독립 영화 제작자의 여정

### 독립 영화 제작자의 여정: 도전 과제 극복과 창의성 수용
* 🎬 J. 호튼은 독립 영화 제작자를 **스튜디오와 독립적으로 활동하며 개인 및 소규모 프로젝트에 집중하는 사람**, 흔히 "인디 영화"라고 부르는 사람으로 정의합니다.
* 💰 그는 자신이 만든 **"거의 모든 것"**을 자신이 소유하고 있기 때문에 자신의 일에 더 개인적인 관계를 맺을 수 있다고 말하며 재정적 소유권의 중요성을 강조합니다.
* 🌟 호튼은 인디애나주 포트 웨인의 중산층 가정 출신인 자신의 소박한 시작을 이야기하며, **신용 카드와 저축으로 프로젝트 자금을 조달**하는 등 최소한의 자원으로 영화를 제작하기 시작한 과정을 강조합니다.
* 📈 시간이 지나면서 그는 **5,000달러짜리 영화 제작에서 더 큰 프로젝트의 감독**으로 발전하여 궁극적으로 **15편의 장편 영화를 제작**하고 편집과 연출을 통해 소박한 생계를 꾸려나갔습니다.
* 🤝 그는 **영화 제작의 마케팅 측면과 외부의 압력 없이 프로젝트를 선택할 수 있는 자유**를 즐기며 자신의 창작 과정을 통제할 수 있는 능력을 중요하게 생각합니다.
* ⚖ 그러나 그는 이러한 독립성의 단점도 인정하며, **실패에 대한 책임은 전적으로 자신에게** 있으며 이는 큰 부담이 될 수 있다고 말합니다.
* 💼 호튼은 독립 영화 제작자로서 성공하려면 **영화 제작의 창작과 비즈니스 측면의 균형**을 맞추고, **배급과 마케팅을 이해**하여 이용당하지 않아야 한다고 믿습니다.
* 🗣 그는 **'돈만 밝히는 사람'이라는 오명**에 대해 언급하며 비판에도 불구하고 영화 제작에 대한 열정은 여전히 강하며 무엇보다 **창작 과정을 소중히 여긴다**고 주장합니다.

독립 영화 제작자는 창의적인 자유를 누리며 자신의 프로젝트를 소유하는 동시에 영화의 비즈니스 측면을 탐색합니다.

Film Courage: What does being an independent filmmaker mean to you? J. Horton, Filmmaker/Youtuber/Podcaster: I think an independent filmmaker is, in the broad sense, it's just being independent of the studio, which there's such a breadth of different types of movies that are made that could be considered independent. I usually, and it's semantic, but I usually use the term Indie for Indie for what I do as opposed to an independent film. I'll say I do indie films because it feels a little smaller and personal because I'm making my narratives now. I'm making them a little over 100 grand [100,000], but that's, I think, that's minuscule in the grand scheme of things. And I've made them much cheaper, and they're just, they're a different level of movie. So, for me, that means making movies faster, making movies cheaper, making movies more personal, and owning my movies. Like, I own pretty much everything.

I make now and like to me that's what it means to me like it doesn't mean that to everyone but for me that's what it is how can you dispel the myth that you have to be middle class or upper middle class or have come from that background to be able to make money with film or be in this business and have a job I dispel that by like like I am the template like not to not to it sounds egotistical but I like I am from no money I am from no connections I came from Fort Wayne Indiana single mom trailer park lower-middle lower lower middle class. We lived very very very modestly and I've never had someone no one discovered me no one said Hey kid we're make your movie I was working part-time at Starbucks I was making what whatever minimum wage was then and some and tips save some money and yeah I got a credit card and and and saved money over a

year and got together with another friend, put our money together, and made a little $5,000 movie, and then sold that. And by sell it, I mean we got it distributed, and then went from there. And I just kept repeating that, and then I would work for people and make a little money doing that as a shooter or later an editor. And I made a pretty decent living as an editor later on. But even to get to the point where I could make money as an editor, I got there making these little $5,000 to $10,000 movies. And eventually, I got to a point I had a couple under my belt, and I got to a point where I could talk another indie independent producer into putting $25,000 into a movie, and eventually 50, and then caught the eye of some producers that were making a string of $50,000 movies, and they hired me to direct and edit those. And by the time I got done with those, I have 15

