Filmmaking / Directing

Vincent Weberink These 5 insights are more like using a common sense approach. To disagree with these concepts is detrimental, but the industry isn't changing for the times so independent filmmakers are kind of stuck between a rock and a hard place.

"Understand Your Market : Know your audience and tailor your film to meet their expectations." Knowing your market should be easy enough if you are out to make an entertaining movie. Know your market shares according to genre is more accurate. Dramas usually hover around 4th-5th place in market shares coming in at just under 10% with about a 5:1 ratio of the number of films to hit the market. Therefore your budget needs to be smaller and you really need to push your filmmaking skills in order to compete with the pure volume of other films in your genre and the market share genres above you.

"Budget Wisley : Plan your finances carefully to avoid overspending and ensure profitability." This falls mostly on talent since equipment rental is mostly a constant and the crew, the working blood of any production, is sadly, the first people to be forgotten. Their salaries don't differ that much. Talent is where you get into trouble. "A-List" doesn't mean what it once did. More celebrities are content to upset audiences with their "superior knowledge" of life and according to Rachel Zegler, she doesn't need your business. They like to take the new stance that if you don't like their movie, it's your fault! Star power is dwindling. Just find some actors that are nice people in real life.

"Networking is Key : Build relationships with industry professionals to open doors and create opportunities.". Be careful what industry professionals you network with. Remember; you're all competing with each other and backstabbing is a negotiating tactic. Network with industry professionals that have skills you are lacking in and that compliment yours. Together you can work on something like a short that will show how you both meld together to be a force to be reckoned with. Film composers are great people to network with. Even if they have some snippets of music laying around in the void of their database, 15 seconds can change a scene. Just make sure you give them the credit they deserve and respect their art with bringing them with you on bigger jobs,

"Marketing Matters : A great film won’t succeed without a solid marketing strategy." A solid marketing strategy doesn't mean anything if it's implemented too late. With social media being bombarded with view farming content and five second attention spans that can't wait for the "Skip" to become active, commercial advertising has not only lost its reach, but companies in charge of marketing have no goals to hold them to as far as creating awareness and no accountability as to how many people they actually influenced. If you ask them for data, it'll just be another cost they can take off your film's revenue. AND if you do try and attempt your own self-promotion, then "You already gave away your film and it's no longer an exclusive." Meter your marketing plan. Create interest without telling the whole story. If you generate enough buzz, you can control your marketing costs.

"Stay Informed : Keep up with industry trends and adapt your approach accordingly." If you are trying to work for someone that wants a story and can't write it himself but will take your story and put in his little changes so he can feel important, that's fine. It's a job. Otherwise write what you think will look cool on screen and what you love. Trends are cyclical so you can write one genre and sit on it until the trend comes back around. That way, you'll be ahead of the curve. Just make sure you copyright everything with The Library of Congress because a WGA Registration can prove to be as about as useful as wet toilet paper.

That's the reality of this industry. You gotta love filmmaking.

Terrific post, Philip David Lee. Appreciate you taking the time.

Thanks, Philip David Lee . This is a fantastic breakdown—your insights really cut through the surface and get into the realities of the industry. I especially appreciate your take on networking with complementary skills rather than just chasing connections. That’s a game-changer for indie filmmakers.

And your point about marketing timing is spot on—building momentum early makes all the difference. Appreciate you sharing your wisdom here!

Vincent Weberink Thank you, Vincent. I don't know how much wisdom I actually have, but these are just some additional ways to think about possible issues that may come up to help filmmakers in their many struggles.

The most important thing for the independent filmmaker is to make the most professional and, above all, entertaining movie for your audiences. Projections are fantasy football stats. Star power is on a dimmer switch. If an individual movie goer loves your work so much that they get a warm emotional feeling every time they view it, the success of your film will speak for itself. If you make a one and done viewing experience for a movie fan, you have failed that fan.

Making a film is a perfect cohesion of the cast and crew and while it can be stressful, it also has to be fun and satisfying experience for everyone involved so that they will continue their journey and build on their skills to keep the true creativity of filmmaking alive in the hearts of everyone that sacrifices so much to make a living from this expression of art.

Philip David Lee Appreciate the follow-up, Philip. You’re absolutely right—at the end of the day, it’s about creating something that resonates with audiences beyond just a single viewing. If a film can create that lasting emotional connection, that’s real success.

The industry’s shifting landscape makes it tough, but indie filmmakers have always been the ones pushing boundaries. Professionalism, passion, and collaboration go a long way in making that happen. The process should be challenging, but also rewarding—if it’s not, something’s off.

Really value your perspective. Filmmaking is an art, a business, and a constant learning experience, and conversations like this keep that creativity alive.

