{"id":1445,"date":"2025-04-14T20:50:25","date_gmt":"2025-04-14T20:50:25","guid":{"rendered":"https:\/\/filmfreeway.com\/articles\/?p=1445"},"modified":"2025-04-14T20:50:26","modified_gmt":"2025-04-14T20:50:26","slug":"3-filmmakers-on-how-to-make-a-micro-budget-movie","status":"publish","type":"post","link":"https:\/\/filmfreeway.com\/articles\/3-filmmakers-on-how-to-make-a-micro-budget-movie\/","title":{"rendered":"3 Filmmakers on How to Make a Micro-Budget Movie"},"content":{"rendered":"\n

All burgeoning filmmakers have at some point wondered how they\u2019re going to make their first feature film.\u00a0<\/p>\n\n\n\n

Kevin Smith has spoken<\/a> about how Richard Linklater\u2019s 1990 indie \u201cSlacker\u201d inspired him to make \u201cClerks.\u201d For actor-director Scott Monahan, it was the work of the Duplass brothers and Jim Cummings (\u201cThunder Road<\/a>\u201d) that convinced him to take the plunge into micro-budget movie-making.\u00a0<\/p>\n\n\n\n

But after amassing as much money as possible and convincing friends and peers to help bring their vision to life, what do filmmakers need to know before they create their ultra-low-budget films? How can they spend their money as efficiently as possible? What creative cost-saving measures can they take? How can they stay sane?!<\/p>\n\n\n\n

FilmFreeway spoke to Monahan, writer-director Ryan Martin Brown, and producer Roger Mancusi for their insights.\u00a0<\/p>\n\n\n\n

Inside the preproduction process: locations, budget, crew + scheduling\u00a0<\/strong><\/h3>\n\n\n\n

\u201cFree Time\u201d (2024)<\/strong><\/h4>\n\n\n\n

When Brown began writing his comedy \u201cFree Time,\u201d about a guy who impulsively quits his job without a plan, he knew he wanted something he could make in 10 days tops. \u201cThat felt like a good amount of time for people to leave their lives behind and make the film for not so much money,\u201d he says. After taking inventory of the locations available to him, he decided to shoot in his apartment, the park directly outside, and a nearby coffee shop. \u201cIt was backwards engineered to not only be easy but as low stress and high enjoyment as possible, while still allowing us to create something we liked.\u201d<\/p>\n\n\n\n

\"\"
Courtesy Cartilage Films<\/em><\/figcaption><\/figure>\n\n\n\n

\u201cAnchorage\u201d (2021)<\/strong><\/h4>\n\n\n\n

After working as an actor in Los Angeles since 2011, Monahan knew he had to take matters into his own hands to progress his career. After meeting actor-writer Dakota Loesch, the pair decided to produce their \u201cown thing to make that happen,\u201d says Monahan. With Loesch on as screenwriter and Monahan set to direct, they came up with \u201cAnchorage,\u201d a road-trip thriller about two brothers driving opioids from Florida to Alaska.\u00a0<\/p>\n\n\n\n

The duo initially planned to make \u201cAnchorage\u201d as a short. When an HBO producer said, \u201cIf you want to be in [the feature-length] and do it your way, you have to make it yourself,\u201d they decided to forego explosions, multiple locations, and complicated shots for a chance at making it a feature. They had a budget of $22,000, split between $12,000 in cash savings and two credit cards maxed out at $5,000 each. They used just eight crew members, and most of their money went to making sure the crew had their own hotel rooms so they were happy and well-rested. \u201cWe shot it in early January, because nobody had any other jobs at that time of the year,\u201d he says. They put together a five-day film schedule, with four days for principal photography and one for B-roll.<\/p>\n\n\n\n

Ahead of filming, Monahan and Loesch meticulously scouted (free) desert locations, plotting out the distance between them using GPS. \u201cI asked my cinematographer [Erin Naifeh] how much time they\u2019d need for certain shots so I knew exactly how our time would be spent.\u201d<\/p>\n\n\n\n

\"\"
Credit: Erin Naifeh<\/em><\/figcaption><\/figure>\n\n\n\n

\u201cHannah Ha Ha\u201d (2022)<\/strong><\/h4>\n\n\n\n

As the producer of \u201cBunnylovr\u201d (which just premiered at Sundance from writer-director Katarina Zhu) and \u201cHannah Ha Ha,\u201d Mancusi has spent years working closely with young filmmakers as they take their first tentative steps into features. \u201cI always tell them to just do whatever they can to fulfill their creative vision.\u201d\u00a0<\/p>\n\n\n\n

