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The film going experience has changed in a huge way. All you have to do is look at the current highest grossing film of all time Avatar and you’ll come to realize that the way in which we view films on the big screen will forever be changed. 3-D technology is nothing new, in fact, in the ‘80s (and even in several films prior) anaglyph 3-D technology (the use of the red and blue gels in glasses) was very prevalent but it was only a gimmick to get audiences in the doors. Due to the growing popularity of the home VHS boom less people were going to the theater and so Hollywood unburied the 3-D technology as a way to get people to go back to the theaters. This worked then and it’s working now.
Such films as Alfred Hitchcock’s Dial “M” For Murder, Amityville 3-D, Friday the 13th Part 3-D, Jaws 3-D, The Creature From the Black Lagoon, and many others used the anaglyph process but today this process has all but been abandoned (the last film to be released theatrically through this process was the remake Night of the Living Dead 3-D in 2006) but over the years many filmmakers have been using and developing a digital 3-D process that would better integrate with the digital media (as opposed to actual film). Director Robert Rodriguez experimented with this with his early films Spy Kids 3-D: Game Over and The Adventures of Shark Boy & Lava Girl, but there have been many animated films that were released simultaneously in both 2-D and 3-D formats (such as Fly Me To The Moon, Ice Age 3: Dawn of the Dinosaurs, Cloudy With A Chance of Meatballs, Coraline, and Up, to name a few. Like in the ‘80s the horror genre has also taken a stab at the new 3-D digital process with My Bloody Valentine 3-D and The Final Destination, to name a few, but even though these films did great business it wasn’t until director James Cameron’s Avatar was unleashed on audiences in December of last year that a multitude of people were able to experience the new digital 3-D technology first hand. The huge Box Office returns of this film worldwide have ensured movie studios that audiences have embraced this new technology and it is here to stay! With over 20 films being prepped to be released simultaneously in both 2-D and 3-D formats (and Disney claiming that all of their future animated releases will do this as well) it does not appear that we will be seeing less films over the next few years.
Following are the highest grossing 3-D films of all time, both standard anaglyph and digital 3-D.
1. AVATAR ($600 million and counting)
2. UP ($293 million)
3. MONSTERS VS. ALIENS (198.4 million)
4. ICE AGE: DAWN OF THE DINOSAURS ($196.6 million)
5. CLOUDY WITH A CHANCE OF MEATBALLS ($122.7 million)
6. G-FORCE ($119.4 million)
7. BOLT ($114.1 million)
8. SPY KIDS 3-D: GAME OVER ($111.8 million)
9. JOURNEY TO THE CENTER OF THE EARTH in 3-D ($101.8 million)
10. MEET THE ROBINSONS ($97.8 million)
11. BEOWULF ($82.3 million)
12. CORALINE ($75.3 million)
13. THE NIGHTMARE BEFORE CHRISTMAS ($75.1 million)
14. THE FINAL DESTINATION ($66.5 million)
15. HANNAH MONTANA/MILEY CYRUS: BEST OF BOTH WORLDS CONCERT ($65.3)
Saturday, April 17, 2010
5 Elements To Producing A Good Independent Film
Producing a low budget (or in some cases no-budget) independent film is a lot of work especially when you consider all the creative and technical people needed to make it a reality. Making a “good” film is even harder because so many individuals need to be brought together in order to craft a single cohesive product – a singular vision of which usually starts from the imagination of the producer. This vision is than passed down to the rest of the production crew, so, in order to produce a good film you need to be aware of some of the elements of being a good producer.
Although I’ve learned many of these techniques having produced the Southland-Films productions Bad Land and the Halloween fan-film Halloween: Return of the Sandman (not to mention the By The Lake Productions short film A Gift and my own short films Alone and Miss Kitty & Me, among others), these techniques and elements will be of benefit to producers of all types of film & video productions of all budgetary ranges.
ELEMENT #1: “Have a good screenplay & vision.”
