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An issue-oriented smaller movie is one that has a theme of social significance at it's core. Drug abuse, poverty, the environment, homelessness ... these are all examples of a brief movie with a socially relevant style. This is significant as it is A LOT EASIER to obtain contributions of time, devices and materials when there is a "source" behind the movie.
In the mid 90's I had the ability to get a 12 minute 35mm film produced for under a thousand dollars, an absolutely unusual quantity. Catering, locations, film stock and processing, misc supplies, equipment - practically everything was covered through generous donations since the film had two significant social problems as the main themes - child abuse and it's resultant connection to substance abuse later in life.
The method? Undergo manufacturing directories and cold call until you can't talk any longer. A normal pitch went like this: "we're working on a movie that deals with some appealing extreme social problems and we're asking yourself if there's someone we can talk with about making a donation of ..." It takes a great deal of calls, but it works.
Getting donations is in one sense quite easy as many production business are willing to contribute. The problem that originates from this option to smaller film funding is in the additional coordination efforts needed, for you'll need to adapt your schedule to the benefactors. An example of this is that we had to cancel a film shoot 2 weekends in a row because the 35mm camera that was being donated to us became unavailable as it was reserved out on a paid shoot (a reality that needs to be accepted taking this approach). However as quickly as the rental business's schedule cleared up, the camera was ours and we were able to shoot, conserving hundreds of dollars in rental charges.
Another issue with taking this course is producer sychronisation. It's much better if you have a distinct manufacturer working with obtaining donations as it's a full-time task in and of itself. It's finest to have one producer to handle shooting logistics and an additional to manage contributions. In the end, while our group was able to accomplish a lot with hardly any funds, the film suffered due to the fact that the director/producer (myself) was exhausted with handling logistics and had less time to spend on creative shots, acting, etc. Having a distinct producer to deal with donations will resolve that problem!
In the mid 90's I had the ability to get a 12 minute 35mm film produced for under a thousand dollars, an absolutely unusual quantity. Catering, locations, film stock and processing, misc supplies, equipment - practically everything was covered through generous donations since the film had two significant social problems as the main themes - child abuse and it's resultant connection to substance abuse later in life.
The method? Undergo manufacturing directories and cold call until you can't talk any longer. A normal pitch went like this: "we're working on a movie that deals with some appealing extreme social problems and we're asking yourself if there's someone we can talk with about making a donation of ..." It takes a great deal of calls, but it works.
Getting donations is in one sense quite easy as many production business are willing to contribute. The problem that originates from this option to smaller film funding is in the additional coordination efforts needed, for you'll need to adapt your schedule to the benefactors. An example of this is that we had to cancel a film shoot 2 weekends in a row because the 35mm camera that was being donated to us became unavailable as it was reserved out on a paid shoot (a reality that needs to be accepted taking this approach). However as quickly as the rental business's schedule cleared up, the camera was ours and we were able to shoot, conserving hundreds of dollars in rental charges.
Another issue with taking this course is producer sychronisation. It's much better if you have a distinct manufacturer working with obtaining donations as it's a full-time task in and of itself. It's finest to have one producer to handle shooting logistics and an additional to manage contributions. In the end, while our group was able to accomplish a lot with hardly any funds, the film suffered due to the fact that the director/producer (myself) was exhausted with handling logistics and had less time to spend on creative shots, acting, etc. Having a distinct producer to deal with donations will resolve that problem!
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