In the last few case studies in our “Myth Busters” series, we’ve looked at films in the $1-$5 million range. But what about films in the ultra low budget range ($250K or less)? Most people argue with me til the cows come home that at these low budget levels, name cast are ‘impossible’. OK sure, BIG name cast are not likely to attach themselves to an ultra low budget film (why would they?), but you can still get recognizable talent at these low budget ranges that will infinitely increase your chances of getting some kind of distribution later.
So my question then is…why wouldn’t you try and package your ultra low budget film with name talent? That’s right – no excuses! 
Enter producer David Stever who did just that with his film The Coffin. He first wrote to me and wanted me to instill confidence in my readers that YES, packaging an ultra low budget film really is possible! So I suggested we do a case study so you could hear it from the horse’s mouth… and here it is below.
As always, any questions or comments for me or David, please write them in the comments section below…. Enjoy!
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What is the name and log line of your film?
COFFIN
Businessman, Jack Samms, comes home late one night only to find a menacing stranger in his home. The stranger, known only as “Trick,” tells Jack that his wife and her lover trapped inside an air-tight wooden box. Trick gives Jack an ultimatum; get him a large sum of money within 75 minutes, or else the couple suffocates inside the box. A dangerous battle of wits ensues as Jack races against the clock to get the money and save his wife, while avoiding the detectives now on his trail. Will he make it in time?
The movie stars Kevin Sorbo, Bruce Davison, Sunny Doench, and Johnny Alonso. Released through Artist View Entertainment.
What is the website for your film (if you have one)?
www.coffinthemovie.com
What is the budget (or budget range) of your film?
Lets just say we fell into the SAG Ultra-Low Budget category!
What is your current financing plan?
We were fortunate to received a commitment from our Executive Producer, Spencer Johnson, of Skyrocket Productions, to finance the film. I approached him at the end of 2009 about shooting a low budget horror/thriller and he made the committment. However, the relationship with Skyrocket was almost ten years in the making. The moral is, don’t burn any bridges! Relationships you make now can pay off years in the future.
What is the packaging strategy for your film and what have you done so far?
For packaging the film, even though we had an equity investor committed, we knew we needed at least two name actors for the movie to have a chance at recouping our money and seeing a profit. Also, having names attached was a mandate from our sales agent, Artist View Entertainment. We worked with Artist View on a previous film. On their recommendation, we hired casting director Ricki Maslar to cast our two name actors. She was amazing and within a few days she came back with suggestions and ultimately we made offers to actors through her. We didn’t have much money to pay her, but she was willing to work with us and we were able to tap into her years of experience. Her contribution was worth way more than what we could pay. We’ll make it up to her by using her on many more projects. I hope!
But, what made it all work was that we shot in Los Angeles. Our actors didn’t have to travel and we only needed them for two days each. So even though many states offer tax credits, if you are real low budget, there is an advantage to shooting in LA. Make it easy for the actors to work and you’ll have success in finding a name or two to work on your movie. For future projects, our strategy will be – if nothing else – to find the money to hire a casting director.
What are some of the obstacles (if any) that you’ve encountered and how have you overcome them (or not!)?
Obstacles – we were very low budget so that is an obstacle in itself. What we didn’t do was have enough pre-production. The lower the budget, the more pre-production you need. We shot for two weeks and during the first week I was still securing some locations for week two. So, do as much pre-production as possible. Your life will be much less stressful during the shoot!
What have been some of your biggest mistakes or wastes of time/money so far?
Mistakes – not doing marketing at the beginning of the project. We didn’t do a web site until we were finished. Even though we had a sales agent attached early on, we should have been promoting the movie from the start. We just recently launched our web site and started a Facebook fan page. Although I don’t think it hurt us, we should have created a marketing buzz early on to help enhance our domestic sales opportunities.
What resources or tools have you found most helpful during this process?
Definitely the Film Specific web site with its wealth of information. Become a member if you haven’t already! Reading the trades, Hollywood Reporter and Variety, and attending AFM for sure. Plus I think I’ve read every book on producing and screenwriting that’s on the market.
If you had to do it all over again, what would you do differently?
As I already mentioned, definitely much more preproduction, and planning and implementing our marketing strategy early in the process.
What are your next steps from here?
Next steps- having a premiere, entering the movie into some festivals for exposure, and looking for domestic opportunities.
Also using this project to springboard us into our next projects. We have three in development that we’ll be shopping/promoting at AFM. Two supernatural horror films, NIGHTWATCHERS, with a script by award winning writer David Saymyster, UNIT 315, script by Mark Garbett (“Midnight Movie” ) plus a thriller, BLOOD LAKE, from my original script. All of these projects are possible because of the credibility we received from getting COFFIN made.
