Movie Money CONFIDENTIAL (2022) Film Review
Behind the essence of such an important film like Movie Money CONFIDENTIAL, I found something that’s very curious. A large portion of the people that’s interviewed in the film, confirm (or you actually get the feeling of), the film’s subject isn’t part of their craft and they’re definitely not passionate about it.
As it happens with every endeavor, there’s always an ugly side that isn’t often spoken about. In the case of films and most importantly, independent features, it’s the big question of “where do we get the money to adapt something only we believe in?”.
You can read about it. You can Google all you want. You can even buy a guide for getting the counsel you’re seeking. In Movie Money CONFIDENTIAL, a relatively unknown group of people share their take on how to survive this journey.
The film starts with film financing guru Louise Levison, saying how she approached elaborating the business plan for The Blair Witch Project, one of the most profitable independent films of all time, if not the most widely recognized. In just under 10 minutes she takes down the myths, the lies, and she presents the truth behind a very important document. Most of the film’s success was the result of a fantastic marketing campaign, and that campaign was part of that business plan put together by a very talented woman.
After that the film simply takes off. A constantly evolving roundtable with Levison and Scott duPont and the film’s director Rick Pamplin, who practically share a mastercall in film business. The documentary never feels like a forced move to sell itself, even when it goes meta and uses product placement in an experimental turn of the script. Movie Money CONFIDENTIAL feels like an integral tuition regarding the “ugly” side of the film industry. It works mainly because it allows viewers to enter a territory we simply aren’t familiar with and it’s actually part of the bloodline.
Curiously, the weak parts regard familiar faces. Burt Reynolds shares his views about film financing in a very short interview, and Salma Hayek speaks for a few seconds about an animated flick that’s been sadly forgotten by most. I can understand Pamplin’s intention when looking for known faces who can add testimonies, but this is not a game where big players arouse the viewers into believing the idea.
It’s mostly effective when the rest of the interviews point towards an educational and sincere agenda. It’s inspiring to see young people asking the right questions and getting the replies they need. This is the primary idea of the film: to serve as a worthy document that contains the truth about a subject that doesn’t have to be awkward. Pamplin is grounded on his opinions and his stance is quite effective.
Fortunately, Movie Money CONFIDENTIAL doesn’t miss one of the key points of its theme. This is a medium for telling stories. And to get the money to tell them, it’s crucial that you believe in them. Levison says so in a key part of her presence in the film. For some it may be worthy but simple advice. Personally, I think this is the most important part of the pitch.
Whether it’s connections, attending Sundance, or just knocking a few million doors, the opportunities are out there. But you have to get out there, the OKs won’t fall into your lap. If Movie Money CONFIDENTIAL works as a good source of inspiration (or just information) for a young person who takes the next step in presenting a film idea, then we need to celebrate this film.