All films start from a screenplay or an idea that is developed into a screenplay. Since the screenplay is commonly referred to as the “blueprint” for the final film it is important to start off the film making process on a good note and having a good screenplay and vision goes a very long way.
I’ve worked on many first time film makers’ production. I was a co-producer on the film A Gift, which was directed by a first time writer/director (who also produced the film) and even though the screenplay was not in the proper script format we got through production of the film simply because the director was so focused that his vision translated to film despite the differences on the script pages.
On my short film Miss Kitty & Me, there was very little on-set dialogue (most of the dialogue was voice over for this film) but so much is described in the screenplay that the actor – Paige Ireland, had no problems translating or bringing the main character to life despite the lack of dialogue. As the producer/writer/director of this film I was able to confer with Ireland (who came on board the production because of the screenplay) and ease her concerns about the challenges of this type of film (which is about a 13 year old who finds out she’s pregnant).
ELEMENT #2: “Be a good communicator.”
As a producer, you are in charge of a large group of people who are trying to help get a singular vision to the screen. If you can’t communicate a clean, clear, and concise vision to all the members of your cast and crew then you won’t have a film that truly represents the vision you have in your head. This happens more often than not with productions and it shows on the screen and sometimes behind the scenes as well.
On the Southlan-Films production Creatures of the Night (of which I was production manager) there was constant conflict between the producer/director and the special fx artist due to lack of good communication. Many of the SFX were late and many more were added to the production at the last minute due to the producer not communicating all the details needed to execute the film. The film was ultimately never finished and currently sits on the Executive Producer’s shelf.
As one of the producers on the music video production for musician Chris DeMarco’s “I’m Calling You,” I had to make sure all the cast and crew were made 100% aware of the director’s vision for the look and feel of the production from the cast and all members of the crew and picking locations that would best help solidify the vision of the director (who was also a co-producer on the project) and DeMarco, who wanted a music video that would bring his story to life.
ELEMENT #3: “You must be organized.”
Organization is key to being a good producer. There are just too many people involved in film production not to be and if you want a singular vision up on screen than you have to be extremely organized and concise in order to communicate that vision to other members of the production staff.
From the make-up department to the art direction to the costumes & props departments to the casting department, there are a lot of people that need to be on the same page in regards to any given production and being organized will go a long way in making that happen.
ELEMENT #4: “Be a good leader.”
A lot is required of a producer on a film production and there is a lot that a producer must require from others and being able to communicate is a skill. It’s a skill that all great leaders must have and this goes double for a producer. The producer is the “head” of all film productions. They are ultimately the one responsible for the final product and therefore they must make sure that all production staff and personnel are on the same page and being a good leader means being able to make quick decisions when need be and make the production run smoothly from beginning to end amongst all personnel.
On the set of the Cake Baby Films production The Tedious Existence of Terrell B. Howell (of which I was still photographer, among other things) producer Kelly Silverman exhibited leadership abilities that far exceeded most other producers that I’ve worked with. Both cast and crew were always on the same page and the production ran smoothly from beginning to end. When problems did arise she conferred with the director and the problems were addressed and solved quickly and efficiently. She displayed exceptional skills as a leader and producer.
ELEMENT #5: “You should remember to have fun!”
In addition to being a director, being a producer is the most stressful job on a film set. Because the producer is responsible for so many different aspects of the production their job can be very stressful. A producer is on the production from the very beginning until the very end when the film is available to the public (and sometimes even long after that), so, they must remember to always have fun.
Having fun is one of the reasons why so many of us get into film making. None of us are making a fortune on independent film productions, so, we must remember that we are doing this because we love making films. If a producer is having fun than it will become apparent to the cast and crew and everyone will have fun on set and a happy cast and crew will be a happy production and this, in a sense, is what we are all wanting on a film set.
Producing an indie film is never easy but if you remember these five simply elements than you will be that much closer to producing not just a good, but a great film in the end that everyone can be proud to have been a part of.
