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Tribeca Film Festival Interview: Film Producer Gabe Cowan

Gabe Cowan 2014 photog Antonio E. Pedreira One of the benefits of attending film festivals – aside from the buffet of films on offer  – is the opportunity for film fans to sink their teeth into the “business of film.”  Films are sold, buzz is generated, and networking takes place right in front of our eyes. The experience of the independent producer is particularly interesting, as this is where they come to premiere the films in to which they’ve sunk months of hard work and money. Gabe Cowan, best known as a producer of horror films, is at Tribeca to premiere two films, Loitering with Intent and Just Before I Go (he also recently released the black comedy Cheap Thrill). We spoke about the films he has at the festival, his career, and film business at large.

When you look at your filmography, the majority of your films seem to be horror films.  Are you making a concerted effort to move away from genre films or was this just a case of interesting, non-horror films coming to your attention at one time?  

We’ve tended to make films with a three to one ratio towards horror.  But this year we only have one horror film, a comedy and two dramas.  It just so happened that we ran into a couple of projects we wanted to get behind that we could financially justify because they had the right cast, talent behind the camera, and were within the right budgets.  But horror has always been a way to protect the business.

Why do horror films, which do have a limited fan base, continue to sell with such consistency?

There is a sense of community in horror films which just don’t exist in other genres, particularly dramas.  There are sites like Fangoria or Bloody Disgusting which service that community, and that community exclusively.  So if we get mentioned or reviewed there, we’ve already done a considerable amount of our marketing.  Horror fans give horror films a try, they’ll make the effort even if they don’t like everything.  Dramas aren’t like that.  There isn’t a way to narrowly market a drama to make sure a specific audience is well aware of it.  So while we have some big dramas getting nominated and winning Oscars, they have to do a pretty broad marketing campaign just to get the right people in the seats.  There are no websites focused on drama, there are no magazines or fan communities.  But celebrities do have that narrow market, which is why they’re important to have in independent cinema.  They bring in audiences which otherwise wouldn’t have tried a film, or even known about a film.

How do you weigh an actor being fundamentally right for a role vs a star who will add to a film’s cache?

It really is a gut thing, feeling confident that that person is right for the role and can do the role.  And when deciding between a star and actor, you have to be confident enough in the material to go with the actor you think will give the best performance.  But sometimes there are actors you would never think of for a role who you have to take a chance on.  Katie Cassidy is a good example of that.  She had just been doing CW teen shows when she came into audition for a film called The Scribbler, but she came in character and blew us away.  But we would have never thought of her for the part, and she wasn’t being considered for those parts by anyone else in Hollywood.  Milo Ventimiglia told us that he wanted to do a film for us called Static because he had been typecast in boyish roles and this allowed him to play a man, with adult problems and family obligations.  And Milo’s a great actor, an underrated actor, and was great in the movie.  David Koechner in Cheap Thrills, who is phenomenal in the role, as written we were expecting a Sean William Scott type of bro-actor to play that character.  But David came in and made the character fit him so perfectly we had to give him the part.


What can you tell me about the two films you have premiering at Tribeca?

Well, I think they are both perfect films to premiere at Tribeca because it’s a New York festival and each festival has a unique vibe, I think. Loitering with Intent was shot all around New York, in the city and then upstate.  It’s about two actors who suddenly have the opportunity to write their own screenplay, but then run into the limitations of writers.  Just Before I Go probably has the potential to be a real breakthrough for both Courtney Cox, who is directing for the first time, and Seann William Scott in the lead.  There are 39 speaking roles and about 12 or 14 meaningful supporting characters.  Rob Riggle gives one of his best performances in a film, and he’s a fine comic actor already, as a former high school bully who has been through a lot of tragedy in his life.  And Seann is very funny in the role, but unlike some of the goofy parts he’s played in the American Pie movies or Goon, his is a stable, centered character.

How did you get involved in these films as a producer?

Well, my producing partner John and I are tech savvy and have done a lot of the editing and sound mixing for our own films.  So when the guys making Loitering with Intent came to us, I think they liked the one-stop-shop aspect of what we could do in house to make the film happen.  And with Just Before I Go, that was a bit of serendipity.  Courtney was a friend some time ago when I used to play in a band with David Arquette.   We were friends and went out and I was at her wedding.  But life happens and I hadn’t seen her in years, when one day we ran into each other and she asked what I’d been up to, I said “I’m producing movies” and she said “I’m planning to make a movie.”  She gave me the script to read while I was showing Bad Milo and Cheap Thrills at SXSW, which did gangbusters.  We won the audience award for Cheap Thrills and sold three films during the festival.  So when I got back to Los Angeles and read the script, I met with Courtney, gave her notes, and then she asked us to produce the movie.

