InsIder’s PoInt of VIew: ProducIng
realistic alternatives, I was eager to take on inexperience forcing us to compromise our and searched for the right fit, someone who
the challenges, get my hands dirty and buck regained freedom. Missed from our studio could manage an incredibly aggressive
the system, kind of. productions were the professionals with shooting schedule of only 25 days, over 70
It was refreshing to once again have the decades of hands on practical experience in characters and hundreds of extras throughout
freedom to make choices without the studio the science and art of crafting a movie, the the shoot. Deanna “Dee Dee” Stadler,
step-parent potentially second guessing our power of the studio to get agents to get a second AD that had worked with us on
every move. From casting, production design, scripts to their clients and the dollars to our last two studio projects had absolutely
crew selection, location and scheduling, get them on board. no experience as a first and would never
we became responsible for our decisions, However efficient we were, more shooting pass the studio litmus test. However, her
answerable only to ourselves. As we got days, more film stock and the ability to get impressive experience on really challenging
started, I realised how the independent our big production value stunts, design and studio productions like Hulk and Men in
process was efficient and well planned, special effects had to be reduced to bare Black II, and knowledge of how we worked
primarily because it had to be, but the net bones minimums in stark comparison to gave us the confidence to take a calculated
result being a cost effective and timely our studio financed films. There would be risk. One of the best decisions we made.
approach to the creative process. No red no big dance number with the cast and Our Director of Photography, Robert
tape and no budding reality show starlets crew to some chart topping pop song as the Barocci, had worked with us from our very
cramping the casting sessions. We were credits rolled. Scariest of all was, and is, the first film, and had become a member of our
family, not as a DoP but moving up
progressively from AC to camera operator
and so on. A true independent with only
one feature under his belt as a DoP, but
intimately experienced with our material
and great relationships with all of us. A
gigantic studio risk; a slam-dunk for us.
We were putting together the best of both
worlds in each stage of the process.
What resulted, we hope, is a commercially
viable, independently created film with the
insights from our studio experiences and
relationships balancing the independent
spirit and creative integrity that comes
with it. Some high profile stars mixed with
incredibly strong up-and-coming talent all
made for a price.
We have come full circle, now having to
once again peddle our wares through the
festival circuit hoping to garner distributors’
interest. Creating artwork and posters
Kevin Heffernan (L) and Richard Perello on the set of
Broken Lizard’s The Slammin’ Salmon without the muscle of the conglomerate
marketing team and utilising gumption
and a little pounding the pavement as our
able to look at talent for their ability to continued doubt that as much time, energy strongest tools. Maybe back to Sundance or
make us laugh, and only secondarily to their and money we have all invested in the film, Toronto or Austin to find our audience and
pay TV potential in Bulgaria. there is still absolutely no way of knowing ultimately to find a home.
We met with a creative team that was if anyone will ever get the chance to see it. Studio or independent? The positives of
truly passionate about their work and their The studio’s investment at the early stages being financed by a studio are enormous.
desire to be involved in ours. We could hire of the process of a project provides an More resources, a sense of security and, in
crew with enormous talent but few big enormous amount of enthusiasm and almost sincerity, access to executives and professionals
studio credits, professionals we considered guarantees that the film will find its way to with a great breadth of experience and
family, as we’d all come up together making audiences—if only to recoup what has insight into the filmmaking process.
beautiful somethings from practically already been spent. Maybe it’s my getting Independently, we gain a sense of creative
nothing. Negotiations were relatively simple: on in years, but admittedly, I longed for freedom and a forced efficiency.
“This is all we have” responses were rapid that peace of mind throughout the process. In reality, it comes down to this: find
fire allowing us to move without the I looked at being back in the independent your best possible creative material and get
excruciating delay of the attorney, agent, arena as an opportunity. What I found was, it made however you can: the mantra of the
manager, studio exec negotiation quagmire. having the luxury of experiencing both independent filmmaker, and as I have come
For the most part, everyone was happy to indie and studio productions, we were able to realise, my job description no matter
be with us and dedicated to delivering to incorporate some of the pros and cons of where my car may be parked. Alas, we are
something we could all be proud of. both worlds into the process. A great still just the glorified car salesman, but
Of course, choices were often tempered example was hiring a first assistant director. now on a better lot, not with used cars but
by the reality of independent filmmaking: With little money to attract the seasoned luxury vehicles, and lattes replacing the
no money, no might and, at times, ADs we had come to depend on, we searched “coffee, regular.” n
www.moviescopemag.com 53
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