If you go to Inktip, Stage32 or any site which requests scripts, even here on Simply Scripts as per the post below this one, the most common request is for single or minimal locations, few actors, little or no FX.

I can understand why. Costs. But let’s break this down.

1  - How many, great micro-budget, single location feature films are there? Don’t get me wrong, they do exist and some of them are amazing, but considering this is the most common script request out there in independent filmmaking circles, there should be a steady stream of entertaining single location, micro- budget movies that make headlines. There are not. Try and name some off the top of your head. I can think of a handful.

2 – You have to be a pretty incredible writer to pull off such a script. You’ll have to include brilliant characters with amazing, engaging dialogue because they are not going to be doing much action. This means great actors to pull this off. Think Phone Booth with Colin Farrel. But here’s the quandary, pretty incredible writers and great actors are going to be out of the budget reach of these directors. For example, Phone Booth cost $13 million to produce.

3 – Writing such scripts is hard and I can imagine a lot of them are quite similar. I suspect a big chunk of them are horror. The less options you have when writing, the more similar the results.  I bet the reject pile is full of such stuff.

My suggestion.  Why not take a script you (you as in the director or producer) really like, regardless of the number of locations, FX etc. and approach the writer to see if it can be scaled back in such a way that the core story is still there yet the budget is achievable? I think if writers hold back and think budget too much when writing, the story suffers. I think if a writer deliberately tries to write a story set in one location, they restrict their abilities. I’m not saying write massive robots fighting each other, be sensible for sure. If there’s a wedding in the script for example, don’t have it in a massive cathedral with a royal guard, a simple registrar’s office will do.  But don’t try to set the whole story in a registrar’s office simply because you are trying to write a one location script in the hopes this will improve the chances of it getting produced. That should never be the motivation for writing. If you have an AMAZING idea for a story set in a registrar’s office, then go for it, but not the other way around, if you get what I mean?

I’ve ended up going through my suggested process a few times now for my shorts and in my opinion, the scripts end up much better. I optioned one such scripts back in March. it was first script I ever submitted to Simply Scripts in fact! This surprised me as it has multiple locations all over the world, an alien planet and the Earth explodes! Plus, the script was basic, I never really tried to do anything with it.  However, the director loved the concept. We’ve spent months working on it together a point now where the entire story is set and told in a bar. Filming begins in December. No guarantees it will be any good of course, but I think the script is in the best condition it can be and it can be shot on a really low budget. If I’d tried to do this the other way around and deliberately write a script set in a bar – I don’t think it would have been as good and I don’t believe it would have caught his eye.

Food for thought and just my opinion, feel free to disagree or comment of course! It’s just I see a lot of bloggers and so called script experts out there recommending writing micro-budget scripts to get yourself produced and I don’t think the answer is as simple as that, for the reasons stated above.

-Mark

I concur. When I write now, I usually keep budget in mind since I usually imagine I’m directing this. Lol. I only found one guy on SS that we made something ( a web series). Unfortunately, I haven’t found another director or producer whose motivated as I am to make something happen. I consider myself pretty reasonable lol. Usually the line of communication ends from the other side though.

I’m planning to next year to make a short with the SS contact or get something together.


Gabe

I never write with budget in mind.

In fact I don't write with anything in mind except to enjoy the story unfolding before me.

But then again, my motivations for writing are purely enjoyment - I have my career outside of writing, so I'm just in it for the hobby.

Many excellent shorts I have read are single location with minimal cast - but obviously a short benefits from being contained. So writing one of these with a budget in mind in order to get those credits makes sense

But a feature? Nah - Writing a feature takes up all of your time, energy, blood and sweat, you get so emotionally involved in it, why would you wan't to stifle the creativity in order for a cheap producer with no budget to hack it out?

Quoted from MarkRenshaw This surprised me as it has multiple locations all over the world, an alien planet and the Earth explodes!

