EL GANZO sneak preview Sunday

EL GANZO will have a special screening on Sunday (28 June) at 1pm as part of the Free State Festival in Lawrence, Kansas.  I will be there with Susan Traylor and some of the cast/crew to do a Q&A after the film.

The day prior (Saturday 27 June), at 10:30 AM, I’ll be giving an introduction to my process used in the Maverick Filmmaking Workshop for the festival which is FREE to attend.

Both the EL GANZO screening and the Maverick Filmmaking Workshop will happen at the Lawrence Arts Center.  For directions, visit the FREE STATE FESTIVAL website at that link.

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MEDIA DETOUR reviews EL GANZO

El Ganzo Review by Tyler Selig, MEDIA DETOUR

An emotional story of two strangers in Mexico. No, it doesn’t involve crime. Damn it stereotypes, go away.

Lizzy is a woman with an unknown past who makes her way to the Hotel El Ganzo in Mexico. There she meets an artist named Guy who is trying really hard to find the inspiration for his big breakthrough. The newest film by experimental auteur Steve Balderson relies on the relationship that forms between the two main characters; two lost souls/travelers who find each other and form an organic, and spiritual, bond with one another.

We don’t need to know a lot about where they come from, but we learn a little. I won’t spoil any of it, but the heart of the film is in the now — not the past and not the future. It is the kind of film that places the viewer as a fly on the wall, as we watch these strangers awkwardly meet but then grow into much more.

In a movie like this, the actors fueling the action need to be at the top of their game. Luckily, both Susan Traylor and Anslem Richardson dive head first into their roles and truly bring Lizzy and Guy to life. They are an unlikely duo, each with their own anchors preventing them from moving forward, until they find the appropriate reasons to do so. They are both charming and have a tremendous amount of chemistry so watching them perform is a good example of how powerful cinema can be.

It doesn’t even require constant drama in order to be affective. Many movies would have some massive quarrel appear between the two leads in an attempt to cheaply create admiration for both them and the audience. No such attempt exists here, and there’s actually very little hostility on display. Yet the movie doesn’t suffer for it because while Lizzy and Guy are not exciting per se, they are real. And that’s infinitely more important.

I have a very miniscule problem with the way it is edited on occasion as it comes off as a little disjointed and jarring. Moments when the characters are sitting there silently only to be quickly moved in the next frame can be a little disrupting. At the same time, there are periods where the director has chosen to splice dialogue over a scene where the actors are doing something that isn’t necessarily related to what is being said. That is a fascinating approach to advancing the narrative while presenting something a little off-the-cuff.

Balderson has used many different techniques in his movies which is why he’s such an exciting director. Here he brings the area to life with wide, lingering shots, often photographing Mexico in a way we rarely see. Instead of coming off as some seedy escape (as it often does in mainstream movies), it is shown as the beautiful place that it is. I can’t actually recall the last time I saw it showcased so wonderfully.

Layered on top of his imagery is a soundtrack that is minimal but potent. There are only a few different songs throughout the course of the hour and a half, ranging from droning ambient music to moving piano to more traditional Mexican folk music, but it adds a motif to the whole experience and drives the point home.

While this will undoubtedly be mentioned in every review, I feel it is necessary to point out. Everything you see in this movie is now destroyed because Hurricane Odile hit Los Cabos shortly after filming was finished. It’s a true tragedy for obvious reasons but it does paint a different portrait now, with this being one of the last documented accounts of Hotel El Ganzo. It’s hard not to get a little more emotional watching it when one is aware of this fact.

El Ganzo is a great film; slow but never boring, it’s meticulously crafted with gentleness and love. It’s proof that you can tell a simple tale of two people, without forced burdens that they need to overcome, and have it resonate with the audience.

Summary: FOUR STARS
El Ganzo is overflowing with heart and beauty. An unlikely relationship blooms between a slightly odd, yet endearing, woman and a struggling artist… and it is a pleasure to watch.

More on EL GANZO @ DIKENGA.com

MJ SIMPSON reviews EL GANZO

Check out this awesome review by UK Film Critic MJ Simpson, for my next movie EL GANZO:

EL GANZO review
By MJ Simpson

Here is how to make an El Ganzo cocktail. Take one measure of Jodorowsky, one measure of Bunuel. Pour over crushed Balderson. Serve with a slice of Kubrick. And a paper umbrella.

