INGLORIOUS BASTARDS: Is Independent Filmmaking illegitimate?

Poster from the original Inglorious Bastards film.

Poster from the original Inglorious Bastards film.

Last week, in the State of Black Science Fiction group, another minor kerfuffle – oh yeah, Black speculative fiction authors and fans do love their heated discourses – occurred after Milton Davis – oh yeah, fifty-something chemist / author / publishers do like to set it off – posted this status:

“Apparently if you are self published you are not a legitimate writer. Wow.”

This statement was made in regard to another author, who said he was looking for Black women speculative fiction authors for a documentary he is doing, but only wanted “legit” authors: “I need MORE AFRICAN-AMERICAN WOMEN WRITERS of Science-Fiction, Fantasy or comics!!! To be considered for the documentary you need to have: been published by a legit publishing company (no self-publishers).”

The aftermath was – to put things lightly – passionate…yeah, that’s it. Passionate.

I will say, the “offending” author did try to clear things up – kind of – and even went so far as to contact me personally to explain he meant “traditional”, not “legit,” which perplexed me a bit because my only comment on Milton’s status was “Name NAMES, Milton!” Y’all know me…I’m a researcher and researchers, by nature, are a curious lot.

Anywho, i know you’re dying to see what was said in response to Milton’s comment. Here are a few of those responses – the names, however, are not included to protect the (not so) innocent:

“So if I’m an indie singer, I’m not legitimate? If I’m an indie film maker, I’m not legitimate? If I’m Indie Jones, I’m not a legitimate archaeologist and college professor?”

“They’re just mad because we won’t go away–and we’re stealing away their readers.”

“That’s just bougie perpetraters using their status to over inflate their already bloated egos, to the detriment and baseless shaming of others.”

” Hmmm…that’s funny. My royalty checks seem to be legitimate.”

“That’s bs!”

In response, the “offending author” had this to say:

“For the sake of clarity and common sense, I must make something known – Earlier today I posted a call for Black Women writers for my documentary Brave New Souls. I used the word “legit” instead of “traditional” when describing the criteria for my interview subjects. Somehow, that has been construed as a slight against self-publishers and that isn’t the case at all. So let me be as clear as possible here: 

1) I want to use Black creators who have mainstream credits because there is a great misconception and lack of awareness about the presence of Black writers within the mainstream entertainment industry. I wanted to show aspiring talent that they CAN make it in the mainstream industry and that it doesn’t require “selling out” or compromising your value system. 

2) Roughly 60% of my extremely limited literary entertainment budget is spent on self-published and independent material from Black creators. Let me repeat, 60%. If you don’t believe me ask the hundreds of Black creators I’ve met at conventions over the last 15 years whether or not I put my money where my mouth is. Ask folks like Thaddeus Atreides, Ray Height, Daniel McNeal, Jaycen Wise, etc. 

3) I also spend a ton of time mentoring people behind the scenes. I have an entire FB group dedicated to the mentoring of writers of all backgrounds and I rarely talk about what I do because I don’t need to pat myself on the back. 

4) Brave New Souls is my documentary, and I can do whatever I wish with the material. 

I hope that clears things up, otherwise, most of you know how to find me, and if you still have a problem, I will be at the Hollywood Black Film Festival from Oct 2 – 6 and at NY Comic Con hanging around the Lion Forge booth from Oct 10 – 13. Feel free to approach me to discuss the matter.

So, this is what was said by a few of his associates and friends:

Indie Vs Mainstream“lol. Don’t mess with the big dog. Ya might get bit.”

“Whenever someone steps up, someone else has to find something wrong.”

“4) Brave New Souls is my documentary, and I can do whatever I wish with the material.” That’s all you needed to say.”

“Did E*****n just pull a ‘Tony Stark from Iron Man 3’-move? ‘Here’s my address, come find me!!'”

“You haven’t seen his arsenal yet…”

“Seems nowadays people are in search of reasons to be pissed–not ways to make things work well… leaping beyond these words in order to give yourself (an in-general “yourself”) a perpetual underwear knot–& ignoring an avalanche of counter-balancing evidence–is small-minded. I’m less & less patient with this approach to life as I get older.” 

This little skirmish set my thoughts in motion and, since I am in nearing the end of production on the Steamfunk feature film, Rite of Passage, I pondered whether the same beef – indie vs. mainstream – exists in the world of film?

As early as 1908, independent film has been paving the way for filmmakers to fight the corporate way of creating their art form. Around 1924, a group of independent filmmakers in Europe created the London Film Society. This group was the first to preserve the artistic nature of filmmaking. Some of the founding members included H.G. Wells and Charlie Chaplin, film directors who began a revolution with their movie making.