The hardest part is getting clearance from the local film office for the explosives

I tried to write one of my stories with budget in mind (Timmy) and the feedback revolved around "Why does all this interesting-sounding stuff happen off-screen?" It needs a fairly thorough re-write, or just give up and morph it into a feature with a non-micro budget.

Nothing else I've written to date seems within reach of students, though going forward it depends on what these producers mean by "minimal" FX.

Does a green-screen count as "minimal" if the characters on the two sets don't physically interact (example, the Marine's de-activating their stealth suits in Timmy)?

Well said Mark.

I've noticed this request a lot.  Especially on sites like Reddit.

There is a fine line to balance a great story with a budget friendly script.

I'd also say there's also the director/producer.  If they can make what appears to be an expensive script cost effective.  This'll go a long way.

Recently I wrote a script that was set in a warehouse.  Two actors, one location.  But where do you find such a location?  Sites like this: http://www.filmlocations.co.uk/ .  There's a ton of websites.  And this site has eight warehouses.  Using another website that had London locations, the guy who was making my script called the warehouses to find out what he could do.  He managed to get one for free but it was for Sunday morning.  It wasn't advertised as free but he got it.  So I guess there's some haggling and persuasion involved.

JT

I think there's a number of ways to slice and dice this...

1) As a writer, it can be a good exercise to see if you can write a decent micro-budget script with all the constraints Mark mentions... but it's not easy.
2) If you do have one (or two) in your portfolio then you have something to respond to these type of requests with, and open a dialogue with the producer.
3) If you see these type of requests on Inktip etc then you could try and respond with a normal script and explain how you can tailor it to the producer's budget requirements.
4) Understand what costs a lot to film, e.g. night shoots (due to lighting), effects shots, stunts, large crowds (usually) etc and try and avoid these.
5) In most circumstances, these requests are from inexperienced producers/directors who want to make something as a calling card, I genuinely don't think they see themselves making Phone Booth or Buried...

There are hundreds of very low budget movies made every year and sometimes one will break out - they're hoping it's them, and I'm hoping it's with one of my scripts!

Quoted from AnthonyCawood I think there's a number of ways to slice and dice this... 1) As a writer, it can be a good exercise to see if you can write a decent micro-budget script with all the constraints Mark mentions... but it's not easy. 2) If you do have one (or two) in your portfolio then you have something to respond to these type of requests with, and open a dialogue with the producer. 3) If you see these type of requests on Inktip etc then you could try and respond with a normal script and explain how you can tailor it to the producer's budget requirements. 4) Understand what costs a lot to film, e.g. night shoots (due to lighting), effects shots, stunts, large crowds (usually) etc and try and avoid these. 5) In most circumstances, these requests are from inexperienced producers/directors who want to make something as a calling card, I genuinely don't think they see themselves making Phone Booth or Buried... There are hundreds of very low budget movies made every year and sometimes one will break out - they're hoping it's them, and I'm hoping it's with one of my scripts!

Your number 5 is typical.  I would imagine they wish to use this micro budget scripts for practice.

Number 1, it is a great writing exercise.  It's tough but we can do it.  Especially the SS crew.

I recommend using something like WordPress.  You can tag the scripts using such words as micro budget.  Then update the menu's so that people can select such a requirement.

Great topic.

I've seen these calls for scripts with single locations, minimal actors, no SFX, etc. for years now. I think it's a sign of the times. We live in a world where making a great-looking movie is as accessible as ever: from the cinematography to the editing; what was only available to "professionals" in the past is now available at a fraction of the cost it used to be to everyone else.

With all this equipment and knowledge in hand, producers/directors don't have the money for a "normal" script to produce; something that's remained a constant throughout time, I suppose, so hence a film shot in one accessible location, one or two (probably unpaid) actors, and no effects.

Yeah, there are some shining examples, both critically and commercially, of these type of movies over time: from "Clerks" to "The Disappearance of Alice Creed" to "The Purge" (to name only a few).

I, too, have found it difficult to tackle this type of story. While I generally write "lower" budget movies (both consciously, but more unconsciously), my location and character count can become bloated. With short-scripts, it's the opposite, as I think shorts work best detailing a moment in time as opposed to abbreviating a lot of plot down to ten or so pages.

So, with all that said, I actually do have a story or two in my head that would meet these restrictions. I just gotta get around to writing them...

Thank you, Mark, for this post.

The fact of cost never really hit home to me years ago. I guess I'm just one of those who prefers la-la land to the real world.

But even still, I'm working to try and be real in terms of budget. I'm so economical on the home front, why wouldn't that mirror itself in a script?

But years ago, I was naive, but good naive I'd say.

I'm very thankful to RayW for providing me with this when I'd written Payer Fedris - A Gothic Dream Tax

Locations & Sets  -   EXT olden village barber shop c. 1700 (presumably European), EXT castle on the mountain (matte), INT farm cottage, INT Izabiza castle accounting room and crawl-able pit room.

INT Payer's room,

Toll booth w/ iron gate.

INT castle library,

INT Penny's bed chamber. INT. Penny's kitchen, INT TV room

Actors -  MARY (30s), BOY/LITTLE PAYER (4), LAVAL (-), TOWN CRIER (-), TEEN PAYER (16), DOCTOR (50s), GLONDE (17), TROPHY WIFE (30s), two friends (double as masked guards), TOLL GUARD (-), PENNY (16/35), Ed (40s), TARA (40s), BARBER (-)

Costumes  -  period raggy dress and boy clothes, fine doublet w/ ruffles and cape, ridiculous town crier outfit, teen payer's shorts, doctor's black suit w/ wool cap, floral shirt, apron, whimsical dress for payer and 2 friends, masked guard outfits x 2, toll guard outfit, Penny Ed & Tarra's zombie outfits, Laval's blue robe, Barber's outfit

Props  -  carriage (no horses), coins, swinging barbershop sign, school bag,  Paper, Pencil, Eraser, Hot Dog, accounting desk and chair, perfume atomizer, parchment document, hexagonal glasses, dream meter bracelet, gold coins x 8, piggy bank, oversize playing cards, whiskey bottle, shiny cut flash, chicken leg, passport, wood stove, wood, faux fire inside, comb, growing hair, book, golden spectacles, salty hair wig, chest, dress shirt, silver comb, gothic deak chair, Penny's bed, oversize chains, pot O' gruel, wooden spoon, smoky mirror, bag of "coins", "PERIODIC TABLE OF

MIZTAKES" textbook, TV, fat suit for Penny, barber's scissors, barber's chair
Audio FX  -  horse whinnying and cobblestone steps, small and big rusty hinge squeak, discordant organ music, whimsical sounds & music, tape recording fast forward, coins into piggy bank, heavenly song, pair of marching bootsteps, dragging heavy chain, general spooky sounds, wind howls, thunder claps

Visual FX -  thick clouds swirl to reveal then hide castle, Laval disappearing in mist, displays on meter, triple time Glonde's accounting, bats fluttering from castle

Other  -  fogger w/ gallons of juice, assorted colored gels;  SFX MUA for Mary's agedness + Payers lifelessness + Glonde + Trophy wife + friends + toll guard + Laval's aging + zombie Ed/Tara/Payer + Penny fat-to-thin; stunt coordinator and fall pads, cardboard sheets x 2, dry ice, lights for lightning

Comments  -  Wow. Very... Cat-in-the-Hat-ish! Rather expensive to shoot for a short, though. And I'm kicking this back down to PG-13. I wish I had the budget to shoot this Dali-esque Fellini-fest! The magical whimseyness just appeals to my inner absurdity. The colors! The sets! The costumes! The dialog and OVER. THE. TOP! over-acting would be a blast for everyone involved to shoot.
Fisheye lens shots galore!

I don't think the audience would have the slightest idea of WTH they just saw, but the sparkle-dust I'd slather all over everyone and everything would be sure to leave a magical impression.