Mancusi says \u201cHannah Ha Ha\u201d filmmakers Joshua Pikovsky and Jordan Tetewsky saved money from their crew work for a year before production began. They set the film and shot it in their hometown so they could stay at their parent\u2019s house. \u201cThe town was so accommodating. We got in contact with businesses over Facebook,\u201d he remembers. \u201cWe shot in a local movie theater, and caf\u00e9s even provided us with food.\u201d<\/p>\n\n\n\n

\"\"
Credit: Papertree Pictures<\/em><\/figcaption><\/figure>\n\n\n\n

How to stretch your (and your crew\u2019s) patience while filming\u00a0<\/strong><\/h3>\n\n\n\n

Mancusi says that everyone involved needs to be prepared to work multiple jobs\u2014and they have to want<\/em> to be there. \u201cIf people are not having a good time, it can become a real slog. Make the set fun. Make sure everyone is fed and hydrated.\u201d\u00a0<\/p>\n\n\n\n

Lowering the stakes during production, especially for new filmmakers who can easily become overwhelmed with too much pressure, is also helpful. Mancusi explains, \u201cIt\u2019s not always in the filmmaker\u2019s best interest for them to have a huge team around them and a long schedule. With \u2018Hannah,\u2019 the flexibility of having a small team made it feel very informal and allowed us to work spontaneously and rewrite whenever we wanted.\u201d\u00a0<\/p>\n\n\n\n

Having written \u201cFree Time\u201d as a way to reconnect with friends after the pandemic, Brown had one major focus: \u201cI really wanted it to be something fun we could do together when we next hung out\u2026. Our mentality was to keep the stakes low and have fun. That actually made our movie better because it was easier to manage.\u201d He also notes that filmmakers need to think about their low-budget film as a \u201ccollaboration with the real world,\u201d adding, \u201cYou can\u2019t afford to control anything so you just need to embrace it.\u201d<\/p>\n\n\n\n

Postproduction tips<\/strong><\/h3>\n\n\n\n

While many filmmakers will be dreaming of festival acclaim and glamorous premieres before, during, and immediately after filming, Mancusi says \u201cthe footage will dictate the reality\u201d of what can be done. He likes to remind filmmakers that sometimes just having the experience of making the movie\u2014learning from it and about themselves\u2014is worth more than any exposure.\u00a0<\/p>\n\n\n\n

While all three filmmakers admit to setting deadlines for themselves to complete their edits, Mancusi suggests taking a break if it isn\u2019t coming together as imagined. \u201cIt might be in your own interest to take time away from the film, let the footage breathe, show it to people, get reactions. Having a good film is better than having a done film.\u201d<\/p>\n\n\n\n

Since \u201cFree Time\u201d had a large cast, Brown, the actors, and the crew were able to organize a special screening for their community of creatives. \u201cFree Time\u201d went on to play various festivals, including the Nashville Film Festival<\/a> where it won the Grand Jury Prize in the New Directors Competition in 2023. The film was ultimately acquired by Cartilage Films and released in U.S. cinemas on March 22, 2024.\u00a0<\/p>\n\n\n\n

\u201cHannah Ha Ha\u201d went on to win best narrative feature at Slamdance<\/a>, and picked up nominations at the Seattle International<\/a> and Nashville festivals.

For \u201cAnchorage,\u201d Monahan taught himself how to sync the video and audio, then edited the film himself. He took the finished project to 17 film festivals; it won 10 awards, including best film at the Stony Brook Film Fest<\/a> and best actor for Loesch at the Pasadena International Film Fest<\/a>. The likes of Sony and Netflix contemplated buying the film, but ultimately passed. Monahan says, \u201cWe made the movie we wanted to. That was the achievement.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

From cost-cutting to keeping your people happy, here\u2019s what to consider when making a movie on a shoestring budget.<\/p>\n","protected":false},"author":75,"featured_media":1450,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[45],"tags":[],"class_list":["post-1445","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"acf":[],"yoast_head":"\nHow to Make a Micro-Budget Movie | FilmFreeway<\/title>\n<meta name=\"description\" content=\"Three filmmakers share how they made projects that got accepted into top fests like Slamdance and PIFF\u2014all on a shoestring budget.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/filmfreeway.com\\\/articles\\\/3-filmmakers-on-how-to-make-a-micro-budget-movie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/filmfreeway.com\\\/articles\\\/3-filmmakers-on-how-to-make-a-micro-budget-movie\\\/\"},\"author\":{\"name\":\"jalen\",\"@id\":\"https:\\\/\\\/filmfreeway.com\\\/articles\\\/#\\\/schema\\\/person\\\/591baa98fd782d61dc5f30b220dba9c1\"},\"headline\":\"3 Filmmakers on How to Make a Micro-Budget 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