Yes, we’re off down Mexico way for the latest feature from the indefatigable Steve Balderson, the best thing to come out of Kansas since Dorothy’s farmhouse. I actually got sent a screener of this three months ago, and normally I watch Steve’s films the moment they arrive in my in-box, bypassing whatever is in my TBW pile. On this occasion however, Steve sent me two screeners – Hell Town and El Ganzo – with a recommendation that I leave a gap twixt the two, as they are very different films. I followed that wise advice – and then a whole load of other things came along and filled the gap, leaving El Ganzo atypically unwatched.

Well, I’ve watched it now and, just like most of Steve B’s films, I absolutely Larry loved it.

It’s sort of an archetypal Balderson picture, partly in that it’s nothing at all like the previous one. But it also addresses themes which permeate much of Steve’s oeuvre: themes of identity and discovery, a journey undertaken by an individual, couple or group to find out who they are.

In this case we have Lizzy (Susan Traylor, previously in Firecracker, Stuck! and The Casserole Club), who journeys to the El Ganzo hotel, walking the last few miles after the minibus taxi she was in breaks down. At the hotel, she meets travel photographer Guy (Anslem Richardson, who was a cop in The Amazing Spider-Man 2) and the two pal up, not least because they’re the only two Americans around (apart from bellhop Billy, played by Mark Booker who also composed the wonderful score). Guy seems a normal, well-adjusted fellow, He has a boyfriend back home and constant travels have put a strain on the relationship, but on the whole he’s a personable, friendly chap.

Lizzy, on the other hand, is a bit … well, kooky. Not in an attractively eccentric sort of way, but in a distractingly not-quite-with-it sort of way. Why does she keep asking Billy to look for her suitcase when she turned up at the hotel with no luggage? Why does her claim to be a writer for the same travel magazines that guys takes snaps for seem so inauthentic? Something’s not right here

How not right, and in what way not right, is something that you will discover as the movie progresses. I found myself considering all sorts of theories. Was this a Carnival of Souls gig? Was it a Sixth Sense thing – had Guy actually interacted with any other characters? Or was I letting my imagination run away with me? Would the answer be more prosaic?

Well, nothing’s ever prosaic in a Steve Balderson film. I’ll say no more than that.

What matters is not the offbeatness of the story which, like much of Steve’s work, is a quarter-twist from ‘reality’ – no, it’s the characters. El Ganzo is a two-hander and it’s no exaggeration to say that both actors are absolutely superb, completely inhabiting their characters. Without any crass infodumps, but also without being gratuitously enigmatic, Steve B and his cast present us with two very, very real people that we feel we know (as much as they know each other) but about whom we will discover much more.

Watching Traylor and Richardson is a master class in screen acting. Look, I do the odd bit of acting but in all honesty it’s not much more than larking about in front of a camera for mates. I won’t be winning a BAFTA any time soon. Watching this film really hammered home to me how much skill is involved in acting: skill that is often in short supply in the sort of films I watch, or is present but overshadowed by more exploitable elements like blood, boobs and explosions. Real acting has a subtlety to it that can’t be put into words.

There’s one particular scene in El Ganzo which has stuck in my head. Lizzy is sitting in an empty church. Guy comes in and sits in the pew in front of her. Anslem Richardson delivers a monologue, Guy addressing Lizzy without turning round. While he speaks, Susan Traylor silently trails her finger back and forth along his arm, resting on the back of the pew, that one tiny movement telling us reams about how Lizzy is feeling, about herself and about Guy. And, it just occurred to me, Richardson’s non-acknowledgement of her touch, which Guy can surely feel – he doesn’t flinch, he doesn’t glance back – tells us reams about Guy and his thoughts towards Lizzy. In its own small, subtle way, this is a magical scene, a microcosm of the film overall.

Steve, Susan and Anselm are jointly credited with the script, indicating a considerable amount of improvisation, or at least workshopping. Steve’s direction of the film is immaculate, assisted not only by magnificent performances but also the terrific cinematography of Daniel G Stephens (The Far Flung Star, Occupying Ed, Hell Town).  Of particular note is the use of the hotel itself; it’s simple, geometric architecture adroitly used to frame many of the shots. The local environs are also photographed to impressive effect: little shops and cafes; a sculpture garden of giant abstract heads; beautiful, deserted, sandy beaches.

