The Only Successful Model for Indie Film
By Levi Shapiro

Israeli-born director Oren Moverman
Hollywood is throwing itself a party this evening. Unfortunately, in the business of specialty film there is little to celebrate - 2009 was a year of record losses. A glut of more than 420 specialty films were dumped on the market last year but less than 10 percent were profitable. Production costs for films with stars attached averaged $8 million (before marketing) but earned only $1.7 million.
In this environment, specialty units at Warner, Paramount and Disney have been shuttered or severely curtailed. This has opened the door for newer, more nimble entrants, like Beastie Boy (aka Nathaniel Hornblower, aka MCA) Adam Yauch. His two year old indie distributor Oscilloscope Labs acquires films on the festival circuit while maintaining low overhead. The process generated two Academy Award nominations for The Messenger from first-time, Israeli-born director Oren Moverman. The commercial and critical success of The Messenger suggests a path to profitability for other film-makers:
* low overhead
* story integrity
* built-in audiences
* artistic risks
The indie-film model of this decade is based on Miramax of the nineties. Harvey Weinstein's formula included nurturing talented young film-makers (Quentin Tarantino, Gus van Sant, etc), picking stories with built-in audiences and aggressive promotion to the Academy of Motion Picture Arts & Sciences. This yielded mega-hits like Pulp Fiction and Chicago ($213 million and $306 million) plus Oscar sweeps such as The English Patient (nine) and Shakespeare in Love (seven).

Adam Yauch, Beastie Boy and aspiring movie mogul
In the new indie-film economics, writer/director Oren Moverman incorporates a different formula for The Messenger. The film is about two members of the Contact Notification Office in the US Army. Their job is to inform the next of kin about the death of a loved one.
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