Leadership flows down, never up. If the bosses in charge dont care, the workers under them dont care either.

Thanks, Maurice Vaughan Reusing and recycling sets is a great way to save both money and materials—plus, it’s a fun challenge to get creative with repurposing props.

@Dan spot on—leadership sets the tone. Maybe another tip should be “Lead by Example”—when directors and producers make sustainability a priority, the whole crew is more likely to follow suit.

You're welcome, Vincent Weberink. Yeah, I think it'd be a fun challenge to get creative with repurposing props, like turning Action movie props into Sci-Fi movie props.

Also, if you've got safe left-over props food or hero food from a food commercial, there are a number of places to donate that. Offering it to cast and crew to take home is also appreciated.

Terrific ideas, Pamela Jaye Smith!

I am not entirely impressed.. I still think Pedro Pascal was a terrible choice for Reed Richards. He looks like a used car salesman in the trailers. The Thing looked okay but the kitchen stuff was dumb. Herbie is just a toy licensing ploy and Sue looked tired. The 60's vibe didn't make sense to me nor did I get the idea they were taking the story seriously. Robert Downey Jr as Dr. Doom is a half court desperation shot and a budget bloater. I'm hoping I'm just tired of having my fingers burnt and the film will be good, but I'm not feeling it right now.

Hi Sam, I can't wait to see

Gave me goosebumps!

The retro 1960's film style is going to help catapult it to some great Marvel profits. It doesn't have the ugly shiny news video sharp images that all Netflix movies have to abide by now. Author of Filmmaking for Dummies

Sam Sokolow, I feel the same way! As a huge comic book fan, I was SO pleasantly surprised by what I saw in the trailer. It actually got me excited for the movie in a way I wasn’t expecting. The tone, the visuals, the casting—it all feels promising. I wasn't very excited by Pedro's casting when it was announced. Don't get me wrong, I'm obviously a Pedro fan, but I feel like he's becoming a bit over exposed in franchises and I didn't really see him as Reed. The trailer changed that though, I was surprised to find that he didn't bother me at all in the clips that they shared.

I just really, really want them to finally get the Fantastic Four right. This is Marvel’s chance to do justice to these iconic characters, and I’m hopeful they’ll pull it off. I’ll definitely be there opening weekend too!

One of my favorite comic book podcasters broke down his thoughts on the trailer and they reflect mine so much that I have to share it here with everyone: https://www.instagram.com/reel/DFvS_g_PesD/?utm_source=ig_web_copy_link&...

Brian is so smart and generous with his experience and knowledge. I can't recomment asking him your questions on this subject more.

How great that Stage 32 provides a platform for knowledgeable experts such as Brian. And thanks to him for passing on his insights.

Great video for filmmakers, screenwriters, actors, etc. to watch and study, Tucker Teague!

I think a Horror movie has to be more than a Horror movie to be nominated for an Oscar and win. The movie needs a deep story and complex characters with a theme and topics that resonate with people, like a Horror movie mixed with a Drama movie.

You said, "One more example of why it's good to rewatch great films multiple times and see how they work." I like to look for new things when I rewatch a movie, like things I can use in my own scripts or what's going on in the background.

Awards season always sparks some great discussions, and I love looking back at the films that have won the "Big Five." It’s fascinating that only three films have pulled it off, especially considering how many classics have come close. Regardless of awards, I completely agree that revisiting great films is essential for filmmakers—there’s always something new to learn from the storytelling, performances, and direction that made them stand out.

Each of these films is so different in genre and tone, yet they all mastered character, tension, and narrative in a way that resonated across the board. Makes me wonder—are there any recent films of the last few years that you think had the potential to sweep all five categories but didn’t?

Ashley Renee Smith - when you look at the last 20 years of Best Picture winners so few have the balance required for Best Actor and Best Actress together, much less the other awards. MOONLIGHT and GREEN BOOK don't have a best actress canditates and NOMADLAND didn't have an actor candidate, just as three examples. 2004's CRASH could have pulled it off, perhaps. Clearly the closest to actually pulling it off was EVERYTHING EVERYWHERE ALL AT ONCE which won Best Picture, Best Director, Best Original Screenplay and Best Actress with Ke Huy Quan winning Best Supporting Actor. All are great films but having that balance across the board and the roles worthy of the top acting awards is clearly very tough to pull off. Think I'll rewatch IT HAPPENED ONE NIGHT this weekend.

Smart and relevant comments, Tucker and the rest of you, about a genre that generally does not get awards recognition. // As a jokey aside: you know those robo-calls you get where there's no one on the line...nothing... I've begun calling those "The Silence of the Spams". [I know...groan.] // Enjoy Awards Season!

Pamela Jaye Smith "The Silence of the Spams" Haha