When Steve moves away from the setting to concentrate on scenes which, in lesser hands, would be static and talky, he breaks up the sequence of events with fineky judged editing, so that sometimes we see one part of a conversation while hearing a different bit. This only adds to the otherworldliness of the film. Wrapping up all the visuals is Mark Booker’s music, much of which has a sparse minimalism that put me in mind of The Blue Nile, but which also occasionally breaks into festively abrasive Mexican trumpets. It complements the imagery and the story and perfectly.

Don’t imagine for one moment, however, that El Ganzo is style over substance. Not a bit of it. This is style supporting substance. It’s just a difficult substance to sumarise and describe. This isn’t a simple boy-meets-girl story, it’s not even really a romance, it’s just a beautiful, wistful, warm, sincere tale of two people who, in finding out about each other, discover a little about themselves.

Wistful: that’s the adjective that keeps coming back to me, that I knew I would need to use in this review somewhere. This is a wistful film. It’s absolutely full of wist, Bags and bags of the stuff.

In other words, it’s about what has been, what could have been and what might be, as well as what is. And really, aren’t all our lives a bit like that? But it takes an artist of Steve Balderson’s calibre to make us think wistfully about our own lives like this, and for each of us to find out that bit more about who we are.

One final note, and then I’ll let you get on. The Hotel El Ganzo is a real place. It’s a fabulous hotel by the look of it, with a strong artistic feel running throughout both the building and the experience of staying there. I can quite see why it would appeal to young Mr Balderson. But, just a few weeks after this film was shot, a hurricane ripped through the place. The hotel is currently closed for repairs, and much of the surrounding area has been ripped up, knocked down or otherwise changed. Steve’s film captures the location as it was and preserves it, a level of wistfulness that no-one could ever have expected.

My rating of his film is almost superfluous, but once again I hold off from an A+ only because I don’t want to believe that Steve Balderson’s career has peaked.

MJS rating: A

* * *

More on EL GANZO @ DIKENGA.com

MEDIA DETOUR reviews HELL TOWN

HELL TOWN review by MEDIA DETOUR

High school can be a difficult time. Hell Town tackles the issues that present themselves when the teenagers aren’t studying, doing work or playing sports; it is about the drama that occurs outside of the classroom, when they are left to their own devices. It is about the relationships that form, both sexual and romantic, and the way that they interact with one another as friends. They deal with the problems that arise when there is a girl who seemingly sleeps with everybody in school, or how it would be for a homosexual jock who is wrestling with the fact he is gay. A goth kid is misunderstood and ignored by mostly everybody while another girl tries to make ends meet by working a minimum wage job.

There is also a killer, nicknamed by the media as the “Letter Jacket Killer”, running amok.

Hell Town is an exercise in genre mashing that luckily doesn’t lose sight of its goal. We witness three episodes of the titular fictional melodramatic soap opera, only the twist is that the film makers inform us that seasons 1 and 3 have been lost in a fire and these episodes are remastered versions. We get dropped into what is most likely the middle of a season, and we get the typical prelude which tells us what happened previously. We essentially have a movie where the actors are playing actors who are playing characters on a television show.

Which means that what unfolds on screen is hammy. Incredibly and intentionally so. The actors are given cheesy lines that they deliver with true conviction because they are in a soap opera. Anybody who has ever watched one knows that they have a deliberate pulpy charm but are rarely known for any form of excellence. Some of the worst lines ever committed to film are said here, and watching Owen Lawless, as Jesse Manly, excellently declare “I don’t want to be gay” is a sight to be seen. It’s funny and that’s what counts. None of the actors are giving award-winning performances but to expect that from this movie is missing the point.

Sometimes I struggle with reviewing films that are purposely bad, just like I don’t know what to score a movie like The Room which is unintentionally terrible. Any schmuck can make a bad movie but not crossing the line between good parody and excessive, unoriginal crap can be a challenge. Soap operas are ripe for the picking so this could have been well have been just another bland mockery of something that is easy to make fun of, but it’s so much more than that.

In an attempt to switch things up, directors Steve Balderson and Elizabeth Spear have also embraced another genre with conventions so silly that it would take a brain dead idiot not to notice them: the slasher flick. Interestingly enough, the slasher has gotten a little bit of recognition — at least in my eyes — over the past two years, because of the fantastic film The Guest. The concept remains the same but like the soap opera aspect of the film, it is self-aware. There is blood and guts, but it’s not over-indulgent.

Incorporating this brand of horror into the movie only heightens the experience and adds more substance. It makes Hell Town more original than it would have been had they merely stuck to the soaps. While it is very easy to enjoy the absurdity of the characters on that level alone, there is also the mystery of who is going around terrorizing them.

It’s over-the-top and the people are vulgar. Since it is a low-budget, independent feature, it has to work within certain constraints that bigger pictures don’t have to. While it strives to be nothing more than an entertaining time, the nature of it hides talented film making. While it may get lost among the main talking point (how silly it is), the cinematography here is excellent. The angles, the lighting; all of it brilliantly mimics soap opera conventions.

In that same sense, I also got a Lynchian vibe from the whole ordeal. It lacks the surrealism of Twin Peaks, but there’s a menacing cloud hanging over the town at all times, where even someone running track seems more sinister than it should. While it is filmed differently than Blue Velvet, there’s still a similar tone; the town is more evil underneath its plastic and normal exterior than an outsider may perceive.

When it ended by telling me what is going to happen next time on Hell Town, I came to my own realization: I wanted this show to exist. I’d watch the shit out of it.

Get HELL TOWN @ DIKENGA.com

ZombieLife talks to HELL TOWN cast/crew

This radio interview with Eddie Rotten and ZombieLife Podcast was one of the coolest experiences I’ve had.  I was joined on the night of the HELL TOWN premiere (presented by the Austin Horror Society at the Alamo Drafthouse) with Elizabeth Spear, Owen Lawless, BeckiJo Neill, Kyle Eno and Sarah Napier.  Listen to our interview HERE or by clicking the logo below.

ZombieLife logo 2

Next HELL TOWN screening is in Charleston, SC at Crimson Screen Horror Film Fest on May 16.  Details at www.DIKENGA.com

 

Interview with HELL TOWN co-director Elizabeth Spear

The Austin Horror Society presents the world premiere of my new film HELL TOWN tomorrow night in Austin, Texas at the Alamo Drafthouse Lakeline.  Tell all your friends in Austin to go see it!

Here’s an interview with co-director Elizabeth Spear on KOOP 91.7FM in Austin.

http://www.lightscameraaustin.net/elizabeth-spear-april-2015.html

MARKETING: YOU VS. THE BIG BOYS

For a single Hollywood studio movie, that studio will spend millions and millions of dollars on advertising and marketing campaigns to make sure that everyone everywhere knows about their movie.  It might seem outrageous, but really, they have to spend that much in order to have a chance to recoup the massive and absurd costs of making said movie.

But for anyone spending less than a million dollars on their movie, there’s hardly any money to make a dent in the world of studio-sized marketing campaigns.  You might be able to afford some kinds of ads, or some spots on TV or radio or on the web, but still you will be faced with a huge goliath standing in your way.  Without tens of millions, you will be relegated to marketing your movie in a certain niche.

Those of us who make movies for a fraction of that have even less.  So what can we do to compete with the big boys?  How can we get our movies talked about?  How can we get people to see our movies?  You don’t need stars or money, you just need promotion.  After all, people aren’t going to watch your movie if they don’t know it’s an option.

But how can you do promotion with little or no money?  By thinking outside the box!

Some of you know my dad, Clark Balderson, who appeared in the WAMEGO documentary trilogy on DIY filmmaking providing viewers with great business advice.  He runs a construction equipment attachments manufacturing business called Dymax.  To illustrate an example of how you can compete with the big boys, let’s explore what Dymax achieved at MINExpo 2004.

In the world of construction equipment attachments, Caterpillar and Komatsu reign like movie studios Sony and Time Warner.  For MINExpo, Caterpillar and Komatsu each spent millions of dollars on their exhibits, which were huge…  maybe 10,000 square feet or more.  Dymax had only $10,000 to spend.  And their booth was maybe about 200 square feet.

