News
Ed Burns' indie struggles after 2 early hits
By Robert Marich
July 24, 2010—Ed Burns hit the jackpot with The Brothers McMullen in 1995 that catapulted the actor-writer-director to stardom, but he’s struggled for years since then with his love of making independent films outside the studio system.
The romantic slice of life Brothers McMullen was made for a shoe-string $25,000 and grossed $11 million at the box office. Then came Burns' romantic comedy She’s the One, which was another low-budget film that achieved indie-hit status with $10 million in 1996 box office.
“Those bankrolled his next seven,” says a Forbes article by Monte Burke. “I haven't made money on a studio release since She's the One,” Burns says in the article. “I’ve had trouble getting them out to an audience.” His career includes some studio acting roles including Saving Private Ryan.
His response to setbacks as an auteur in indie-land is to skip cinema to go to VOD via Film Buff, a VOD service launched by New York-based indie services outfit Cinetic Rights Management. His latest film Nice Guy Johnny will go out on Film Buff and then DVD with a tie-in promotion promised with big retailer. After three years, Burns gets back distribution rights, versus 20 years or more wait for an independently-financed film that a studio picks up.
Burns recent indie films have not done significant business including Sidewalks of New York, Ash Wednesday and Looking for Kitty.
At the time, Burns was working as a stagehand on syndicated TV show Entertainment Tonight when he handed a VHS tape of the unreleased movie to Robert Redford when the star was making a guest appearance. That chance contact eventually led to being selected to Redford's Sundance Film Festival, which launched the film.
As for a critique of the article, I disagree indie film marketing costs are suddenly "unworkable,” as the story states. The problem is a boom in indie film box office of a few years ago (Fahrenheit 911, My Big Fat Greek Wedding, Blair Witch, etc.) deflated and we're back to "normal". Normal is miniscule audiences, which caused indie film companies to fold and financiers to pull back.
I’d attribute weak audience response largely to indie filmmakers making personal passion projects for which the audience has only limited passion. One conspicuous strain of this was the a batch of Iraq/Afghanistan war films of 2007—most well made but not embraced.
With new media, it is actually easier to market on the cheap, though the Internet, social media, etc. can’t save a film for which there is a limited audience.
For full text, click link below:
www.forbes.com/forbes/2010/0809/life-ed-burns-filmmaking-independent-film-landing-big-one.html
www.marketingmovies.net/chapters/chapter-10-indies/
www.marketingmovies.net/news/amc-gives-indies-another-try/
www.marketingmovies.net/news/marketing-costs-handicap-biggest-indie/
www.marketingmovies.net/news/hwood-miscalculates-with-politico-films/