In a short time, independent filmmakers all over Europe were introducing new and exciting genres to their movies, such as horror and suspense. After World War II, science fiction was introduced by independent filmmakers to the American audience.

A new wave of American filmmakers began creating films outside of the control of the corrupt major studios and a Golden Age of independent films began.

For these independent filmmakers, the best way to showcase their work was at local film festivals.

Sundance One such festival, The Sundance Film Festival, run by Robert Redford’s Sundance Institute, began as the Utah / U.S. Film Festival in 1978. The festival – founded by Brigham Young University Film School graduate, Sterling Van Wagenen and Utah Film Commissioners, Cirina Hampton Catania and John Earle – showcased independent films created in the United States.

In 1985, Redford’s institute took over management of the festival and changed the name to Sundance. In 1991, the Sundance Institute bought the rights to the festival and officially changed the name to the Sundance Film Festival. Since then, Sundance has included international independent films in its screenings and has launched the careers of some of today’s hottest directors such as, Quentin Tarantino, Robert Rodriguez, James Wan and Jim Jarmusch.

Viewed as the leader in independent filmmaking, the Sundance Film Festival innovates ways to help small productions gain mainstream notoriety.

Last year, this festival brought Utah $92 million dollars in revenue, further cementing both the importance of the festival and the films that it showcases.

But what, exactly is an “independent film”, you ask?

Rite of PassageAn independent, or indie, film is one that is primarily funded outside of the major studios, also known as “the Big Six” – Warner Brothers, Paramount, Walt Disney, Columbia Pictures, Universal Studios and 20th Century Fox.

Independent films have the freedom to explore many subjects in society that are seen as taboo or unmarketable by the Big Six.

Most independent films achieve nothing more than critical acclaim at film festivals, but every once in a while, an indie film creates such a loud buzz at a film festival that it is purchased by a major film studio and screened in major theaters all over the world. One such film is The Blair Witch Project, which screened at the Sundance Film Festival on January 23, 1999. Writers-Directors Daniel Myrick and Eduardo Sanchez, who made The Blair Witch Project for $25,000, had sold their movie, by the end of the festival, to Artisan Entertainment for 1.1 million dollars. Artisan then went on to make $248 million with this “little” independent film!

However, when an indie film hits the “big time”, like The Blair Witch Project, it is no longer considered to be an independent film because, even though the film was produced on a shoestring budget, the marketing budget that Artisan Entertainment implemented when they purchased the film put The Blair Witch Project way over the 50% funding category.

While, technically, the Blair Witch Project is no longer considered an indie film, it possesses one characteristic that most certainly sets it apart from “mainstream” films, a characteristic that films produced by the Big Six will never have – the willingness to take risks with their storytelling.

The Big Six film studios are large corporations, and corporations of that size do not allow risk-taking in their business practices.

They will only invest in actors and stories that have already been proven to make a lot of money. This may lead to financial success, but also leads to creative stagnation.

Independent films are about original and creative story-telling by filmmakers who are not afraid to try new techniques or put their creative and financial necks on the line.

Are they legit? Hell yeah!

Are they traditional? Well, since the definition of traditional is ‘existing in or as part of a tradition; long-established‘, “Hell yeah,” to that too!


I will be at the Alien Encounters Black Speculative Fiction, Film and Art Conference October 25 – 27. Feel free to approach me to discuss the matter.

Did I, like that “offending author”, just pull a ‘Tony Stark from Iron Man 3′-move?’

Well, we Black speculative fiction authors do love our heated discourses.



About Balogun

Balogun is the author of the bestselling Afrikan Martial Arts: Discovering the Warrior Within and screenwriter / producer / director of the films, A Single Link, Rite of Passage: Initiation and Rite of Passage: The Dentist of Westminster. He is one of the leading authorities on Steamfunk – a philosophy or style of writing that combines the African and / or African American culture and approach to life with that of the steampunk philosophy and / or steampunk fiction – and writes about it, the craft of writing, Sword & Soul and Steampunk in general, at He is author of eight novels – the Steamfunk bestseller, MOSES: The Chronicles of Harriet Tubman (Books 1 & 2); the Urban Science Fiction saga, Redeemer; the Sword & Soul epic, Once Upon A Time In Afrika; a Fight Fiction, New Pulp novella, Fist of Afrika; the gritty, Urban Superhero series, A Single Link and Wrath of the Siafu; the two-fisted Dieselfunk tale, The Scythe and the “Choose-Your-Own-Destiny”-style Young Adult novel, The Keys. Balogun is also contributing co-editor of two anthologies: Ki: Khanga: The Anthology and Steamfunk. Finally, Balogun is the Director and Fight Choreographer of the Steamfunk feature film, Rite of Passage, which he wrote based on the short story, Rite of Passage, by author Milton Davis and co-author of the award winning screenplay, Ngolo. You can reach him on Facebook at; on Twitter @Baba_Balogun and on Tumblr at

2 responses »

  1. Winterman says:

    As I’m on friendly terms with both boxers in this match, let me add this.

