person. Film has been ,and is my passion. I’ll do everything I can to keep it alive, or as the case

is in some places, “revive” it!

David, please keep posting!

Sophia von Wrangell

#52 Comment By Max Myers On July 29, 2014 @ 9:35 am

Insightful commentary, Mr. Greenwald. I, as have many on this thread, been in the business a long time and

have witnessed vast changes. Most indie filmmakers that I meet still believe that their product is going to go

theatrical and, as we all know, I have more chance of being the next president. When I try to explain that they

need to be thinking in terms of ubiquitous TV, some, not all, get this look of, “Naw, dude, I’m going theatrical,”

rather than understanding that second screen is now first; cell phones, computers, home theaters.

That aside, what I find truly amazing, is the lack of interest in story and technique. Many, again not all, are

focused on youtubing. Setting up their own channel, creating content that looks cool, but without the interest or

desire to understand that if ain’t on the page, it ain’t on the screen. The overall generational desire, seems to

be on making money from their channel, and, worse, becoming famous as a celebrity filmmaker. Most of them

would scoff at this, but I have a feeling that there’s a snickering unspoken complicity to this desire.

Consider the destruction of our beloved art form as a result of reality shows; some of which do have their place


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and serve a purpose. This new generation of filmmakers have grown up with them and, as a result, that type of

content is completely normal. I still believe that talent is rewarded, and those filmmakers that take the time

and have the desire to learn story and craft of film, very quickly understand that it’s a collaborative art form.

With indie budgets ever shrinking, in order to obtain MGs to help fund and make a profitable film, one needs

high B-listers. As a result, I believe that the absolute maximum budget level is 500K, and even that might now

be too high. Where does this leave our beloved art from? Strangely enough, I’m very optimistic. Content is

100% king and that product is now being made on everything from iPhones to REDs. Too many times I hear,

“We need this camera, or that camera, or…” but they fail to realise that if you don’t know what crossing the line

is, or understand cutting as you shoot, or that the single biggest killer of indiefilms is crappy audio, then the

newest, greatest, whizz bang ain’t gonna save your ass.

However, I have meet some young filmmakers that have watched HUD, understand why Casablanca is still a

perfect film, love story, and have little to no interest in youtubing as a career model. It’s on them that I pin my

hope of indiefilm going through a resurgence and emerging into something even more spectacular.

#53 Comment By Genevieve Castelino On July 29, 2014 @ 12:47 pm

Well said David. All excellent points and hitting the right notes.

To these I would add one more: collaborating with the wrong people. It’s easy in our industry to get quickly

impressed by a few credits and/or name-dropping. One bad ego and attitude on set can swiftly derail a project.

#54 Comment By Pierre Lapointe On July 29, 2014 @ 3:04 pm

Some great comments here. Most are focused on the need for collaboration which is so important. I think many

young and/or inexperienced filmmakers avoid collaboration because of ego, the thought of theft,

disagreements/confrontations, etc. And unfortunately, most directors haven’t the slightest idea how to translate

the script to the screen; they lack preparation, experience, the necessary knowledge and more specifically, the

ability to converse/communicate their vision with crew and especially cast; a director who cannot speak to

actors to get the best performances will fail.

The irony is that most of these fears can be alleviated by standard agreements that can dictate terms and

conditions, but again, most of these folks have no clue of the myriad legal requirements a production needs to

be successful and to ensure distribution.

Collaboration is essential! Find out your weaknesses and partner with the right people who can fill the gaps and

provide the necessary support (short and long-term).


Pierre, amen. I think you hit upon something here that I’ve experienced but did not put to words. Acknowledge

your weaknesses and find individuals who complement them.

Working on the launch of Sony video, my boss was one of the smartest guys I ever met. His abilities at

marketing and strategy were unparalleled. Yet every time presentations or negotiation were involved, he’d

defer to me. He was aware that he often rankled others and his objective was to get his strategies

implemented. With egos put aside, he achieved his goals and I received a world class marketing and strategy

education. In other words, win-win. When we have more teams like that, the work will only improve.