Although I’ve learned many of these techniques having produced the Southland-Films productions Bad Land and the Halloween fan-film Halloween: Return of the Sandman (not to mention the By The Lake Productions short film A Gift and my own short films Alone and Miss Kitty & Me, among others), these techniques and elements will be of benefit to producers of all types of film & video productions of all budgetary ranges.
ELEMENT #1: “Have a good screenplay & vision.”
All films start from a screenplay or an idea that is developed into a screenplay. Since the screenplay is commonly referred to as the “blueprint” for the final film it is important to start off the film making process on a good note and having a good screenplay and vision goes a very long way.
I’ve worked on many first time film makers’ production. I was a co-producer on the film A Gift, which was directed by a first time writer/director (who also produced the film) and even though the screenplay was not in the proper script format we got through production of the film simply because the director was so focused that his vision translated to film despite the differences on the script pages.
On my short film Miss Kitty & Me, there was very little on-set dialogue (most of the dialogue was voice over for this film) but so much is described in the screenplay that the actor – Paige Ireland, had no problems translating or bringing the main character to life despite the lack of dialogue. As the producer/writer/director of this film I was able to confer with Ireland (who came on board the production because of the screenplay) and ease her concerns about the challenges of this type of film (which is about a 13 year old who finds out she’s pregnant).
ELEMENT #2: “Be a good communicator.”
As a producer, you are in charge of a large group of people who are trying to help get a singular vision to the screen. If you can’t communicate a clean, clear, and concise vision to all the members of your cast and crew then you won’t have a film that truly represents the vision you have in your head. This happens more often than not with productions and it shows on the screen and sometimes behind the scenes as well.
On the Southlan-Films production Creatures of the Night (of which I was production manager) there was constant conflict between the producer/director and the special fx artist due to lack of good communication. Many of the SFX were late and many more were added to the production at the last minute due to the producer not communicating all the details needed to execute the film. The film was ultimately never finished and currently sits on the Executive Producer’s shelf.
As one of the producers on the music video production for musician Chris DeMarco’s “I’m Calling You,” I had to make sure all the cast and crew were made 100% aware of the director’s vision for the look and feel of the production from the cast and all members of the crew and picking locations that would best help solidify the vision of the director (who was also a co-producer on the project) and DeMarco, who wanted a music video that would bring his story to life.
ELEMENT #3: “You must be organized.”
Organization is key to being a good producer. There are just too many people involved in film production not to be and if you want a singular vision up on screen than you have to be extremely organized and concise in order to communicate that vision to other members of the production staff.
From the make-up department to the art direction to the costumes & props departments to the casting department, there are a lot of people that need to be on the same page in regards to any given production and being organized will go a long way in making that happen.
ELEMENT #4: “Be a good leader.”
A lot is required of a producer on a film production and there is a lot that a producer must require from others and being able to communicate is a skill. It’s a skill that all great leaders must have and this goes double for a producer. The producer is the “head” of all film productions. They are ultimately the one responsible for the final product and therefore they must make sure that all production staff and personnel are on the same page and being a good leader means being able to make quick decisions when need be and make the production run smoothly from beginning to end amongst all personnel.
On the set of the Cake Baby Films production The Tedious Existence of Terrell B. Howell (of which I was still photographer, among other things) producer Kelly Silverman exhibited leadership abilities that far exceeded most other producers that I’ve worked with. Both cast and crew were always on the same page and the production ran smoothly from beginning to end. When problems did arise she conferred with the director and the problems were addressed and solved quickly and efficiently. She displayed exceptional skills as a leader and producer.
ELEMENT #5: “You should remember to have fun!”
In addition to being a director, being a producer is the most stressful job on a film set. Because the producer is responsible for so many different aspects of the production their job can be very stressful. A producer is on the production from the very beginning until the very end when the film is available to the public (and sometimes even long after that), so, they must remember to always have fun.
Having fun is one of the reasons why so many of us get into film making. None of us are making a fortune on independent film productions, so, we must remember that we are doing this because we love making films. If a producer is having fun than it will become apparent to the cast and crew and everyone will have fun on set and a happy cast and crew will be a happy production and this, in a sense, is what we are all wanting on a film set.
