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12 Key Traits of the “Indie-Friendly” Director

by Mynette Louie on May 14, 2012 in Audience Building

Video Village, Indie-Style

 

Not every director is suited for low-budget indie filmmaking, and that’s OK if you’re Terrence Malick or David Fincher. But chances are, you’re not…or not yet, anyway. I get a fair number of calls from biggish directors and producers who are having trouble raising money for their films and want to explore how to make them on the super-cheap. I’ve entertained some of these requests, collecting funny anecdotes along the way, like the director who wanted to fly in stars from another country and rent large trailers for them, but forego unions and production insurance. Or the producer who wanted to cast an actor whose agent demanded $12,000 worth of perks, when our entire costume budget was just $4,000. As much as I want to work with these namey folks, I usually end up politely declining because I know that it will be difficult for them (and for me, especially) to make a movie on a fraction of the budgets to which they’re accustomed.

I’ve now worked with twenty different directors on mostly low-budget indie projects–some of whom I’d like to work with again and again; others, never again. By now, I can tell when a director is lying, even if he or she doesn’t realize it–“it’ll be 70% handheld,” “we can just run and gun it with a skeleton crew,” “all I need is an extra half day for second unit stuff.” Yeah, right. Most of the director foibles I’ve dealt with are due to inexperience and will likely resolve themselves with time. But sometimes, I wonder if some people just weren’t meant to direct–at least not low-budget indies.

So what are the traits that I think make a director “indie-friendly” (and more generally, “producer-friendly”)? Besides the usual traits that all directors should have–passion, confidence, focus, a high E.Q., a collaborative spirit, a sense of humor, the ability to command respect, an openness to feedback balanced with decisiveness–here are the traits that are especially important when working with limited resources:

1. Fast Writer

I’ve worked mostly with writer-directors, which offers an efficiency that’s often missing when the writer and director are different people. So much rewriting is done not just during development and prep, but also during production. Some of my directors have had to rewrite whole scenes minutes before shooting them. There is probably a lot more production-directed rewriting in the indie world since we are constantly trying to figure out how to stretch a budget. Development periods are also a lot shorter for us because they have to be–typically, no one gets paid during development; we only get paid if we’re in production. As such, it’s nice to work with speedy writers who can discuss, digest, and incorporate notes quickly to produce a shoppable draft.

2. Adaptive

Anything can happen in filmmaking, especially if you have limited resources–extras stand you up, location owners change their minds at the last minute, the G&E truck takes a wrong turn and shows up 2 hours late. So it’s critical for a director to be able to adapt to these exigent circumstances and figure out how to make lemonade from lemons. I’ve worked with directors who refused to shoot because a featured extra didn’t show up. Even after I’d come up with workable solutions, the directors still resisted, insisting that the entire film would be ruined without this extra. Really? You have a set, a camera, equipment, and a cast and crew of 50 at your fingertips, and you’re just going to cross your arms and pout? You’re a creative person…create something! If it ends up sucking, then reshoot it. But for now, use what’s right in front of you and try to make something. (By the way, I’ve never had to reshoot any scene that called for an unexpected last-minute fix like this.) Being adaptive and thinking on your feet also helps when there are happy accidents. Filmmaking is organic and unpredictable, and when the right mix of elements strikes on set, a good director will know how to capitalize on it.

3. Editing Experience

It is so valuable for a director to have editing experience because she or he will know on set what’s important and what’s not, what can be sacrificed and what can’t. Indie films are scheduled so tightly that it’s often very tough to make the day. All of my feature productions have been between 19 and 24 days, shooting between 4-7 pages and 15-35 setups per day. Sometimes, shots and even scenes have to be cut on the day of shooting. A director who also edits will have a much better sense of which shots are expendable, and how to make up for losing them.

4. Ability to Visualize

This seems obvious, doesn’t it? But you’d be surprised how many directors can’t do this. Many indie directors I’ve encountered come from writing or theater backgrounds–they can write great dialogue and work well with actors, but they have no idea how to compose a frame. Yes, this is what cinematographers are for, but it’s much more efficient when a director can actually visualize what shots will look like before crew and cast go through the trouble of setting them up.

5. Doesn’t Sweat the Small Stuff

This is probably the most controversial trait on the list. Artists are, by their nature, perfectionists–and they should be!  However, the reality is that perfection is tough to achieve on a small budget. Of course, we should always work very hard to achieve it, but the obsession over minor details–like the way a curtain drapes over a windowsill in the background–should not compromise more important things like the actors’ performances or the entire shooting schedule. Except, of course, if you’re making an art film in which the position of curtains is paramount. But if you’re making a traditional narrative film where the writing, acting, and storytelling are the main events, then those are the things you should focus on. A production’s budget and schedule are a zero-sum game. It’s rare to get everything you want; it’s usually very give-and-take. So it’s important for directors to choose their battles wisely.