#56 Comment By Mark Bender On July 30, 2014 @ 12:31 am

David’s comments are so spot on that it pains me to admit that I’ve made everyone if these mistakes during

my “career”! The fact is that film school mostly never addresses these issues. Of course, filmmaking covers

many activities and it is hard to set up a filmschool that really can cover all aspects of the film entertainment

business, I know as I’ve set up a filmschool myself. With regards to the individual filmmaker goes, he or she

really does have a lot to try and cover if they try to do so on their own as a one man band. A Norman band us

just that, “one man” and not really a band at all! Even a solo act needs, an instrument, and a venue…. And I’ve

never really even seen a truly successful artist operating in that mode. One man bands are usually that “sort of

crazy guy” on the street corner busking for tips! Frankly, that’s not the way the film business has worked, or will


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ever work! As an independent filakers myself I can assure you that Davids concise breakdown here is an

important roadmap and a timely reminder for anyone who seriouly wants to succeed in this game. Yes, it may

be a little daunting if you don’t have all the skills required but just like that one man band guy who can’t.play

the base, he just gets a bass player to “join the band”! Filmmaking is a collaborative art and filmmakers are

good at working with others, they have to be! So, if David’s article reminds you of a few truths you’ve been

avoiding then just buck up and get your band together and get on the road! There’s nothing holding any of us

back in this regard other then the fact that dealing with some of these issues is simply something “we don’t

want to do”! If that’s the case for you then now is te time to ask yourself: “Do I really want to be in yen film

business?” If the answer is yes, then print out Da odd article and pin it to your office wall as part of your “bible”!

If not, get a normal job and stop wasting yours and everybodies else’s time!

#57 Comment By Quad Cinema On July 30, 2014 @ 6:14 pm

David, I feel you are performing a great service for young filmmakers, especially the ones starting out. You are

truly to be commended.

Elliott Kanbar

President

QUAD CINEMA, New York

#58 Comment By Dennis Toth On July 30, 2014 @ 7:44 pm

Great article, David. I have already passed it around to other folks as an FYI. Extremely sound and essential

material for indie filmmakers.

#59 Comment By Harry Knapp On July 30, 2014 @ 8:41 pm

David,

Good Stuff. Collaborate and listen! Think that’s a lyric from a Vanilla Ice song but it’s strong advice nonetheless.

For me, it’s all perspective. The film landscape is rich and littered with wickedly talented, resourceful people.

Yes, we are navigating stormy waters on the business side and nobody has a clue how things will shake down in

the next 5 years but access has never been broader.

BRING BACK EQUITY

I’ve been to the mountain top with Herzog and I was filled with the indie spirit. I witnessed heroic acts of

courage alongside a violent disregard for perfection(Hollywood). Werner is quite literally a ruthless storyteller

who never looks beyond the moment(predicament) that he’s in.

This is a great model if you’re an aspiring icon but no so much if you want to make money. Today more than

ever, film is a business and filmmakers(regardless of their idealistic Herzogian leanings) must consider the fiscal

side of the equation.

That said, let’s set aside the wide-eyed kids out of xyz film school and come back to them when they’ve made

some noise with a short like WASP. In the meantime, let’s address the real problem-equity. Hollywood has

notoriously burned through equity with criminal disregard for investors. In fact, if you asked most sophisticated

investors they couldn’t tell you how their money goes in to a film or how it comes out. Those folks are gone and

never coming back.

So how do we attract equity back to Hollywood? Notwithstanding the obvious, there are no emerging

paradigms, I would like to challenge somebody to answer this question;

I’m an investor, you have a script and need $5M, tell me how I’m going to make money. Tell me how you are

going to backstop $5M and why the film shouldn’t be made for a dime more. Educate me on the process, how

my money goes in, how it comes out, who the players are, what position I’m in the waterfall and what’s the

breakeven. Hold my hand.

Yes, there are too many variables to consider to answer intelligently but you get the point-start with

transparency. Tax credits are not a forever fix!

With that, after nearly 30 years in the business I’m grateful to have survived and painfully reminded of the


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quote…”There has been an alarming increase in the number of things I know nothing about” and it seems I’ll

have to add film to that list.

#60 Comment By Jack Lechner On July 31, 2014 @ 9:24 am

Great piece, David!

#61 Comment By Gautier Cazenave On September 1, 2014 @ 7:23 am

All very true. And yes, every failure should be examined, because there’s a lot more to learn from them than

from successes (you can avoid making the same mistake twice, but it’s often hard to point out what exactly

made a film successful)

#62 Comment By Guest On September 1, 2014 @ 9:40 am

The talented people I’ve worked, rather than fear failure have always embraced it. As you indicated, there is

more to be learned there. The key is to not keep making the same mistakes.

The only way for artists to push established boundaries is by experimenting and trying new things. Failure is

often part of that. If Godard hadn’t tested a change to standard

continuity editing, we wouldn’t have the jump cut.

#63 Comment By David_K_Greenwald On September 1, 2014 @ 4:07 pm

The talented people I’ve worked with, rather than fear failure, have always embraced it. As you indicated,

there is more to be learned there. The key is to not keep making the same mistakes.

The only way for artists to push established boundaries is by experimenting and trying new things. Failure is

often part of that. If Godard hadn’t tested a change to standard continuity editing, we wouldn’t have the jump

cut.

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