Can someone answer these two questions?

[Kid_Filmmaker]

I have two quick questions:

1) If I have an indie film starring maybe only one recognizable actor from a hit 90's sitcom and the rest of the actors are somewhat recognizable, would that make my film hard to sell to distributors or even get into theaters? (and please don't tell me the odds or chances of getting an indie film into theaters are slim to none, I already know this but I still am curious).

2) How do I get a SAG actor in my non-union film and I don't want to go union because I read this article that gives all the reasons why one should not make their film union. So how do I cast a SAG somewhat recognizable TV/film actor in my non union film?

 

[David Jimerson]

1) Having one recognizable actor and the rest being somewhat recognizable actors would be a good problem to have for a first-time filmmaker. Why would you think it would make your film hard to sell?

2) You likely won't, unless it's a work a particular actor simply really, really wants to do. It's going to be a tough sell.

Now, I have to put on a moderator hat and ask -- you've asked a lot of questions which seem unlikely for a first-time kid filmmaker -- you've talked about having some pretty big budgets, you're talking about getting recognizable actors -- is all this actually happening? If so, how, exactly?

 

[Kid_Filmmaker]

Well I am a first time filmmaker and right now I'm working with a screenwriter to write up the story I want to film and so far, it's going great and I'm excited. The actors I want to cast are more so than likely not going to be a problem to cast - however the SAG actor I wanted to cast in the lead - I think that will be hard to do since I am a first time filmmaker but yes I definitely plan to make it happen, just right now, it's still in the screenwriting phase but I thought I'd ask this question early on. I don't have any budget right now, I plan on trying to make the film for as low as a budget as I can without it making the film seem and look cheaply made....However yes this would be my first feature film. ever, so I am kinda new to the feature filmmaking thing.....

Also I thought having one recognizable actor and the rest being somewhat recognizable might make my film hard to sell because I've heard most distributors want to see and pick up films that have actors they know as a household name in them not ones they've seen in one or two films or ones that were a big hit in the 90s and maybe a hit just on DWTS....

 

[Barry_Green]

If you want to know if you have a sellable package, call some film distributors and ask them. They're the ones who would be buying, after all. If you tell them you have a (for example) family drama starring Bob Saget, they'll be able to answer in one second flat as to whether they'd be interested in buying that or not.

When talking about distribution, filmmakers often get caught up in all the wrong things -- worrying about whether an actor will appeal to an audience, etc. You aren't selling to an audience. The audience isn't your customer. The distributor is. So ask them. They'll tell you.

One thing indie filmmakers don't seem to understand is -- the distributor is there to help you succeed. They desperately want you to succeed. They see so much garbage and utterly unsellable tripe made, and it's nothing but a profound waste of time and energy, whereas if you'd give them what they wanted, they could actually make a deal. Sure, they may rip you off, but they want to rip you off with something successful, right? They know what sells to audiences, because it's their job to sell to audiences. It's your job to sell to the distributor.

So just ask 'em. The "flavor of the month" changes all the time, some times horror is big, sometimes horror is box office poison. Sometimes action is hot, sometimes action is in a glut. So tell them what you're planning on making, who you're planning on having in it, and whether they'd be interested. They'll tell you.

 

[j1clark@ucsd.edu]

2) How do I get a SAG actor in my non-union film and I don't want to go union because I read this article (of which I posted below) that gives all the reasons why one should not make their film union. So how do I cast a SAG somewhat recognizable TV/film actor in my non union film?

You can always use a SAG actor in your non-union film... the SAG actor may take a hit for working non-union... and many don't want to go Fi-Core, which allows them to work in union jobs.

There is the 'New Media' option with SAG. "New Media" being define as content destined for first release on mobile devices, and similar. From various posts and readings, if you 'first distribute' on the mobile devices, you can take your film to theaters/fests.

The other issue with SAG is that for non New Media projects, they load up the production with 'debt' before the cameras start running. Which then has to be sorted out when money does come to the production.

The problem with SAG for a person who has no real 'business' is that they want business documentation, that is budgets, time cards, whatever. Many 'no-budget' filmmakers are far more casual about actual business accounting for that.

The other issue of course is that many no-budget filmmakers have visions of being able to see their film in theaters nation wide... which is almost never becomes the reality...

 

[Patryk_Rebisz]

I was attached once to shoot a film with a "nobody" - James Franco - and the producers kept on waiting for someone bigger. The VERY day the production fell apart he was nominated for an Oscar... The lesson: today's nobody could be somebody tomorrow.

As to expand on what Barry said above, making a film takes LOOOONG time so because the "flavors of the month" change every month something that could be a totally salable commodity today will mean very little in a few months. That's why filmmaking is so difficult to predict - all the people in the know can easily predict what would sell in the immediate future but nobody has the proverbial crystal ball to know how things will be like when the film ACTUALLY gets finished.

 

[Kid_Filmmaker]

Thanks

Thanks

If you want to know if you have a sellable package, call some film distributors and ask them. They're the ones who would be buying, after all. If you tell them you have a (for example) family drama starring Bob Saget, they'll be able to answer in one second flat as to whether they'd be interested in buying that or not.

When talking about distribution, filmmakers often get caught up in all the wrong things -- worrying about whether an actor will appeal to an audience, etc. You aren't selling to an audience. The audience isn't your customer. The distributor is. So ask them. They'll tell you.

One thing indie filmmakers don't seem to understand is -- the distributor is there to help you succeed. They desperately want you to succeed. They see so much garbage and utterly unsellable tripe made, and it's nothing but a profound waste of time and energy, whereas if you'd give them what they wanted, they could actually make a deal. Sure, they may rip you off, but they want to rip you off with something successful, right? They know what sells to audiences, because it's their job to sell to audiences. It's your job to sell to the distributor.

So just ask 'em. The "flavor of the month" changes all the time, some times horror is big, sometimes horror is box office poison. Sometimes action is hot, sometimes action is in a glut. So tell them what you're planning on making, who you're planning on having in it, and whether they'd be interested. They'll tell you.

I was attached once to shoot a film with a "nobody" - James Franco - and the producers kept on waiting for someone bigger. The VERY day the production fell apart he was nominated for an Oscar... The lesson: today's nobody could be somebody tomorrow.

As to expand on what Barry said above, making a film takes LOOOONG time so because the "flavors of the month" change every month something that could be a totally salable commodity today will mean very little in a few months. That's why filmmaking is so difficult to predict - all the people in the know can easily predict what would sell in the immediate future but nobody has the proverbial crystal ball to know how things will be like when the film ACTUALLY gets finished.

Well these answers helped me understand a lot, thank you. I mean I know the chances of having my film in theaters nation-wide is a pretty slim chance to none (however most people - from what I've read are going to VOD and other resources to watch movies these days - instead of paying $15-$18 to see a movie at a theater so VOD might be a better resource/dream for me than the dream of having my film in theaters when a lot of people aren't going to the movies anymore because it's so expensive and I hear VOD and online platforms are becoming more successful than theaters) but I want to make sure my film gets distributed despite the film not having Ryan Gosling, Leo DiCaprio , or Drew Barrymore in it you know? But the actors I have mind already are not - truly known - well at least the actor I have for the lead character isn't like truly known but he's a damn good actor. I mean, he could act out the yellow pages and make it believeable and that's what I think is one of the things that helps makes a great film - truly good and great actors.

 

[Patryk_Rebisz]

The only thing that truly helps selling your film is... Making a GREAT film.
A chance of that is close to zero thus much of conversations about selling your film on these boards is about what it takes to sell a REALLY GOOD film (there are plenty of really good films out there = you have nothing or real value).