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Development can last forever

Development is that stage where the story is going from screenplay to its first major steps in becoming a movie. However, it is in this stage that things move the slowest and can literally last years if not decades.

A lot of times what happens in this stage is out of your control. You may be waiting on a studio to make more movement. You could be waiting on attaching talent, or pre sales, or co-financing, or a plethora of other things that need to fall into place to take a film from development into pre production. In this case, there are a lot of things holding your movie back from getting made

However, if you’re making your first film, you may be holding back your film in development and from it getting made.

Take the leap

You know this feeling, you've got a great script idea. Then months (or years) go by, and you're still "developing" it. Still making it perfect. Still waiting for the right time.

Development can make or break your film. But more often, it breaks you by keeping you in an endless loop of planning without execution. There are actually so many things you can do yourself to get your film out of development.

Let's break down the common traps of over development and how to avoid them.

Endless script rewrites

You're on draft 15, but you're still not happy. Each feedback session leads to another rewrite, and you've lost sight of your original vision. The script probably isn't getting better , it's just getting different.

Instead give yourself a deadline. Lock your draft. Give yourself three more passes maximum. You could do one for character, one for dialogue, one for structure. Then declare it ready for pre-production. No script is ever perfect, but many great films have been made from imperfect scripts.

Crazily enough, many scripts had been made DURING production. I’m no suggesting this, but just to show you that you don’t need a perfect script to start getting your film made.

Budget paralysis

You keep adjusting the budget, trying to make it "perfect" for investors. But you haven't actually approached any investors yet. You're stuck in spreadsheets instead of having real conversations.

Create two budgets, your ideal number and your bare minimum. This is my favorite exercise actually. It helps you to think about your film in two different ways. Especially in this low budget/micro budget arena of filmmaking, a lot of budget changes may need to be made to reach your goal. Already having to budgeted versions of your film will help you more easily make those changes. It helps also with understanding what you are willing to sacrifice or let go of.

Then start reaching out to potential investors with what you have. Real feedback beats theoretical planning. Investors will tell you what they need to see.

The "Perfect" package

You're waiting to attach the perfect actor, perfect cinematographer, or perfect producer before moving forward. Meanwhile, months pass with no progress. You are waiting to attach them because you need investors, and you are waiting to attach investors because you need all those other roles filled first. This is a catch 22 many filmmakers refer too.

This is why you should think of outreach in terms of general conversations. I am currently in development on two films and two series(plus helping a few other films in the final stages of development). Right now, the main thing I am doing is having a lot of general conversations with investors, funds, and other producers. These conversations allow me to analyze what I think is the best fit for the right project. I am not just pitching them something, but giving them a general idea of what I have going on, to gauge interest, but also learn what they may be looking for.

Start with who you have. Reach out to three potential collaborators this week. Remember, many successful films were made with backup choices because the "perfect" person wasn't available.

A film can really move forward if there is at least the producer and director attached. If you can get on a cinematographer or even an actor, that can help tremendously. When you are making an indie film in your community, be sure to try to find collaborators in your community, it can make a big difference.

Location lockdown

You can't move forward because you haven't found the exact location from your script. You're letting perfect locations stop you from making a good movie. I get it, a location is like a character. So many locations can be transformed to give it character that matches your film.

List three alternative location types that could work for your key scenes. Rewrite scenes to fit locations you can actually get. Sometimes limitations create better solutions.

Waiting for the "right time"

You'll start pre-production when you have more money, more connections, or more experience. But that perfect moment never arrives. We are all always learning during the process of making films. You’ll never have the perfect scenario and the perfect amount of knowledge.

Pick your shoot dates right now. Even if they're six months out, having firm dates forces decisions and creates momentum. You can adjust dates later, but without a target, you'll stay in development forever.

The development sweet spot

Too little development leads to messy productions and unwatchable films. Too much development means your film never gets made. Just right means having enough preparation to execute while maintaining momentum.

How can you find your sweet spot. Here are a few things you can do and that will at least get you well on your way out of development and into making a film.

Stuck in rewrites? → Three more passes maximum, then lock the script.

Budget paralysis? → Two versions: ideal and minimal. Start reaching out to investors.

Waiting for perfect attachments? → Contact three potential collaborators this week.

Location issues? → List three alternative options for each key location.

No start date? → Pick your shooting dates today. Work backward from there.

Development should serve the film, not stop it from happening. Every film you admire was made by someone who decided it was time to stop developing and start shooting.

Your film won't be perfect. But it will be real. And a real film, even with flaws, is better than a perfect film that exists only in your mind.

Start today. Pick one action step from above and do it right now. Because no one ever made their first film by planning to make it perfect.

They made it by making it.

For some weekend inspiration here is a list of filmmakers that started their careers with micro budget feature films:

Quentin Tarantino, My Best Friend's Birthday.
Production budget $5,000(1987)
*This movie was never completed by the way because a fire destroyed much of the footage.

Damien Chazelle, Guy and a Mandolin on a Park Bench
Production budget $60,000 (2009)

Christopher Nolan, Following
Production budget $6,000 (1998)

Robert Rodriguez, El Mariachi
Production budget of $7,225 (1992)

Barry Jenkins, Medicine for Melancholy
Production Budget $15,000 (2008)
(2nd film, Moonlight
Production Budget $1.5 million(2016) and wins Best Picture at Academy Awards)

If you haven’t even started writing yet, I would suggest checking out the affiliate link below to my favorite screenwriting software. If you use discount code TYLERMREID you will get $20 OFF a yearly subscription.

Start the year with the right templates and tools to get you through development and into pre-production.

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