Screw it! I have 20k And im Making my Feature!

Nathyn said:
I still think you should shoot something for maybe $1000 first and then go for it. It's so much to learn. If you can shoot on $1000, then shooting on anything more is a snap.

-Nate
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I second this. It can be easy to get sucked into spending money. You don't necessarily have to spend 1k, you can go 2 or 3 if you need to. But I think Nathyn is right about making a cheaper movie as a learning curve (at the very least). I just made a feature for about 2k, and I think if I had been more careful about spending, I could have made it for about $1,500 and had an extra $500 for festival submission fees, a press kit, etc. Just keep in mind that you don't really stop spending money after you've finished filming. There will always be things you need to pay for after, be it copyrighting the film, buying a domain name, web space, festival submission fees (if that's the route you're going), business license, etc. And if you can make a decent little film for just a few grand, you'll still have a lot leftover to even promote and distribute yourself, or to even make another movie. I haven't read through this thread, so maybe I'm just repeating what others have said, but that's just what I've learned after making my first feature, and I thought I'd open you up to possibilities that maybe hadn't occurred to you. Good luck with your project.
 
Duran,

Before you spend 20 grand, perhaps some contemplation about this story?
"Synopsis:
​
Chris Melody is a street thief and hustler with little goals and nothing going for him in his life. After looking at one of his ex classmates on a magazine and noticing all the success he is having in the music industry. He starts feeling really confused as to why he has done nothing for his life and so decides to quit his life of crime.
​
While out and about looking for a job. He gets hired at a run down diner and there he meets Justin. A super talented beat producer wasting his time washing dishes. The two connect, and team up to make music. Where Chris is going to use his life experiences and bring it to life. When the local "it" rapper discovers Chris' new and more commercial style of music is climbing the ranks at local clubs. He wants chris out of the game for good. Chris has then to decide if he wants his music or if he wants to invite the trouble in"
​
The opening, frankly, sucks. A street thief decides to get a job at a rundown restaurant? This is supposedly a step up, on his ladder toward stardom? Not feeling it.

This synopsis probably doesn't tell us much, but it does seem to show that you have a rappers being rappers kind of story. So, why should I give a damn about Chris? What makes him so special? What happens if he forgets rapping and does something else? Of what consequence is this story? What's the hook?

I have to admit I'm not in your target audience. I would not be satisfied with a little rapper melodrama. Not my cup of tea. But, why are you making this film? Of all the possible stories you could bring to the world, why this? Is it simply because you personally know a rapper to play the part?

It's a rough place, the Dominican Republic. Good location for all sorts of dramas, real political situations, real extreme poverty. There's enough fertile ground that you don't need to redo "Eminem," or "50 Cent."

You could tell a uniquely Dominican story, perhaps in a way that makes it accessible for the rest of the world. You could even do a documentary on the Dominican music you are familiar with. I guess what I'm saying is that it doesn't seem new or different enough, and it will likely be lost in a sea of competition -- unless you have a really talented musician and this is a "star vehicle" to showcase them. In that case, just ignore me.
 
I disagree. It's a timeless story that will always have an audience, but it's simply not one I would spend $20,000 to tell. It can be told for much less. If I have $20,000, I'm going make something as close to big budget as possible, but then again the question is what's close to your heart. If this is what's close to his heart this may be his best work. For the most part, dramas can be told very inexpensively.

-Nate
 
I'll give you a better opening.

He's a street thief. He targets some well off tourists. Snatches something -- but the alarm goes out. A huge chase, the paramilitary police run him down, beat the **** out of him, throw him in a cell.

While in jail, healing, he works on his raps. He develops his style and lyrics with a sense of desperation and simmering anger.

In jail he hooks up with a former music producer. The producer hears him practicing his rhymes, becomes interested.

What's his goal?

To become rich?

Famous?

To put Dominican music on the map?

To help his people?

To overcome his disabilities?

To feed his kids? His brothers and sisters?

Make it about more than ego if you want people to care about the hero's plight.

Perhaps the first shot is waking up in a squalid shack with nothing to eat, while several children sleep. Or perhaps, the children come to the jail later, complaining of hunger.

Perhaps it's not hunger but some other equally horrific problem. The point is -- he's doing something for someone other than himself.


I disagree that a guy who just wants to rap is a "timeless" story that guarantees an audience. It needs something more.
 
I think the original concept works great.

Don't listen to everyone else.

Filmblog, I understand you're trying to help but your idea sounds a little too by the numbers and predictable. You even threw in a chase sequence.

Why can't the main character just want to do something for himself? Why does he have to be the most likable guy doing something for kids? One of the greatest things about Raging Bull and District 9 was the fact that the main character wasn't completely likeable.

I also believe 20K is a great budget. Not big at all but enough to get **** done. I'm finishing mine for around 7K right now. After you spend money on a great DP, Editor, pay your actors and crew so they'll show up, feed everyone, marketing, festival, etc. then you'll realize that 20K is just enough to get it done.
 
You CAN do it! Try to do it for free first, and then use your money only when you absolutely have to. It will go so much farther that way.

Use webs of influence. Borrow a camera and equipment and then pay back the person later with labor on their project. That saves you loads of $$.

Bounce your script off writers you know. Take all of their advice and incorporate or or dump it depending you YOUR vision. You simply MUST have a good script that is snappy, exciting, and possibly has a twist at the end. If you have a poor story, it doesn't matter what you spend... You will lose your investment.

Get an organized person who will act as a line producer. Get someone, preferably a friend whom you trust, has the vision for your film, does not need to be watched over, and will creatively add by locating sites for filming, and will doing whatever it takes. They must know your vision for the film. This person is a key to success. For STRICKEN that was my role.

Get a dedicated but small crew. You have to have an AD on set to take care of the crap and free you from it. Mix roles in your small crew. Make sure you find someone who can build and construct anything and add them to your team.

Get a talented boom operator and get great sound. Never settle on anything!

Don't be bothered by, or afraid of multiple roles. On STRICKEN, Matt Sconce was the Director, the DP and also, when needed, a steadycam operator, crane operator, line producer, gaffer and grip. Troy Ruff was the AD, sometimes a cameraman, a gaffer, a boom operator, and a grip. I was the gaffer, keygrip, art director, best boy, boom operator, rigger, costuming, dolly grip, special effects, stunt driver, electrical, editing assistant, maintenance, craft services, truck driver, line producer, and executive producer. We had others that helped with numerous jobs when available. At one point we had a crew of over 15 persons, at other times, it was Matt, Rachel the makeup artist, and myself.

Be the leader of your team and get them all to work for credit or only a small amount of money. When you make it, be loyal and have them make it too. I would work with any of our STRICKEN team anywhere, anytime on anything. They were great! I will ask them to work on our next project too which will make hopefully big money for them. Also, have the team all contribute to craft services at each location.

Don't listen to anyone who says you can't do it. The times are changing and you CAN do it. I am very excited for you! :kali:
 
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