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More and more independent films are being produced
with higher profit margins than studio pictures. An independent film is a film initially
produced without financing or distribution from a major movie studio. Often,
films that receive less than 50% of their budget from major studio are also
considered “independent”. According to MPAA data, January through March 2005
showed approximately 15% of US domestic box office revenue was from independent
or indie studios. In the past few years, a growing segment of moviegoers has
been drawn to these unconventional films. (Learn
More: CNN.com; September 22, 2006,
Independent films move into spotlight)
What triggered the rise
of Indie films? With the advent of the
videocassette recorder and cable television, more independent movies were made
during the 1980s. These technologies
opened up new revenue streams, outside of risky and expensive theatrical
releases, making it easier to make money on smaller films. And as major studios increasingly
concentrated on producing big-budget films, independents filled a void. By 1989, there were more than 50 million
cable households. Cable viewers were accustomed to a wider variety of
entertainment choices, making them more receptive to new kinds of films. Thus, the convergence of new technologies and
demographic changes in the 1980s helped create the circumstances that were
conducive to the growth of Indies in the 1990s and today. All this has
helped to make Indies a hot commodity in Hollywood and on Wall Street. (Learn
More: Wall Street Journal; Jan 27, 2006,
The Sun Rises at Sundance; After Pricey Flops, Low-Budget Films
Are Grabbing Hollywood’s Attention)
The success and
profitability of indie films has attracted some of the most successful business
people in the world. Fred Smith of Fedex
and Norman Waitt of Gateway Computers who financed “My Big Fat Greek Wedding”,
Max Levchin and David Sacks of PayPal, Marc Turtletaub from The Money Store,
Roger Marino from EMC Corp, former Chicago Bulls co-owner Jim Stern, Jeff Skoll
of EBay, Sidney Kimmel of Jones Apparel Group, Minnesota Twins owner Bill
Pohlad, real estate developers such as Bob Yari and others all started to
bankroll independent films. (Learn
More: San Francisco Chronicle;
December 29, 2005, Google team sets sights on big screen)
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The following are statistics,
published in Filmmaker Magazine and the Internet Movie Database.
It is important to note that domestic box
office numbers presented reflect only one source of revenue for independent
films. The figures do not account for video,
foreign sales, and other various sources of revenue.
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Most Profitable Movies of the Last 10 Years, Based on Return on
Investment |
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|
Year |
Movie |
Distributor |
Budget |
Domestic Gross |
Profit Ratio |
|
1 |
1999 |
The Blair Witch Project |
Artisan |
$35,000 |
$141,000,000 |
4029 |
|
2 |
2004 |
Open Water |
Lion's Gate |
$130,000 |
$30,500,00 |
235 |
|
3 |
2004 |
Napoleon Dynamite |
Fox Searchlight |
$400,000 |
$44,500,000 |
111 |
|
4 |
2002 |
My Big Fat Greek Wedding |
IFC Films |
$5,000,000 |
$241,000,000 |
48 |
|
5 |
1997 |
Chasing Amy |
Criterion Collection |
$250,000 |
$12,000,000 |
48 |
|
6 |
2004 |
Saw |
Lion's Gate |
$1,200,000 |
$55,200,000 |
46 |
|
7 |
2004 |
Super Size Me |
Hart Sharp Video |
$65,000 |
$11,500,000 |
38 |
|
8 |
2005 |
Saw 2 |
Lion's Gate |
$4,000,000 |
$87,000,000 |
22 |
|
9 |
2001 |
In The Bedroom |
Miramax
Films
|
$1,700,000 |
35,900,000 |
21 |
|
10 |
2005 |
Wolf Creek |
Weinstein Company
|
$1,000,000 |
$16,200,000 |
16 |
Over the last decade
every major studio has bought or established an art-house division in an
attempt to win some of this market. As the majors have gotten involved in the
production and distribution of Indies, budgets for some Indies have increased, and the
line between independent and studio releases has gotten fuzzier. Indies have become so
mainstream that they now form an industry that runs not so much against Hollywood, as parallel to Hollywood. (Learn
More: New York Times;
May
29, 2005, The Meaning Of 'Indie')
Independent films now compete with studio movies
for high grosses at the box office, and make up more than 60% of all theatrical
releases. The independent filmmaker has
the freedom to make creative decisions, unencumbered by the studios.
Indie-Producing
Studios
The major
commercial film industry in the United States is in Hollywood,
while much of the independent film industry is in New York City. The following studios are
considered to be the most prevalent of the independent studios:
Note that
many of the above studios are actually subsidiaries of larger studios - for
example, Sony Pictures Classics is owned by Sony
Pictures and is designed to develop less commercial, more character driven
films, and Fox Searchlight (which released the surprise hit Bend It Like Beckham) belongs to the same
company that owns 20th Century Fox. It is often argued that
subsidiaries of major studios, as part of their larger, major studio parent companies,
are not "true" independent film studios.
In addition
to these higher profile "independent" studios there are thousands of
smaller production companies that produce truly independent films every year. These
smaller companies look to regionally release their films theatrically or for
additional financing and resources to distribute, advertise and exhibit their
project on a national scale.
Significant Independent Films
- Shadows
(John Cassavetes, 1959)
- Faster, Pussycat! Kill!
Kill! (Russ Meyer. 1965)
- Night of the Living Dead (George A. Romero, 1968)
- Easy Rider (Dennis Hopper, 1969)
- Pink
Flamingos (John Waters, 1972)
- The Texas Chainsaw Massacre (Tobe Hooper, 1974)
- Assault on Precinct
13 (John
Carpenter, 1976)
- Eraserhead (David Lynch, 1977)
- Halloween (John Carpenter, 1978)
- The Evil Dead
(Sam Raimi, 1981)
- She's
Gotta Have It (Spike
Lee, 1986)
- sex, lies and videotape (Steven Soderbergh,
1989)
- Roger &
Me (Michael
Moore, 1989)
- Reservoir
Dogs (Quentin Tarantino, 1991)
- Slacker (Richard Linklater, 1991)
- El Mariachi (Robert Rodriguez, 1992)
- Clerks (Kevin Smith, 1994)
- Pulp Fiction
(Quentin
Tarantino, 1994)
- Kids (Larry Clarke, 1995)
- Swingers (Doug Liman, 1996)
- Bottle Rocket
(Wes Anderson, 1996)
- The Blair Witch Project (Daniel
Myrick & Eduardo Sánchez, 1999)
- The Passion of the Christ (Mel Gibson, 2004)
- Napoleon
Dynamite (Jared Hess,
2004)
- Crash
(2004 film), (Paul Haggis, 2004)
- Good Night, and Good Luck (George Clooney, 2005)
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