An issue-oriented brief film is one that has a style of social significance at it's core. Drug abuse, poverty, the environment, homelessness ... these are all examples of a smaller film with a socially appropriate theme. This is significant as it is A LOT EASIER to obtain donations of time, devices and supplies when there is a "source" behind the film.
In the mid 90's I was able to get a 12 minute 35mm film produced for under a thousand dollars, an absolutely unprecedented quantity. Catering, locations, film stock and processing, misc materials, equipment - almost everything was covered with generous donations because the film had two major social concerns as the primary styles - kid abuse and it's resultant connection to substance abuse later in life.
The approach? Experience production directory sites and cold call till you cannot speak anymore. A normal pitch went like this: "we're working on a film that handles some appealing intense social concerns and we're questioning if there's someone we can speak to about making a contribution of ..." It takes a lot of calls, but it works.
Getting donations is in one sense quite easy as many production business are willing to contribute. The trouble that originates from this alternative to smaller movie funding is in the extra coordination efforts needed, for you'll have to adapt your schedule to the contributors. An example of this is that we needed to cancel a film shoot two weekends in a row since the 35mm camera that was being contributed to us became unavailable as it was booked out on a paid shoot (a reality that has to be accepted taking this approach). But as quickly as the rental company's schedule cleared, the camera was ours and we were able to shoot, conserving hundreds of dollars in rental charges.
An additional concern with taking this path is manufacturer sychronisation. It's better if you have a distinct producer working with obtaining donations as it's a full time task in and of itself. It's finest to have one producer to manage shooting logistics and another to handle donations. In the end, while our group was able to achieve a lot with very little 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 imaginative shots, acting, etc. Having an one-of-a-kind manufacturer to manage donations will fix that trouble!
In the mid 90's I was able to get a 12 minute 35mm film produced for under a thousand dollars, an absolutely unprecedented quantity. Catering, locations, film stock and processing, misc materials, equipment - almost everything was covered with generous donations because the film had two major social concerns as the primary styles - kid abuse and it's resultant connection to substance abuse later in life.
The approach? Experience production directory sites and cold call till you cannot speak anymore. A normal pitch went like this: "we're working on a film that handles some appealing intense social concerns and we're questioning if there's someone we can speak to about making a contribution of ..." It takes a lot of calls, but it works.
Getting donations is in one sense quite easy as many production business are willing to contribute. The trouble that originates from this alternative to smaller movie funding is in the extra coordination efforts needed, for you'll have to adapt your schedule to the contributors. An example of this is that we needed to cancel a film shoot two weekends in a row since the 35mm camera that was being contributed to us became unavailable as it was booked out on a paid shoot (a reality that has to be accepted taking this approach). But as quickly as the rental company's schedule cleared, the camera was ours and we were able to shoot, conserving hundreds of dollars in rental charges.
An additional concern with taking this path is manufacturer sychronisation. It's better if you have a distinct producer working with obtaining donations as it's a full time task in and of itself. It's finest to have one producer to manage shooting logistics and another to handle donations. In the end, while our group was able to achieve a lot with very little 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 imaginative shots, acting, etc. Having an one-of-a-kind manufacturer to manage donations will fix that trouble!
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