anchise films they can merchandise at stores or exploit in sequels and in theme parks, and the fact that actors and crew involved in a studio picture expect to be paid top dollar and are unwilling to cut their fees as many do when making independent films (Goodell, 1998, p. 14). There is also fear among these executives that if they make more risky films and they fail at the box-office, they will lose their jobs (Goodell, 1998, p. 14). This latter explanation also reveals why so many studio movies are indistinguishable from one another. Once the studio finds a successful formula for a movie, it will rely upon that formula until it finally fails.
An alternative to the studio film is the independent film. Studios periodically take risks with independent filmmakers, especially if they feel those filmmakers have their finger on the pulse of the large youth market (Goodell, 1998, p. 7). But Goodell argues that for these filmmakers to remain fully independent, they must find financing somewhere other than the studio. Not because a film loses its heart or uniqueness simply because it is financed by a major studio, but because any disagreements about the direction of the film will be eventually decided by the studio (Goodell, 1998, p. 7).
Consequently, unless a producer has millions of dollars to personally produce his or her own film, he or she will be required to seek production financing if the film is ever to become reality. Undoubtedly, there are stories such as Roberto Rodriguez's $8,000 El Mariachi, or even The Blair Witch Project's $60,000 production cost. But these films are the exception not the rule and only subsequently became profitable because they were able to secure distribution deals. Thus, one of the first decisions a producer must make is how he or she will finance the production.
This discussion about the high cost of producing movies is intended to impart just how much money is on the line when a studio or other i...