features under my belt, and so at that point, I have some clout, and I'm making a living, a modest living, and I did it. And then I went from there to like, I want to just own my movies. I want to make these low-budget documentaries. And then I learned how to market better, and then I started getting to the point where I could crowdfund a movie for $100,000. And I could go out probably three months from now and launch a crowdfunder, decide to do it today, and three months from now launch one and raise $150,000 or $200,000. And I came from nowhere and no connections. I built this all up through force of will. I learned how to take what I was, what I have, and what I earned myself and roll that into a career. And I really, when I really flourished, was when I really adopted the Cavalry is not coming, nobody's coming to save me, I'm not going to be discovered, I'm not going to get picked out of a

out of a lottery to direct a Star Wars movie. Like, this is my path, and I'm happy with it. Like, there was a time I wanted to be a bigger studio director, but now I could live the whole rest of my life making these little movies, and I'm good with that, with independent film. I think you've said that the time you put in should be proportionate to the money you make back. Yes, yeah, I said that earlier today. I do so, and don't get me wrong. So, like, I think you can have your cake and eat it too, so, and I do so. For me, when I talk about the time in, money in, out, like, I'm mostly talking about, like, the documentary stuff that I do, and I look at that stuff, and if I'm going to make, like, on average, if you would add up all of my independent documentaries and divide it and figure out how much you're making a month, it's means probably around maybe

$200 a month, which sounds really bad, but there's some make 10,000 a month, some make 10 a month. But I have to look at these things, each one of them, like they're going to make that average. So like if I have a movie that's going to make $200 a month for a year, it's going to make $2,000. So is it like how much time is $2,000 worth? And that sound a little like mechanical or whatever, but that's like that's kind of how you have to like generally approach it. And then if you have a base where you get enough of that stuff done and you're making some passive income from it, then you can take a project, a year project, every other year, and spend more time on it. And that's what I do with my narratives now. So my narratives feed my like creative, like artistic passion, and the other ones, they feed my bank account and my natural curiosity towards other

subjects. That's why I like doing documentaries. And some people say, Well, that's just... I don't want to do that. Well, you're doing the same thing if you're working a day job or if you're being hired. Like, personally, I don't like working for people. If you like working for people and being a Director of Photography for people, for example, great, man. I wish I did, but I don't. But that's good for you. Works for you. For me, I would rather do these documentaries. That's my thing. And so, I have it kind of both ways. I can do my narratives once every year and a half, spend more money, spend more time, and I have the little things to, like, feed me in the meantime. What's your favorite part about being an independent filmmaker, and what's your least favorite part? So, my favorite part of being an independent filmmaker... Like, I like being

my own boss, and I love taking a thing like some people. Like, they just want to do one part of the process, like they want to make the movie, or they just want to make the movie and edit it, and that's all they want to do. I like the whole thing. Like, I have grown to really like the marketing part of it. I like all of it, and I like having ownership of all of that, both creatively and financially. Like, I own close to 100% of almost everything I do, you know, unless I'm splitting back in with shooters or whatever, but I like that. And nobody, like nobody as far as work goes, tells me what to do or when to do it or how I want to do it. I mean, if I don't want to make a movie next month, I don't. I just don't do it. But if I want to, or if I had to slow down, and I need

to make up a little bit. I'll do it, and I can work you know short burst, or I can do it long, or I can do what I want. I can if I decide to take all of next month off and go to Cancun. I could do that and then pick back up when I get back, and the part you like least. Oh, the part I like, the part I like least then is it's also that it's all on your shoulders, so you have to take responsibility for failure. You have to take responsibility if you are working with a partner or something, and the like it financially doesn't work out. You have to take responsibility for that. I've had situations with investors now where I start to pay them back out of my pocket if the movie doesn't make money. I don't like that, but I do it. I'd say overall if I'm talking about process, I probably enjoy the set itself a lot. I enjoy actually what I like it all. I can't.

