Book Review of The Reel Truth by Reed Martin

The Reel Truth: Everything You Didn’t Know You Need to Know About Making an Independent Film. Reed Martin. New Yori, NY. Farrar, Strauss, and Giroux, 2009. 536 pages


By

Patrick Charsky


In writing The Reel Truth: Everything You Didn’t Know You Need to Know About Making and Independent Film Reed Marin set out to create a book that would show novice or experienced people in the film business what not to do and what to do to make an independent film. His project succeeds at every level. Critics and practitioners in the film business have praised his book as “indispensalble,” “neccessary for survival” and “an essential document for any one attempting to break into” Indie filmmaking.

The Reel Truth was published in 2009 right at the cusp of the ongoing revolution in film distribution spearheaded by Netflix. It was also published during the Financial Crisis of 2008-2009. Reed Martin is an accomplished journalist and has held a number of academic posts. He currently works in the industry as a marketing executive.

I found out about this book because I’m an aspiring screenwriter. I have a list of books about Screenwriting that I am reading and The Reel Truth was on it. The book is a long book, over five hundred pages, so it took me some time to read it. It is one of the last books on the list about Screenwritng books that I’m reading. My thesis is that Reed Martin’s book is and indispensable text that every aspiring filmmaker should read. The book focuses on Independent filmmaking or “Indiewood” and is chock full of advice about how to make an “Indie.” I will substantiate my thesis by providing instances and examples from the book.

Martin’s book has much advice to impart to aspiring indie filmmakers. He talks about avoiding legal troubles by hiring a lawyer to consult on contracts and other matters. He says hiring a lawyer early in the process is better than finding yourself in trouble somewhere down the line. In addition to legal advice, Martin is an expert at the business side of making an indie film. He talks about all the aspects of indie filmmaking; from financing to festivals, to selling the film for distribution, and to marketing the film the right way. He writes about how My Big Fat Greek Wedding was released slowly to an increasing number of theaters rather than directly to a large number of theaters.

Martin also imparts much advice about actually making an indie film. He recommends that you hire a line producer to manage the production of the film. He also has warnings about working with the wrong producer. He notes that the “wrong producer” is usually someone who knows nothing about post-production. Martin dispels the myth common among filmmakers that anything can be fixed “in post.” He cites examples from filmmakers who ran into problems that couldn’t be fixed “in post.”

Martin is the know it all of indie filmmaking. He writes about now famous filmmakers who struggled early in their careers only to rise to celluloid glory after years of poverty and obscurity. Martin interviewed the likes of Christopher Nolan and Jim Sheridan who have both found tremendous success after years of working low paying jobs. He also talks about lesser knowns like Kimberly Pierce who struggled for years to get her first film made. Martin also writes about Darren Aronofsky who was an Indie film sensation with his first film, Pi.

Sundance is the major film festival in North America. Martin makes it clear how difficult it is to be accepted at Sundance. It is harder to get accepted at Sundance than an Ivy League College. Martin writes about making your film “festival ready” as well as how filmmakers have gone on to success by securing a distribution deal at a festival. Martin warns filmmakers with dreams of fame and riches to put those aside and find a meaningful reason to make and screen an Indie film.

These chapters were the most informative and interesting in the book. The writing about securing a distribution deal, the successes and failures, and how to go about finding success in a festival were very informative. I knew little about the business of Indie filmmaking or the festival circuit. With Martin’s book, I now know what it’s like to have a film entered into a major film festival like Sundance.

The Reel Truth doesn’t paint a rosy colored picture for filmmakers. Even having success at Sundance is no guarantee that a filmmaker will be on easy street. In a memorable passage from the book, Martin cites Quentin Tarrantino talking about how to be a success in filmmaking. Tarantino says it’s not your first film that determines whether you will have a long career in film, it’s your second film. That’s the one that will determine if you can make more movies. Many people make one film and that’s it. Martin advises people to keep making films. And if you are stuck it’s a good idea to adapt literature into a film. He also advises filmmakers to be ready for the ultimate question; “what’s next?”

This book would be of particular interest to anyone in Indie filmmaking. Actors, Writers, Directors, Producers, and Film Executives, anyone aspiring to celluloid glory would all benefit from reading The Reel Truth. Even though some of the information is out of date, the book is still full of great advice and useful information. I can honestly say I’ve learned a lot by reading Martin’s book. And I’m sure you will too.