Hello Cleveland! A Report from the First Midwest Filmmakers Conference

Summing up the situation sharply, Meyers advised, "I think as filmmakers we have to really figure out who we're speaking to and who we're trying to reach, and then find new ways to reach them because the mainstream way of just hoping to get into the local multiplex just isn't realistic anymore."

One woman who knows both sides of the widening gap between the indies and studio specialty companies is Marcia Kirkley, former assistant to Miramax' Harvey Weinstein and a former member of the acquisitions team at October. Kirkley took the stage on the previous afternoon for a panel entitled, "Producing Independents." Since leaving October, Kirkley has been involved with "Dogs: The Rise and Fall of An All-Girl Bookie Joint," "Sudden Manhattan," and the recent Sundance entry, "Wrestling With Alligators." Alongside Kirkley, were The Shooting Gallery's Bob Gosse and "In The Company of Men" Producer Mark Archer.

"The producer does everything," exclaimed Kirkley and Archer in unison during the seminar. Weighing in with his own definition, Gosse added, "Its the producer's role to provide the structure, the vehicle for these people (the directors) to do their job -- to create a piece of work that you as the producer can go and exploit."

For this group the subject focused almost entirely on financing. Advising the crowd, Kirkley cautioned that independent films involve a "several year commitment" on the part of the producer. Two struggling independent producers with the battle scars to prove it, Kirkley and Archer cautioned the young filmmakers in the audience at every opportunity. "The problem is that there are too many films being made by people who don't prepare themselves," Archer offered, counting himself among them and calling himself a "lucky son of a bitch." "I would never do it that way again -- I got lucky." Speaking for the unlucky majority, Marcia Kirkley detailed "heartbreaking" situations from her acquisitions days in which filmmakers had mortgaged their homes in order to make films that had no future. Also on the panel was local filmmaker and Conference co-founder Kirk Zehnder, who perhaps summed it up best by advising filmmakers to do their homework, because put simply, "It's a business."

At The Shooting Gallery, Gosse and company realized that fact some time ago. His company offers directors final cut and complete freedom to pick key positions, as long as the Gallery can maintain a production attorney, line producer and accountant on a film. "They respect our money," Gosse stated flatly, "We respect their creativity." Through projections, Gosse and company have been able to raise that money by leveraging their success with such films as "Sling Blade." With Steven Bickle heading up the European marketplace, they have raised bank money purely on Bickle's projections, according to Gosse. With a negative cost based on what can be raised overseas, Gosse added, their films can then be produced with equipment owned by The Shooting Gallery. The partnership has worked so far, according to Gosse, with partner Larry Meistrich serving as the "nuts and bolts business guy" and Gosse as the "creative/film guy." Gosse recently directed his first film for the company, "Niagara, Niagara," which is in theatrical release, and the company recently announced plans to build a fully functional studio lot in New Jersey.

Despite working on a more established and bigger playing field than some of the independent producers that struggle to piece together money to get a film in the can, Gosse advised against going the credit card route for financing. "One thing we learned the first time out," he stated, "never use your own money." Finally, he cautioned, "Take a hard look at that screenplay -- otherwise why put that shit on your credit card?" He half-joked, "Buy a car."

The first Midwest Filmmakers Conference presented a unique cross section of individuals for the enthusiastic and extremely interested Cleveland audience. Beyond those mentioned, among the people that participated were Les Roberts ("Pepper Pike"), Sylvia Sichel ("All Over Me"), Alan McElroy ("Spawn"), Michael Bergmann ("Milk and Money"), Matthew Harrison ("Kicked in the Head"), and Todd Verow ("Little Shots of Happiness").

"One thing that really inspires me," Sarah Jacobson told the audience Sunday afternoon at the event's final seminar, "is no one can really stop you -- I mean, who's gonna stop you?" Using her own recent decision to take "Mary Jane" on a D.I.Y. tour of the States, Jacobson proclaimed, "If the big theater doesn't let you in, go to the next theater. If that theater doesn't let you in, go the museum. If the museum does let you in, go the college. If the college doesn't let you in, go to the skate park, go to the high school, the community center. There's always a way to screen you film and there's always a way to get it out there. I guess you just have to figure out what your goal is -- do you want money? O.K. maybe the high school isn't a very good idea."

Clarifying her message a bit, and hitting the audience with advice that clearly resonated and was inspirational in a broader sense, Jacobson said, "The arthouse circuit used to almost be like a safety net for films that were unique, and now not only in 'independent film' are films not unique, but also the films that are being shown on that circuit aren't really independent films anyway. But instead of being all bummed about ...let's start from scratch, let's do it the way we want to -- why should I wait for this guy to come save me if he obviously doesn't understand what I'm doing, why not just build it ourselves?"