Filmmaking / Directing : Ask Me Anything (AMA) August 29th to August 30th - How do you I get my first Indie feature made? by Ryan Little

Thanks for having this AMA, Ryan Little. Feature indie scripts are usually micro-budget. What are some things a filmmaker should leave out of an indie script to keep the budget down?

Thanks for giving us some of your time to do this AMA, Ryan Little! Love Maurice Vaughan's question but I'll throw out another one. A lot of screenwriters want to direct their own features, even if they have no experience directing. Obviously going out and shooting your own project if you can afford it is great, but for those that need outside funding, how can a writer straddle the line between wanting to direct and being open to whatever the producers want to do?

Looking forward to reading your insight, Ryan! Left field question here from a non-director; what are the things your post crew do that make your life easier?

Thank you for taking your time once again. Truly enjoyed the last one. Looking forward to it!

Hi Ryan Little - thank you so much for being here for this AMA today! When someone is preparing to produce their first indie feature what are a few things that they should remember to plan for for may not seem so obvious? I know one filmmaker who didn't properly budget or prepare to feed their crew on their first film and it almost crashed the whole production. Look forward to your insight and thanks again!!

Hey Maurice! Great question. In respect to getting the budget down on an indie film there are few things that will raise "Red Flags" for potential investors and producers. One of those things is size of the cast, especially if it is a SAG show. So when you are in the development and fund raising side of the the process, try to reduce the cast size as much as you can without having a negative effect on the script. Combining characters sometimes can help with that. When you move into the pre-production phase and you are moving money around you can always revisit the idea of adding characters back in if the budget allows it. I think another thing that spooks people is when your script has references to very specific songs or brands. A experienced producer may get turned off about the idea of having to spend a lot of money on a specific song. Or how hard it is to get a specific location like say "TARGET" etc. So making your script more "pliable" to small budget helps. Like this scene takes place in a clothing store and not specially a TARGET. That can open the opportunities for filming in a Ma & Pop type store. Much easier to get a location agreement for. I would also say VFX or big Stunt scenes can also freak potential producers out. That being said producers are always about explosions and action scene in films, BUT it has to be done in an economical way. I was offered a low budget western once and it was all great and doable till we got to the "FLASH FLOOD" scene that was simple not possible. That scene alone would cost the whole budget. I am always of the mindset that if you don't have the money or resources to pull something off, don't try to do the poor man's version of it. Same with VFX. It think it is better to have one really KILLER VFX shot that is easy to pull off than 20 that look like garbage. And one more thing that can kill a low budget indie film is having TOO MANY locations. The fewer locations the better. Most likely on a micro-budget or low budget film you will shoot somewhere between 10 - 15 days most likely. You DO NOT want to do a company move in the middle of the day. So my rule of thumb is you should never have more locations that shoot days. So if you are planning on 12 shoot days, then you should have no more that 12 locations in your script. This tells that producers that each day will be at one location hopefully with no company move. There are exceptions to this of course. Also if you are clever with your writing you want each location to be able to be a full day of work. So if you have a 100 page script and 10 days to shoot it then that is basically 10 pages a day at each location if you can write it that way. That is a bit hard to explain in this format. Sorry if that sounds confusing. Again there are exceptions to this rule. Sometimes you can find locations that can be filmed as two locations. First have of the day you are in the park, then across the street there is a house (100 feet a way) that you will shoot the 2nd half of your day. No company moves in the same day is the goal. So those are few things that come to mind when it comes to "reverse engineering" a script into a micro / low budget. What do you think?

This so helpful and detailed in your explanation. Excellent adive here. Thank you so much, Ryan! In pre-production with my project about life with dementia, shooting is planed in Michigan with a filmmaker from Michigan. Still looking for financing. Any helpful advice for the moment regarding financing?

Hi Ryan! Wow, what an amazing opportunity to pick your brain here in the filmmaking lounge. Thank you so much for sharing your time and experience with us.

I’m in pre pre production on my first film as writer & director, so I have a million questions for you but I’ll start off with this one.

Regarding funding, I’ve read everywhere how it’s valuable to have different resources regarding your project to present to find funding. Pitch packets, treatments, reels, other visual aids - I’m wondering, in your experience, which of these if any would you say should be top priorities? And which ones have you used in different circumstances to help you secure funding?

