From No Budget to Blockbuster: How to Write for Every Film Budget (and Why You Should)
“There’s no reason why anybody can’t shoot a movie on a phone. You’ve got a story in you? Tell it.” -- Kevin Smith
Introduction: Why I'm Writing This
If you’ve followed me for a while, you know I’ve been working hard to raise money for my microbudget horror film The One-Eyed Monster. What I didn’t expect is just how tough financing would be.
Movies are easier to make than ever before—but harder than ever to fund. Even seasoned filmmakers like Robert Rodriguez and Eli Roth are rethinking how they get films off the ground. So I thought I’d break down the four most common tiers of filmmaking budgets—No Budget, Microbudget, Huge Budget, and Studio Blockbuster—and how to approach writing for each one.
Whether you're shooting on your phone or dreaming of your name in the credits of a $100 million franchise, this article is for you.
No-Budget Films (a.k.a. "The Hustle Film")
This is where you fund it out of pocket, or swipe the credit card (though I’d suggest saving up and avoiding debt if you can).
These are usually:
Horror, experimental, or artsy
Shot on phones or low-end cameras
Filmed in one or two locations, you already have access to
Starring local talent, friends, or non-actors
Scripted around what you can get, not what you wish you had
Think of this as the Robert Rodriguez School of Filmmaking: if your buddy has a barn, your film takes place in a barn. If you’ve got woods behind your house, congrats, you now have a spooky forest setting.
Sometimes these are fully scripted and shot around people’s schedules. Other times, they're more guerrilla, filming with whoever shows up that day.
I'm currently writing a no-budget script I plan to shoot with three cell phones and the woods out back. It might not be my flashiest project, but the story is solid, maybe more solid than some of the higher-budget scripts I’ve written.
Microbudget Films (a.k.a. "The Indie Climb")
Microbudget usually means you’re not the only one funding it—you might bring in small investors, do a crowdfunding campaign, or land a few local sponsors. That’s exactly what I’m trying to do with The One-Eyed Monster.
These films:
Usually shoot in 10–21 days
Stick to 1–2 main locations
Feature genre actors, niche influencers, or local celebrities
Rely heavily on genre appeal: horror, thriller, action, family drama
Have minimal stunts or FX—think psychological tension or clever reversals instead
If you’re writing for this level, keep things contained. You may be able to afford one creepy kill sequence or a practical effect, but most of your horror or suspense will come from story structure, mood, and dialogue.
Example:
Instead of a villain blowing up a building, maybe the villain has a bomb—but it never goes off. Maybe the characters just think it will. That kind of tension costs $0 and delivers $1,000 worth of drama.
Huge Budget Films (Without a Studio Deal)
For me, anything above $5–6 million is “huge.” I don’t have access to that kind of money (yet), and probably neither do you. So why write these?
Because they’re fun, they help you level up as a writer, and someday… maybe someone in the industry reads it.
These scripts are:
Packed with characters, multiple locations, and complex arcs
High-concept (think Get Out, Arrival, or The Sixth Sense)
More marketable to studios, reps, and contests
Written for the reader, because you need someone to fall in love with the story enough to champion it
To break in at this level, you need either:
A great script (not just good), and
A connection, someone who believes in you and has access to real decision-makers (an agent, producer, actor, exec, etc.)
Or…
You win or place highly in a major screenwriting contest (like Nicholl or Austin). The odds aren’t great, but it does happen. And writing these scripts is worth it, even if they don’t sell, you can turn them into novels, graphic novels, or future indie films.
Studio Blockbusters (The Dream Tier)
This is your $20–$200 million range. Studios, name directors, A-list actors, multiple shooting units. If you’re just starting out, you probably won’t write one of these and immediately sell it. But that doesn’t mean you shouldn’t write it.
Writing blockbuster-level scripts:
Sharpens your skills like nothing else
Forces you to build out full worlds, subplots, and major character arcs
Can serve as calling cards for future rep or assignments
Can be reverse-engineered later into smaller projects
Write the massive alien invasion. Blow up the city. Let your imagination run wild—just know that these scripts have to be flawless to even get a read.
Final Thoughts: Why You Should Write for All Budget Levels
Don’t limit yourself to just one kind of script. Writing across budget levels gives you flexibility, builds your skills, and keeps you creatively charged. Sometimes your best idea won’t fit a no-budget model, and that’s okay.
Here’s what I suggest:
Write one no-budget idea a year—something you could shoot yourself if no one else says yes
Write one microbudget script that you can pitch to indie investors or make with crowdfunding
Write one high-budget or contest-worthy script just for the craft and long-term dream
Keep rewriting, keep submitting, keep growing
And hey, if you happen to know anyone with an RV I can borrow… hit me up.
Let’s Connect
Are you writing something right now? Which budget level do you tend to write in? Leave a comment.
Want help with your script or horror concept? Message me.
Check out my microbudget horror film The One-Eyed Monster and follow my journey on Substack.
Keep creating. Keep dreaming. Keep building.
Kevin
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