Footage Factor

Every actor who's been doing this for long enough knows how hard it can be to get footage from films you've worked on. Most indie films offer little or no pay but promise the industry-standard "copy" for your reel. Much like a political campaign, promises flow like honey up front but after the lights go out and the shoot is wrapped, no one answers their phone or replies to email. Those sweet promises of footage turn sour. 

I have lost count of the total number of films I've done, but I know I have footage from less than 40% of them. Fortunately, I have done enough films and had enough people follow up on their promises that I've been able to put a solid reel together, but I still don't have some of my best work.

For example, one of the features I was the lead in had an amazing DP and production sound department and would be perfect footage for my reel. The film first hit the festival circuit a year ago and has won awards at nearly every festival at which it has screened. Two years after filming wrapped, I still don't have the footage. The director has given me a good reason for why he can't let me use the footage yet - distributors are wary of anything from the film being online before they purchase (even if it's just a clip in a reel). But by the time I get permission to use it, I may no longer need it.

Sometimes the reasons the footage is not produced are less understandable. Response times to actors' emails generally drop off 300% after shooting is wrapped. Some directors fall off the face of the earth completely. Some projects never get completed (we can use the footage though!!). Ugh.

Ironically, the larger the project, the more likely you will get timely, usable footage. I've asked several of my acting friends about this and they all concur that small, no-budget projects (where all you get for your services is a copy of the film for your reel) tend to be the most difficult to wrangle footage from.

One way to get footage is to become the squeaky wheel. Pester, pester, pester, pester, pester, pester until you get it. If I'm not getting paid or getting paid very little, I shouldn't also have to grovel for usable clips of my work.

That said, I have had some fantastic experiences with directors and/or editors getting me footage incredibly quickly and with a smile!

That reminds me, Chris, when can I get that footage from this weekend?

 

What's the most difficultly you've had getting footage for your reel?

(photos courtesy of David Carangan and Keith Wood)

-- Gabriel Voss

Comments

[Wel]

I always put a rider into ALL of my low budget or student film contracts specifically stating that before the footage can be used in tests or grades, I must be given my footage. I have students provide the film teachers signature as well, so they will work with me in ensuring compliance.

It's amazing how quick you go from "I'll try to to get it to you" to "I've got it right here!" When their grades rely on your signing off on having received your footage.

If they don't sign, I don't do the film, it's really that simple.

[Jessica Mazo]

Thanks so much for writing and posting this. Obtaining footage for projects I've worked on for little to no pay has been a major frustration for me, as well as a huge obstacle in putting together a good reel for myself. So many industry people advise up and coming actors to work on student and indie films for their reels, and I never hear them acknowledge the issue of not always receiving your footage. I almost want to put together a "list of shame" of all the filmmakers who (years later) have not given me my footage, even after working on their project for free. I'm glad you shed some light on this issue. I will tweet and re-post this!

[Wel]

Tests=fests, curse you autocorrect!

[barbara wilcox]

I have all but one of the bits of work I did this last year. I make sure they know before I start work that's what I want and I have handed them a blank dvd with a self address stamped envelopes. If I don't get it in a timely manner after asking nice. I tell other actors and filmmakers about the users.

[Gabriel Voss]

Wel - That's a great idea that I hadn't heard of yet. I will have to incorporate that. Sometimes the worst offenders are on short films with directors/producers who aren't students though. Have you come up with a novel solution for those situations?

Jessica - A list of shame would probably make us feel better, but I don't think it would discourage others from working with those filmmakers again. I've seen actors freely work for filmmakers that they know didn't pay their actors on prior projects despite deal memos and promises requiring payment. Take a look at Wel's proposal for getting footage delivery language into a contract with a student filmmaker. Seems like a good alternative to me. Barbara (commenter after you) also offers a great approach. Best of luck with your future projects!

Barbara - That's one of the best approaches I've heard to this issue. Do you ever have them lose the DVD and envelope? I guess even if they do, they feel more compelled to still send you the stuff because they have no excuse. Thanks for sharing!