Sometime in the next few weeks I hope to catch THE FALL at my county library. I think it will be a visual blast (same director as the upcoming IMMORTALS) and think this story would provide the same.
GL & GB!

Thanks Ray. Thanks Mark. Thanks everyone on Simplyscripts for your help and dedication!

Sandra

I've come to write more and more of this, partly because I'm a filmmaker myself and I need to write stuff that's easy for me to make, but also because plenty of pros have told me that this is the easiest kind of script to sell/get produced.

I have to say that I think it has helped me become a better screenwriter because I have to pay more attention at how to do more with less. It is difficult but I like the challenge. It has let me be more focused on the moment and the characters. I was in London in the summer and went to a lot of plays and that has given me a lot of inspiration for writing these kinds of scripts. Like often you don't get to see any other sets but a living room or a dining room, but you're still taken on something that feels like a roller coaster ride. That's beautiful to me, and if the stage can do that, surely cinema can as well.

That said, I'm not married to the idea. If I see a script of mine needs a bit of "opening up", by having to add another character or showing more locations then that's what I do. But I try to get as much mileage as I can out of my limitations until it becomes obvious that it's working against the script.

Quoted from OscarM I've come to write more and more of this, partly because I'm a filmmaker myself and I need to write stuff that's easy for me to make, but also because plenty of pros have told me that this is the easiest kind of script to sell/get produced. I have to say that I think it has helped me become a better screenwriter because I have to pay more attention at how to do more with less. It is difficult but I like the challenge. It has let me be more focused on the moment and the characters. I was in London in the summer and went to a lot of plays and that has given me a lot of inspiration for writing these kinds of scripts. Like often you don't get to see any other sets but a living room or a dining room, but you're still taken on something that feels like a roller coaster ride. That's beautiful to me, and if the stage can do that, surely cinema can as well. That said, I'm not married to the idea. If I see a script of mine needs a bit of "opening up", by having to add another character or showing more locations then that's what I do. But I try to get as much mileage as I can out of my limitations until it becomes obvious that it's working against the script.

That's a great point and worth highlighting. Writing low budget scripts is great practice. It forces you to think beyond the page, helps you learn about production costs etc. I don't advise writers to avoid low-budget scripts at all. In fact, if you want to get into writing for the stage or audio (which is a booming industry these days) then go for it.

I'm just saying don't force yourself to write a micro budget script all the time. Write some without holding back or open some up so they are low to medium budget. Be flexible, be daring.

I have written two "contained" thrillers BECAUSE these seem to be so sought after. However, I learned a LOT from both of these scripts...

In The Bunker.. I had a helicopter and a train and a huge ending with cops, helicopters etc... I was lucky to sell this one for a grand... because I had written it out of budget sort of. The people who bought it found it here... and asked to rewrite it per their budget... I agreed and they added their name on the credits... But it's ok... I learned a lot from it.

The other contained one I wrote.. DEADLINE.. I had it optioned once for 4K but that didn't work out (cowriting disagreement) BUT this one I really frigged the budget thing up... because 95% of the thing is on a MOVING train! Do you know how much it costs to even rent one subway car for a day??? What was I thinking??? LOL Live and learn right.... this one is still on the market and I believe that dang train is what's stopping it from moving... I could maybe rewrite it in a different location and maybe I will.. but have already rewritten this one like twice and I despise rewrites.

I really want to sell scripts. So I do chase what the market is asking for... right now I have a lot of 'girl in peril' or 'girl action' or 'girl thriller' wants.... my job is ending in February and I will get back to writing...

I work best if I know what someone WANTS. Then I can go concoct a rough outline and if they love it .. I know I'm not wasting time writing the script. I wish I had more writing opportunities like that. Working on one now called Little Mule for Hawk9 to take a look... not finished yet though.

Quoted from Pale Yellow 95% of the thing is on a MOVING train! Do you know how much it costs to even rent one subway car for a day???

