I’ve written this blog for a filmmaker who is embarking on making their debut micro budget feature film. My name is Eric Garson and I am a British Film Director. My debut feature film ‘Trophy Wife’, was released last summer 2024 and is available to watch on AmazonPrime, Tubi, Fawesome, Google Play and YouTube Movies via film distributor Indie Rights.
The film has made it’s budget back and I’m paying residuals to cast, crew and investors.
I’ve been making short films for the past eight years and I have no formal film education and I had been trying to make a feature film for a few years.
But I Have No Money?
Watch Producer Jason Blum’s interview on CNBC about his productions. “There’s a triangle. The number of characters, number of locations and the number of stunts/SFX.You get to pick one.” On a micro budget production you have to restrict all of these elements. WATCH HERE.
Writing a screenplay which has one main location with limited characters is the aim to make it as manageable as possible for a first time director.
Balancing what one wants to write/produce vs what one can produce on a limited budget is a tough balance. Ultimately you have to write what you believe in. One silver lining on a micro budget is that you will learn lots.
How Did We Get ‘Trophy Wife’ Over The Finish Line?
A bullet point list in no particular order.
- Wrote a script with limited locations, limited cast, limited VFX and limited SFX/Stunts.
- Must provide hot lunches and dinners for cast and crew – “An army marches on its stomach.”
- If you have a location you have a movie.
- The main location for the film, a flat, could double up as accommodation for the cast and crew.
- You need funding for travel expenses, catering, parking fees, location fees, accommodation, insurance and kit so nobody is out of pocket.
- Lead actors must be committed and available for dates of filming & rehearsal.
- A team that works well together.
- Do not neglect to backup of your footage and sound files. Ideally three physical backups.
- Feature filmmaking is about preparation. The better the prep the better the film. Thus rehearsals, shot lists, call sheets, travel arrangements, catering, where’s the toilet?, where do we leave kit?, storyboards, scheduling and availability of cast/crew etc.
Recruiting
Bring in people who have a common vision with you about what, and, more importantly, how the film will be made. Find people you trust.
Bring actors and crew who are committed to the project irrespective of the budget and pay. They are coming to the project for the same reasons you wish to make it. The experience, the story and the potential of where it will lead.
If you cannot pay upfront, provide showreel material, travel, parking and catering expenses as a minimum. You can eventually pay through residuals when the film is distributed so long as you do your job right in both production, post and then distribution.
Qualities Needed For Micro Budget Direction
- Patience.
- Determination.
- Ability to stay calm under pressure.
- Leadership.
Things To Think About
Pacing. Take your time holding your shots on set, so you have time in the edit. Pay attention to the speed of your actor’s movements and speech as this will effect the pacing of your film.
An Asset. I would suggest just getting the film shot and wrapped, worry about post when you get there. There are a million things to worry about when making a film, especially when it’s a first go. Lack of resources, the elements against you etc. Just get the film wrapped, you have an asset go from there.
Lighting. Shoot into the shadows and catchlight in the eyes. Use natural window light and negative fill, depending on your genre type.
The Proscenium. All that matters is what’s in the frame/down the viewfinder. Think about the colour of background walls. Avoid white or beige.
Location. Do you have control over the location? Where is the toilet? Where will you leave kit and valuables? Will you have to move kit up stairs? What AC power options do you have? Shooting in a city as opposed to the countryside means parking expenses will be higher. Does it fit the film and have character? If you have a location you have a movie. Fewer locations, fewer logistics of moving crew and kit.
Sound. If a noisy motorbike, police siren or plane goes over. I currently stop, but don’t cut. I wait for my sound recordist to say we’re good to go and then carry on with the scene. If at the end of the take it’s no good sound wise, we can go again. Or we just record the sound/dialogue alone. Personally I want my actors to stay “in the scene” or “in the moment,” I don’t wish to take them out prematurely when they’ve nailed their performance. Outline what you will do to your cast and crew before filming, so people know how to react if this arises.
Don’t Be Put Off
If you want to find a reason not to make a movie you can find one.
If you listen to people who do not care about you or your project, you won’t make anything. You have to start somewhere. In the words of the Godfather producer Al Ruddy “ultimately a movie is made by one person.”
Thirdly, we are in a world of free screenwriting software plus free editing/colour grading software, coupled to low cost digital cameras which can shoot a scope aspect ratio, 24FPS, in a RAW codec. There are distributors open to indie films for streaming.
If you want to make a film, GO MAKE A FILM.
Don’t let the technology hold you back.
I’m not a “techy” director. I have friends to help me. If you have weakness, bring someone onboard who can compliment your weaknesses in a positive way.
