Filmmaking is a lot like sex. There are the wannabes who mainly talk about doing it and those who really get it on. With the exception of Alexander Payne, whose Hollywood-financed films place him in a special category, Omaha has had its share of cinema wet-dreamers. A few, like Steve Lustgarten, Dan Mirvish, Dana Altman and Shawn Prouse, managed scraping together tens of thousands of dollars from local investors and, by hook or crook, realized their grassroots indie aspirations using almost entirely local casts and crews. Until recently, though, no one succeeded in raising really serious money for a native-born production. That is until Oberon Entertainment Properties hit the scene.
An Omaha film production company formed in 2000 by Mark Hoeger, Andy Anderson and Thompson Rogers, Oberon’s partners quickly separated themselves from the local cinema pack by not only setting ambitious production and distribution goals but by doing enough homework and opening enough doors to actually reach some of those lofty goals. In researching the biz, including such centers of indie filmmaking as Austin, Texas and Charlotte, N.C., Oberon’s principal players say they found plenty of data to support their contention that homegrown movie-making could be a going concern.
Displaying a business acumen unseen before among area filmmakers, the three men went about doing exactly what they set out to do, including acquiring a marketable script and hot lead actors, lining-up investors to bankroll the $1.84 million project, securing a major distributor for the property before filming even commenced, completing their teen romance film, The Full Ride, without incident and attracting major players to represent their product around the world. Now, they are in the midst of raising a film financing pool, which they hope will total between $10 and $40 million, to help fund future Oberon projects.
While the company is still “pushing” to net a theatrical release for Full Ride, that prospect dims as time goes by, meaning the film will likely find exclusive distribution via home market venues (cable, video, network TV). With one major foreign TV sale already inked and other overseas-domestic sales in the works, Oberon has leverage on its side. The only thing left unproved is whether it returns a profit to investors and has any legs or staying power as a boutique film business. While Oberon seeks to avoid being a flash-in-the-pan, it should be noted no Omaha filmmaking venture (other than Payne’s) has followed-up a first pic with anything more than unfulfilled promise.
“When we started putting this company together it wasn’t to make a film, it was to create a film business. We don’t want to play at this -- we’re too old,” said Anderson who, along with Hoeger, headed Full Ride’s 40-something creative team, with Anderson serving as cinematographer and Hoeger as director. It may be Oberon that is part of a Nebraska New Wave given that indie hit My Big Fat Greek Wedding was financed by Gold Circle Films, a division of Omaha-based Waitt Media.
The story of Oberon offers an insider’s-look at how things work in an industry predicated on gumption, guile and glad-handing, but also bottom lines. In an unprecedented move for local filmmakers, Oberon sold itself and its dream, in the form of a well-articulated business plan, to deep-pocket money-men. The journey began when Hoeger, former executive director of the Omaha Theater Company for Young People, was approached by Omaha author and ex-UNL football player George Mills with an original film story. The story concerned a troubled star high school football player, Matt, who is pressured by an ambitious coach and smitten by a small town girl, Amy, whose perfect facade hides an ugly truth.
With Mills bringing the project’s first investor aboard along with him, Hoeger agreed to film an 18-minute “pilot” or teaser to test the investment waters. Needing someone to shoot the pilot, Hoeger collaborated with Anderson, the maker of scores of TV commercials via his Anderson Productions. Each man had flirted with the movies before, Hoeger as a sometime filmmaker and film instructor and Anderson as a second-unit cinematographer on Hollywood export pics (including Payne’s Citizen Ruth andElection) and as cinematographer for omaha: the Movie.
The pair next approached Thompson Rogers, an Omaha entrepreneur and investor. It turned out their timing was right, as Rogers had already begun looking at film as a business opportunity. Rogers joined the team, but demanded his partners gather more facts and figures. “The great thing about having Tom on board is he put us through our paces in getting us to prove that we had a good idea and that we had the capacity for doing it,” Hoeger said. Anderson said the process “helped build our credibility in the business world because we approached it from a business standpoint rather than as, ‘Oh, we’ve got a great idea for a movie.’ We looked at the independent filmmaking business...at what independent films are doing domestically and internationally through all the different distribution venues.”
Hoeger said, “One of the pieces of data we found showed that films that get released are profitable overall, especially over their lifetime, but that the number of films released compared to the number of films that get made is very small. Because what we figured out was it’s easy to make a movie -- it’s harder to get it out there. Now, one strategy is you make a film and then you try to get it into the Sundance Film Festival, where you hope to get a distribution deal. But out of the literally thousands of entries to Sundance, maybe only 50 films get shown and of those 50 maybe five end up in distribution. So, that’s a very high risk operation...it’s sort of the lottery theory of a business plan. We realized it was going to be hard to pitch that. We wanted something with better odds, which meant not starting production until we had some distribution channel in place.”
read more: When Omaha Independent Filmmaking Took a New Turn or Did It?