At least it's not on a rocket ship.

Quoted from FrankM At least it's not on a rocket ship.

Yeah true!

Another thing about MICRO BUDGET scripts... usually they come with a MICRO BUDGET price tag too for the writer... I feel like most of my script sales have been like garage sale prices! Not really complaining.. just saying.. the filmmaker that does not have money to spend on the film... is not going to have much to spend buying the script...

Mark:
Yeah, we pretty much agree. Again, I try to start as small as possible but if I see that it's better to open things up, then that's what I go for instead. Personally, I seem to mostly write for a relatively low budget even when not on purpose so it's not such a stretch, but there's a difference between writing something small with a lot of locations and characters (An "El Mariachi", I guess) , and something small with very few locations and characters (A "Resolution" or "Buried".)

Quoted from MarkRenshaw I'm just saying don't force yourself to write a micro budget script all the time. Write some without holding back or open some up so they are low to medium budget. Be flexible, be daring.

But, Mark, these are my zone. There is almost precisely zero daring in me. I write low budget on my shorts because all my scripts boil down to two people talking in a single location. That's my area to claim.

Just for the hell of it, I went back and looked at all the shorts I have submitted to SS to see how many are a single location with 1-3 characters. It came out to 14 out of 17. Sometimes, you just need to understand where your strengths and weaknesses lie.

With that said (moral of the story), don't constrain yourself to fit what other people want you to write. Write what you want you to write.

Quoted from Pale Yellow Yeah true! Another thing about MICRO BUDGET scripts... usually they come with a MICRO BUDGET price tag too for the writer... I feel like most of my script sales have been like garage sale prices! Not really complaining.. just saying.. the filmmaker that does not have money to spend on the film... is not going to have much to spend buying the script...

That’s a great point Dena. The typical rule of thumb is that 1% of the budget is allocated to pay the writer. If you have a micro budget at $100,000, that’s $1,000 total for your writing, unless you’ve negotiated some backend deal for a percentage of the profits, which SPOILER ALERT never seem to happen.  So ask yourself if you’re willing to spend a ton of time working on a 90 page script for a small sum. If you’re doing it just for the experience and credit, great, go for it. But just go into it with eyes wide open.

Gary

Quoted from Mr. Blonde But, Mark, these are my zone. There is almost precisely zero daring in me. I write low budget on my shorts because all my scripts boil down to two people talking in a single location. That's my area to claim. Just for the hell of it, I went back and looked at all the shorts I have submitted to SS to see how many are a single location with 1-3 characters. It came out to 14 out of 17. Sometimes, you just need to understand where your strengths and weaknesses lie. With that said (moral of the story), don't constrain yourself to fit what other people want you to write. Write what you want you to write.

My post was more aimed at features but you are correct. Write what you want to write and what works for you.

You are right Dena/Gary... but another way of looking at it...

I get paid $1000 for a 90pg microbudget script that someone actually makes
versus
I get paid nothing for the $50m spec script that no one makes

Both probably take the same writing effort, but one has a better chance of getting made.

You also (hopefully!) get a feature credit with the microbudget that might eventually help you get the $50m in front of someone.

When it comes to micro budget scripts.  What's everyones view on that figure?  For a short or feature?  And would you include your own fee too?

I always considered it to be below £250,000.

But there's no set level.

Quoted from jayrex When it comes to micro budget scripts.  What's everyones view on that figure?  For a short or feature?  And would you include your own fee too?

I've produced three micro-budget short scripts. They cost around $2,000 each to make. That figure includes all of the post-production but does not include things like promotion, submitting to festivals and competitions.

I've got a director friend. He tells me for features, $50,000 will get you one basic location and a few actors so in theory, you can do it but in reality, you'll should try and raise $100,000 at least.  

