What Is "Independent" Film?

Having recently completed a questionnaire for a friend in Austria writing a graduate thesis on "Contemporary Independent Film Criteria and Distribution Strategies," these responses are posted to encourage discussion on this always evolving topic.

1. What defines an independent film for you?

Since there are few objective criteria that define "independent" film, any definition is to some degree subjective. Although indie films have sometimes been described as non-studio releases, with the introduction of studio specialty divisions, that definition is no longer valid, since distributors like Fox Searchlight, Warner Independent Pictures, Disney's Miramax and Focus Features (Universal) have successfully co-opted the "independent" film aesthetic, as well an increasing share of the creative and performing talent (screenwriters, directors, actors) over the past decade.

One of the defining characteristics of indie films that's sometimes cited is their budget for production, post and P&A. Particularly since the entry of the specialty distributors, these budgets have increased to well over $10 million for some films, a figure that often doesn't include marketing costs, which can be even more significant if the film is an awards-season contender.

(For instance, "Righteous Kill," with a $60 million budget starring Al Pacino and Robert DeNiro, was announced at Cannes and described as “independent” by production company Nu Image/Millennium Films.)

While there's no firm guideline, films with production budgets of $5 million or less tend to be more independent with regard to both creative and financing resources. Regardless of the size of the budget, the determining factor remains the source of the financing. If a movie is fully funded by a studio specialty division, then a $5 million film isn't really independent.

Other criteria that may contribute to a film's independent characteristics and sensibility discussed below include creative opportunities for filmmakers and the overall tone of a movie.

2. What's the difference between an independent film 30 years ago and an independent film today?

Some overall trends during the past 30 years are becoming increasingly clear.

Financing & Incentives – There is far more investment capital available for projects produced by independent filmmakers and specialty divisions than there was 30 years ago. In particular, the last few years have seen an influx of investors -- both broad-based and sector-specific -- participating in filmmaking and ancillary activities (DVD, TV, etc.).

However, with an increase in the overall number of filmmakers seeking financing and the allure of high-profile projects that are products of “packaging,” these financing sources are not necessarily more available to independent filmmakers.

The globalization of independent film has also opened up new markets to American independent film, although with the decline in foreign pre-sales, these opportunities are principally available to finished movies with pre-sold North American rights.

In addition, tax and production incentives provided by individual U.S. cities and states (e.g., NYC, LA, New Mexico, Louisiana), as well as national incentives overseas (in countries like Canada, Ireland and the U.K.) have also opened up opportunities to secure additional financing and/or defray or delay expenses.

Scale – Film projects today often have larger budgets, bigger and higher-profile casts and significant production enhancements (multiple locations, CGI, digital post production, etc.) that weren’t available 30 years ago.

Attachments – With the higher profile that independent film has gained in the last 30 yrs., prestigious actors, directors and producers are getting more involved in the independent sector. (Jennifer Aniston in “Friends With Money,” Ryan Gosling in “The Notebook,” Steven Soderbergh directing “Bubble” or Justin Lin with “The Fast and The Furious: Tokyo Drift,” etc.).


3. Are there explicit criteria that classify a contemporary independent film?

Even within the independent filmmaking community, there is much discussion and dissension regarding the criteria that define independent films. Since the sector lacks any objective standards or regulatory oversight, there are no explicit criteria and standards may vary considerably.

Film Independent (FIND), which confers the annual Film Independent Spirit Awards, stipulates that “the cost of the completed film, including post-production, must be under $20 million” in order for projects to be considered for awards nomination.

The Gotham Awards, conferred annually by the New York chapter of the Independent Feature Project (IFP), have abandoned all budgetary criteria in considering films for awards nomination, adopting more flexible stylistic standards: “IFP believes that filmmaking is a subjective art form, and the Gothams recognize films with a point of view” (as long as the project can’t be “defined as a ‘work for hire’”). In addition, films must have theatrical distribution in the year they’re being considered. Last year, “The Departed” and “Marie Antoinette” were nominated alongside “Half Nelson” and “Old Joy.”

Numerous directors, screenwriters and producers assert that the defining characteristic of independent films is the creative freedom filmmakers require to complete their projects and/or achieve the creators’ vision.

Many audiences unfamiliar with the financing and packaging of contemporary film may evaluate whether they consider a film independent based on the visual style and narrative approach. Titles that deal with controversial, obscure or personal subject matter may be perceived as “independent,” as well as those with an unconventional or innovative visual style. At this level, definitions of “independent film” become almost entirely subjective.