How To Make A Low Budget Film: 5 Things To Think About

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OK, so this is by no means an exhaustive article, or even a step-by-step guide to making a low-budget film.  I believe such things belong in the realm of the Tooth Fairy and Santa Claus. 

 

I do hope, however, that some of my experiences in making a low-budget film, ‘Quiet Night In’, will prove useful if you’re embarking on your first project.

 

Here we go:

 

1.  Restrict Your Options

 

The enemy of art is the absence of limitations.  I didn’t say that, Orson Welles did.  After his first two features, ‘Citizen Kane’ and ‘The Magnificent Ambersons’, he worked largely as an independent film-maker with low budgets and few options available to him.  He turned these restrictions to his advantage, however, and so can you.

 

In ‘Macbeth’ (1948), the only sets at his disposal were from an old Western at a b-grade Hollywood studio.  He adapted them to suit his needs, and the claustrophobic adaptation that followed was unique.  In ‘The Trial’ (1962), there were no sets at all.  Welles used existing locations like the disused Parisian railway station, the Gare d’Orsay, to create a surreal and darkly comic masterpiece.

 

Work with what you’ve got, and incorporate it at the writing stage.  This will ensure you’re being realistic about what you can achieve from the very start.

 

The genesis of ‘Quiet Night In’ was two key elements I had access to – my house, and actress Nicolette Kenny, with whom I’d worked for a number of years on other projects.  The whole script was then based around these two elements.  Challenging and restricting?  Of course.  But it forced me to be creative, and this process itself was incredibly enjoyable.

 

2.  Be Realistic With Your Budget

 

Write down the following words before you open up your blank Excel spreadsheet:  “about”, “roughly”, “nearly”, “approximately”, and “more or less”.  OK, that last one’s a phrase, but write it down anyway. 

 

Now burn the page you’ve written these words on, because you are never going to use them again.  At least not when you’re budgeting for your low budget film. 

 

If you’re a first-time filmmaker, you’re going to have no idea how much a lot of production elements cost.  I didn’t when I made ‘Quiet Night In’, and seeing as I was spending my own money, I wasn’t keen to guess.

 

I found one of the best ways to go about developing a budget was to consult books on feature production from the local library that included sample budgets.  The best ones are for large-budget productions, because these include every conceivable cost involved in making a film.  Many of these will still apply to your production, the only difference will be in scale and cost.

 

Your first draft budget should include market rates for all items.  You’re not going to be paying market rates (hopefully), but it is helpful to know what your production is worth in real terms, and will allow you to develop a worst-case scenario.

 

…and don’t forget that 10% contingency at the end – you will be needing it.  The best-laid plans of mice and men were not intended for use by low-budget film-makers, and there will inevitably be unexpected costs.  Be prepared for them.

 

3.  Have Fun With Your Actors

 

Some directors like battle analogies when it comes to making films.  I hate them, because they suggest a calculating ruthlessness about production that ignores the fun and discovery involved in the process of making a film.

 

Your schedule may be tight, but never forget that you’re doing this primarily because you love doing it.  God knows, at this budget level you’re certainly not doing it for the cash.  So take time to smell the roses, unless you have hay fever, in which case just take time to look at them.  Lovely, aren’t they?

 

For ‘Quiet Night In’, our elements were very spare.  We had a location, six actors and a woollen dress.  These had to sustain audience interest for ninety minutes, so it was obvious where the work had to go.  Make sure your schedule includes a decent rehearsal time, and not just for going over the mechanics of what is to be shot. 

 

Devise improvisations that allow your actors to loosen up and think about their characters in new ways.  You’re bound to discover things they’re capable of that you never would have otherwise, and sometimes you discover things so exciting they transform your script – I rewrote several sections of the ‘Quiet Night In’ script based on what came through in rehearsals.

 

There’s precious little time for experimentation or “fun” by the time you get to the shoot, so savour rehearsals.  At their best, you’ll see your work come to life for the first time, and you’ll be reminded why you got into this in the first place.

 

4.  Have A Release Strategy

 

Sort this out from the beginning.  Why?  Because once you get the ball rolling on production it’ll be too easy to put off, and establishing your release goals at the start will help ensure you don’t end up rudderless during the making of your movie. 

 

Stanley Kubrick believed that a script is just a blueprint for the film to come.  Having answers to the questions “who is this movie for?” and “where is it going?” will help immensely during production when you’re faced with hundreds of decisions about everything from performances to production design.

 

It’s essential to know your release goals once you’ve got final cut.  The explosion in digital technology which has given you the opportunity to make your movie is now in everyone else’s hands as well.  Everyone’s doing it, and the festival circuit – or more correctly these days, circuits – have ballooned in order to keep up.   

 

Film festival submission engine Withoutabox.com lists over 300 festivals from around the world, and nearly all charge money to enter.  Again – restrict your options.  Do your research and find your niche. 

 

Which 10-12 festivals can you identify that have the best odds for entry (submissions vs. entries accepted) and the best exposure (to your target audience, not just in sheer attendance numbers)?

 

With ‘Quiet Night In’, I found the festival submission options a little overwhelming at first.  Our subject matter and sensibility made us eligible for a number of target festival circuits:  digital film festivals, gay and lesbian film festivals, first-time filmmaker festivals, independent film festivals, comedy film festivals, and general weirdo film festivals. 

 

Don’t act like a compulsive eater at a buffet when it comes time to release.  Your movie will be more focussed and your wallet will thank you for it.

 

5.  Don’t Give Up

 

I didn’t want to end with cheesy advice, so I’ll mitigate it by posting the video for the classic 1986 Kate Bush/Peter Gabriel duet below.

 

That said, it’s very true.  Particularly if you’re a first-time filmmaker, you may find yourself faced with a lack of enthusiasm from people you encounter, or perhaps – if you’re trying to enlist the help of more experienced industry types – barely-disguised derision.

 

With ‘Quiet Night In’, I encountered both scenarios.  Just like your mother told you about the school bullies, it’s best just to ignore them and leave them to their own insecurities and/or dull lives.  If I hadn’t, I would never have got to the finish line. 

 

Focus on finding people who are committed to the same vision you are.  This is a mission in itself, but they do exist, and once you build that team around you, you’ll never look back.

 

 

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Tags: advice, christopher banks, cult film, film festivals, gay film, howto, low budget film, nicolette kenny, orson welles, Production, quiet night in, screenwriting, working with actors