    As much as many people like to pretend otherwise, professional writing is not a matter of politics. It doesn’t matter what color the writer is or what color their characters are. All that matters is skill and the ability to please a readership.

    I’ve worked in traditional publishing, small press and as an indie. I consider the good writers in each venue to be good and the crap ones to be crap. Doesn’t matter who or how you publish, good is good and crap is crap.

    One of the political things that trad publishers try to say is that they are weeding out the crap to put the best books available on the shelves. This is an obvious lie, considering there are so many god-awful books that get traditionally published and so many fantastic ones that get passed over.

    One of the things self-publishers like to say is that trad publisher are snobs and just can’t stand it when the little guys come to spank them. This is also a lie.

    MOST of the little guys suck. I’m sorry but that’s a fact. MOST self-publishers are people who can’t hack it as freelance writers (either ego-wise or skill-wise) and so try to bypass the hard road by using technology to get their work out there.

    There are far more self-published books than there are trad published now and, simply by tea count, the real number of awful self-pubbed books dwarfs that of the ones that are traditionally published. The ratio is higher too.

    If I simply choose at random I’m more likely to find a dud amongst the self-pubbers than I am amongst the trad.

    How do I know? Because it was once my job to be a reader, the first line of defense against poor scripts sent in by hopefuls who wanted to write for Star Trek. I read, easily, between 500 and 900 scripts in three months. Know how many got sent on to the boss?

    Three. The rest were terrible. Not just poor. TERRIBLE. Know how many the boss accepted of the three I sent up? Zero.

    And that’s just ONE three-month period for ONE TV show. Multiply that out by the thousands and thousands of people trying to write professionally. When you do, you’ll be looking at the real world of professional writing.

    And, btw, I’m a nice guy. I was on the WRITER’s side. I was actively looking to give the new writer every chance. The real, hard truth is, as with pro sports, most people just aren’t good enough.

    What often stirs controversy and argument is that assumptions are made on both sides. The statement I just made will tend to piss off GOOD writers as well as poor ones because the former are just a little insecure about themselves and their work so they claim kinship with the weaker writers who I actually am talking about.

    This isn’t a democracy. All writers are NOT created equal and, just because the tech now exists that allows anyone to publish a book, it doesn’t follow that everyone therefore SHOULD.

    That’s not snobbery. That’s a fact. Every blacktop ballplayer is NOT ready for the NBA, no matter how many neighborhood games he or she wins.

    Yes, SOMETIMES the street baller IS good enough to handle a pro. It’s just that more of them THINK they can than really can. It’s not always NICE to say so but it isn’t snobbery either. Confidence is simply not enough. It’s not even on the table, frankly. Either you can do this or you can’t. That’s the end of it. It doesn’t matter if you’re trad or indie or both.

    Either you can do this or you can’t. PERIOD. Political solidarity with poor writers doesn’t help the poor writers OR the good ones.

    The documentary, as far as I can tell, is about black spec fiction writers and, despite the sales pitch, does include small press publishers and indie writers as well as traditional. So, again, despite the perhaps poorly worded solicit, the proof is in the walk, not the talk.

    Writing isn’t politics. It’s combat. All this going back and forth about who’s “down” and who isn’t, who supports whom and who doesn’t is what holds ALL of us back. For the most part I try to assume the best intentions in people until they prove they have a true problem. People, I find, are mostly not jerks.

    If a mistake is made, maybe, just maybe, that’s all it was– a mistake. It is possible to let things go, sometimes, and not get all chesty about little perceived slights.

    From where I sit BOTH these brothers are doing the right thing both in life and in their artwork. Why not let it go at that?

    • Balogun says:

      Well said, Brother! And I concur! Let’s all – and by all, I mean those of us who really care about the craft of writing, our readership and creating quality work – and move speculative fiction, film and art forward.

      Thanks, so much, for your feedback!

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s