But the Indian money dried up, and DiCaprio lost interest. The film slipped away. By 2011, Schrader, who built his career on making movies about dark loners, was convinced that traditional financing for the films he liked to make was gone forever, along with the audience willing to drive five miles and pay $12 to watch them in a drafty art house. Well, the audience was still there, but they were at home. He thought his future lay in pictures that would not only play indie theaters but also be available on video-on-demand the same day. Recent movies like “Bachelorette,” with Kirsten Dunst, and “Arbitrage,” a Richard Gere thriller, made a comfortable profit that way. Schrader hoped to follow that model, but on a skimpier budget. He wrote his two partners a manifesto of sorts last January:

“The script has to be multicharactered, relationship-based, full of sharp dialogue, set in contemporary locations and have a certain outré value. . . . Cinema for the posttheatrical era. . . . We could attract interesting actors and create a profile for the film via social media. It would be something that we own.”

Like Schrader, Ellis was at a crossroads. After his early successes, “Less Than Zero” and “American Psycho,” Ellis’s books hadn’t sold as well, and tired of the novel as an art form, he moved to L.A., looking to break into movies. But nothing had gone into production recently, and he was itching to get something made. He went to work on the script while Pope strategized.

Schrader could talk a good game, but it was Pope who would have to implement the plan. Pope suggested making “The Canyons” the most open film ever. There would be daily Facebook updates, and the cast would be made up entirely of actors selected from audition tapes sent to the movie’s Web site. Pope argued that this populist approach could be applied to financing as well. He explained Kickstarter to Schrader: all they had to do was come up with some good prizes, and kids of all ages would pledge money online to be associated with artist outlaws like Schrader and Ellis. Soon, the film was offering donors a Schrader script-critique for $5,001 and a week working out with Ellis and his trainer for $3,000. In a month, they raised more than $150,000.

Ellis cranked out a first draft in six weeks. He had recently become fascinated with James Deen, a 26-year-old known as the Porn Star Next Door. Deen, whose real name is Bryan Matthew Sevilla, is the Jewish son of Pasadena rocket scientists­ — really. His 4,000 films have gained him a cult of female fans because he is well endowed and sensitive. But Ellis didn’t see Deen as harmless. He wrote the script with Deen in his head for the role of Christian, a classic Ellis sociopathic trust-funder, convinced there “was a devil behind the Jewish boy-next-door cute guy.”