To kick off this article, I’m going to give four examples of personal experiences working in the independent film industry. Two will be positive, two will be negative. Going forward, I want you to remember that there are two sides to every story and two ethics to every production; whichever groups you come across are a toss-up.
Experience 1. Years ago I donated to an Indiegogo campaign for a slasher flick filming in Virginia. My donation was enough to warrant me the title of associate producer, and the makers of the movie showed their appreciation by listing me on the back of the DVD cover art as well as having my name listed in the film credits and on IMDB.
Experience 2. A short, romantic comedy (that never was released) had me come on board while I was still attending film school. I did everything from lighting to holding the boom mic to transportation to even jumping in as a featured extra. I was listed in the credits several times for the jobs I had performed.
Experience 3. One feature length film I was cast in needed a little extra help behind the scenes. Over the course of the eight days I spent on set I filled in the blanks for crew members with lighting, set creation, minor casting details, script supervision, and lots of craft services. When the movie screened at its premiere I was shocked to see my name only mentioned once for the speaking role I played.
Experience 4. Not too long ago a friend from school asked me to help out on a short, zombie title he was about to shoot. Once again I did lighting, script supervision, coached talent on how the director wanted lines delivered, crafts services, and minor special effects. As the film moved into post-production I was notified that I would not be listed in the credits. These were the exact words spoken to me by the writer, director, producer: “I’ll only give you one credit, as a producer, if you use your strings at Horror Society to get me into a film festival.”
Times are hard out there, I know it and you know it. Even in the midst of all madness this world has to offer, some find solace in doing what they love to do. In this instance I’m talking specifically about working in independent films. Indie films may lack typical Hollywood value and glamor, but those casualties are more than made up for in the form of friendships, developing your craft, doing something that truly makes you happy, and expanding your resume.
Again, times are hard out there and independent films often have a budget under ten thousand dollars. Why do you think so many filmmakers turn to campaign sites such as Indiegogo and Kickstarter to help raise extra funding? I can name several directors who would go two weeks eating nothing but Cup O’ Noodles so they could use that money towards post-production costs. If directors are pouring all their gas and grocery money into their creations, then how do indie workers – both cast and crew – expect to get paid?
A surprise Lionsgate distribution deal aside, the odds that independent film workers will get a cash payout is slim to none; especially with budgets under ten grand. Fortunately, the number of men and women willing to work without a printed paycheck has been growing exponentially over the last decade. The love of the craft is a fierce love, and personally speaking, I’d rather work on a film set unpaid then not be on a film set at all. So again, I ask you the question: how can you pay indie film workers?
The answer lies with credit and resume expansion. A payout of “copy, credit, and food” is much more inviting to an actor or production assistant than “the chance to be in a movie!” Credit should be given where credit is due. And let me be more specific for a second.
Holding a microphone for 30 seconds while someone uses the rest room is not deserving of film credit. Grabbing an extension cord from the other side of the set is not deserving of a film credit. Driving your girlfriend, who is the lead babe, to set is not deserving of a film credit. A woman who spends all day and night holding a light reflector deserves credit. A man standing behind the director making sure every line and action is delivered for an entire production deserves credit. A girl who was only an extra, but came to set on separate days deserves credit. And the man who did special effects make-up on 20+ zombies deserves credit. There is an argument that can be made that it’s not about what you do, it’s about how long and how well you do that job. Don’t harass a director for production credit because you did zombie make-up on two people.
When a film is screened, played on home media devices, or talked about around the web, primary focus is always put on the writer, director, and noteworthy cast. In showings and articles – myself included here – praise is often left off of other important crew members like producers, editors, and special effects technicians. It’s hard to recognize everyone in a brief moment of time, so it’s even harder to give acknowledgement to the costume and wardrobe department, the publicist, transportation, stunt coordinators, and “zombie with ax in head.” Are they a valued part of production? Yes! Are they deserving of film credit? Yes! You always think back to that teacher that helped you conquer your problems with algebra. Why not think back on the random production assistant who saved your ass from a bad scene take…and reward them?
Every movie you work on is a learning experience in disguise whether you realize it or not. Opportunities working on a film set are endless. A credit as wardrobe assistant is one new addition to your resume or IMDB page, and a building block for your desired career. Remember, the more talent and dedication you show as an indie film worker, the more chances you have to work on a feature again…or maybe even be discovered. Take the opportunity if it’s a “copy and credit” gig because you love the craft, you love the environment, you at least partially enjoy the people. It makes a difference in the opinion of you to those around you. Are you in it for fame, or are you in it because you love it? And directors/producers, make sure you reward your cast and crew for the work they put into your “baby.” Screen credit is the best payout you can give an indie film worker.
