Flickering Myth’s first foray into filmmaking is rolling out into the world but the realities of the indie filmmaking landscape are tough…
In case, dear readers, you haven’t been bombarded enough with news of Flickering Myth’s first dive into making a movie, our film The Baby in the Basket has been unleashed upon the world, beginning with a cinema release out in the Philippines this past week, before the streaming and physical releases in the UK and US on February 17th. More releases will inevitably follow. We’ve previously taken you through the journey of bringing this from a mere idea (development) to putting it into production and since the last article (pre-production), we’ve shot, cut and attained distribution for the film.
Production in a nutshell
After a challenging crowdfunding and all manner of problems prior to the shoot, we finally got our talented cast in front of the camera. During the shoot, the cast and crew had to contend with an actual storm, which in theory could have added some production value but only ended up adding to an already strained budget.
This is a reality that almost every film production will tell you. We could have done with more time and a lot more money. If the $250 million Disney tentpole ends up looking like they’ve made compromise after compromise, then it’s inevitable that a film costing less than the catering budget of a big studio production will also feel the pinch.
Thankfully though, all compromises and reshoots aside, the shoot went well. It seemed like the cast delivered strong performances and that the crew combined to capture some great shots, but you never quite know fully until the edit.
A shoot is usually followed by a long and laborious period of post-production. Though the film wasn’t filled with a huge amount of visual effects, they were still time-consuming. Sometimes things don’t come out as you envisioned, but again, if Disney are sometimes hamstrung by disappointing moments that fall flat, with all the money on God’s Green Earth, then operating in the bargain basement can make things infinitely more difficult.
Still, we were particularly pleased with an excellent grade (complimenting Andy Crane’s brilliant cinematography and a killer location) and sound mix, as well as a great 40s-inspired score from Christopher Belsey. Then, in the cold light of day with a final cut done and dusted, we were delighted that the cast was indeed uniformly excellent.
Distribution in a Dying Market
So we have a complete film, burning a hole into cloud and hard drive storage just waiting to be seen. Now comes the period where expectations (ooh, we’ll make millions) are higher than reality and the reality is that the film industry is in dire shape (okay maybe not millions). From top to bottom, huge budget to micro-budget, there’s a big problem right now. Films just aren’t making money. There’s a whole array of reasons but a significant one is the streaming model.
For indie filmmakers working with budgets under $5 million, but more so those working in 5-6 figure budgets, the opportunities to get your film distributed have never been greater but this oversaturation has made vying for returns a difficult challenge. It also requires a large dose of luck to capture enough attention so you can build enough interest that people will watch. Sometimes the algorithm works entirely against you or it barely registers your existence even despite your best efforts.
All this aside, the biggest problem is how little the major streamers actually pay. For most indie filmmakers, Netflix is a closed shop anyway. Short of knowing the chief executive or someone in acquisitions, their increasing devotion to their own original content means they’re unlikely to look at smaller films, even to buy them and stick the Netflix logo upon them. In the unlikely event they do, and you haven’t got Dwayne Johnson leading, they pay peanuts.
Physical media doesn’t particularly come into the equation. It’s still there but in all but a handful of (very mainstream) cases, it’s throwing money into a fire. We’re lucky enough to have a DVD release for The Baby in the Basket, but it’s a pleasing indulgence and the icing on the cake, and undoubtedly unlikely to pull in noticeable money.
That initial period of rental or purchase on streaming (that filmmakers might know as transactional video on demand/TVOD) potentially offers a reasonable return, IF the film does gangbusters. Then you’re left with the subscription package placement, for example, being part of Prime Video’s selection. Or you have AVOD (advertising video on demand, such as Tubi). It’s in AVOD where you’re likely to harvest your most significant audience numbers but the amount that goes from platform to distributor per stream is tiny and by the time said amount has filtered through the distributor and a sales agent (and sometimes more), the filmmaker is left with nowt but a gormless expression on their face wondering when the money may come in.
