Chris Hanley
Producer Chris Hanley is no stranger to success. His independent production company, Muse Productions made its mark with the success of genre-bending films like Steve Buscemi’s directorial debut Trees Lounge, which garnered and Independent Spirit Award nomination for Best Director.
Hanley’s off-beat sensibility are signature elements of recent films like James Toback’s Two Girls and A Guy, Vincent Gallo’s stunning Buffalo 66, and director Sofia Coppola’s adaptation of Jeffrey Eugenides’ novel The Virgin Suicides. His most recent, Bully, was directed by Larry Clark and start Brad Renfro. It is his most daring film to date. Writer-director Stephen J. Szklarski tracked him down to ask him some pointed questions about film finance and distribution.
IFQ: Distribution for independent films — can you breakdown how it’s done?
CH: Most of the financing on distribution budgets of one million dollars or less is set in place in foreign markets because the financiers want the money back guaranteed.
When raising money for the film there is already built-in distribution. There are situations like the one where the (executives of) The Shooting Gallery asked their moms and dads to put up the funds for Sling Blade and people like Harvey Weinstein at Miramax bought it – but that doesn’t happen often.
IFQ: How is such a film packaged?
CH: In most cases the person that is putting up the million dollars is the distributor or a person that has ties with distributors already. Distribution arrangements are drafted while the financing is being put into place.
IFQ: How does the selection of name actors help in distribution?
CH: The financing level gets put in depending on the actors used in the production. If you can get a real good actor that can add real value to the film and that is how you can get your distribution.
IFQ: What about the unknown filmmakers that have raised money and made a film for under five hundred thousand without stars and no distribution?
CH: That is the toughest. You’ve got to do anything to get distributors attracted to it. Enter it into as many festivals as you can. This is sometimes unfortunate because some great films are overlooked because major film festivals do not accept them.
IFQ: So it’s easier for bigger films that have established names attached?
CH: Exactly, for instance, I have a one million-dollar film project right now that I’m putting together with John Malkovich, Jonathan Rhys-Meyes, and Jon Abrahams, all collaborating in one movie. I’ve been trying for two years to raise the money so on all levels it’s tough. If the script is controversial it’s even harder to get the money. Because all the money people care about is getting their money back.
IFQ: What about selling your completed film after it has run at all the festivals and markets?
CH: Even directors like Terry Gilliam after he had gone through the process of festivals and markets had distribution for his film Fear and Loathing in Las Vegas although the financing was still being pitched to the South American buyers at Cannes. It’s a constant push even if the director has to pitch it himself. Unfortunately, this is the way film distribution is done.
IFQ: What advice would you give to filmmakers at the initial stages of the distribution process?
CH: Do what you feel is honest. It’s always a risk financially on any level. You have to package it with a director and an actor or you will not get the funds you need to make the film.