So Clark asked himself, “What can we do to stand out from the crowd?  What can we do differently?”  MINExpo was taking place in Las Vegas… What about something involving showmanship and an over-the-top spectacle?  But, MINExpo is for miners.  Rough and tumble customers.

After thinking outside the box, Clark created a Dymax Sideshow, featuring The Enigma who swallowed swords, breathed fire and stuck nails into his skull; Selene Luna performed strip tease; and Pleasant Gehman (Princess Farhana) did bellydance and burlesque.

The Dymax Sideshow put on shows every couple hours with the entertainers.  The Enigma, Selene and Plez walked around the exhibition floor so people saw them.  And then everyone who saw them HAD to come see them perform.

Dymax had a steady stream of people stopping by to have their pictures taken with the performers.  And most of all, they enjoyed the performances.

And when it was all over, Clark discovered that the MINExpo management had awarded Dymax two prizes for Best Marketing.  Out of a total of seven prizes handed out to the entire Expo.  And it was done for a sliver of what the big boys spent.

Use this example as a lesson on how to stand out, create your own “buzz” and how to succeed by being creative within your limits.  Sometimes people are limited by money, by location, by weather, by you-name-it.  But, I see limitations as a blessing.  Once you identify your limitation, you don’t have to think about it anymore.  Instead of thinking about what you don’t have, try asking yourself how you can achieve the desired results with what you DO have!

* * *
Click here to see some photos of the Dymax MINExpo.

FESTIVAL PREMIERES: What Do They mean?

One of my consulting clients recently asked me to help her clarify the difference between the various types of film festival premieres, and help her analyze her film festival strategy.

She asked, “What are World Premieres as compared to, say, Regional and/or Local Premieres?  More specifically, can I have a local premiere or a U.S. Premiere before the World Premiere, or is there a specific one that is supposed to happen first?”

Filmmakers and the media throw the word “premiere” around so often in the film world, I can understand how it can sometimes be confusing.  For the purpose of this article, we’re talking about various types of film festival premieres.  Or premieres that independent filmmakers should be concerned with.  We’re not talking about the red carpet “premieres” that Hollywood might have in London, New York, or Los Angeles that have nothing to do with a film festival.  Those types of “premieres” are usually held for publicity purposes to kick off a global theatrical release.

At film festivals, when you have a World Premiere, that means it’s the first time your movie will screen publicly in the world.  Some film festivals only accept films with World Premiere status, such as Sundance.  If you have already screened at another festival prior you could be disqualified from participation.  Some film festivals do not require a World Premiere status; so it’s important know their rules before you submit your movie.  I advise people to submit to the festivals that require a World Premiere first, because you can always submit to the other festivals later.

Likewise, there are festivals that require a country or regional kind of Premiere Status.  A US Premiere is the first time the film screens publicly in the US, and a NYC Premiere means its the first time the film is screened in NYC, and so forth.

My consulting client continued, “A Chicago festival that runs in mid-October is where I want to be the official Premiere of my short film…but…an L.A. festival that I also want to submit to is hosting their event during the first week of October and their notifications of acceptances/rejections are released two months before the Chicago notifications.  If I get into both festivals, can I still designate the Chicago one as a ‘World’ premiere even if I already screened at the L.A. one a few days prior?  Also, does any of this premiere lingo (world, U.S., International, Regional, LA, NY, East Coast, West Coast, Midwest, etc.) used at festivals, to distinguish one premiere from another premiere, really matter?”

I always suggest entering as many festivals as you can.  Sometimes one is limited by funding (if you entered all of them you’d spend thousands on submission fees).  If you get accepted into two or more festivals that each require a World Premiere, you always have the option to decline being in the less desirable.  In this case, I suggested if she gets into both the LA and Chicago fests, to screen in both.  I don’t see the trouble in saying your World Premiere is in Chicago—especially if the LA screening date was just within a few days of the Chicago date.

The use of the word “premiere” in various fests is just used to promote the fest itself.  If they can tell their regional newspapers that they have movies that have never before been seen in St Louis, for example, then it could draw more of a crowd because it sends the signal if someone wants to see your movie, they better come see it because they may not get another chance.

