FROM THE INDEPENDENT FILM & TELEVISION ALLIANCE
(IFTA relies on the definition that an independent film is financed in majority from sources other than the six U.S. major studios. So films on this list distributed by a major studio were independently produced and acquired.)
TOP 20 INDEPENDENTLY FINANCED FILMS
Weekend of October 23–25, 2009
Exclusive To Deadline Hollywood
TITLE, DISTRIB, COMPANY, WKD BOX OFFICE, SCREENS/AVERAGE, CUME
1. PARANORMAL ACTIVITY (Par/IM Global) $21.1M [1,945/$10,850] $61.5M
2. SAW VI (Lionsgate) $14.1M [3,036/$4,650]
3. LAW ABIDING CITIZEN (Overture) $12.4M [2,890/$4,292] $40.0M
4. ASTRO BOY (Summit/Imagi) $6.7M [3,014/$2,224] $6.7M
5. A SERIOUS MAN (Focus) $1.0M [176/$6,211] $3.1M
6. GOOD HAIR (Roadside Attractions) $945K [466/$2,030] $2.8M
7. CAPITALISM: A LOVE STORY (Overture) $726K [636/$1,142] $12.9M
8. WHIP IT (Fox Searchlight/Mandate) $466K [435/$1,071] $12.2M
9. AN EDUCATION (SPC/BBC/Odyssey) $367K [31/$11,851] $940K
10. COCO AVANT CHANEL (SPC/Canal+) $272K [63/$4,321] $1.7M
11. NEW YORK, I LOVE YOU (Vivendi) $230K [110/$2,092] $747K
12. FAME (MGM/Lakeshore) $212K [445/$477] $22.0M
13. BRIGHT STAR (Apparition/TVA) $212K [209/$1,015] $3.9M
14. TIME TRAVELER’S WIFE** (Warner/New Line) $203K [284/$718] $62.8M
15. I CAN DO BAD ALL BY MYSELF (Lionsgate) $178K [273/$655] $51.6M
16. INGLOURIOUS BASTERDS (Weinstein/Uni) $176K [206/$857] $119.3M
17. DISTRICT 9 (Sony/QED) $148K [232/$638] $115.5M
18. 5150, RUE DES ORMES (Alliance Films) $107K [55/$1,955] $787K
19. MORE THAN A GAME (Lionsgate) $99K [107/$929] $749K
20. THE SEPTEMBER ISSUE (Roadside0 $89K [61/$1,469] $3.4M
** A New Line production distributed through Warner Brothers.


Would someone educate/direct me to a source of how to accurately determine a film’s net against budget, P&A, distributor and exhibitor fees? I’m new at this, and between what I keep seeing here and imdb, I’m a menace to myself trying to budget/produce my first project. Any help much appreciated before I come to what little sense I have. –filmdude–
Still, the definition of an “independent” film is subjective. In this case, this institution, the IFTA, has made its findings based on its own definition, which is perhaps commonly used but is a misnomer. Just because the Big 6, a cartel, didn’t do the bulk of the financing, doesn’t mean the pic is “independent” of them – nor as if they are the only studio game in town.
C’mon, Saw VI – independent? Inglourious Basterds – independent? The list goes on. I don’t know why Nikki promotes this IFTA as an organization of substance if they’re going to use such a ridiculous definition of their own source material. Sounds more like the IFTA is owned by the Big 6, and they’re spinning the definition of independent into something it’s not in an effort to keep the boutique aspect of Independent Film. Which it’s not. At least, most of this list is not.
Talk to a true independent producer and see how s/he defines “independent”.
Filmdude:
Basically…don’t waste your time. To know the *real* answer on a given film you have to know:
-the actual budget
-the actual overhead charged to the film, if any
-the actual mg paid (and marketing fee tagged) if it’s an indie gone that route
-the actual P&A
-the actual distr/exhib fees
-actual additional payments (b.o. bonuses, back end, etc.)
There is basically no way on earth you can get all of these accurate data points for a given film unless you personally know the studio exec overseeing it, or the producer if it’s an indie.
None of which is to say that you can’t make/get estimates and use some amount of common sense. Just understand that from an IRR standpoint the numbers will vary wildly from top line to bottom line, even if you keep the ranges of your estimates reasonable (whatever that means).
This list pretty much confirms that Michael Moore’s CAPITALISM is a massive failure for overture.