So, in the context of this interview, my advice is to do everything you can to get your first film made. Make sure it’s a genre film with a couple of name actors.You can get names on a low budget film. They might not be A-list, but you have to give the sales agent something to sell. Sales agents and casting directors are very accessible. Be genuine, take the nice guy approach, and people will want to work with you.
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When I attended the Cannes Network producers club breakfast meeting this spring, one hosted by Bec Smith from UTA. I asked her about this kind of low budget engagements from name actors. She actually told me that some actors ended up making more money from low budget features that they became executive producers on (and large profit participants), then some studio projects where they got their regular “studio quote”.
Hi Tomas, thanks for that reminder – great to hear that it came from Bec Smith too!
The big challange – as I see – is the “catch 22″ on how to get financing with no name actors attached and/or how make a formal offer without secured financing … not speak of how to get sufficant development funds with no names attached…
Tomas that’s the thing – the Catch 22 you’re referring to is a myth! That’s what I’ve been writing about for weeks on the blog… check out my other posts…
Another aspect of this is that the number of studio productions has dropped from about 300 a year, ten yeras ago – to less then a 100 a year now. That translates into a lot of name actors looking for work…
Hello, please take a look at this interesting article about the SAG ulra-low burged agreement. Is it really beneficial?
http://www.easy-budget.com/articles/articles.asp?article=ultralow
This project is listed as having a budget of 600k on the IMDB. If that listing is to be believed than this really isn’t a good example of a “micro budget.”
Articles like these would be far more beneficial if you really got into detailed specifics rather than be evasive with a “let’s just say we fell into the SAG low budget category.” A detailed budget breakdown would have been far more interesting. What was the actual budget vis a vis the money you earned back via sales? How much exactly did you pay for the casting agent? Ballpark estimates for how much you paid the “name” talent? Was a production service company involved?
I would like to see an article that shows EXACTLY how and where the money was spent and EXACTLY how the money was recouped over time. This story doesn’t really bust the “myth” because we are not privy to the exact amount spent…And if any money will be recouped.
Rich,
In reply to your comments, the conversation was in the context of having name actors in a movie in the SAG Ultra-Low Budget category. We did that and it can be done. And I’m sure it’s done all the time. No producer is ever going to release exact financial information about his business – that’s privileged and proprietary. In fact, I don’t know of any other business that will release financial information like that. Stacey Parks on Film Specific gives as much industry information as humanly possible. The information, case studies, seminars on her site are invaluable.
As far as money back vs sales – our film is just entering the market place. Our sales agent, Artist View Entertainment, just had the film at MIPCOM and it will be at AFM next month.
As far as paying the casting director – again, that’s proprietary information. The poin tof the entire conversation is, casting directors will work with you. We hired our casting director to just cast our two names. She didn’t cast the entire movie. Just ask. My first offer to our casting director was embarrassing low. But, we talked through what we needed and arrived at a fee that worked in our budget. Research casting directors who are working on movies like yours and call them. Tell them what you need and what you have budgeted. It’s my belief that most will work with you. They want the business, too.
I told Ricki Maslar how much I budgeted for our two name actors and she made that work. Again, as I said in my comments, we made it easy for the actors. We shot in LA, they didn’t have to travel out of town. We scheduled each actor for two days each and it was convenient for them.
No, we did not use a production services company.
As far as the budget on IMDb, that topic is covered in the forums on Film Specific.
My experience is proof that the myth is busted. You can cast names on a low budget. If it pays off, time will tell. But at least we gave ourselves a chance.
Yep, that’s a really great point Tomas – thanks for adding the reminder!
Rich, don’t kill the messenger! David is right – obviously there’s only a certain amount of info that he can divulge…so no need to be so harsh, right?
how about casting non american actors? is there a list of A list Filipino actors? Because these are mostly of our stories are contextually casting american/foreign actors although our film is universal, we just want to apply this principle and put it into practice… how do we address context of a story without having to suffer this element and the “sales/distribution” part ? if not, what other elements can we use?
@Emilia: Thanks for the link to a great article! Really intressting. I guess the best bet would be to not sign with SAG then?
@Rich: Most sales agents makes the producer “boost” their budgets on IMDB, for marketing reasons. Any it’s a big difference on “cash budget” and a budget including deferrals an so on…
@Vanessa: There was an old saying that “there’s no bankable indians”. Most of the bankable cast is unfortunatly white american males. Just look at a movie like BLOOD DIAMOND, that could have been made if the lead role wasn’t written for a white male. Then again, if Di Caprio could pass for a South African, I would guess you could find some A-list actor to pass as a Filipino…
Thanks Thomas. I’ll take a look back at that film. I’ll think about that… language may be a a thing too coz the language is set in Filipino and I am not sure A list actors would learn it easily…
@Vanessa: Lou Diamond Phillips or Rob Schneider.
