Indie Shop's Indie Film Touts Caymans | Adweek
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Indie Shop's Indie Film Touts Caymans

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NEW YORK After years of script rewrites and fruitless pitches to actors and studios, Jim Ritterhoff believed his passion project -- a family-oriented feature film set in the Cayman Islands -- would never be produced.

Two years ago, Ritterhoff, a would-be screenwriter and principal in New York ad agency Chowder, tossed the script for Cayman Went into a drawer and stopped talking about making a movie.

Six months later, an offhand comment from a friend shooting tourism marketing footage for Chowder on Cayman Brac -- where the script was set -- got Ritterhoff thinking again. The friend, director Bobby Sheehan of Working Pictures, took in the colorful, cinematic surroundings and said, "Somebody should shoot something down here." Ritterhoff mentioned Cayman Went, Sheehan offered to hone the script, and thus began a partnership that resulted in a 90-minute film, shot in 18 days for less than $1 million.

The producers are now seeking distribution for their independent, self-financed movie, and are screening it in cities like New York and Los Angeles, and, last Tuesday, in London. While finding an outlet -- be it theaters or cable TV -- won't be easy, the challenge is at least familiar to Chowder, a 6-year-old independent run by three former top executives from The Lord Group: Ritterhoff, Tony Kobylinski and Kim Ketchell, for whom the Cayman Islands was a founding client.

"Now, the best thing for us and the film is to have as many people as possible see it. Who affords us that?" asked Ritterhoff. "Who do we not lose money with that will give us as many eyeballs as we can, which will in turn help Cayman?"

The initial hurdles in getting the film made -- locking in actors, inking a studio deal -- were foreign to the ad executives, who found themselves hanging on every e-mail response and chasing tenuous connections with actors like Josh Hartnett. Like many first-time filmmakers knocking on Hollywood's door, they knew what they needed, but lacked the experience and contacts to make it happen.

Eventually they shifted to a do-it-yourself approach at the urging of Sheehan, who had made a feature before (2000's Seed, also self-financed) and had the production contacts to pull it off. They threw in their own money and found outside investors. Sheehan lined up a crew from Nova Scotia, Nice Shoes, for post-production, and Working Pictures partners Sara Feldmann Sheehan (who's also his wife) and Gil Wadsworth as executive producer and producer, respectively. The project became as much about networking and relationships as perseverance and luck.

"An ad agency and a production company can be that organized and get it together quickly," said Sheehan, who served as director, co-producer and co-screenwriter. On the set, that sometimes meant getting a scene in one take. "I don't think of it being fast. I think it's just being decisive," Sheehan said.

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