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INTERDEPENDENT FILMMAKING: THE NANO-BUDGET ENDEAVOR

How does one define themselves in the new and constantly updating market? How does one grasp the needs of the audience and provide what they want (as their wants are shifting because of costlier needs)? How does one set themselves above 95% of the content that is available to everyone else and their sister on the internet? How does a film, or series, or show, or company brand themselves in such a way — that first time audiences are retained (and become long-time audiences), and new relationships are built through word-of-mouth and social networking?

ADVERTISING, MONEY, AVAILABILITY: NOT THE ANSWER.

With instant availability on a number of devices, and everything on the internet using these three items (Ads, $, Saturation) to carve their head-space in your mind for their hot new thing – there will be in our common future a profound struggle for cinema as art to survive. Exacerbating the situation is the growing (& willing) mass delusion of giving/getting something for “free” on the internet. Sure, Art (and the creation of it) has always needed benefactors to support the artist (be it a motion picture studio or Van Gogh’s brother), and IMHO truly great art has come out of struggle as well as support. But there has always been (since man began to appreciate creative forms of expression long ago) a historical struggle for art to survive in the marketplace, to become self-sustaining. The future will be no exception.

In this day and age, the cloud of websites available for new forms of thought, expression, and creativity in the medium of film are growing exponentially. The technology has made it so, and above that – the ability to get that little art film out there (and get it seen) will become ever more prevalent as anything becomes possible. And millions of people will get to see these forms of expression that would never have otherwise. This may be obvious - but is it also obvious that the amount of material out there endangers the truly good art films? Shorter, bite-sized attention spans will undoubtedly lead to shockvertising in and around films on an impressive scale, and short films that deserve merit will never be seen for that poster or video thumbnail that ‘made you click’. There is just too much to pick from for the average viewer, and those that would rather be ‘thrilled’ are not the ones we’re trying to build a lasting relationship with. So how do we build a bridge to the ones we want?

With shorter attention spans, and greater amounts of video to choose from and a constant barrage of new things to check out, share, social network about – the question for the interdependent or independent filmmaker alike is: how will your film get seen, how will your artwork float above the deluge of sub-par forms of expression (be it bottom of the barrel YouTube videos or just plain faux-art, hack films emerging everywhere?) So even in a marketplace where everything is available to the masses – we find ourselves asking still: how can our little original passion project rise above everything? … Advertising? Money? Availability? No.

INTERDEPENDENT FILMS = R.G.Q. ; NANOBUDGET = R.G.Q

The struggle for any artist is the same as it always has been. And the same aspiration for any real artist (i.e. to continue to deepen and refine their art-form by fully exploring themselves and this experience of life spiritually — through film) will be the same into the future. And ultimately, how cinema that is art will rise to the top of the web world is the same as it has always been, and will forever be: REAL GENUINE QUALITY.

Just because it’s a inexpensive film that you’re going to likely distribute primarily on the internet, doesn’t mean it has to look cheap, feel cheaply made, be presented in this careless way. Just because there wasn’t enough money to pay the actors up-front, doesn’t mean they can’t give you a performance of a lifetime if you work with them (and not try to puppet them around your camera with brick-wall sentences and dialogue that ‘pops off the page’ but bogs down the acting). Just because you have no money – the interdependent filmmaker knows that having no money is no longer any excuse for not making a quality film.

Sabi Pictures co-producer Zak Forsman and I knew this going into White Knuckles as well as Heart of Now. There certainly wasn’t enough money to work with from the very beginning - but we took a budget and stretched it as far as it could go by working together on the journey, and evolving with the changing experience and with our fellow artists. And it was the effort of every individual involved that made the experiment what it was. It’s an interdependent film if its taking us on a deep, worthwhile experience - that is authentic enough to stand out on its own (rise to the top because of its RGQ). It’s interdependent cinema if the filmmakers are taking a bold creative risk in making the film in the first place and despite everything - giving the film their all. Its interdependent cinema if its a passion project for everyone collaboratively and creatively involved, not just the director or producers. Virtually the same definitions could be applied to ‘nano-budget’ filmmaking — it’s not about making films on the cheap, it’s not about making compromises… it’s about achieving RGQ by working in harmony, i.e. interdependently.

NEXT WEEK: THE NEW HD: VIVID, ORIGINAL CHARACTERS

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THE EMERGENCE OF THE NANO-BUDGET ART FILM.

Independent filmmakers worldwide are presently deciding in huge numbers to invest in their own stories, embark on their own intimate character pieces, and make their own self-funded, fully viable feature films. Some are presently re-writing stories to be made (or refashioned) into original, honest and provocative passion projects that can go into production now - and relatively cheaply (with care). Filmmakers worldwide are realizing that they no longer need to wait for the financial backing of a production company or studio – but because they are in fact intending to make their film small and for the nouveau niche market – it only makes sense to D.I.Y. (And much to the dismay of those understandably wishing to continue to make an honest living from the old model - it’s happening all at once and everywhere).

Once just the realm of documentaries, making a movie with a small, fully mobile, tight-knight crew is the new way to make feature length narrative fictional films. The technology has allowed us to unite as filmmakers and artists (and collaborate on ideas), and it has allowed smaller cameras on set, more intimacy, better post-production work-flow, unlimited social media potential, and has given birth to young tech-saavy artists that are in fact the new breed of movie makers fueling this new kind of storytelling. We are presently witnessing more original and provocative ways that artists are getting their stories to their audiences – and this actually may be the most innovative and remarkable detail to the new world of cinema before us: creative marketing & self-distribution.

I imagine that discussions about film as art, entertainment or product will no longer be pertinent and will eventually fade away (as everything will soon be free and at our fingertips). After this, what (besides the numerous sensory pleasures provided by film) will matter to the world and our audiences more than an original, engaging, good story - honestly told?

Though such a new model is our inevitable future, it will bring perils with it too – as advertising and sponsorship will likely become the sole engine by which many new artists will drive their vehicles - compromising completely the art which they intended to express) but in our current times, it is thepresent reality that great independent films of today can’t be written or packaged to pedal around the market till someone “buys it” and greenlights it for production. Great independent films (today and those of tomorrow) will have to be made at low-cost, homegrown, self-marketed, and strategically and ingeniously promoted – all in conjunction & in collaboration with everyone involved in the production. The ready availability of the technology worldwide, and a deepening frustration with the content that is out there on the web (far from art) likely will be the necessary final push for those of us on the precipice of the plunge.

I can’t help but celebrate the emergence of a new generation of young artists willing to take the risk for the love of the project and not fame, fortune, or promises of financial return. When Sabi Pictures co-founder Zak Forsman and I were 12 we were already shooting movies on our VHS camcorders and cutting them using two VCR’s. I’m confident that the new breed of filmmakers arriving tomorrow have been shooting HD since grade school, and have a reel by the seventh grade. This is exciting. But the truly most exciting aspect of this creative revolution brought on by all the new liberties granted by current technology – is the emergence of a new cinematic art form from the old – a new kind of filmmaking that has shed itself from the costly constraints of the past. An entirely new process that is fashioned on social collaboration, problem solving, and sacrificing for the love of the project and working “in the moment” to learn from the experience and create something honest and original (and not solely to satisfy individualistic dreams, goals or ideals).

The new independent film is really “interdependent”.

Kevin K. Shah

co-founder

Sabi Pictures

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