In the independent (indie) film world, where passion often overshadows profit, actors face unique challenges beyond the glitz of premieres.
Here’s what’s simmering beneath the surface:
The Credit Conundrum
An IMDb credit might look good on a resume, but for many actors in indie films, it’s more about passion than payment. These credits might open doors, but they don’t pay the bills.
Actors often work for exposure, hoping that their next role will be the one that changes their financial trajectory. With the economy in shambles, inflation high and unaffordable bills, it’s important (now more than ever) actors get some type of payment.
Even if the filmmakers are upfront—and honest—about the project being a micro-budget with little wiggle room, an actor will still get on board even if the payment is minimal.
It shows worth and value.
Would you ask any other professional in any other industry to come and work for you for free? Does your plumber, electrician, roofer, accountant or lawyer work for you for free a basic “shoutout”?
Obviously, the answer is no.
NIL Rights in Indie Films
While not as widely discussed as in sports, the Name, Image, and Likeness (NIL) issue affects indie actors, too. Their faces and names might be used for marketing, festival submissions or even merchandise without any compensation beyond their initial fee, if they received one at all.
In fact, many unpaid actors are making the filmmaker and the company A LOT of money because of their NIL.
It sends a terrible message when filmmakers offer zero compensation on the backend, especially if they have made a significant profit from the actor’s NIL.
The Pay Structure
Indie films operate on tight budgets, often leading to deferred payments or promises of profit shares that might never materialize due to complex revenue waterfalls. Actors might agree to work for scale or less, hoping for residuals or a share in profits, only to find that the film’s financials are more convoluted than anticipated.
In other words, it’s just another avenue in which filmmakers exploit free labor.
The Residuals Reality
Unlike traditional TV or major studio films, residuals from indie films are rare. Streaming platforms might not offer residuals, or if they do, they’re minuscule. This shift has left actors without a significant income source that was once a staple of the acting profession.
And often times, actors work on indie films without a contract (which is insane) so if the film becomes a hit on streaming, the filmmaker and company get all of the profit.
The Crew’s Perspective
It’s not just actors; crew members also face payment delays or non-payments. The indie film industry’s financial model often relies on the goodwill and deferred compensation of everyone involved, hoping for a big festival win or distribution deal that might never come.
And in some cases, films can do amazing on the festival circuit, get a cushy distribution deal, and STILL nobody is paid on the cast and crew.
I have witnessed crew members work 12 hours a day and the only compensation is craft and basic snacks.
The Call for Change
There’s a growing sentiment for change. Actors and crew are pushing for clearer contracts, better compensation models and perhaps most importantly, a re-evaluation of how value is distributed in the indie film ecosystem. The discussion includes advocating for residuals in streaming deals, clearer profit participation structures, and ensuring that everyone’s contribution is fairly compensated, not just in credits but in cash.
I’ve recently learned my lesson that I will NEVER again work without a contract. I also will not work without an NIL contract.
Ashley Stinnett is an American actor, author, writer and filmmaker. Born in Huntington, WV, Ashley began acting in theatre as a child. Since then, he has appeared on television, film and commercials. He is the author of, “Haunted Tales From Appalachia: Ghosts, Spirits and Other Strange Happenings From The Hills and Hollows.” Aside from writing and acting, Ashley is the co-founder of Film Futures Foundation, a nonprofit dedicated to growing the film industry in central Appalachia. Ashley currently resides in West Virginia with his wife and three sons.
Photo by Jakob Owens on Unsplash
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