When my movie CASSEROLE CLUB got into Raindance, we had to promise it would be a UK Premiere, but they didn’t care whether or not the film previously screened in the US, etc.  But, when it was time to see if we could get into Berlinale, Berlin said we couldn’t be considered because we’d already screened at Raindance.  They wanted a World Premiere (or at least a European Premiere).  Now, had I been accepted to both Raindance and Berlinale, and had their dates been closer, I might not even mention Raindance, and if Berlin found out, I could have told Berlin that the Raindance screening was an unfinished test screening, or “Sneak Peek” and that the “finished” movie would show at Berlin for the first time, making it a World Premiere.  (I haven’t tried that kind of scenario yet, so I’m not sure if it would even work, but it seems plausible to me and Berlin might buy that).

Lastly, I think any “premiere” lingo is really about marketing and festivals just want to make sure they have ticket-buying customers.

HOW DISTRIBUTION CHANGED FILM: Part 4 of 4

Click here to read PARTS ONE, TWO, and THREE.

The STUCK! shoot was marvelous.

One of the best parts was the food.  See, when the cast and crew are only a handful of people it is possible to go to someone’s home for a dinner party.  You can eat superior food.  Feeding 42 people on a traditional crew likely means scraps and bulk-made meals.  And there is no intimacy about that kind of thing.  With a set like mine we eat homemade slow-cooked masterpieces every night.  We can sit around the same table.  It becomes a far more rewarding experience.

Like WATCH OUT, the STUCK! shooting days were just as efficient.  We’d work from 9 AM and wrap around 5 or 6 PM.  We worked every day with no days off.  It took less than two weeks to complete.

The reviews were amazing:  Film Threat writes, “Balderson just doesn’t make simple films, and this is no exception. It’s not in the words, or the plot or the story; but it’s in the air, it’s in the beat, it’s in the very soul of the work.” The LA Weekly said it was “Revolutionary.”  And UK Critic MJ Simpson writes, “Steve Balderson is the best-kept secret in American independent cinema. He makes his own films – which are unfailingly brilliant – and the rest of the world very, very gradually catches up with him.”

In February, 2010, the American Cinematheque hosted the LA Premiere of STUCK! at the Egyptian Theatre in Hollywood.  The cast was there with me to present the film and do a Q&A after the screening.  One of the people in the audience mentioned that because all the actors were there, talking enthusiastically about this new way of filmmaking, it spoke volumes about the process.

I signed a deal with a sales agent who is selling STUCK! to buyers around the globe.

In the fall of 2010, I put together another top-secret film shoot and produced my film THE CASSEROLE CLUB.  A couple new stars joined the group for this shoot: namely Kevin Richardson (from the Backstreet Boys), Daniela Sea (from the L Word), and acclaimed stage actress Jennifer Grace.  We made the film in Palm Springs in exactly the same way we made STUCK! and WATCH OUT.  The entire experience is captured in director Anthony Pedone’s documentary CAMP CASSEROLE.

The shoot was a lot like summer film camp.  We rented a few vacation homes that would serve as the locations, and also would house all of us.  Staying together in the same place was magical.  Each day we’d gather to film scenes, and if any actors weren’t working, they would lounge by the pool, read a book, and basically turn their time on the set as a vacation.  This aspect of the shoot was the best.  I made sure that we’re doing the work we need to do, but it’s just as important for me to create an atmosphere that is a rewarding experience personally.

Each evening we would have a meal sponsored by one of the cast or crew, or friends and family.  Imagine being at summer camp and coming together over a meal and singing Kumbaya.  That’s exactly what it was like!  Only instead of singing Kumbaya, per se, several people would pull out their guitars and do an impromptu acoustic concert; or, there would be fun short films being made; or, night swimming and gazing up at the stars with a great conversation.

One of my favorite moments filming THE CASSEROLE CLUB came whenever we needed to do some exterior shots around the Palm Springs area.  We’d just jump in my car and drive around until we’d find the greatest place, jump out, film it, then rush back to the car and speed away as if nothing ever happened.  This is the kind of freedom I love work in.  It’s exhilarating.

