Off The Lot: The Indie Filmmaking Podcast

Why do some indie films actually get made while others spend years stuck in development?
In this episode of Off The Lot, Anthony breaks down the stages an independent film goes through between having a screenplay and actually getting the movie greenlit.
We cover what you should be working on at each stage — and, just as importantly, what you probably shouldn't be doing yet.
You'll learn:
• Who you need around you before you start raising money
• When to spend your own development money
• How much financing you should have before approaching cast
• When a casting director actually becomes useful
• When to start talking to distributors and sales agents
• Why attachments can create leverage — or hurt you if you approach them too early
• The difference between momentum and actual progress
• Why you shouldn't build your finance plan around grants
• When a movie can realistically be considered greenlit
• What to do when your project has been stuck for months — or years
Film development isn't one giant leap from screenplay to production. It's a series of smaller steps, with each one creating enough leverage to unlock the next.
The key is knowing what stage your movie is actually in — and what needs to happen next.
If you're developing, financing or packaging an independent feature, this episode gives you a practical roadmap for getting it closer to production.

Making the movie is only half the battle.
Once your film is finished, you still have to figure out how to get people to actually see it. And if you're still trying to finance your movie, there may be another source of money most indie filmmakers completely overlook: brands.
In this episode of Off The Lot, we look at indie film marketing from both ends of the process.
Ken is finishing Remnant and now facing the next challenge: building enough awareness to actually get audiences into theatres. Anthony is developing Quiet Canadians and exploring how brand partnerships, sponsorships, product integration and social content can help finance a movie before production even begins.
We break down:
• Why indie filmmakers need dozens of pieces of marketing content — not one trailer
• Why audiences may need multiple touchpoints before your movie even registers
• How brands can contribute cash, wardrobe, props, vehicles, locations and production resources
• Why product placement is only one small part of a brand partnership
• How behind-the-scenes content can become valuable advertising for sponsors
• How to identify brands that already want access to your film’s audience
• Why smaller and emerging brands may be better partners than major corporations
• How sponsorship revenue can help de-risk your movie for investors
• Why filmmakers should start thinking about marketing before they ever start shooting
The bigger lesson: don't approach a brand asking them to help you make your movie.
Figure out what audience they're trying to reach — and show them how your movie can help them reach it.
Follow Ken's Indie Horror Feature Remnant here:
www.remnantmovie.com
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The Greenlight Report
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@ken_kabatoff
@epptri

How do you actually get started as a filmmaker when nobody is giving you money, grants, connections, or permission?
In Episode 66 of Off The Lot, Anthony answers questions from emerging filmmakers about what it really takes to start directing, finance your first projects, break into the industry, and eventually build a sustainable career.
We cover why grants should be treated as a bonus — not a plan, how to make films with the resources you already have, whether filmmakers still need traditional distributors, what micro-budget movies can realistically earn, and why your first feature may be more valuable as a career-building tool than as an immediate financial success.
Anthony also breaks down:
• How to start directing without waiting for someone to hire you
• The biggest mistakes that kill low-budget films
• Why your script, budget and schedule have to match
• Whether applying to Telefilm and other funding programs is worth it
• How filmmakers can build an audience through YouTube
• How to actually get your first job on a film set
• When film markets like TIFF are worth attending
• What filmmakers should realistically expect to earn from a micro-budget feature
• Why making the movie is sometimes only the beginning
The central idea is simple:
Start where you are. Use what you have. Make something. Then make the next thing bigger.
Off The Lot is the podcast for filmmakers building careers outside the studio system.
Subscribe for conversations about independent filmmaking, financing, producing, directing, distribution, and what it actually takes to get movies made.

What does it actually cost to make a $2 million independent feature?
Ken and Anthony break down a hypothetical $2M movie using the Telefilm Canada budget structure and real lessons learned producing Remnant. They go line by line through above-the-line costs, cast, crew, equipment, locations, transportation, post-production, music, financing, tax credits and contingency.
They also get into the costs filmmakers often overlook: actor buyouts, crew fringes, overtime, hard drives, trailers, permits, music licensing, legal fees, interim financing and the deals and relationships required to make a professional film at this budget level.
If you're trying to figure out how much your indie film should actually cost — and where that money should go — this episode is a practical starting point.

Writer-director Nat Boltt joins Off The Lot to break down the decade-long journey behind her feature directorial debut, Holy Days.
The film stars Judy Davis, Jacki Weaver and Miriam Margolyes, topped the box office in New Zealand, and went on to a global theatrical release — but getting there meant surviving years of development, financing setbacks, international co-production challenges, lost investors and an ambitious 26-day shoot.
Nat takes us inside how she landed her cast, navigated funding through Canada and New Zealand, shot complex road sequences using LED stages, and pulled off a major snowstorm sequence with limited resources.
But some of the biggest lessons came after the movie was finished.
We talk about the realities of independent film distribution, why filmmakers are increasingly being forced to build and market their own audiences, what she believes is broken about the current system, and why she plans to approach the release of her next film very differently.
A candid conversation about getting a first feature made, getting it seen, and what indie filmmakers need to understand if they want to build sustainable careers outside the studio system.