A successful film used to focus on a strong story that will resonate with audiences. The ongoing battle between art and commerce rages on. It’s unclear who’s winning the war, but these filmmakers are certainly winning the battle.
Writer/ Producer Rich Ronat (Grand Isle, American Sicario) set up a production company called Good Rebel Pictures with his partner Laura Vale to take control of the narrative.
Good Rebel Pictures argues that the importance of story, creativity, performance and writing have become less important in the current landscape of filmmaking. There seem to be many other factors that have hurt independent films like commercial viability, vanity projects, and the financial bottom line. Indie filmmaking allows creators to maintain “creative purity” as oftentimes with big studio films you end up with three films: the one that is written, the one that is filmed, and the one that makes it to the screen.
Ronat and Vale’s interest in The Innocence Project led to their film Culprit – a gripping psychological thriller about a man Jack Harris who’s released from prison after being found innocent of murder, but continues to fight to clear his name when other murders happen after his release. Culprit stars Jamie Donovan and Laura Vale.
Rich Ronat shares his thoughts on The Innocence Project and Culprit with Creative Screenwriting Magazine.
What does The Innocence Project mean to you?
The Innocence Project is a company that stands alone in terms of the message and goal they go after. To free the innocent. They genuinely care about the welfare of human beings and are one of the most genuine organizations that are around today. There isn’t anything polarizing about them because they genuinely stand for the truth. I love what they do.
Discuss your narrative approach to writing Culprit in terms of fictionalizing a truth and engaging an audience.
I had to start the process of taking several true stories and mixing and matching them, then creating what I feel to be a compelling, entertaining story that any audience member, old, young, male or female, would be able to relate to. Everyone can connect with wanting to know the truth about a potential murderer or what happened with a case. So, as I was writing it, I always kept that in mind and I worked hard to let the characters be unpredictable.
Rich Ronat. Photo by Ben Cope
How did this film get set up, produced and distributed?
My fiancée and I decided to take matters into our own hands and have grown tired of being told we could or could not make something. I care very much about being a part of high quality films, and the only way I feel I can accomplish that is by directing them myself.
So, we raised the money, found great actors and an amazing crew, and went to work. I always believed that we would get distribution because the film is quality, and I’m glad I was right. Our distributor, Quiver, sees the potential with the film and I really appreciate them taking a chance on us.
Where does your company Good Rebel Pictures fit into the current film business models?
We are a true independent film company that looks to make really well-told films, mainly in the thriller and dark comedy genres. I don’t think we actually fit in anywhere and that’s what makes things so exciting. We’re creating our own brand and formulating our own way of making films. We’re also proof that you don’t need millions of dollars in order to make a good movie. We pride ourselves in doing a lot with very little.
How do you view the current landscape for independent film and how it relates to the studio system?
I don’t think true independent film relates to the studio system at all. Production companies like Lionsgate or Focus Features claim that they make independent films, but they have high budgets and play by similar rules that the studios do. We don’t have those kinds of resources and truly have to work alone to create good stories.
Real independent film genuinely cares about making art, along with being entertaining to an audience. I don’t feel like studios really take anymore chances on telling new stories. They do remake after remake. Whereas, true indie film is known for taking a chance on a genuinely new story, and I love that about it.
Should screenwriters be thinking about the business before writing their screenplay or vice versa?
I think they should keep it in the back of their mind, but courageously tell their story and commit to its originality. The business or commercial side changes and circles around and none of the writers have any control on what that is. So, trying to write a script that you think is commercially viable is a waste of time because the business is always changing. If you write a great story, the business will find you and make it commercial.
Complete this sentence: After you finish your screenplay, the next steps are…
Rewrite it again. Then have as many producers or directors read it and tell you the truth. Then try and see if a quality producer would be willing to try and get it out there. Once they start sending it out, immediately dive into the next script. Don’t ever sit at home and wait for the phone to ring and someone to tell you that your film is getting made. Always keep writing and writing and writing. Thinking that you’ve written your one great screenplay is a bad idea because getting too attached can seriously mess with your head. The only resort you have and the only thing you can control about this business is what you can do, which is to write. You should have ten great scripts floating around the market and be working on your eleventh.
Do you have any other advice on advancing from screenwriter to produced screenwriter?
Direct and produce one of your own scripts. Even if it’s a short or a micro budget feature. It will teach you a lot about how collaborative the filmmaking process is and will make you a much better writer. When you have to turn your words into reality, you’re forced to answer all kinds of questions that you probably didn’t think about while writing the script. That’s a real gift.