I seem incapable of writing big budget scripts. My mind just can't think big like that. If someone said, they would pay me a million dollars to write a big budget sci-fi thriller for example, I would have to decline because I know I just couldn't do it. I'm sort of naturally stuck in the low budget arena, but that's okay with me. I write because that's what I like, not because I'm trying to launch a career. If newbie filmmakers want my scripts, that's fine. I don't ask for a lot of money and I'm happy to maybe help them get their director/filmmaker careers started.

Quoted from jayrex When it comes to micro budget scripts.  What's everyones view on that figure?  For a short or feature?  And would you include your own fee too?

Everyone knows you can make a film for no money. All you need is a camera and some friends, but if you want to make something that doesn't come off as too amateurish, I think you need to have decent equipment and people that know how to operate them. A cast that
can act at least a little bit. I typically spend about $2000 for a short film. I consider that micro budget for a short. I know some people who spend 15-25K for a short. They also look better than my films. They look "pro". Then there are films that go to the big film festivals and end up at the Oscars and such, that can cost close to 1M. Typically, those films are from other countries and are state funded. In Sweden for example, the state funds much of the media
TV and film there.

I'm the opposite in that I seem incapable of writing small budget scripts.

Yet every blog/article says the same thing: if you want to break in, write low budget horror/thrillers. I am very stubborn but the sheer volume of people saying it has started to wear me down.

When I read these break-out limited location scripts, I'm often awed by how good they are. Stuff like Buried. I liked it, I learned from it. But I don't necessarily feel confident to write them.

Then I read million dollar budget myth/action/fantasy scripts from relatively unestablished writers and I'm shocked by how godawful they are. Snow White and The Huntsman is garbage. I have not read Robin Hood but it has an 18% RT score so I'm gonna go out on a limb and say it sucks. The Nutcracker and The Four Realms... need I go on?

I realize Evan Daugherty and others probably worked hard churning out thrillers beforehand and honing all other aspects (pitching, networking, etc). But I can't shake the thought that if you just write an action script that's not hot garbage you can make headway.

Feel free to tell me I'm completely wrong though. I will listen at least.

Quoted from MarkItZero Feel free to tell me I'm completely wrong though. I will listen at least.

I don't think you're completely wrong, but think of of it this way. If you write low budget stuff, doesn't have to be like Buried, but still few locations and few characters and it's thrilling or scary. Horror and thrillers are easiest to sell, but I know people from here that have sold dramas and rom-coms too. Write them good enough so that someone might want to make it into a film. It probably will not turnout to be a memorable film, but you'll have at least another credit and more experience writing features. Repeat this over and over. Eventually, you'll have a long enough imdb list that you can with confidence contact anyone in the industry because you have some proof that you're not a complete amateur. That's actually pretty big, because you're taken seriously right away. At least that is my experience.  

Quoted from Grandma Bear At least that is my experience.

Thanks for the info. I respect your experience and talent!

At some point, I'm gonna have to stop wondering and just write one for the hell of it. I'm actually writing a rom-com right now for someone, but don't know what will come of it. To your point, I think just finding a low budget horror/thriller concept that's more in my wheelhouse will help. Not necessarily Buried, or stuff like Ouija... but Housebound I could get behind.

Not saying I can actually do something that good. But it would be an enjoyable learning experience at least. I realize I need more experience just in general.

Okay, no more complaining. The hangover is gone, the walls aren't closing in so much... back to writing!

Quoted from AnthonyCawood You are right Dena/Gary... but another way of looking at it... I get paid $1000 for a 90pg microbudget script that someone actually makes versus I get paid nothing for the $50m spec script that no one makes Both probably take the same writing effort, but one has a better chance of getting made. You also (hopefully!) get a feature credit with the microbudget that might eventually help you get the $50m in front of someone.

Hence why I've sold three features this year! Thinking like that... we are on the same page.

Congrats Dena!

A person can write both. Doesn’t have to be only one side. Just that the micro budget has a better chance of getting picked up.

Congrats Dena.

Gabe

Congrats Dena!

May I ask how did all that happen? If you're more comfortable discussing via PM or not discussing it at all, please let me know.