Thank you!

David! Thanks for asking a question. Love it! Yes it makes total sense for a screenwriter to want to direct the script they wrote. They created it in their mind so why not go the distance and direct, right? Screenwriter / Director ALEX GARFIELD (Ex Machina, Annihilation, Men) writes everything he directs and I remember watching him in some GOOGLE Lounge Q&A talking about how directors are not needed and a Writer should just direct the story they created and surround themselves with talented people to collaborate with to make a good movie. At first I was a little offended by his comment, but after thinking about it for awhile I could see his point. Besides David Fincher and Ridley Scott a lot of our favorite directors also write their own stuff. Rian Johnson, Chris Nolan, Coen Brothers, etc. So it's certainly not a crazy request I guess is what I am saying. So then the next question is... How can a screenwriter who has never directed before make that happen. Here are some things that I think can tip the scale in your favor. 1) You wrote the script and if it is good, really good people will want it to make it as long as the requests are not crazy. If your only really deal point is that you get to direct it then you might be off and running if the script is KILLER. That being said you can sweeten the pot by saying you'll do it for cheap, or you'll do a combo deal on the directing / writing fee which saves them money and lets them put that money into getting a bigger name, or more VFX, or whatever they want to use it for. I think when it comes to your first feature you have to look at it like an investment, not a money maker. That comes later. This first one is you investing in your future. You basically are giving it your script and your services away for free (not really, more like you are giving them the family discount.) Go after the big pay day AFTER you have proven yourself. A lot of people think their first film is about making it big and making lots of money. I think of it more like a stepping stone, a show piece. Get on the board first then get more on the next film. That is the best move you can make to jumpstart your career as a screenwriter who wants to direct. And to be honest if you are on a micro-budget (under 100K) then really you probably are directing and writing it for free anyway hoping that you sell it and get some of the backend money.

The other thing that can help a screenwriter who wants to direct their first film is to get good talented people to believe in you and surround you like a safety net. If you can bring a super talented Cinematographer to the table, or a great actor, or a Production Designer then that increases your chances to persuade the producers and financiers to take a chance on you. You have the killer script (which is the GOLD) and then combined that with bringing someone else of value to the table then you are most likely going to win here.

Joanna! Thanks for asking a question. When it comes to hiring a POST crew to make your life easier it starts with getting a really good editor. Someone one who sees your vision of the story and will PLUS whatever you give them. I have been very fortunate to have HARRY MILLER (Editor) on my team. He is amazing. He currently is the main editor on the TV series "La Brea." No matter what I give him to edit he always makes it better than what I saw in my head. Editing is your chance to remake the movie and elevate it. Don't cut corners on an editor. Overall there are a lot of people in the post production world you have to deal with. Composer and Sound Mixer are two of the other bigs ones. You really want people in post who are good communicators and are quick to respond. If you have to hound people to respond to you, it's not worth it, especially in post. They have to be accessible to you. Again with he editor you want someone who has ideas even before you shoot. Someone who can make suggestions on shots to get for specific moments in the story. Someone who can punch holes in it to make sure when you shoot you are getting the best stuff.

Thank you for sharing your valuable experience, Ryan Little . love the "non cutting corners" in post production.