Producing an indie film is never easy but if you remember these five simply elements than you will be that much closer to producing not just a good, but a great film in the end that everyone can be proud to have been a part of.
5 Elements to Look For in an Actor When Casting Your Independent Film
Producing an independent film is hard and nothing is harder or more important than the casting process. Although I’ve hired a casting agency and/or casting director for about 80% of my films, I’ve always casted all of my productions based on my own instinct and criteria despite listening to the advice of my casting director.
Having participated in the process of casting on several productions I’ve devised a list of elements that I look for in a potential actor for any of my productions. Although there are multiple elements that any actor can do to sway my favor in their direction, these are the five basic elements that I use to cast each of my individual actors. These elements are imperative to casting an independent film production but can be used to cast any type of film at any budget.
ELEMENT #1: “Check their resume and previous experience.”
One of the first things an actor will hand you (or your casting director) will be their head shot and resume, which will list all of the actor’s previous experience, training, and productions (be it film, theatre, professional, community, print, or commercial, etc.). This will help you decide if the actor has the training and prior experience to take on the role that they are auditioning for. It will also contain contact info for other production companies and agents so that you can contact references for the actor.
A thorough resume can be the deciding factor between two potential actors that are equally qualified in all other areas.
ELEMENT #2: “The cold reading verses the monologue.”
The audition is the number one way in which actors are cast not only in films but theatre, video, corporate, and commercial productions. There are two types of ways to audition – the cold reading (in which actors are given sides of scenes from the production on the day of the audition with little or no time to prepare) and the monologue (which is a prepared scene reading from the actor’s own choice of material). More often than not actors will be given sides for a cold reading but I prefer to see and hear an actor perform their own monologue. Cold readings have their benefits. From a cold reading I can tell if an actor can take direction from a director, whether they will be able to incorporate changes in the script on the day of filming, and will they be able to improv at a moment’s notice, among other things.
From a prepared monologue I can tell whether or not the actor will come prepared to set with lines memorized, whether or not they will bring passion to the role, and whether or not they will be an actor who uses their body and movement to help tell a compelling story, among other things. These are the criteria I look for in an actor while casting a film.
For my feature House of Secrets (produced by BLH Films) I cast one of my leads – Chris Whitley (Paperboys) based on his monologue. He gave a great cold reading but so did three other actors but it was his monologue (which the others did not have) that broke the three way tie. In fact, I ended up calling him that evening and telling him the part was his.
ELEMENT #3: “An actor must be able to improve.”
Because the screenplay is only seen and viewed as a “blueprint” for the final film product, actors must be able to incorporate changes while on location filming and sometimes even in the post-production process. Being trained in the art of improvisation is not something to take lightly. It is one of the many skills that an actor uses to not only help them find and create their character but to also interact and react to other actors. It is used to perfection in sketch comedy (i.e. Monty Python and Saturday Night Live) but is also an invaluable tool when changes are made to the screenplay on set during filming. Actors who posses this skill are more likely to be able to incorporate these types of changes without too many problems.
Director Ron McLellen (Jack O’Lantern) is very prone to script changes when on set and is someone who uses improv all the time to make scenes “pop” off the page. On the set of his Evil in the Flesh, McLellen was forced to improv much of the climax of the film when the lead actress injured herself (thankfully, not while filming or on set) and was unable to do many of the stunts originally required of her. The focus of the end of the film shifted from the lead actress to another actor and all the actors had to have the ability to improv the new changes to the film. Luckily, the two actors whom the changes affected the most had training in improv and/or performed with an improv troop. Because the director knew he might improv during filming these actors were given a leg up when we cast them and it ended up working for the production in the end.
ELEMENT #4: “Be aware of scheduling conflicts.”