What is the value of showing films during a film festival?

Well, there are two big advantages, especially for independent films.  First, the filmmakers get to see how the movie plays to an audience.  That is huge help because it provides a real test audience that will give feedback regarding what works and what doesn’t, and the demographic connecting to the film.  And we see those reactions in person, rather than hearing about it second hand.  Second, the audiences at a film festival are the types of audiences we want going out to films.  They seek new and different films out, they try things outside their comfort zone, and they are active and passionate participants, rather than passive viewers.


Festival favorites Bad Milo and Cheap Thrills both premiered on demand before getting theatrical runs.  How has that service changed the industry?

Right now, the film industry is going through a big transitional period.  Years ago, 80% of a film’s profit came from DVD sales, but then 6 or 7 years ago, the bottom fell out and the industry is still trying to get back on their feet.  Studios are making fewer films, taking fewer risks, making more sequels and franchise films.  And because of that, few low budget movies are finding traditional distribution.  The on-demand service is filling that gap, either by releasing the film exclusively, premiering a film on-demand before releasing it in theaters, or offering a more traditional “in theaters now” service.  But expect to see that as a more and more common distribution method for even bigger films soon.

What are the unique challenges of being an independent film producer?

It sounds clichéd, but all films really have to start with the screenplay.  Then we need to find talented directors and specific, strong actors.  So, the only aspect we can sacrifice to accommodate our financial limitations is the amount of  time we have to produce a movie.  Everything has to get made considerably faster than other movies.  But we also have to make the project worth it for the talent to give up their time and take a pay cut.  Part of that is finding projects they really want to lend their name to.  But that is also the reason my partner and I started a system of profit sharing with the cast and crew, so they have some ownership of the film.

What are the biggest challenges you have when trying to sell a film?

Dramas are tough to sell.  You never hear a studio call something a drama, they’re always called comedies. No one knows how to monetize drama unless there is a big, box-office star attached to bring in its own audience no matter what.  I just finished a film called Making the Rules starring Robin Thicke and Jamie Pressley, which is being called a rom-com, but really it’s a romantic drama.  And it’s a very good one.

Why is it so hard to market dramas?  Is it a deficiency in marketing or are audiences just unresponsive?

Well, it’s a complicated issue.  Marketing companies don’t have the money or resources to reach the specific audience they need to.  And few people know how to “sell a drama” effectively or creatively.  It’s easier to sell a comedy or a horror film than an intimate drama.  If you look at someone like Jason Blum, he makes horror movies but he’s branched out, and a lot of his movies have stars, but not all of them.  Yet his films are huge box-office successes because his team is so good at creating solid concepts which can be presented to an audience clearly and get them excited.  We just need to take that same approach with dramas.


Do you think the studios can work with the independents to keep that market place alive?

I do.  Studios used to have a brand; when you went to an MGM you used to know the type of film you were going to see. And some of the studios have specialized in smaller and independent cinema, like Magnolia, IFC, Fox Searchlight.  Having an independent film company under a large studio allows a studio to offer an audience options.  We know, since Chevy beat the Model-T by offering colors on their cars, that people want variety.

What made you want to work in films?

I grew up surrounded by the industry.  My great-uncle was King Vidor, who directed many films but is probably best known for directing the black and white scenes in The Wizard of Oz. My great-grandfather was George Seitz who directed the Andy Hardy films.  Both my parents are philanthropists, very good generous people, but I always wanted to make movies. And in 6th grade, in the school year book, we had to write what we wanted to do when we grew up and I said “I want to be a director like Steven Spielberg“, because E.T. had just come out and Spielberg was the definition of a director.  But in high school I started to play music and had success.  I was making money and had a record deal with Geffin music and was touring all over the world, playing with some pretty big names.  But that entire time, I filmed everywhere I went and when I turned 30 and thought, if I want to make movies, I have to make that my focus.  So I gave up touring and focused on my first passion.

Loitering With Intent and Just Before I Go are premiering at the Tribeca Film Festival.  Cheap Thrills is currently on limited release.

About Lesley Coffin

Lesley is a midwesterner at heart, who happens to reside in New York City (by way of Queens). Heralding from the hometown of John Hughes (yes, she went to Ferris Bueller's high school and they did have Saturday detention), went to college at Ball State University (that place David Letterman always talks about giving money to) and completed a Masters degree at New York University. Lesley writes books about film and Hollywood and thinks both seriously and humorously about the world of film, television, and Hollywood. "Even as a kid I tended to want to analyze anything and everything I watched, a character trait I still have and channel into my creative pursuits to avoid driving friends and family crazy. My taste in movies are all over the place, but I love interesting films and the film world."
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