My Objectives For ‘Trophy Wife’
- Crew and cast safety
- Complete the film
- Tell a story
- Get compelling performances
- Best production value you can achieve – Sound, Edit, Soundtrack, and Cinematography. The basics tenets of a film.
- Everything after is a bonus.
How Long?
- 9 1/2 days for principle photography
- 7 months in post-production
If I made the film again I would film in two four day blocks and limit the shooting to 10hrs per day. Because a break recharges your team.
Funding
I had two executive producers, Peter Owen & Andrew Dobson, whom I met through Ceroc dancing. They believed in me. They’re qualities as people, in business and beyond, was just as valuable, as their funding.
I crowdfunded a small amount, alongside my part time bar job towards the funding of the film.
I think you need enough funding for:
- Location fees
- Catering
- Travel expenses
- Insurance and public liability
- Parking fees
- Set dressing hire
- Backup of footage and sound files.
Kit
We shot Trophy Wife on a Blackmagic Pocket Cinema Camera 4K, which I own. I predominantly used one lens throughout a 12-35mm. Some sequences were shot on 8mm celluloid, GoPro and on a DJI drone. Sophie Marchant my longest collaborator provided sound kit. Lights, we used a basic 35W fluorescent light with a soft box for the majority of the film. Overall mainly natural light.
I would use a camera that you are familiar with and is dependable. A large production camera, requires a full camera team to maximise it’s potential. Consider a GH5, Canon C300, SonyA7S series, Blackmagic Pocket 4K,6K and URSA as options. Overall I think the backing up of your footage and sound files is potentially more important than the camera type.
Microbudget Crew Size
I would recommend Director, DP, Sound Operator, Gaffer and Clapper/1stAD. You have someone dedicated to story, to camera, to sound, to lighting and to schedule.
Even better, two people per department, from a safety perspective large lights require two people. Ideally a costume designer, set dresser and MUA would be great. This all depends on your film, funding and team availability etc.
On a no-budget feature film which can’t pay, most people will only be available when they’re free. Thus you’ll have to double up roles. In the case of Trophy Wife, on average including myself, I had three crew members per day. Expediency is the word.
What Would I Do Differently Now?
I did what I could at the time. If I made Trophy Wife now with a similar budget film:
- Bring on a talented editor, poster designer and publicist, depending on funding.
- Actors and crew contracts in place beforehand.
Trailers
- Put your best material in the trailer.
- Better to get bums on seats via adding a spoiler (which could be great material) is better than not putting your best material forward and the audience not being impressed.
- I would recommend Derek Lieu’s trailer editing videos and editor Eddie Hamilton.
- Ideally get a Trailer Editor. I edited Trophy Wife’s trailer, using The Mission Impossible Dead Reckoning trailer structure for inspiration.
- Trailer music rights. You need funding.
Ups and Downs
Making films is tough, really tough.
Develop a thick skin. You will unfortunately have moments of acute stress, but that will pass. Keep your head up, keep calm and keep going. Very easy to say, harder in practice. Have people who support you and you support them. Keep moving forward.
What Did I Learn Before Making Trophy Wife?
- Read Alexander Mackendrick’s book “On Film-making.”
- Joined an amateur film club in Reading.
- Watched Pixar’s CG Layout videos on YouTube
- Made a few shorts. My belief is that if you’ve made one solid short, just go make a micro budget feature film. You know what you’re doing. You’re ready. The mistake I made was not writing something that could be made on a micro budget scale.
Inspiration for a Micro Budget Film?
In Search of A Midnight Kiss (2007) by Alex Holdridge
Distribution
Find a distributor you trust and has a good reputation with independent filmmakers. Indie Rights are transparent, have a long track record and are very professional. I would recommend them.
Marketing
Last year I was very lucky to meet Steven Soderbergh, he mentioned words to the effect of “your body of work will become a form of marketing.” Thus keep making films. Reach out to reviewers, critics, blogs, local newspapers, local radio and reviews sites. Have a presence online via a website and social media pages. But ultimately word of mouth is the key. I’m still learning these factors.
Be You
Some directors write. Some directors want to camera operate, some want to edit, some storyboard, some don’t storyboard, some want to shoot in a documentary style. Some delegate everything and only shout “cut.” You have to be You as a director and find a team who embraces working that way.
Final Word
Take a pinch of salt from my thoughts above. Every film and production is different, presenting unique challenges. You have to do whats right for your film. It’s not a one size fits all. But don’t let the industry, people or individuals put you off. Your work has value both artistically and commercially.
Go make your movie now.
‘Trophy Wife’ Links:
Eric Garson:
