Best Indie Film Genre for Sales

“We love the script but we don’t know who it’s for or how to get it out there … let’s wait until we can see something…”.  How can you see it if nobody takes a risk to finance?  Companies say they want original stories – but give them something out of the ordinary and they don’t know how to make comparisons – which makes running sales numbers for finance impossible; they’re not sure of the audience or the marketing plan.  What is the best indie film genre from a sales / finance perspective?  (see my Blog re sales agents  https://www.yourscripttoscreen.com/what-does-a-sales-agent-do-in-film/)

A SELECTION OF GENRES:

• ACTION – action movies work everywhere – the visuals are telling you the story; the dialogue is sparse – I re-watched RAMBO in Spain and realised how easy it is to follow the story (without subtitles).  However, for newer filmmakers, this indie film genre relies upon a lot of stunts / effects – which is obviously expensive.  The bigger the budget, the more the necessity for experience in front of & behind the camera – filmmakers and ‘visible’ cast.  It’s an unlikely genre unless the filmmaker has a great new concept & there’s strong acting talent attached.  

• ACTION ADVENTURE – similar to above; they work everywhere but require big budgets.  A studio is far more likely to develop / finance this type of movie than an indie.  

• HORROR – this is a top indie film genre.  Budgets can be smaller – if the movie is ‘contained’, takes place in a house where a bunch of teens are being killed in ingenious ways – the costs are controlled.  This genre attracts the core cinema going audience – the 18-25 year olds.  The ‘visibility’ of acting talent is less important in this genre – the hook is what sells it; can you come up with a new idea on a well worn theme? e.g. IT FOLLOWS; PREVENGE … There are various strands within the horror genre – gore; psychological; action; comedy; sci-fi.  It’s a good space for indie film finance.  

• THRILLER – I was always looking for a smart, creative thriller – but very rarely got to read one.  These are good movies for sales; for buyers; for SVOD; TV & for an older audience – who will still pay to go & see them (versus download for free).  As with other indie film genre, audiences know what to expect – however, you’ve got to have at least one twist in there that nobody saw coming i.e. THE SIXTH SENSE, GONE GIRL.  These movies have ‘water cooler’ moments – leaving audiences on edge & having to discuss “how did I miss that” moments.

• ZOMBIE FILMS – right now, it’s tough to compete with a juggernaut of a TV series like THE WALKING DEAD.  So, if you love zombies – come up with something super original within the genre … or wait a few years until the next generation (who didn’t see THE WALKING DEAD) is all grown up & looking to be terrified.  

• SCI FI – ever popular with audiences but it is effects heavy i.e. bigger budgets – making it tougher as an indie finance / sale.  However, technology is fast letting filmmakers have tools to create a contained story that looks amazing for far less.  The audience doesn’t know or care that you only had $2m and the studio spent $200m – their ticket price is the same and they want ‘amazing’ when they sit in front of that screen.  Hook them with a great story and characters & carefully contain the story to keep the budget low – then you’ll get sales attention.

• FANTASY – a genre mainly for the studios because of budget size.  Worth exploring if you get your hands on some solid IP.

• FAMILY –  Live action family films are rarer for the indie space – the P&A spend to get a movie to a family audience is more costly.  Without a Disney logo, you need strong IP or cast to attract parents.  There is, however, a great market for independent animation – international sales can finance these films if they have theatrical potential.  You need a solid screenplay and at least 30 seconds of fully rendered animation – this is where you can show the cinematic potential for your story.  Animation can ‘cheat’ a little – by pulling in big names for voiceover for a couple of days; you can achieve the kind of cast a live action movie only dreams of e.g. HAPPY FAMILY; POSTMAN PAT; JUSTIN & THE KNIGHTS OF VALOUR; .  

• ROMCOM – this should be a good space.  Global audiences understand the highs & lows of romance – a couple meet, they break up, they get back together – no surprises.  They do well for SVODS – they’re the ‘rom compromise’, people will agree to watch a light-hearted movie when they’re chilling out.  However, the script can’t be derivative – so, what’s this generation’s romcom?  Likely it’s different to the Working Title era of NOTTING HILL, LOVE ACTUALLY or the Judd Apatow KNOCKED UP, THIS IS 40.  Romcoms have become brutally funny.  It’s tricky to attach the high level talent you need for sales – if they can get a payday on a greenlit romcom studio film, why take the risk on indie fare ..?  To get this financed, the ideal is to have a writer with a track record and a hook that’s fresh.