6. Highly Prepared

One of my favorite first assistant directors, Nicolas D. Harvard, has a great motto: “Fix it in prep.” Indie films benefit immensely from directors who are incredibly diligent about doing research, shot lists, storyboards, and the like during prep. Some directors I’ve worked with have refused to do shot lists because they don’t want to be “locked in” to doing those particular shots on the day of shooting. This is silly because a good producer and crew understands the importance of being flexible on set and allowing for the organic nature of filmmaking to take its course, and would not pressure a director to stick strictly to his or her shot list. On the contrary, a shot list is what allows a director the freedom to improvise on the shoot day. Going into production without a shooting plan is very dangerous because it could easily throw the entire schedule (and consequently, the budget) off the rails.

7. Solid Work Ethic & High Stamina

Making a movie is hands down the hardest work I’ve ever done. That’s why I’m so picky with my projects. I cannot imagine working so hard on something I don’t care about. So when I take on a project, I expect to work very hard on it, and I expect no less of my director. Once, during late-stage prep on a film, the director kept checking into bars and restaurants on Foursquare, and tweeting about how much fun he was having hanging out with his friends. I did not like this one bit. If I and your crew are working our asses off on your film, then you should be too. Indie directors must have a very solid work ethic, and a high stamina for long hours spent doing what will likely be the most intellectually, physically, and emotionally challenging work they’ve ever done.

8. Vast Knowledge of Film

It’s important for all directors to know the language of cinema. By knowing what’s been done before and what certain shots have traditionally communicated, a director doesn’t have to reinvent the wheel. He or she can then more easily pay homage to, do variations on, or reject conventions. Being able to refer to certain films, scenes, or shots also makes it much easier and quicker for a director to articulate his vision to the crew and cast.

9. Articulate

In all productions, but especially indie ones, a director often has to defend the creative decisions that conflict with budget or schedule limitations. As such, a director should be able to clearly articulate why he needs 5 picture cars instead of 2, or 21 shoot days instead of 20, or a Steadicam instead of doing it handheld. A good producer will listen and OK the expenditures if the director provides a strong rationale for them. Of course, it’s also beneficial when directors can clearly and efficiently communicate what they want to their actors and crew, and woo financiers with a pitch. Directors should practice untangling the creative jumble in their heads to form coherent thoughts and actionable requests (that, or find a producer who can translate for them).

10. Publicity-Friendly

Being articulate also helps when a director is promoting a film. Communicating your vision to the media and the public can be a difficult thing to do, especially if you can’t afford fancy publicists to guide you. Some directors I’ve worked with are great at making movies, but can’t write loglines or synopses, pitch their own films, or conduct coherent Q&As, so I’ll have to pinch hit. But it’s really nice when they can do these things, because no one cares about the producer! Distributors also expect directors to play an active role in film promotion, especially now that the landscape is so difficult, and so much rides on the cult of personality. Bonus points for the director who is active in social media. There is no substitute for authenticity, and when a director can tweet in his or her own voice, it generates a lot more interest and engagement.

11. Technically Adept

Knowing how to use Twitter and Facebook is part and parcel of the overall technical aptitude that’s important for an indie director to have. Indie directors and producers often have to be jacks of all trades–more so than ever now that so much of marketing and distribution falls on our shoulders. When you can’t pay your Web designer, graphic artist, or assistant editor enough to be on call (or when you can’t afford these folks in the first place), you should be prepared to do the job yourself. So if you have some spare time, learn how to use video editing, photo editing, illustration, and web design programs, and of course, social media tools. You should also try to stay abreast of the latest camera and post-production technologies because in indie land, post supervision often falls to you and your producer.

12. Appreciative

Directors can be spoiled, bratty, entitled people. There is no place for that in the low-budget world, where everyone is working very long hours at very reduced rates. Directors who consistently show appreciation and respect for their cast and crew effectively motivate them, and that motivation is necessary fuel for low-budget productions. The director–not the producers or the actors–is the one who ultimately sets the tone of the production. If he or she is an unappreciative jerk, then everyone is miserable and left to wonder what all the suffering is for. An appreciative director also shares the limelight, and gives credit where it is due. And if/when Hollywood comes a-callin’, an appreciative director will remember the “little people” and “give back” by continuing to work with those who believed in his or her vision before anyone else did.

So there you have it! If you don’t possess most of these traits, please don’t call me–unless you are David Fincher or Terrence Malick. Actually…no, never mind, not even then. I will just enjoy your brilliant films from afar.

About the Author

Mynette Louie

Mynette Louie currently serves as the president of Gamechanger Films, an investment fund that exclusively finances women-directed features. She is the winner of the 2013 Independent Spirit Piaget Producers Award. She produced Martha Stephens & Aaron Katz's "Land Ho!" (Sundance 2014, Sony Classics); Tze Chun's "Cold Comes the Night" (Sony/Goldwyn 2014) and "Children of Invention" (Sundance 2009); Marshall Lewy's "California Solo" (Sundance 2012); Patricia Benoit's "Stones in the Sun" (Tribeca 2012); and Doug Karr's "Art Machine" (Woodstock 2012). She also was the consulting producer on Olivia Silver's "Arcadia" (Crystal Bear Award, Berlin 2012); executive produced Ishai Setton's "The Kitchen" (Gen Art 2012 Closing Night); and co-produced Andrew Bujalski's "Mutual Appreciation" (SXSW, Top 10 films of 2006--EW, Village Voice, Film Comment, Artforum, etc.). Mynette serves as an advisor to IFP, the Sundance Institute, SXSW, and A3 Asian American Artists Foundation, and has been a consultant for international sales agent Visit Films. She was named as one of Ted Hope's inaugural "21 Brave Thinkers Of Truly Free Film," featured in Indiewire's "Futures" column and Crain's New York Business, and name one of Indiewire's "100 Filmmakers to Follow on Twitter." She previously worked at the Hawaii Film Office, where she authored the state's production tax credit, and in business development and marketing at SportsIllustrated.com, Jupiter Research, and Time Magazine. A native New Yorker, Mynette graduated from Harvard University, where she studied Chinese literature and film. Visit her blog at mynettelouie.com and follow her on Facebook and Twitter: @mynette

View all Mynette Louie's blog posts

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Comments

  • Richard
    on 05 14 2012

    I got stuck on #4. A director without the ability to visualize is a little scary!

  • Emon
    on 05 14 2012

    Couldn’t agree with you more. Adapting to changing situations and unavoidable circumstances are a big part of indie filmmaking. Not being able to work with the team that is working hard and against so many odds will not a good indie director make.

  • Bob Fanucchi
    on 05 14 2012

    Sounds like us. No egos on our sets or you’re politely requested to leave, and those who are hired are expected to be prepared and flexible.

  • Matt Terry
    on 05 15 2012

    Great article. I directed a micro-budget feature film in 2008 and have since produced two more micro-budget films. And when I say Micro-Budget, I’m talking less than $7,000 for my film and less than $500 for the other two films. One of the films I produced had its World Premiere at the 2010 Seattle International Film Festival. I have many a story I can tell you from these productions that confirm what you wrote. Trust me, I’m not the greatest director – but I learned to treat people right. On the latest micro-budget film we’d have the cast meet at my house in the morning of the shoot and feed them a huge breakfast. It started the day out right, everyone enjoyed themselves, and we had the fuel to take us through the 5 or 6 hour shoot. And that’s just one story….

  • Kathy
    on 05 17 2012

    Kudos…you nailed it. Indie film is such a different beast. Some of my worst experiences have been with folks who’ve worked on big budget films.

    The only thing I’d add to the list would be… it’s good to know a little about every job on the set, but don’t get pulled into actually doing them.

  • zac
    on 05 18 2012

    this list makes me dream of working with you. Its also a great traight for a producer to know what to look for in a crew and have a great sense of what it takes. Well put together post, I will now be checking this blog frequently.

  • Star Victoria
    on 05 21 2012

    Thank You! I am that type of director that is diligent, focused and I constantly study my craft of visual concepts and storytelling do it drives me up a wall to see directors that embody most of the ‘wrong things to do’ on your list. I’m glad someone finally said it. And I agree that twitter and Facebook are truly a necessity as an indie director. I actually incorporated my own production studio because I didn’t like to say ‘check my new short film’ I can now say ‘check out our new short film or check put the new short film by IvyCreek Studios’ it makes the crew feel more apart of the overall film as opposed to feeling like the just helpede make my film. It really makes a difference.

  • Stoneking
    on 05 30 2012

    Further to this discussion, writers and directors will find the following website of vast interest – WHERE’S THE DRAMA? at http://www.wheresthedrama.com

  • Pingback: QUALITY OF DIRECTOR | Uttarakhand Cinema

  • David
    on 06 04 2012

    Well written article Mynette.

  • shaun wilson
    on 06 12 2012

    You forgot an even bigger point – “But can you cook?”. For micro and no (as in nothing) budgets, the cast and crew have to be fed and either the director (or in my case) the director’s wife who is also the producer and makeup artist, – confused? – loves to put on a spread made from not much at all and turns it into a feast. A well feed crew is a happy crew indeed.

  • Pingback: 12 Key Traits of the “Indie-Friendly” Director | CRI

  • Lynn Magnuson
    on 06 14 2012

    GREAT article. I’m getting ready to shoot an Indie film about a newspaper reporter in a tsunami, and some of the concerns I’ve had were addressed in the article. The film is probably going to be someone up to an hour long, maybe a bit more. Not sure … still working on the script. But definitely useful stuff there.

  • Felipe
    on 06 18 2012

    One day I hope to be that guy. In the meanwhile could you please come out with the 12 Key Traits of the “Indie-Friendly” Producer, AD and DP?

  • Pingback: GOT WHAT IT TAKES TO BE AN INDIE DIRECTOR? | Legendary Film Studios

  • Pingback: 12 Key Traits of the “Indie-Friendly” Director | IFP « Above The Line – Detroit

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