Exploring the Model for Emerging Producers

Exploring the Model for Emerging Producers,

For more information visit: How Much Does An American Indie Producer Get Paid?

In entertainment industries all over it seems there are parallels of the insufferable economics many emerging artists undergo. Despite all the opportunity trending, the numbers simply don't add up. 

How in the world can independent producers survive?

My first strategic enforcement is to separate the layers of indie cinema so that we might account for budgets beneath $2 million aimed at venues that would include online distribution and local film fests. The truth is, his lowest estimates are beyond what many emerging artists have access to. We simply don't know the language or the expectations that deal in millions and without adequate outreach to educational platforms, college students can't spread the word on opportunity.

The producer in question would need a partner in production management with the capacity to effectively communicate the producer's vision, while passionately employing his own diligence and work standards on the set. This way the producer can maintain the web of resource support and marketing tactics needed to keep the content in play.

The producer would limit the scale of development and preproduction against active scripts in such a way that would allow him to engage in physical production every month. According to Hope's numbers, the producer would need to start a $65k budget film to qualify for about $1.5k in monthly pay from negative cost alone. The danger is in the loss of quality. Scripts would have needed to be much longer in development or conversely capable of straightforward entertainment in limited scope but with an active and responsive community supporting; ideal situations both.

The only projects that might conform to this are no-budget indie features or web shows. Functioning revenue models are tricky at the low end without loyal fan base, and even still. The campaigning alone would keep said producer on edge considering that, to conserve time, he'd be in post of one film while in pre-production of another to keep the slate filled and I'm unsure of how capable one man can be when concerned with a precondition of financial hardship (presuming the producers are college students or emerging artists elsewhere without a solid career that would have otherwise impeded initial exploration into independent production)

The timing of creative leadership and other character drama approaching principal photography could seriously disrupt office activity. I wouldn't imagine production funds are paying for the producer's lawyer and he's likely doing the accounting himself to start. This adds up to a lot of work that doesn't leave a lot of time to find new talent or earn money elsewhere and if you aren't focused on the task, how can you expect to master the craft? This might require the office of 3rd position in acquisitions.

These initial 3, however, having the appropriate synergy might be able to, with the appropriate technical skill, earn money elsewhere as a working production team, saving the funds needed in part of the year to survive off of in another (providing the gigs are available and consistent).

In the hypothetical anything seems possible. But with so many dangers lurking that will lead one to ruin, it's important that you sit down and plot and the path. Ted's last name may be Hope but he seems to be prescribing doom. What's really important is that producers produce and they can't do that if they're homeless. You're greatest investment is in yourself. As a producer, you are a medium between inspiration and reality and you must take the time to consider the lay of the land, not simply venture out in blind interest, if you are going to do the good work AND survive.

I could crunch the possibilities all day before considering the chance of a sale, but anyway you put it, producing is a daring gamble of personal time BECAUSE its essentially his or her responsibility to determine his or her own value. The only consolation to the worry is that producers have existed for a long time and if they can figure out, so can you.

Let's get what we came for,
C.M. Sanchez III