@Tomas: I know of this “boosting.” In this case, they are most likely tripling their actual budget with the listing on the IMDB.
He’s saying “be genuine, take the nice guy approach” but turning around and lying about the budget in order to fool the buyers into perceiving the movie is more expensive than it really is.
Again, this is a useless article with no specifics as even $200k seems waaaaay too much to spend for Kevin Sorbo and Bruce Davidson.
Rich: Hi there! Wow. I should have that in mind. Thank you very much for all the great help
Will start contacting.
Vanessa
My production company made a movie titled THE TWO SISTERS using the SAG Ultra Low contract. My company financed the project and cast three SAG actors. I was friends with two of the actors: Brinke Stevens and Ron Millkie. And I met Celeste Yarnall at a film festival (networking is VERY important).
I self-distribute the movie. We have screened at film festivals and my script received two Best Screenplay nominations. For marketing I also let people know that Celeste worked on “Star Trek” and Ron worked on FRIDAY THE 13TH. Brinke has made over 100 films and has a niche following. The money is trickling in, and we will recoup the investment.
Right now I am developing another feature titled AFRAID FOR YOUR LIFE. I have written a business plan, and am seeking financing this time. We will use the SAG Modified Low contract. I have cast four actors (all SAG) without financing. Also, we have a composer and an award-winning cinematographer attached.
In conclusion, Stacy is right. It is possible to attach talent without financing. If you write good scripts people will want to work with you. (My screenplay for AFRAID FOR YOUR LIFE has also received a Best Script nomination.)
TDA Entertainment Inc.
http://www.tdaentertainment.com
Hey thanks Terri for adding in your experience. It’s good to hear from others who have been successful in this budget range…
Rich and Emelia are correct. All this fluff and the smoke screen are clear. SAG is nothing but an arm of the major studios to protect them from indie filmmakers. They are a pain in the ass to everyone, including their members, who correctly shown, are 97% unemployed. SAG actors (not leaders) are like heroin addicts or gamblers who think the next big fix is coming because an extremely small percentage of their members actually makes it. If Indie filmmakers could get a huge advertising budget and theaters, indie or otherwise, to show their films, they would not need name talent nor SAG. Remember, name talent were no names until they got lucky, knew someone, figured out a way to star in a major production or slept with the right person.
The truth is, the way to succeed for filmmakers is to get a get large advertising budget for your production, theaters to contract to show your film for a split of the profits, and major media-(make sure you talk with the media that you are advertising in to have their reporters and correspondents write a story about the movie independently, just like they do for Entertainment Weekly, US WEEKLY, People, et al.- advertise with them and they will suddenly have great stories written about your movie-GUARANTEED), and you will most likely succeed. Call a major magazine or media outlet and ask them to feature a story on your movie, and they will all say: “do you have name talent”, or “do you have a distribution deal”. No? F-off. Advertise with them, and they will do whatever you say, almost. COPY THE STUDIOS! It works for them and it will work for you. You can sell a movie about purple dog crap if you have advertising dollars. Anyone who disagrees with this is either: 1. an idiot, 2. Insane, 3. Denying the truth, 4. A member of SAG, 5. A name talent, 6. A member of the media or 7. An employee of a major studio, distribution company, or PR/Advertising firm. Wake up indie filmmakers. Last note: when did you ever see a movie that makes it at Sundance, SWSX, or other major film festival, that is picked up, that doesn’t have a major studio behind it or name talent attached? Rarely if ever. Don’t believe you will get into one of these major film festivals and get picked up…maybe…most likely not. Also, why is David Stever trying so hard to convince you of his position? If he was really a success, why would he care what was said in an internet forum? Would you care if you had made it? I wouldn’t.
Justin, no need to bury David Stever!
One thing you’re forgetting with your formula about media buying is that no matter how much you advertise, people are more like to come see your movie is there are NAMES THAT THEY KNOW in the cast. This is proven every month where some rich indie filmmakers do exactly what you’re saying and lose their shirt. Big media buys DO NOT equal success at the theaters so to say this method is ‘guaranteed’ is definitely flawed.
However, thanks for the discussion – it’s good to have different points of view on here….