THE CASSEROLE CLUB premiered at Visionfest`11 in New York City where we were nominated for 9 Independent Vision Awards and won 5: Best Picture, Best Director, Best Actor for Kevin Richardson, Best Actress for Susan Traylor, Best Production Design.  And the most overwhelming compliment came in 2012 when the U.S. Library of Congress invited the film to be a part of its permanent collection.

Making films in today’s distribution landscape is drastically different than it was even a few years ago.  It is very important to spend as little money possible to make your films.  If your film cost $200,000 that’s fine.  But maybe you could try to find a way to make two movies for $100,000 instead of putting all your eggs in one basket.

Be realistic when you’re planning your expenses.  Regardless of the storyline, regardless of the actors, stars or location, if you think your project will make $100,000 in sales, your best bet at sustainability is to make sure that project costs less than that.

These are just some of the ways the distribution landscape has changed the way films are made.

HOW DISTRIBUTION CHANGED FILM: Part 3 of 4

Click here to read PARTS ONE and TWO.

We began doing research on the best equipment to invest in, best sound package, and best HD camera (we judged each camera based on the level of color captured, best sound captured, and overall user experience).  Months later, we had the whole set up.

I was ready to make my next narrative feature.  And I wouldn’t need so much money after all.  By owning my own equipment, omitting unnecessary personnel and expenses, and keeping costs as low as possible, it would be possible to make a feature film for little more than the price of a used Toyota.

This also appealed to investors.  Distribution has changed significantly since the glory days of the million-dollar buys at Film Festivals.  That simply wasn’t happening any more.  A top sales rep told me, “no company is buying low-budget independently made films for more than $50,000 up front.  And if you get that much you’d be one of the lucky ones.”

The first project to test if my new renegade style of filmmaking would even work or not, was an adaptation of Joseph Suglia’s dazzling novel WATCH OUT.  Could I really make a feature-length movie using only two people on my crew, with me doing all the camerawork, and still make it high-quality art?

The answer was a big loud YES.

WATCH OUT, which became my third feature film, was shot in two weeks.  Our working days were incredibly light.  We’d start shooting at 9 AM and on a few days we were done by 4 PM.  It felt like summer camp and everyone had a ball.

The film was highly praised by critics as “One of the great cult films of all time, (MJ Simpson).”  WATCH OUT also premiered at the Raindance Film Festival in London to sold-out crowds, where it was nominated for Best International Feature.

A review in Film Threat wrote, “(Balderson) makes movies that are so gorgeous that it’s not unreasonable to say that, cinematographically at least; he’s the equal of an Argento or Kubrick in their prime. Some people have perfect vocal pitch, Steve has perfect visual composition.”

I repeated the road-show tour concept we did for FIRECRACKER and released WATCH OUT theatrically in 2008 to sold-out audiences in the “Stop Turning Me On” world tour, to promote the self-distributed DVD release several months later, where it debuted at #24 on Amazon.com’s Top 100.

The third and final installment of the WAMEGO TRILOGY on DIY Filmmaking (WAMEGO: ULTIMATUM) chronicles how we did it.

Once I knew we could do it, I decided to raise the bar a bit more and experiment with a cast of all well-known actors.  The production would cost and be the same = the film would be shot in my new renegade style, without permits and in a secretive manner.  There would be no equipment trucks lining the street, no craft service table, no excessive lighting or camera gear, no substantial crews, or anything to attract attention.  The cast and crew would resemble tourists, which would give the production the freedom to do whatever we wanted, whenever we wanted.

With no make-up or costume person the cast would be required to do their own make-up, take care of their own costumes.  We’d all be staying in people’s homes, not hotels, and would have to accept there would be no cash per diem.

I approached several stars, some I’d worked with before, and others I hadn’t, and to my astonishment, they all agreed.

That project, my fourth film, became STUCK!

When I called SAG to ask them if they had special deals for projects under $50,000 they laughed at me and said, “It’s impossible to make a feature-length film for less than $50,000.”  They also said I “needed to seek professional help.”  Actual words.

But, they were wrong.  I had just proven it was possible with WATCH OUT.  I thought about telling them, but decided that they were just like those insecure filmmakers who needed all that phony “stuff” for passers-by.  Trying to educate SAG on the reality of the world was going to be a waste of time.

(To be continued next week)