If you’re here, you’re probably interested in independent movies. You may even want the same thing to make independent films. So why not do it? Too many filmmakers sit on the sidelines. They try to make that dazzling short film. They work their way up in various industry jobs, hoping to catch a break. Even if they have an amazing script, they wait on producers and financiers to say yes. Or they go to film school. But when you’re a first-time filmmaker, you’ll learn more making your first feature than any of these paths. And unlike most so called “indie” films, you don’t need millions of dollars, recognizable actors, or even a real movie camera to make your first feature. You just need to follow the Ultra Microbudget (UMB) production model.

First things first. Wtf is “Ultra” Microbudget? Maybe you’ve heard about Microbudget Filmmaking—probably even from HV! We’re going to make it simple. It’s less than $100,000. Maybe significantly less. Why so low? Because it’s an amount you should feel confident you can raise without waiting endlessly for big name producers and financiers to say yes. We came up with this from our own experience, and from the disagreement in our panel discussion on microbudget filmmaking (which you should watch if you haven’t yet). Don’t say you can’t make a good movie for this amount. Lots of people have. Probably some of your favorite directors started here. You might need some luck to really strike gold on one of these projects, but you’ll learn more than you would in film school and be that thing you always dreamed of… a real filmmaker. Still, there are some parameters that will help you at this budget level.

Have a tiny crew and a manageable cast, with everyone willing and able to do multiple jobs (or to learn how to do whatever’s necessary). Believe it or not, you can actually still pay all your actors and crew at this budget level if you’re efficient! If your star isn’t in this scene, maybe they’ll help the cinematographer set up the lights. Your producer will likely be the project’s assistant director, unit production manager, and unlicensed therapist. Who should grab lunch? Whoever isn’t doing something important. Even if that means you today, writer/director/star. Think about the resources that are available. For instance, who among your family and friends has a house or apartment where you can film? And use them. Maybe even incorporate them into your story. Pretend it’s one of those cooking shows where you make a meal out of the ingredients on the kitchen counter.

Working at this level also means being open to collaboration. With all due respect to the French New Wave, the auteur is so 20^th century. Good ideas can come from anywhere. If your assistant director has a good idea for a shot, listen to them. Who cares about the “assistant” in front of their name? If your actor can’t seem to deliver the line how you want it, consider changing the line—maybe even ask them for their input. However, don’t let your star—or anyone—dominate the project. Collaboration means you don’t have to put up with prima donnas. Nobody’s ego should get in the way.

Now, there will be sacrifices. And not just in what’s available to your project during filming. Chances are, your ultra microbudget masterpiece won’t be playing in IMAX. It probably won’t be in any traditional theaters. That’s okay. We need to think beyond theatrical distribution to find audiences. Most people stream. And there are a lot of ways to stream a movie. Maybe you self-distribute on a digital platform. Maybe you try to release your film through a smaller platform or film aggregator. Maybe you use a hybrid model of in person and digital screenings. If you really want to have your film on a big screen, there are film festivals. Don’t be disappointed if your film only gets into smaller festivals and doesn’t get a million-dollar multi-theater distribution deal. It’s publicity for your project. Put those laurels on your poster art. And if a one-time festival screening isn’t enough, consider booking an independent theater in a targeted market. Promote the hell out of your film yourself.

And yes, you will have to market. Set aside both funding and time for marketing. It’s one of the biggest mistakes made by indie filmmakers, who think all they need is a production budget. In some ways, it’s the best of times to market. Social media makes it easy to reach millions of potential audience members and find niche communities. We’re not going to defend the overall value of social media, but it’s a necessary evil for ultra microbudget films. There’s almost no point in making a film unless you can find an audience to watch it. All the people who worked and made sacrifices for your film want others to see it too. It’s a collaborative effort, so having people see it is the goal. 

Lastly, educate yourself. Watch movies that have been made at your budget level. See what they were able to do. Don’t be afraid to steal copy borrow ideas, shots, lines, characters from any films that challenge and inspire you, even if they had bigger budgets than your project. And read. Not just books about film and filmmaking, though the Hitchcock/Truffaut interviews are always worth revisiting. Read novels, short stories, plays, poetry, philosophy and history for insight into human nature. Read non-fiction for research. We don’t create new ideas from our internal genius, we discover and build on the stories, characters, and works of art that have come before us.

The most important thing to remember: HAVE FUN MAKING YOUR MOVIE. That comes with gaining true independence.

Photo Credits

Woman Light Film by Roman Kogomachenko from Pixabay

Forest by Bryan Craddock from Pixabay

Lemonade Stand by ErikaWittlieb from Pixabay