Evelyn! So good to talk with you. Financing. Always big hurdle to get over. Money comes from so many places. Pre-sales, private funds, studio backing, crowdfunding.... personal credit card. LOL. I am going to assume this is your first film and I am also going to assume this is a low budget film unless you tell me different. Most people believe that finding money is the hardest thing to deal with, but in my opinion it's finding an amazing script. If you have an amazing script the funds will come. It's really that simple. Get that script into the hands of an experienced producer or an established "household name" actor and you will find the money. Easier said that done Ryan! I know. Let's assume for a moment that you are out trying to raise funds through private investment. This is the "Hat in Hand" mode. Your best strategy with this is to remember three things that the potential investor is thinking (asking) as they talk to you. 1) Would I pay to go see this movie? Does this story idea excitement me? Do I relate to it? (That was three questions right there. LOL). 2. Why would I trust you with my money? Are you going to spend it wisely to get the best ROI on the movie you are pitching to me? and 3) How are you going to make my money back? If this person is an "angel investor" and has so much money and just wants to see this get made then number #3 doesn't apply. These are the best investors to have. Super rare, but awesome! For #1 this will come down to you have a well written script (void of grammatical mistakes) and fast to read. And also a nice pitch deck that states clearly the tone of the film, the emotional big beats, the theme and named talent if you are lucky to have any. Beyond that the rest of the info in the pitch packet is sort of overlooked when it comes to selling them on the idea. For #2 this will come down to how you present yourself. Did you show up on time? Are you dressed like a professional? Are you a good communicator and down to earth? This is where you build trust that you are trustworthy to spend this money like it's your own. And #3 How are you going to make my money back? Under NO circumstance do you say "We'll WIN at Sundance!" That is not a distribution plan. That is the sign of someone who is clueless. If this is your 1st film you can reduce the investors risk by having the smallest budget possible without having a negative effect on the script. Also having "SKIN IN THE GAME" helps. What I mean is you are asking someone for money and they could lose it all. So you need to match them in someway. Like you wrote the script but you are not charging them for that. Perhaps you are not taking a fee for producing it or directing it, only if it makes money will you get paid. These kinds of offers will endear them to you. It tells them you will lose too if this goes sideway.

Let's keep talking about this. What are your thoughts or feedback on what I have said so far?

Elana. Thanks for chiming in here. Sadly post always seems to suffer since we get to it last and seem to over spend in production. But to be honest POST is where we get a second chance to make the movie over and really PLUS it. I never cut corners in post. I find other places to pivot and save money to protect the post.

David! Thanks for the great question. We certainly put a lot of emphasis on pitch packets, and rightfully so, but a pitch packet alone doesn't usually get us over the money hurdle. Look at my reply to Evelyn more on how to deal with potential investors. I would add that creating a cool little SIZZLE reel does really help. We are visual people and when you go after money, especially to a 1st time financier they don't always see the full vision of what you want to do with just a pitch deck and a script. So if you can shoot your own short 2-3 minute video, which could feel like a scene or a trailer can help that investor get a true sense of the tone and the style of what you are going to do. It's like an audition for the director in a way. You don't have to shoot a scene you can cut a sizzle using clips from other movies. That works too and cost a ton less. I will say that when it comes to your first film telling a TRUE story will always give you a leg up over anyone trying to raise funds for some that is completely fiction.

Thoughts? What are some things you have found that work to get funds?

Sam. Thanks for joining the AMA. Great to have you on here with us. When it comes to making a movie you only know what you know right? Its time producers and UPMs can forget to budget for all kinds of things. Contingency is one that can get over looked on a tiny budget since you don't have room for it. But I try to get somewhere around 5% (sometimes higher) contingency if we can on a low budget film.This usually ends up getting used in POST to help out with 2nd Unit shooting or additional color correction or editing, etc. Sometime instead of having a contingency producers will PAD their budgets (hide money a way in each category) which can be good too. Having good food and crafty is a MUST for crew. That is really one of the biggest ways to build a relationship of trust, to show them you are looking out for them. I would say that producers tend to not plan for overtime. They always say "We are doing 10 hours days and no overtime. We'll wrap before that ever happens." Sadly more often than not even if you are running like a well oiled machine something will screw you over. Weather! The owner of a location. Traffic. This is especially true when you wrap a location and everything has to be loaded for transportation to the next day location. Someone is going to get overtime, they just are. Locations. A lot of time producers don't budget enough for locations. Here is my take on this. It is better to spend more money on a perfect location that is dressed and camera ready then to ever get a location for cheap and then have ART have to come in and dress / build stuff to make it look good. That always costs you more in the end I swear. Have a good healthy budget and get killer looking locations that you don't have to do anything too. That will always get you good ROI on screen.

What other things have you seen gone wrong due to not budgeting properly?

Hello Ryan, big fan of your work and podcasts! I have been following you for a little now and it’s great to see you doing this on Stage 32! I wanted to ask more advice on script development? I am currently a production assistant and writing my own short. My dream is to become a director someday so hence why I am developing a script to direct. Any advice or suggestions? Thank you for taking the time!