One of the biggest problems I’ve encountered on an independent film production is the conflicts that are faced with the production schedule in terms of actors’ availability. Many of the films I’ve worked on have had their production schedule stretched two, three, or five weeks due to actor unavailability (I’ve even been on some where filming stretched more than a year). It is imperative that the shooting/production schedule be set prior to auditions and that all potential cast members are well aware of when filming will be. The last thing any producer wants to do is retrofit a new shooting schedule due to the conflicts of multiple cast members. Many future problems can be avoided if this is first addressed at the start of the production.
Production on the indie feature Out of Season (of which I star in and do cinematography) had to be postponed for six months due to the lead actress’ schedule. We were several days into filming when he encountered actor conflicts with the schedule. Principal photography was halted but ultimately when production began again the actress was replaced and everything that had already been filmed had to be scrapped. This is one situation that could have been avoided if production had gotten the actress’ conflicts prior to filming.
ELEMENT #5: “The actor should have enthusiasm.”
This is the hardest criteria to judge because most actors when auditioning for a role do not have the luxury of having read the entire screenplay prior to the audition. On most occasions the actor has only read the synopsis of the screenplay and/or a few sides of the screenplay, in addition to possibly a character breakdown of the role(s) they are auditioning for.
You won’t know from an audition whether or not an actor will love your screenplay or character, but what you will know is whether or not an actor is enthusiastic about their craft and the possibility of getting a role in your film. If you can find an actor who is enthusiastic just from reading a synopsis and sides of your screenplay then that’s half the battle.
In reference to House of Secrets, again, actor Whitley (who performed the monologue) was so enthusiastic during both his cold reading and the monologue that I immediately took notice. He was an actor that I was not familiar with prior to his casting and he had twice more energy than any of the other actors that came in to read. The same can be said for actress Alicia Schulz (another actor I was not familiar with prior to casting) who exhibited so much more enthusiasm than any of the other actors that came in that she was immediately put at the top of my list (and who eventually was rewarded with the role).
There are a lot of criteria that must be taken into consideration when casting for a film and none of it should be taken lightly because the people you cast will be with you throughout production of the film (and if you’re lucky on subsequent films as well), so, remember to never take the casting process lightly and always consider the suggestions and recommendations of not only the casting directors and agencies as well as producers, writers, directors, and all other important personnel in order to craft a final product that everyone involved can be proud of.
Having participated in the process of casting on several productions I’ve devised a list of elements that I look for in a potential actor for any of my productions. Although there are multiple elements that any actor can do to sway my favor in their direction, these are the five basic elements that I use to cast each of my individual actors. These elements are imperative to casting an independent film production but can be used to cast any type of film at any budget.
ELEMENT #1: “Check their resume and previous experience.”
One of the first things an actor will hand you (or your casting director) will be their head shot and resume, which will list all of the actor’s previous experience, training, and productions (be it film, theatre, professional, community, print, or commercial, etc.). This will help you decide if the actor has the training and prior experience to take on the role that they are auditioning for. It will also contain contact info for other production companies and agents so that you can contact references for the actor.
A thorough resume can be the deciding factor between two potential actors that are equally qualified in all other areas.
ELEMENT #2: “The cold reading verses the monologue.”
The audition is the number one way in which actors are cast not only in films but theatre, video, corporate, and commercial productions. There are two types of ways to audition – the cold reading (in which actors are given sides of scenes from the production on the day of the audition with little or no time to prepare) and the monologue (which is a prepared scene reading from the actor’s own choice of material). More often than not actors will be given sides for a cold reading but I prefer to see and hear an actor perform their own monologue. Cold readings have their benefits. From a cold reading I can tell if an actor can take direction from a director, whether they will be able to incorporate changes in the script on the day of filming, and will they be able to improv at a moment’s notice, among other things.
From a prepared monologue I can tell whether or not the actor will come prepared to set with lines memorized, whether or not they will bring passion to the role, and whether or not they will be an actor who uses their body and movement to help tell a compelling story, among other things. These are the criteria I look for in an actor while casting a film.
