Without a doubt, one of the most exciting things to have evolved in recent years at the DGA is the extremely proactive Independent Directors Committee (IDC). Only four years old, this committee is already broadening the scope of the Guild and investing in what many believe is the real future of American film — the independents. The IDC holds a two-way-street philosophy, that is, to give a voice within the Guild to members who work in the independent world, while at the same time making available to producers, writers and executives the art, craft and expertise of the DGA membership.

As a way to encourage such an exchange, the West Coast IDC hosted a reception for indie producers on September 18, with the DGA's newly ratified Low Budget Agreement (LBA) as the main focus of discussion. More than 50 producers, agents, managers and executives attended, along with IDC members Christopher Coppola, George Hickenlooper, Rick King, Mary Lambert, Bobby Roth, Michael Uno, and Gary Walkow. IDC Chair and DGA Fifth Vice President Michael Apted served as moderator.

"By definition," Apted said, "the independent world is experimental, volatile, cutting-edge, and a bit anarchic. So it might seem odd that the DGA — which has been around for more than 70 years and was born out of a need to institutionalize protection for its members against producers, studios, production companies — would want to be part of this world."

Even so, Apted went on to say, the IDC's goal is to avoid historical adversity and create instead a mutual support system to address the tough conditions that both sides find themselves in today. "Most importantly," said Apted, "we want to make ourselves available to you."

Hickenlooper and producer Donald Zuckerman, who have made a number of films together (the most recent of which, The Man From Elysian Fields, opened September 27), spoke as teammates to the 80-plus producers and directors.

"The industry has changed in the last ten years," Hickenlooper said. "Independent films have become a major force, they're winning Oscars, they're getting acquired by studios. When you're shooting a film for a million dollars or less, or for under $3 million, you want your money up on the screen. And if you're working with a crew that's not as experienced as a DGA crew, a lot of your money is not going there. The advantage to embracing the Low Budget Agreement is that you get the chance to put your money on the screen. And the bottom line is most of the great independent filmmakers are in the DGA."

Zuckerman shared his opinion on the DGA's efforts to embrace independents. "I've had the pleasure of actually reading the new Low Budget Agreement and from a producer's point of view only, it's an attempt to be extremely fair. It really is very reasonable.

"What's great about this agreement is that not only does it address the needs of a first-time filmmaker who would probably not be a DGA member, but it also addresses the needs of a very experienced filmmaker, like a Mike Figgis or a Michael Radford who may want to do a film for a million dollars. I think Bryan Unger [DGA Western Executive Director] understood what the producers needed."

Rana Joy Glickman (God Said, 'Ha,' Full Tilt Boogie, Kicking and Screaming) shared her experience with the DGA from the perspective of having been a PA, a nonunion AD and finally, an independent producer.

"The fact that the Low Budget Agreement actually exists now ... really brings tears to my eyes because this was simply not possible five or six years ago. There were a lot of filmmakers who had integrity but no protection. Because without an established box-office track record, there was no way to get real money behind your films. So most situations would automatically mean bad conditions, 20-hour days, etc.

"The first time I got an opportunity to use the LBA was on a picture I did with Gil Cates, Jr. The budget was painfully under a million, and it was amazing because we had a first-rate UPM and our AD was just incredible. The show had a sense of professionalism, dignity, unity, organization and flow — and it was legal! Nobody was using pseudonyms, everything was out in the open ... that's amazing! You couldn't do that before.

"As a producer, I want to speak to the other producers and say that for a lot of people, the minute they say DGA they think, 'Oh God, lots of paperwork, lots of cash going out to residuals...' There is obviously some truth to that. Yes, you have to do signatory packages; yes, you have to be accountable from a residual basis. But, in my opinion, and in the opinion of many producers who have used this contract, the bottom line is — yes, it is worth it."

DGA Assistant Executive Director Elizabeth Stanley gave a power point presentation outlining the new Low Budget Agreement, effective September 1, 2002.

"We're very proud," Stanley said, "that for the first time we've actually negotiated a Low Budget Agreement with a group of employers — the Independent Producers Association. Over the years we've been fine-tuning this agreement so that we can provide production companies with the flexibility, staffing and salaries they need to make independent film, while providing our members with the creative rights protections that we feel are essential."

Click here for more information on the new Low Budget Agreement, or for other items of interest please click here to go to the DGA Independent Directors Committee Page.