Elena! Thanks so much for your kind words. Glad you enjoy the Filmmaking Friends podcast. I just recorded episode 105 with guest DOUG JONES. He is amazing in Pan's Labyrinth and Shape of Water. Let's talk script development. First off congrats on writing a script. Off to a great start. If the end goal is to become a full-time director then a short is the PERFECT place to try it out. Shorts are a lot more manageable, less moving parts, especially for your first try at direct. One thing to think about is "

How will this short serve me for future projects?" The reason I mention this is because what I did was I made a short film called "The Last Good War." The intention behind it was to tell a simple but effective emotional story about two enemy soldiers who have to share shelter for the night. It was rather manageable with a small cast and two locations. The END GOAL was to use this short film to show as a SIZZLE or REEL PIECE for a feature length WWII film. And it worked great. The film was shown to some potential investors and we basically said "This is what we want to make but longer." They saw the vision of what we wanted to do and jumped on board. So I am huge fan of using short films as a stepping stone to a feature. So are you considering something like this for you short film? Can you use it to get interest for a feature length film that you might write in the future? If not I would recommend that your short film be in the same genre as what you want your 1st feature to be. So if your short film is a drama then consider your first feature to be a Drama. That way you can use the short film to show off your skill in that genre. One of the missteps I did early in my career was to not "stay in my lane." After the unexpected success with the "Saints and Soldiers" the best move would to have been pitching another WWII film at all the studio meetings I got. I wasted my 15 mins of fame on talking about all kind of films I wanted to make in all kinds of genres. I didn't know the damage I was causing myself at that time. It simply confused them. They saw my WWII film and loved it, they wanted more. They wanted to be part of my next WWII film and I was unprepared. I mention this story because in Hollywood they want to put you in a box. Give you a label. You are an Action director. A Rom Com director, etc. I did not know that at the time and kind of blew it. So again when you are thinking strategically about this, consider how your short film can get you the next film.

Also as you develop your feature length scripts, pace yourself. Start out with something small, lower budget, small cast. Maybe a true story, those always do well. Then as things take off for you, you have a solid foundation of work. We can't all make the next NAPOLEON DYNAMITE and have our careers blast off like Jared Hess. That would be nice but the odds are against it for the most of us. Funny side note.... Jared and I went to film school together and he was my camera assitant on Saints and Soldiers and then he went off to made Napoleon dynamite, then we competed against each other ago the Independent Spirit Awards that next year. It was an awesome experience to be nominated with him that year.

Anyway, What are your thoughts and feedback on what I said?

First of all! Thank you for replying, I truly appreciate you taking the time to speak to me. Funny enough when I am writing shorts I do imagine them becoming something bigger later on. I have always thought similar to what you had mentioned about using the short as something to show to become a full feature length. As for genre I do admit I was all over the place and until you mentioned it didn’t really think that could hurt.

I currently writing a short love story. Honestly it’s a true store about my great uncle who fell in love. However the love was broken, not meant to last and he continued to search for his same love until he eventually passed never experiencing that love again. I wanted to do a short maybe a beginning of this and slowly turn it into a feature length.

I write back and fourth between love and fantasy. So I’m also seeing which one I would be better at to hone in and stick to one lane like you said. Honestly made me think more!

No way!! You knew Jared?! It’s so funny how the film industry is actually a small world!

Also! I cannot wait to listen to your podcast with Doug Jones! I love listening to them while I am on my way to work or just got off. Very inspiring and keeps me pushing forward!

Ryan Little, thank you for sharing your time with us today! What is your favorite part of the process and why?

Hey Ryan Little! Thanks so much for doing this AMA! I've often heard that making your first movie is tough, but for most directors, the second one is hardest because you've "proven" yourself, but not established so the money/projects aren't rolling in. What do you recommend a first time director does after that first film wraps post and is done being sent off to film festivals and all that empty times starts to set in?

Elana. That is great that you have a short film script based on a true story. True stories always get a little more street credit than something that is fiction based. And if it is romantic movie of sorts then perhaps if you enjoy making it then consider writing something feature length that is in the same vain. That could help pave the way for your next film!

Ashley! Thanks for jumping in here with us! Very kind of you. My favorite process is being on set.. It's the most chaotic but also the most fulfilling. It's all fun of course, especially the first time you get to watch it with an audience, but set life is where I'm in heaven.