For my feature House of Secrets (produced by BLH Films) I cast one of my leads – Chris Whitley (Paperboys) based on his monologue. He gave a great cold reading but so did three other actors but it was his monologue (which the others did not have) that broke the three way tie. In fact, I ended up calling him that evening and telling him the part was his.
ELEMENT #3: “An actor must be able to improve.”
Because the screenplay is only seen and viewed as a “blueprint” for the final film product, actors must be able to incorporate changes while on location filming and sometimes even in the post-production process. Being trained in the art of improvisation is not something to take lightly. It is one of the many skills that an actor uses to not only help them find and create their character but to also interact and react to other actors. It is used to perfection in sketch comedy (i.e. Monty Python and Saturday Night Live) but is also an invaluable tool when changes are made to the screenplay on set during filming. Actors who posses this skill are more likely to be able to incorporate these types of changes without too many problems.
Director Ron McLellen (Jack O’Lantern) is very prone to script changes when on set and is someone who uses improv all the time to make scenes “pop” off the page. On the set of his Evil in the Flesh, McLellen was forced to improv much of the climax of the film when the lead actress injured herself (thankfully, not while filming or on set) and was unable to do many of the stunts originally required of her. The focus of the end of the film shifted from the lead actress to another actor and all the actors had to have the ability to improv the new changes to the film. Luckily, the two actors whom the changes affected the most had training in improv and/or performed with an improv troop. Because the director knew he might improv during filming these actors were given a leg up when we cast them and it ended up working for the production in the end.
ELEMENT #4: “Be aware of scheduling conflicts.”
One of the biggest problems I’ve encountered on an independent film production is the conflicts that are faced with the production schedule in terms of actors’ availability. Many of the films I’ve worked on have had their production schedule stretched two, three, or five weeks due to actor unavailability (I’ve even been on some where filming stretched more than a year). It is imperative that the shooting/production schedule be set prior to auditions and that all potential cast members are well aware of when filming will be. The last thing any producer wants to do is retrofit a new shooting schedule due to the conflicts of multiple cast members. Many future problems can be avoided if this is first addressed at the start of the production.
Production on the indie feature Out of Season (of which I star in and do cinematography) had to be postponed for six months due to the lead actress’ schedule. We were several days into filming when he encountered actor conflicts with the schedule. Principal photography was halted but ultimately when production began again the actress was replaced and everything that had already been filmed had to be scrapped. This is one situation that could have been avoided if production had gotten the actress’ conflicts prior to filming.
ELEMENT #5: “The actor should have enthusiasm.”
This is the hardest criteria to judge because most actors when auditioning for a role do not have the luxury of having read the entire screenplay prior to the audition. On most occasions the actor has only read the synopsis of the screenplay and/or a few sides of the screenplay, in addition to possibly a character breakdown of the role(s) they are auditioning for.
You won’t know from an audition whether or not an actor will love your screenplay or character, but what you will know is whether or not an actor is enthusiastic about their craft and the possibility of getting a role in your film. If you can find an actor who is enthusiastic just from reading a synopsis and sides of your screenplay then that’s half the battle.
In reference to House of Secrets, again, actor Whitley (who performed the monologue) was so enthusiastic during both his cold reading and the monologue that I immediately took notice. He was an actor that I was not familiar with prior to his casting and he had twice more energy than any of the other actors that came in to read. The same can be said for actress Alicia Schulz (another actor I was not familiar with prior to casting) who exhibited so much more enthusiasm than any of the other actors that came in that she was immediately put at the top of my list (and who eventually was rewarded with the role).
There are a lot of criteria that must be taken into consideration when casting for a film and none of it should be taken lightly because the people you cast will be with you throughout production of the film (and if you’re lucky on subsequent films as well), so, remember to never take the casting process lightly and always consider the suggestions and recommendations of not only the casting directors and agencies as well as producers, writers, directors, and all other important personnel in order to craft a final product that everyone involved can be proud of.
