Professional Documents
Culture Documents
RKO
In contemporary times –
Part of the independent content scenario
alongside music, news etc.
Advances in technology
Support from smaller studios – Lionsgate,
Warner Independent Pictures The
Weinstein Company/Dimension Films
“While it’s true that, in the best of all possible
worlds, independent films are genuinely
alternative, genuinely original visions, there’s no
such thing as an absolutely independent film.
There’s still an economy at work: The movie has
to go into the marketplace, and people have to
want to see it.”
— Christine Vachon, acclaimed American
independent film producer (Poison, 1991; Boys
Don’t Cry, 1999; I’m Not There, 2007)
Production Distribution Consumption
On the upside,
Financing film budgets
Added certain degree of bankability
Well established distribution and integration network
On the downside,
No creative liberty to artists
Low payout
Cartelization of the studios
Director Major Indie Film Major Studio-Backed
Films
Steven Soderbergh sex, lies and videotape The Ocean’s Trilogy, Traffic,
Erin Brokovich
Kevin Smith Clerks Dogma, Jersey Girl
Judd Apatow The 40 Year Old Virgin Knocked Up
Quentin Tarantino Reservoir Dogs Pulp Fiction, Kill Bill Vol. 1&2
Robert Rodriguez El Mariachi Desperado, Once Upon A
Time In Mexico, Sin City
Martin Scorsese Mean Streets Taxi Driver, Goodfellas,
Raging Bull, The Departed
Darren Aronofsky Pi Requiem For A Dream
Bankable distribution and marketing
channels – Orion Pictures’ Dances With
Wolves & Platoon
Money spent on production <<<<<< money
spent on marketing and distribution
Technological innovation
20th Century 21st Century ‘Indie’
Independent Films
El Mariachi - $7,000 Juno - $6.5 million
Clerks - $27,575 District 9 - $30 million
Eraserhead - $20,000 Moon - $5 million
The Blair Witch Project - $14,000 Two Lovers - $12 million