• ROMANTIC DRAMA – a narrower audience than the romcom; not a genre that’s hugely exploited in the indie space.  Unless it’s based on the IP of successful writers (which makes it expensive) e.g. THE FAULT IN OUR STARS; DEAR JOHN; THE NOTEBOOK; ME BEFORE YOU, it’s a tricky genre re its potential for box office success.  A lot of romantic stories tend to be mixed in to other dramas – i.e. the romcom (as above); fantasy – THE SHAPE OF WATER; TWILIGHT.  

• DRAMA – For the indies, drama tends to be the most popular indie film genre.  The audience is narrower and the box office returns don’t make it as worthwhile for a studio’s business model.  However, it is the genre most likely to garner awards nominations.  Therefore if you’re having traction as a filmmaker, this is the genre where you can attract bigger movie stars – where there’s an opportunity to explore character and story.  When brilliantly executed, the nominations shine a spotlight on these movies and give them a bump at the box office.  However, to sell to international buyers the movie does have to be executed perfectly.  There’s no ‘fallback’ position as there is with for example a romcom, thriller or horror movie genre.  

• PERIOD DRAMA – Anything which isn’t contemporary is period – we’re not just talking about crinolines and big wigs; the 1970s/80s/90s etc.  Period means extra budget – hair, make-up, costumes, dressing sets, street settings etc.  The indie space loves a costume drama – especially if it’s based on existing IP / true stories.  It’s also an area where actors get to prove themselves and possibly get that nomination i.e. a better chance of attaching talent in this type of indie.  It rarely breaks out in terms of box office – but it does have a defined audience.  

• BIOPICS – the indie and studio space love a biopic – it helps to add “based on a true story” to the tagline of a movie and poster.  This is because the audience feel that they’re going to see something a) they maybe already know and like, and b) there’s a great marketing campaign which can be built around the true story and the movie simultaneously.  Acting talent likes a biopic – it gives them a chance to show off their craft; who else they can be – Michelle Williams as Marilyn Monroe; Rupert Everett as Oscar Wilde; Helen Mirren as The Queen.  That helps to finance the movie.  The audience likes to get a peek behind the curtain into the life of someone famous; a character study of a slice of life.  Executed well, it’s an awards winner too.  

• COMEDY – everybody loves to laugh – unfortunately, what one country finds funny doesn’t always translate.  That is a big problem if you’re working with a finance model that needs international buyers to back you.  If it’s funny in the UK will that translate to Germany?  Comedy tends to be a vehicle for comedy stars / writers who have already some proven track record – be it THE INBETWEENERS series or the cast of SNL.  “Will it travel” is the phrase used about indie film genre – which is why romcom & action comedy are more likely to attract sales.  

• MUSICALS – at the moment, there’s a boom in movies with music at their core – THE GREATEST SHOWMAN; BOHEMIAN RHAPSODY; LA LA LAND.  A few years’ ago ONCE showed that a tiny movie with a big heart & great score / soundtrack will reach audiences.  It’s worth exploring the rights situation / remake potential for songs within any movie genre – as music absolutely lifts the story and its emotional reach. An all singing, all dancing musical is going to have a bigger budget and will be a tougher sell – especially if songs are original / unknown.    

Who’s in it?  What’s the genre?

Overall, genre gives the sales / distribution / cinemas the ability to market the movie as ‘similar but different’.  Most people go to the movies looking to be entertained, to escape. They do want to see something they haven’t seen before – but they also want to feel as if they know they’re going to enjoy it.   Will there be “their” type of movie.  

Familiar with a little bit of originality thrown in ?

A producer once told me the secret to getting an indie film financed is “have 80% familiar, 20% original, character driven stories dressed in a genre”.  You know what, when discussing indie film genre – he’s got a point.