Of course, the lack of lucrative earning potential also makes investment in films far less attractive, meaning filmmakers are struggling to even get to the camera. We were fortunate we were able to attract a handful of investors alongside a successful Kickstarter campaign (the latter is getting all the more difficult as the cost of living crisis gets worse every passing month). Additionally, outside factors like strikes and fires have an aftershock that shuts down production and slows slates across the states but as far-flung as Europe.
This is ultimately a business model heading toward an inevitable cul-de-sac because if the filmmakers are too potless to make the movies, there’s no content to be had and frankly the big conglomerate entities starting to monopolise streamers and close off more and more pathways and earning potential, are as evil as the demonic entity in our film. As many a Facebook film group will also attest to, the industry is rife with duplicitous distributors, sales agents and producers out to bilk as much money out of the filmmakers as possible and these are other factors we’ve had to be wary of sidestepping. Many aren’t even nefarious, just useless so the search for reliables is akin to a needle in a haystack (we hope we got lucky).
In some ways, however, it’s merely the cause and effect of the big streamers of this world gatekeeping the money and if you’ve ever watched Netflix’s The Platform, you’ll know the score. Everyone takes as much as they can before the level below. You then have to contend with the fact that investment schemes, funding bodies and a recently upgraded tax rebate system, seem very much intended for far bigger productions, as aspiring creatives operating in the microbudget realm are not even an afterthought.
As we found during the lengthy process of funding this, Creative Scotland was a closed door with barely a second of consideration for our film, but a few years back they ploughed money into Trainspotting 2. I mean, really… does Danny Boyle need that cash more than those looking for a leg up? Actually, to be fair, money is so sparse even long-standing auteurs like Danny are desperate for the financial leg up to get even a sequel to a cult film off the ground, but still… if you’re down here, there’s barely any realistic helping hands.
Despite the crossing of fingers, black magic rituals, signing of the cross, and hoping beyond hope we might be able to buy a cup of coffee with the returns, there’s still plenty to be positive about. Not least, some theatrical releases for our film in foreign territories with the Philippines being the first nation to bear witness to the film. As said, the physical releases in the UK and US, especially for an old schooler like myself, are another bonus.
Horror is often an acquired taste in audiences and critics but pleasingly we’ve had some good reviews so far and it’s always nice when a reviewer picks up on some of the creative intentions I weaved into the script, that Nathan Shepka and Andy Crane bought to life as co-directors. Even more pleasing is the praise being heaped upon the cast members, who really did help to elevate this beyond most films of this budget level. Everyone is on it, and it’s an interesting change of pace for our veteran cast members Maryam d’Abo and Paul Barber (who both bring their A-game).
For me, as a writer, this venture into producing and having creative control was rewarding. Being able to make a film in the vision that I and Nathan originally envisioned when this was nary but a speculative voice note, has definitely been a challenge, as our producer and head honcho of Flickering Myth, Gary Collinson will also attest. Here’s the biggest difference for me as a writer for hire, vs me as a writer/producer. I’ve had writing jobs where I’ve written and handed off a script within a week. It’s forgotten about until the (understandably) shoddy final product comes out (because from script to shoot to wrap within 2-3 weeks is never going to go well). The Baby in the Basket, however, was first dreamed up at its most basic premise back in 2022.
It’s been hard work, almost never-ending stress and problems since then (and we’ve still got a long way to go), but when you see theatrical posters overseas or a good review, or the DVD artwork, it feels worthwhile and ultimately, it’s the best thing I’ve penned so far. Far from perfect but for what we had at our disposal we did well. We also launched not realising back in the spring of 2022 that every bugger with a camera was suddenly going to fire out nun horrors (I’m talking to you, Immaculate, The First Omen and Dark Nuns) with budgets we can only dream of. It’s pointed out in every review, so every favourable comparison has also been a cause for celebration.
Then, being the gluttons for punishment we are, it’s on to the next thing to go through it all again, hoping for the best…
The Baby in the Basket will release in the UK and US on February 17th, and you can pre-order the UK DVD now via Amazon and HMV. We’re also giving away a signed cast poster over on our free Patreon account…
