Marc Clebanoff is the writer, director and producer of the new indie film UNSPOKEN which follows five characters locked in a room as they prepare for their untimely end by revealing the darker truths of their relationships. Clebanoff has graciously offered iF Magazine this exclusive first-person article on the catch 22’s of independent filmmaking.

I was definitely one of those struggling filmmakers from the beginning. Armed with a USC degree and an original script that had garnered nothing but positive feedback, I thought I was well on my way. I had the contacts to money (and we’re talking 6, 7 and sometimes 8 figure investors), I had the contacts to talent (both credible as well as bankable), and I had the contacts to some very prestigious individuals who were looking out for me. I figured that with all of this at my disposal, and keeping my first project modest with a high six figure budget, I’d be shooting my first feature within six months of graduation. That’s when I encountered the most mind-numbing obstacle of them all: Nobody would give me the money because I had yet to prove myself as a filmmaker. But how am I supposed to get a film made to prove myself if no one will finance me before I’ve made a film already? Bottom line, I needed my ticket punched. So what was my option?

To convince my investors I knew what I was doing, I put their fears at ease. I made a movie. I knew that if I nickel and dimed some family and friends, I could put together enough money to get a project going and ultimately open the doors to getting my baby rolling. Inspired by the Gary Winnick school of producing, I plotted it all out. Here’s a guy who has made a killing and has eaten up the festival circuit by producing two hundred thousand dollar features. Granted he has the clout to attach major talent, but he’s obviously working back end deals. I know Ethan Hawke and Uma Thurman didn’t make their rate on Tape, a digital film with a budget under $300K. So I locked myself in a room with my laptop and tailored an original screenplay to my constraints.

 William Sadler in UNSPOKEN

Write like a producer: limited & easily accessible locations, limited cast, limited shooting days and keep the story simple. This is the equation that spawned my first feature film, Unspoken.

Unspoken is an original feature length film, shot in real time, in a stage-like structure: one primary location, five actors, no physical special effects and a primarily dialog-driven storyline. I used the same recipe that Linklater did with Tape, Hitchcock did with Rope and Lumet did with 12 Angry Men. And it worked beautifully. For less money than a studio spends on J Lo’s personal catering, I had my first feature.

The process is reasonable if you stay realistic and approach the right people. Don’t write the next Star Wars. Write the next Unspoken. Write something you can produce realistically for 40 or 50 thousand dollars.

I knew I could only afford to shoot digitally, so I created something that would be complimented by that digital look. I want people to look at my digital film and say, "Good choice," not, "He only shot digitally because he couldn’t afford to shoot on 35mm." Unspoken wouldn’t have made sense with more money because I used my budgetary constraints to my advantage.

Once you have the right project, go out and get it. I’ll bet mom and dad can front five to ten. I bet your old college buddies turned investment bankers can spare a few grand. I bet there is an actor or aspiring filmmaker out there that has money and is willing to contribute for a chance to participate. With such a modest negative cost (the money you need to recoup), there’s a good chance they’ll not only make their money back, but make a few dollars extra.

Nickel and dime your way to your budget. Maybe it’s ten grand you’re seeking or maybe it’s fifty grand you’re after. Set a modest financial goal and pitch until you get there.

Next, go after some talent, even if you only have a few grand. The worst they can say is no. However, there is a good chance you will hear a yes, assuming the material is quality. You don’t need to get Tom or Brad in your movie. There are hundreds of very recognizable, working character actors that will be willing to participate. They may not have box office clout, but people will recognize them and it will provide your film with credibility. Of the five major roles in Unspoken, I only decided to pursue a bigger actor for one of the roles, the father. It was one of the smaller roles so I knew I could shoot him out in a day or two. I approached the agent of my first choice actor and to my surprise, they were very interested. Here’s an actor who has worked opposite some of the biggest actors and filmmakers in the business, so why would he want to participate in my little indie film? Turns out, this actor is an artist. A lot of famous actors are. The material appealed to his artistic sensibilities despite the modest budget. Money was definitely an issue and it always will be. That is the agent’s job. I was firm, however. I only had a certain amount of money to spend so the agent was willing to work with what I had. Afterall, agents can’t bargain for what I don’t have. In the end, I had an amazingly talented, very respectable and recognizable actor to add credibility to Unspoken.

Working deals is a matter of sniffing out the resources available, and being creative with how you exploit them.

Get crew members who are working toward union hours and are therefore willing to work for reduced rates. Help people with their projects in return for their help on yours. But always pay your crew members something. Keep in mind, you get what you pay for. This especially applies to your director of photography. Remember that it doesn’t matter what you shoot with. It’s how it’s shot that will make the film stand out.

Take advantage of the California State Incentive Program, which will reimburse you for all production expenses incurred on state owned property. All you need to do is browse the California State Film Commission website to find out how.

Find an independent equipment rental resource. There are a lot of them out there and easily accessible online. My company, for example, offers rates on high end DV cameras, dollies & other equipment for nearly half of what the major rental houses charge, plus, like most independent equipment renters, I’ll work with your budget. My website also offers 100% free resources to independent filmmakers to help them save money. I offer free downloads of useful agreements and releases. I also have a whole list of internet links to valuable, money-saving production-oriented businesses. Take advantage, if not on my site, on one of the other helpful ones out there. There are a lot of ways to save money if you spend the time looking.

Finally shoot it, cut it, submit it to festivals and knock down every distributor door you can. The prominence of digital filmmaking has opened up so many new markets, so if you have a completed feature, no matter what the quality, there’s a good chance it’ll find a home.

Unspoken is by no means my "baby," but it opened up the opportunities I needed to get my baby rolling. Not only did Unspoken convince my investors that I am ready for the bigger budget 35mm masterpiece, but the publicity and distribution contacts have put me in a position where for the first time, people are approaching me. Unspoken even garnered me an offer to develop and produce a new film from cult filmmaker Larry Bishop (Trigger Happy, Kill Bill). Unspoken was the punch in my ticket; A five figure business card.

I won’t lie and tell you that I will only shoot digitally for the rest of my career, but I am definitely now a major advocate of the technology because it provides the opportunity to anyone with the desire, to go out, shoot a film, potentially sell it, and get noticed.

The catch-22’s are finally being overtaken. For the first time in filmmaking history, anyone with a camera and a decent idea can shoot a feature film. If anything, you’ll garner the ability to tell people that you are not a first time filmmaker, and believe it or not, that can often go further in this town than having the money in the bank. *