Emily! Appreciate the comment and the question. Yeah it is true the 1st film is tough to make but getting that second film can be even harder. Your first film is heavily judged. It is your calling card and if the film did not perform well then it can be the kiss of death on getting a second chance. I mentioned this in a pervious reply that when I did my 1st feature film "Saints and Soldiers" I got a ton of meetings at the studios. They really loved it and wanted to know what I was doing next. I should of pitched them on another WWII film. They saw what I can do in that genre and they were pretty confident I could do it again. BUT instead I pitched them on a sports film I wanted to do and it just confused them. The meetings were fruitless. So in respect to getting your second feature I would say make sure that you stay in your lane and make it similar in tone and genre to your first film. That was the lesson I learned. And while your film is doing well on the film circuit, either write another script in the same genre OR be reading scripts like made to find one that would go well to complement the film you just made.

Hey Ryan, thanks for answering some questions! What piece of information would be most helpful to a new producer?

Thank you Ryan for all your advice! Cannot wait to see the film you are working on when it’s finished!

Thanks Elena! Always glad to help if I can. Sending good film vibes your way!

Hey Serg. Thanks for reaching out. I think everything we talked about in the Q&A above certainly can apply to producers as well. Is there something particular to Producing a feature that you want to talk about?

How do you build strong relationships with your screenwriters?

How do you usually go about choosing a composer for your films?

Thank you for all the advice. What’s your tip for finding new investors. Where do you look and what’s your ratio of success with potential investors ? Ie you meet someone who shows interest but is hesitant. How do you get them over the line so to speak?

Oh, man - Ryan you're just in time!!! My apologies if you've already answered some of these questions already. I've been reading the thread with great interest, and LOVE what you said about post-production. So many people run out of energy by the end, so choose your editor wisely!

My creative partner and I JUST got to picture lock and successfully raised the finishing funds for our EPIC proof-of-concept short film (EPIC = car chases, fight scenes, filmed on location, filmed in studio, SAG actors, child actors, we even built a set - www.SanctuaryFilm.Net if you'd like to check it out), and it's led to several meetings with investors about the feature(s). YAY! However, I'd LOVE to know from your experience:

1) How do you approach maximizing your ROI through alternative sources (e.g. DVDs/added features, merch, memorabilia, original soundtracks, costumes/props, etc.)? Has Indie Filmmaking turned you on to Transmedia at all (like writing for comic books, games, or other mediums as part of the filmmaking process) in order to make that ROI, or has it not become a factor?

2) Have you had any resistance based on it being a first feature? Like we've had one location tell us they don't work with "first-time directors". If so, what issues have come up for you, and how would you advise navigating them?

3) Since we're moving forward with a slate of features, I'd love to know how you keep your team happy (above and below the line) and coming back for your 3rd, 7th, 10th films. Or do you hail from the Roger Corman camp and mostly hire straight out of school and train them up?

***This last question comes up partly because of this recent article from DEADLINE declaring "now is the time to build a new, self-sufficient indie [filmmaking] eco-system" and our team is building ways to be part of that change: https://deadline.com/2023/08/ted-hope-indie-film-fked-locarno-1235453883/

Okay, last one...

4) What do you think the key to "switching hats" from producer to director is?

THANK YOU SO MUCH, RYAN! Really appreciate your candid answers!

Ryan, disseste que tiveste bons e maus momentos. Aprendemos sempre com os nossos erros, que depois nos levam à vitória. Com essa experiência, olhando para o futuro, qual foi o seu projeto que não desviou do passado? Tenha uma boa semana !

Incredible, in-depth answer, @Ryan Little! Practical advice and insight. Thanks! You mentioned finding locations that can be filmed as two locations. This is something I do when writing scripts, but filmmakers can use it too: I write two or more locations (ex: houses) that can be filmed as one by redecorating and rearranging furniture, then I mention this in the treatment I send to producers and production companies.

Some incredible insights in this thread Ryan Little , thanks so much for sharing your time and expertise with us!

Good day, Ryan. This is David. I wanted to ask / say a few things only to you, not to everyone; but I could not send a direct message. But as far as a question that might help everyone: What constitutes enough information to help the audience "get to know" the protagonist, at the start of a film, without necessarily giving details, such as which high school they attended, and other potentially meaningless details (things that do not necessarily help us "get to know" the character)?

HOW amazing, Hopefully some day soon we will get a chance to connect with one another!!

Brandi! Thanks for checking out the discussion! Hope we get a chance to visit soon. Cheers my friend.

Hey David! Thanks for chiming in on the conversation. After the AMA was over I forgot to check back to see if there was anymore last minute comments or questions that I missed. Sorry for the delay in response to you. Not sure why the direct message doesn't work on here. I'm not the best at it either. When it comes to the actual writing of scripts I consider myself a newbie, however I have read a TON of scripts as a director. So I can comment on this from the stand point of a director. I think when it comes to those opening scene when getting to know your main character, I try to SHOW more than tell things through exposition. If we can observe behavior of the main character especially when others are not around then we are see who they truly are and we can get a sense of their character. Unless it is important to the story I really don't talk to much about their backstory or history when I make a film. And if I have to I try to break it up over a few scenes so we don't have an EXPOSITION DUMP that the audience will hate. Trying to find organic ways to tell people information without it feeling forced is certainly an art form.

Joanna! Thanks for your kind words of support. It was fun to talk and connect with everyone! Looking forward to doing it again.

Maurice! Glad you got something out of my comment. Yes! Great to hear that you write things with the intention of using one location in a way for multiple things. That is smart. Especially if you know real places where you think this could actually be filmed and now what other location are close by. Then you can really reverse engineer the script around resources which is great for low budget films.

João! Yes you are right! We always learn from our mistakes, which then lead us to victory. I agree. Every film I work on is a learning experience. Some run more smoothly than others. As I look back on the films I have done I would say that my first film "Saints and Soldiers" surprisingly went smoothly. I now realized we got lucky on a lot of things. LOL. But Yes along the way through other films bad choices were made here and there and I learned how to do it better the next time.

Anthony. Sorry for the wait on a reply. I forgot to check the thread after the day after the AMA. When it comes to working with a Screenwriter I believe that you really can't force ideas on someone who doesn't have the same vision. So I think you need to find a writer who you can trust and you like their TASTE and choices. Then when you become involved with them in developing something you are really on the same page. I find as Director things work best when I keep the idea that "COLLABORATION" is key to the success of the project. Empowering others to shine by doing what they do best. If you try working on a script and you are TELLING them what to write and not creating something organic with them then it will most likely fall apart. Trusting your writer and asking a lot of question about what they are writing is the best way to help steer them in a better direction when needed. "Tell me what you were trying to do here in this scene? Oh I see. That's a great idea but as I read it to me it comes off this way for these reasons. Perhaps if you revisited this moment here there might be a better or more clear way of achieving the story objective you were going for." This kind of thing. When the writer feels like you are empowering them and listening to them then TRUST is the outcome.

Hey Steve! Thanks for the question on picking a composer. That is more tricky than you would think. The first thing that is interesting is I must get a dozen email introductions for new Composers a week. Which blows my mind that there are that many composers out there looking for work. Most of the time like other people I hire, I start with recommendations. I speak with other film directors I know when I hear a score they have in their films that I like. I want to know how collaborative that composer is. How fast are they? Are they a good communicator? Did you give them a Temp score to listen to so they can hear the tone you were going for? Did they achieve the mood you were going for? Would you work with them again? These are type of questions I would ask. So word of mouth recommendations go a long way. You can hear beautiful sounding music when someone reaches out cold, but you don't know how much time or budget they had to pull off the sample piece they share with you. Sometimes people offer to score a scene for me to show them what they can do, but I hate doing that because I don't want to say no to someone if I don't like it. They put their heart into doing something for free, but I still feel bad if it doesn't feel right. Like I said it's hard picking a composer. Especially if you don't know them personally before you work with them. Perhaps if I was doing a short film I might consider using a new composer as an experiment to see if I would use them on something on a larger scale. Or maybe use them for a commercial or something first.

Jane! Thanks for your patience on my reply. In respect to Investors in one of my earlier comments in this thread I talk about the THREE things (Questions) a potential investor is asking themselves when deciding to get involved. Look for that comment above for some insight on that. I will say when starting out the smaller the budget (the ask for money ) the better. Less risk right. Also if you are putting money into or sweat equity into the film then that helps an investor. You are saying "Hey I have skin in the game too. I have something to lose as well. So I am going to make sure this thing works out." As I mention above in my pervious comment having a script based on a TRUE STORY, can really help. Investors always gravitate to that more often than not. And approaching investors who relate to the material. If they hate sports then pitching them a sports movie is probably not going to work. They have to be of the mindset "I would pay money to go see this film" If they are emotionally invested in the story than you are 1/2 way there for sure.

Ryan! You are amazing. Loving how you care to give helping words here! And yes, loving the personal credit card...LOL. We are talking about a low budget production 100-150.000 US-Dollar. Already in that SKIN-THING with the filmmaker / producer. Like other creative heads, we are just trying to bring the funding together.

Definitely love your thoughts and already worked on the project in some ways like you said.

Now wishing blessings for your projects! Once again, thank you so much, Ryan!

Hey Karen! Congrats on getting to picture lock on your film. To answer your question I have not delved into other forms of merchandizing or cross platform marketing like books, comic, etc. I sort of just stay in the lane of making movies only. I am sure I am missing out on something there. When it comes to ROI and I always try to make sure I have a domestic option for distribution to cover at least the negative cost of the film so that whatever we make in foreign sales is really gravy (profit). That is what I shoot for in respect to ROI.

In respect to my 1st feature back in 2003 I did run into issues being a first time director, especially with a location. That is weird. Did this happen to you in LA or somewhere where there is a lot of filming? I am guessing many people have filmed at their location and a 1st time filmmaker almost "BURNED" the location for them. The biggest issues I see 1st time filmmakers run into more often than not is the confidence that this director can move fast enough to make their days and keep the show out of overtime. But there really is no way to show them that without having previous experience to show them. As a director coming in as a pre-pared as possible with shortlists, overhead drawing, storyboards, etc and show people you are serious and prepared. That is really the best you can do the 1st time to win their trust.

When it comes to building a film family (crew) who will work with you over and over again it comes to making them feel like you care about them. Feed them well if you can't pay great rates. Be respectful. Let them know you appreciate them everyday. DO NOT YELL ON SET! Make set fun and SAFE. Do your best to not have overtime... or if you do apologize and try to keep it to a minimum. And pay people on time. If they can clearly see you are honest and fun to work with they'll keep coming back.

Interesting article. Thanks for sharing it with me. Good ideas and insight for sure!

When it comes to switching hats between being a director really is not thinking off them as two different things but rather that both or serving the story. I look at mostly every question and situation from both aspects. How will this decision help us achieve the creative objective and also be done in a way that keeps us in budget and on schedule. A lot of directors can not do both and they make choices that don't yield a good ROI. For example a director may like one location more than the other. Which makes sense, BUT if there favorite location is really on 5% better than their 2nd choice and costs twice as much, takes a long time to get to and has hard dates to work around is it really worth it? NO. But they don't think about he ramifications of getting the slightly better location. That is where a PRODUCER / DIRECTOR can step back and say "Guys for all the extra money and hassle for something that is 5% better it is not worth it. Let's save the money and put that into something better, something where we are getting more of that money (production value) on the screen. That is why being a double or triple threat is great, because you can step back and see it from different perspectives and make a BETTER decision than if you only had one skill set. I rambled there a bit. LOL. Hope that answers your great question. Thanks for asking.

I wish you the BEST on your future projects. Sending good filmmaking vibes your way. CHEERS!

What an informative AMA! Thanks Ryan Little!

Exactly Ryan!

Nice talking to you thanks for sharing and success with your work

Thanks for the response and info Ryan! I agree recommendations and word of mouth are the most fruitful ways to get work. It's how I've gotten most of my work in film scoring (and most of all other music and non-musical work). And yes, there are soooooo many composers out there!!! But, like many other saturated fields, there are less composers who are reliable and have thorough compositional abilities in many genres. And even less need for composers with the continual inundation of sample packs, so-called "royalty-free" library subscriptions, and now A.I. But I digress from all that. It's up to us as composers to move with the times and figure out how to continue being relevant.

So my follow-up question, do you have any advice on making the move from no budget indie short films to actual films with music and composing budgets? How can I utilize my current short film credits and indie filmmaker recommendations into "word-of-mouth" work in funded films?

Hi Ryan, did you do the camera work on "War Pigs"? That was a great looking flick.