Ever wondered how to turn a micro-budget dream into a reality without an Uncle Scrooge bankrolling your project? Tyler M. Reid, a filmmaker turned development producer with experience spanning indie films, music videos, and international financing, has cracked the code. From leveraging LinkedIn to navigating the perks of shooting abroad, Tyler reveals how to make indie filmmaking not just possible—but profitable.
Tyler, tell us a little about your background. How did you get started in the industry?
Thanks, Jeff! I grew up in Kentucky and knew from a young age that filmmaking was my path. I earned my bachelor’s degree in filmmaking, followed by an MFA from Savannah College of Art and Design. My career took me all over the world—from producing music videos in New York to managing indie film productions in Sweden. Along the way, I worked in unscripted TV, live events, and even casting.
Now, I work with a partner as a development producer, helping filmmakers package their projects and secure financing through indie funding or pitching to streamers and commissioners.
You’ve had such a varied career. How has pivoting across different roles helped you?
At first, I worried that jumping between areas—music videos, live events, indie films—might be a disadvantage. But over time, I realized it was my greatest strength. Each pivot taught me new skills, and the connections I made across different sectors are invaluable.
In this industry, people move around a lot, so the relationships you build today can open doors tomorrow. Pivoting has given me a deep toolbox and a strong network, which are essential for navigating the unpredictable world of indie filmmaking.
You often highlight opportunities for American filmmakers abroad. Why should they consider international financing and production?
Big studios already shoot internationally to leverage tax rebates, lower costs, and regional film funds. Indie filmmakers can do the same. For example, you can shoot locally to save on location costs but complete post-production in a country with attractive rebates.
Every country—and often individual regions—has film funds. By partnering with a producer abroad, you might access untapped resources like visual effects or post-sound facilities. I’m currently developing a $2–3 million action film set in Malta because of its great rebates. Investors don’t care whether a project is shot in Los Angeles or Malta as long as the numbers make sense.
What do you say to critics who see international production as “anti-American” because it could mean fewer local jobs?
I understand the concern, but often international production is the only way to make a project financially viable. Without it, the film might not get made at all—meaning no jobs, period.
It’s also common to bring key department heads from the U.S. and hire supporting crew locally. In this way, international shoots create opportunities both at home and abroad.
You’re very active on LinkedIn. How has that platform impacted your career?
LinkedIn has been a game-changer. I started posting regularly while on paternity leave, using myself as a guinea pig to encourage my then-employer to build a stronger presence on the platform.
What I didn’t expect was the flood of inbound opportunities. Producers, executives, distributors, and even equity investors reached out. Every single project I’m currently working on—three films, a documentary, and two series—came through LinkedIn.
For filmmakers wanting to leverage LinkedIn, what’s your advice?
Think of LinkedIn as a diary of your creative process. Share what you’re learning, why you made certain decisions, or how you’d handle different budget levels.
For example, if you’re writing an action film, post about where you’d shoot on a $3 million budget versus $750,000. Talk about the inspiration for a specific scene or your research on filming locations like Malta. This blend of creativity and practicality will attract collaborators and potential investors.
What advice do you have for filmmakers trying to raise their first $10,000 without crowdfunding or wealthy connections?
Start local. Approach small businesses for in-kind sponsorships or cash. For example, I’ve asked restaurants to sponsor crew meals in exchange for a thank-you credit or the chance to hand out flyers on set.
For larger contributions, approach local businesses—like a car wash chain—and offer them an “in association with” credit. It’s a low-cost way for them to advertise while supporting the arts.
Distribution models have evolved. What’s your advice for indie filmmakers navigating this landscape?
For micro-budget films, platforms like AVOD (ad-supported video on demand) and T-VOD (transactional video on demand) are viable options if paired with a strong marketing strategy.
Another route is to “tour” your film like a band. Rent small theaters in regional markets, host screenings, and sell merchandise like signed scripts. This grassroots approach can generate revenue and build your audience.
Looking ahead, where do you see the film industry in the next two years?
AI will play a major role—not in replacing creatives but in enhancing the business side of filmmaking. Imagine AI tools that help filmmakers identify funding sources, strategize distribution, or create pitch materials tailored to investors.
For creators who embrace these tools, AI will be like having a virtual business agent, streamlining processes so they can focus on storytelling.
