Revolutionizing Independent Filmmaking: The Ethos Initiative
What if there was a way to **cut filmmaking costs**, while empowering every member of your **cast** and **crew** with the promise of **equality**, **transparency**, **vested interest**, and potential **pay** on the backend? Oscar-nominated filmmaking duo **Greg Kwedar** and **Clint Bentley** are doing just that with their plan that could save **independent filmmaking** and even **disrupt** the entire industry. They created **Ethos** — an **equal pay initiative** that not only pays back investors, cast, and crew but also brings everyone into a form of partnership. Their aim is to share this **vision** with the industry.
Kwedar and Bentley started making features with **Transpecos**, directed by Kwedar, followed by **Jockey**, directed by Bentley, and then **Sing Sing**, also directed by Kwedar and led by **Colman Domingo**. Their next project will be **Train Dreams**, featuring stars like **Joel Edgerton** and **Felicity Jones**.
Understanding the Ethos Concept
The idea for **Ethos** originated with a commitment to **fair pay** for everyone involved in filmmaking. “Starting with everybody’s going to get paid the same rates,” says Bentley. “Then it got more exciting, thinking about the **creative equity** side of **independent film** and cleaning that up in the same way the investor side is very clean.” This concept has led to a model that is as **transparent** as possible, ensuring that “nobody has a bonus that everybody else isn’t privy to.”
Kwedar reflects on his experiences with previous films, stating, “We knew the way we made **Transpecos** didn’t really yield success for our investors or ourselves.” As a result, they began to explore a new paradigm aimed at lowering risks without compromising film quality.
The Three Tenets of Ethos
Bentley lays out a **three-tenet plan** for the Ethos initiative. The first tenet is the **equitable pay structure**: “Everybody is paid the same rate from the writer to the director, the star, and all the way through the production assistants and post-production,” he explains. This creates a standard that all can rely on.
The second tenet is **standardizing equity**. The only difference in payment is based on the duration of work on the film. “Everyone who qualifies and works a minimum amount is party to the backend equity of the film,” Bentley states, leveling the playing field for all contributors.
The third point is essential for financial transparency: Bentley says, “Finding a way to split money off the **gross** rather than the **net**.” This change redefines how profits are distributed among cast and crew.
A Case Study: Jockey
Kwedar explains how these principles were effectively applied in **Jockey**. Traditionally, the first money earned would go to recouping the investors before splitting profits. “We adjusted the waterfall, initially giving 60% to investors and 40% to cast and crew until the investors got 120% back,” explains Kwedar. After that point, profits were split 50/50 in perpetuity.
This model ensured that even if the film only generated modest returns, there was something for the cast and crew for their **sweat equity**. Kwedar adds, “This required investors to put up less money upfront, ensuring that the artists involved also got a fair share.”
Overcoming Challenges
Bentley acknowledges that this approach does not suit everyone. “Some crew members expressed concerns about needing a certain income for their families,” he notes. While some investors were resistant, the success of **Jockey** helped smooth over the skepticism. “After they saw the positive ramifications, they realized the potential,” he says.
The enthusiasm surrounding **Sing Sing**, with its potential for **prestige** and **awards**, attracted Colman Domingo. “It was a chance to be involved in building something from the ground up,” Kwedar states, highlighting the actor’s commitment to the project.
Future Endeavors with Ethos
Kwedar and Bentley see **Ethos** potentially expanding into the broader industry. They are raising funds with an eye on films of various scales. “Ideally, films that traditionally would cost $5 million can be made for under $2 million using this model,” Kwedar elaborates. They envision that first features like **Jockey**, which would usually require $1.5 million, can be created for **under half a million** within this **equity structure**.
In conclusion, the **Ethos initiative** is more than just a funding model; it encapsulates a vision of a more equitable and inclusive **filmmaking** environment, bringing artists and investors alike into a closer partnership, and ultimately fostering a system where everyone has a stake in the success that follows.