Stacey, I disagree. Yes, there are indie filmmakers with ad budgets that fail every month. The major studios (taken as a whole) have major motion pictures with name talent and huge ad budgets, for every project, and their projects fail every month too, but most of the time, the formula works for them. You do not need name talent, nor SAG for anything. Indie filmmakers who have large ad budgets and numerous exhibition outlets will succeed most of the time. Indies who produce not one, but several movies with that formula, will succeed most of the time. The truth of the matter is there is a formula that works for the studios most of the time which excludes most indie filmmakers. The best solution would be to have name talent, NO SAG agreement, your own agreement with theaters (and other outlets for distribution), and a large ad budget. Why can’t SAG contracts with real name talent be altered per your own project without all the restrictive rules? Why are so many name talent, SAG members? Why don’t they opt out? Do they really benefit from being members of SAG? If so, what are those benefits? I am not trying to bury David. I am pointing out that most indie productions fail, while most major studio productions succeed, and I believe the reasons are: the stranglehold and influence the majors have on the industry- SAG interference, the cozy relationship the media has with major media outlets, meaning the major studios consistently advertising with the major media, and the media consistently feature non-advertorial articles about the major production studios projects, and influence over major film festivals.
Thanks to Film Specific for such a candid exchange of really interesting ideas and experiences! I have a SAG Ultra low budget comedy, and I’m still trying to figure out how to position it–but I can see from this discussion that Actors with any name recognition may be of help.
A little due diligence is in order here…
Terri: “The money is trickling in, and we will recoup the investment.”
According to the IMDB, your movie was released in 2007. The money is “trickling in” four years later?? The actors you mention are far from being recognizable and bankable names. Brinke Stevens is a long forgotten “boob flasher” from the 1980s. The other two actors you mention are not household names in their own household.
This had to have been a very, very small investment.
David: “In fact, I don’t know of any other business that will release financial information like that.”
Huh? You ever heard of the SEC? Publicly traded companies have to release finances…Indie film production companies don’t. That’s what so frustrating about dealing with movie people. We prospective filmmakers have a lack of intel with regard to market rate pay scales for talent as everyone plays it close to their chest..For good reason…No one wants to admit that they lost their ass…
I respect your refusal to disclose the economics of your project but frankly that is the only thing that would be worth discussing. You had limited funds but still found people who had the time. Congratulations but that is not an exceptional experience.
Stacey: ”Hey thanks Terri for adding in your experience. It’s good to hear from others who have been successful in this budget range…”
Again, Terri is NOT a success in this budget range. We’re talking a budget of low six figures, correct? With marketable actors, correct? She had neither and is selling her movie for $4 on a video on demand platform.
Anyone can go signatory, post a casting call and attach SAG talent…you’ll even receive some marginal name talent submitting..I am not really disputing the “myth” of attaching talent without financing…But there are two false assumptions at work here. Are these folks actually making any MONEY with their name talent?? If not, than they are NOT worth the time! No one wants to disclose their financials. But we on this forum are expected to believe these folks are “successes” simply because they attracted whom they consider to be name talent. Another assumption I see a lot is that the filmmaker is using that film as a springboard to bigger and better projects. Again, no proof is given, just talk of a prospective project where again, it just appears that another investor (sucker) was found and the cycle repeats.
Rich,
My movie has been earning money since 2007 when it was released, so for the past four years people have purchased it, which is why I used the word “trickling.” IndieFlix very recently made the change to solely stream movies. Previously, they sold DVDs for $9.95. It is a non-exclusive deal, so we are able to seek other avenues.
I did make it clear that the actors I chose were SAG and we utilized the Ultra Low contract. I did not use the word “recognizable,” but stated that Brinke has a niche following; she still makes a lot of movies.
I hope this clarifies any confusion.
I think its possible we made this film in the ultra low category and we secured some pretty great actors. http://youtu.be/gEe3mZi6MOo?hd=1
Just popping in late to say this movie looks great, and should have a lot of market potential.
What’s your current status with it?
Blair Witch Project was low budget. A bmovie titled, Revelation, released in early 2000 was way much better than Da Vinci Code.Y Tu Mama Tambien, City of God, Slumdog Millionaire, 3 Idiots, The Kite Runner, are just one of the many few non-American films that made it. Now that inspires me writing a screenplay set in my island.
this is my story…
http://orpheuscult75.wordpress.com/2011/10/07/my-15-year-journey-on-becoming-a-screenwriter/
I’m planning on making a feature for around £10,000 in the next two years, I wouldn’t mind making my money back at least,) From what I’ve heard there is still a DVD market out there if you get distributor. And I’ve contacted some people who have made a profit from i-tune sales. I guess its all about the marketing. Hopefully with over 2 years for me to prepare for it things will work out well. Ow and by the way your site rocks!X
I just finished directing producing ect ect film The Tell Tale Heart. Id love to do a interview like the one above but talk specifics and reality. We worked on a small budget and got amazing stars and names. Talk soon I hope-
JL