We Developed Stephanie Stevens Using the 666 Method: $6K, 6 Days, 6 Individuals - MovieMaker Magazine

      Kelsey Ann Wacker and Nathan Simpson are the creators and stars of *Stephanie Stevens*, a film that depicts an awkward walk-and-talk between a suicidal comedian and his pregnant ex-girlfriend. Wacker directed the film, while Simpson handled the editing. In this article, they discuss their unique approach — the "666 method" involving a budget of $6,000, a shooting schedule of six days, and a crew of six people — to produce the film, which is currently being showcased on the festival circuit.—M.M.

      Recently, we participated in a panel on low-budget filmmaking at a film festival. We truly enjoy listening to filmmakers discuss the intricacies of their craft. However, I quickly observed a recurring trend — the panelists were intentionally withholding information about their budgets. This was particularly ironic in a discussion focused on low-budget filmmaking.

      Additionally, it is common for filmmakers to keep their budgets secret. If disclosed and found to be lower than anticipated, executives and distributors may view the filmmakers as anti-union, dishonest, or overly frugal. Alternatively, if the budget is higher than expected, the response might be incredulous disbelief, questioning the spending on what could be perceived as subpar work. In either scenario, the outcome isn’t favorable.

      We prefer to challenge the norm, so we’re ready to share how we brought our film to life. We firmly believe that with a solid script, a clear vision, resourcefulness, and a dedicated crew, it is possible to create compelling, quality films regardless of budget constraints. Above all, I hope that *Stephanie Stevens* ignites discussions about the filmmaking process in today's increasingly unconventional industry. Indie films have the potential to be a game changer.

      *Stephanie Stevens* and the 666 Method

      Filming *Stephanie Stevens*. Photo provided by the filmmakers.

      We faced limitations in both time and finances. As working artists, our financial struggles were expected. Our time was constrained because Kelsey Ann was awarded a mentorship in screenwriting, requiring our family to move to Los Angeles in May; this was February. During that time, we were briefly residing in Chicago, outside our usual network of friends and collaborators.

      But we were determined to make a movie despite the circumstances. We needed to create something here and now, with the resources we had and the people we knew. We felt stuck in a perpetual cycle with several other projects in development and were tired of waiting for others to greenlight our ideas.

      Thus, we launched an experiment: filming in six days with a crew of six for $6,000.

      We had no intention of making a tongue-in-cheek reference to anything sinister. Our goal was simply to realize our vision with minimal funds. By making some key decisions about where to allocate our resources, we formulated our $6,000 budget. Given our budget constraints, we kept our filming days and crew size small.

      Following in the footsteps of minimalist filmmaking movements such as Dogme 95, cinéma vérité, Cassavetes, and mumblecore, *Stephanie Stevens* emerged as a low-fidelity dark comedy featuring unbroken thirty-minute scenes. It portrays an awkward walk-and-talk between a suicidal comic and his pregnant ex-girlfriend along the shores of Lake Michigan during early spring in Chicago.

      We needed cinema cameras, lenses, storage, microphones, and editing software. We chose to buy rather than rent, as part of our long-term vision as filmmakers. Our strategy was straightforward — we opted for mid-range equipment instead of the highest-end models.

      We filmed our project using a BlackMagic PocketCinema 6K G2, which cost approximately $3,200. The remaining budget went toward food from Costco, rentals, a pregnancy belly (the film was shot between Kelsey Ann’s actual pregnancies), a composer, and our sound technician, Ronnie Blake. It’s important to always compensate your sound technician. Our meals were graciously provided by local restaurants that were excited to support the film.

      We were adamant about not letting our budget spiral out of control. Whenever a new challenge arose that could be resolved with money, we took a moment to think; a creative solution would often present itself. Creativity flourishes within constraints.

      **6 People**

      We gathered a crew of four talented individuals who were eager to work on a feature film for little to no compensation (with the exception of our sound technician): Melaina Koulos (Assistant Director, producer), Jacob Waldrop (Director of Photography, camera operator), Ronnie Blake (sound), and William Premo (Production Assistant). Together with the two of us, that made six.

      We advise against losing friendships over this process! Asking people to volunteer their talents is no trivial request. Maintaining a positive atmosphere on set and looking after them is essential — for us, this meant wrapping up early each day.

      **6 Days**

      The entire production required a sense of urgency. To support this, we adopted a vérité aesthetic and avoided lighting any of our shots. We filmed our