actually can't think of what I like. It all film making is film business. Yeah, yeah, film making is film business. It's 100%. Well, not 100%, but it has to be. It has to be an equal component or a close to equal component. Like I said, I don't think like the business and the creative has to be mutually exclusive. I think you can do both, both, and you can get, you can have an equal amount of energy or a little more into this or that and still make it work. But if you want to make a living as an independent filmmaker, you absolutely have to put some energy into the business, and it has to be like a good amount, maybe not equal to the creative. I mean, I personally do, but maybe it doesn't have to be, but it has to be, has to be something there. You have to put some effort into learning the business side, even if you're not going to do the marketing yourself or you're

hiring somebody, you still should understand basically how it works. You should understand how distribution works. You should understand how the business stuff works so that you don't get taken advantage of, so that people don't rip you off. Understand how it works. And lastly, though, just one thing when you brought up with that and that just what if people say, Well, I want to do that, but I'm afraid because people are going to say you're all about the money. Yeah, so I deal with that on a daily basis during my channels because my channel is totally focused on distribution and marketing. And I'll get that, Well, you're not an artist. You're just a money guy. You're just throwing crap at the wall and trying to make money. And there's going to be people that say that. It's just like creative trolls. You're always going to have people that don't like what you're doing, that are triggered by what you were doing, that may be jealous of what you're doing.

or think that you were causing their problems by doing this thing or whatever it is so like I kind of and I would be lying if I said it didn't affect me because it does I mean I'm get hurt if somebody makes a trolly comment and says that because I know in my heart that like I love making movies like I just I love it and if the movie turns out great that's great I want it to turn out good I want it to be the best thing it can but if it's not I love the process so I just I let it go.

If You Don't Have Money Or Connections... Can You Be A Filmmaker? - J. Horton

Film Courage

호튼은 독립 영화 제작을 스튜디오의 통제에서 벗어나 10만 달러가 조금 넘는 예산으로 소규모의 개인적인 이야기에 집중하는 것으로 정의합니다.

그는 영화 산업에서 성공하려면 중산층 배경이 필요하다는 통념에 도전하며, 저소득층 가정에서 영화를 제작하기까지의 자신의 여정을 공유합니다.

호튼은 5,000달러짜리 영화로 시작하여 아르바이트로 일하면서 점차 더 큰 프로젝트와 감독 기회를 얻게 되었습니다.

발표자는 결단력과 독학으로 독립 영화 분야에서 소박한 생활과 경력을 성공적으로 쌓았습니다.

그들은 자신의 작품을 마케팅하는 방법을 배웠고 영화 크라우드 펀딩에 성공하여 현재 15만 달러에서 20만 달러의 모금을 목표로 하고 있습니다.

연사는 다큐멘터리를 통해 얻은 소극적 수입으로 더 야심찬 내러티브 프로젝트에 자금을 지원하면서 시간과 돈의 균형을 맞추는 것을 중요하게 생각합니다.

독립 영화 제작자의 장점과 도전 과제

영화 제작자는 자신이 직접 상사가 되어 영화 제작부터 마케팅까지 전 과정에 대한 소유권을 갖는 자유를 누립니다.

누가 시키지 않아도 언제, 어떻게 일할지 유연하게 선택할 수 있다는 점을 높이 평가합니다.

프로젝트에 대한 명확한 비전을 가지고 있으면서도 필요에 따라 촬영 감독과 같은 다른 사람들과 함께 일하는 협업적인 측면도 중요하게 생각합니다.

독립 영화 제작은 작업 일정과 의사 결정에 있어 유연성을 제공합니다.

하지만 실패에 대한 책임과 재정적 어려움에 대한 부담도 따릅니다.

창작과 비즈니스 측면의 균형을 맞추는 것은 성공을 위해 매우 중요하며, 영화 제작자로서 생계를 유지하려면 비즈니스 측면을 배우기 위해 노력하는 것이 필수적입니다.

이용당하지 않으려면 채용, 배포 및 비즈니스 운영 방식에 대한 기본적인 이해를 갖는 것이 중요합니다.

연사는 '돈만 밝히는 사람'으로 인식된다는 일반적인 비판에 대해 언급하며 크리에이티브 트롤과 부정적인 댓글의 존재를 인정합니다.

연사는 상처를 주는 댓글에도 불구하고 영화 제작에 대한 열정과 창작 과정에 대한 애정을 강조하며 부정적인 생각을 버릴 수 있도록 합니다.