ADVICE FOR THE INDEPENDENT; HOLLYWOOD BUYERS OFFER TIPS ON SELLING THE NEXT `CLERKS'.

Byline: Dave McNary Daily News Staff Writer

Dozens of would-be Steven Spielbergs heard some startlingly simple advice from top buyers in the world of independent movies at this week's Los Angeles Independent Film Festival: Include a return address on submissions, be sure to take still photos during the filming for use in publicity and just make the best film possible.

``Don't worry about whether you can get Joe Has-been to star just so you can get an advance for the rights to Bulgaria,'' said Michael Cole, vice president of acquisitions for Miramax. ``Get actors who are good and stick to the movie you want to make. You can get financing from a group of dentists.''

But no one fooled themselves into thinking that the filmmakers don't face truly long odds. Fewer than 100 of the so-called ``indies'' usually make it into U.S. theaters each year, while thousands go straight to video and cable or remain stored in film cans on producers' shelves.

``I hate to see people spiral into debt just so there can be 50 versions of `Clerks,' '' said Miramax's Matt Wall, referring to the legendary 1994 indie comedy that was made for $25,000 but made millions of dollars. ``You should ask yourself if people really want to see 90 minutes of your pontificating on the state of relationships.''

Monday's event, with executives from Disney-owned Miramax and Universal-controlled October Films, comes with independents firmly established as direct rivals to major studios with mainstream hits like ``The Full Monty,'' ``Good Will Hunting,'' ``Shine,'' ``Fargo,'' ``The Apostle'' and ``Scream.''

``We're in the business of breaking out movies to a broader audience,'' Cole said. ``It's not a problem for us to buy $10 million of TV time if that's what's called for at the moment.''

Each major studio operates an independent arm to handle such projects because of the massive profit potential - Fox Searchlight's ``The Full Monty,'' which cost $3 million, generated more than $200 million in ticket sales, for example. And several truly independent operations such as Trimark, Strand, Artisan, Banner, Lion's Gate and First Look have produced hits as well.

The success has meant a flood of indie films available for smaller studios to pick from with prices usually topping out between $10 million and $15 million.

``If we go over $15 million, we're getting into Universal's business,'' said Matt Wall of October, which paid $6 million for ``The Apostle'' and has seen domestic grosses top $20 million.

Executives stressed repeatedly the need for filmmakers to use all the instruments of Hollywood, such as agents, publicists and attorneys, if they have a hot property and don't want to get lost in the shuffle. ``You should get someone on your team who knows how to sell a film,'' said Susan Gratzer of October.

Seeking professional help makes sense because of the rapidly changing roster of players in the indie world, according to Liz Manne of the Sundance Channel.

``Everything changes all the time,'' she said. ``And I think half of them will be out of business in three years.''

The executives said the festival's fourth edition, with close to 60 films screened from more than 1,000 submissions, is emerging as a major launch site, though not yet at the top tier of festivals at Toronto and Sundance. Cole said ``Broken Vessels,'' an ambulance driver drama named the festival's best feature, and a sexual mystery, ``Cleopatra's Second Husband,'' were particularly impressive.

``Make sure your script is something you truly want to shoot because you'll hear a lot of noes,'' Cole said. ``Remember that `One Flew Over the Cuckoo's Nest,' `Amadeus' and `Forrest Gump' were all passed on by studios before they got made.''