Five “DON’TS” To Independent Filmmaking
As a production manager, producer, and a director of several independent films from various production companies, I’ve become aware of both things you should and should not do while on the set of an indie film. Although the info I will go over in this article is in relation to my experience on these low budget productions, they can nevertheless be used on film productions of any budgetary range. What is important is that whether you are a production manager, a producer, or a director, these are five “don’ts” that should be avoided in order to give your cast & crew a memorable and worthwhile experience on your production (in the hopes that they’ll all return to help you on subsequent productions).
“DON’T” #1: “Be on time.”
As a person in charge of an independent film production you should always make it a priority to be on time. This does not mean being on location at the Call time of 8:00a.m. As a person in charge of a film production you should be on location thirty minutes, if not more, prior to the rest of the cast & crew. This is not only to pre-set anything that needs to be pre-set but this is also to fix any on location problems or being available for cast & crew members whom may get lost. It is very common that when filming on a practical location to run into problems with store owners (or the personnel running the store that day) to have forgotten or have no knowledge of you and your crew having access to a location on a particular day. On the set of the Unique Production Between Love & A Hard Place, when we arrived at one of these such locations, the store owner was unaware or had forgotten we were suppose to film that day (even though it had been in the production schedule for weeks). Luckily, none of the cast was at the location and we were able to change locations at the last moment to accommodate the change. It was an easy transition to change locations at the last moment and very little time was lost at this location due to the abrupt change.
“DON’T” #2: “Don’t belittle your cast & crew.”
It is not uncommon for indie film productions to be populated by cast & crew whom are getting paid very little or may even be on deferred payment (or even working for free). It is very important to remember that many members of your cast & crew may be working on your film because that either want the experience, believe in the project, or need the screen credit, therefore don’t take advantage of their generosity. Respect your cast & crew whether they are a production assistant (PA), an extra, a camera operator, or a grip, etc. because film is a collaborative medium and it takes a community to build a complete house not an individual. On the Cake Baby Production short film The Tedious Existence of Terrell B. Howell, I was working in assistant catering capacity (instead of as a production manager or producer) but the producers afforded me the same respect as they did the cinematographer or any of the main actors. Since I was working on the production because of the writer and the director, I felt like any other crew member despite being in a crew position I was not familiar to. I felt just like any one of the other crew members.
“DON’T” #3: “Don’t forget to praise your cast & crew.”
Because film making is such a collaborative medium it is extremely important to remember that it takes many creative and technical people to put a film together and despite what naysayers may say, no one person’s job is more important than anyone else’s. Although this can be overlooked on a low budget film, everyone, whether they be a boom operator, a best boy, an extra, a supporting actor, the script supervisor, or a dolly grip, should be treated the same and praise should be doled out equally. As I will reiterate time and time again – many cast & crew members participate in an indie production for the love of it despite the low or no pay (or deferred), so, praise should be handed out to everyone and not just a few select individuals.
I try not only to do this at the end of each day but at the end of the production as well (this can be done at a cast & crew party as well as at the screening for the production personnel). It is very common, for me, to send out a mass email to the entire cast & crew of any production I work on a “Letter of Thanks” so that they know how much I appreciate working with them. This has not only helped me get onto subsequent film productions but has also helped me maintain and cultivate these relationships for my own production as well.
“DON’T” #4: “Don’t forget to feed your cast & crew.”
I have been on over fifty short films, commercials, and features of all budgetary constraints and I’m sorry to say that some of them have not provided and catering. It is my opinion that a well fed cast & crew is a happy cast & crew and therefore, I try to provide snacks and food and meals on all my film productions. Shooting days can sometimes stretch as long as fifteen or more hours and it is important that you have snacks and drinks on set at all times to not only prevent dehydration but to also provide cast & crew enough sugar and energy to get through the long day(s). Drinks should not only include both water and coffee but drinks with caffeine and juices but even energy or re-hydration sports drinks. Snacks should include fruits and vegetables in addition to snacks with sugar. On my film sets I usually provide fruit and cheese plates in addition to a variety of drinks and snack size candy and chips. This usually provides cast & crew with a wide variety of choices. I also remember at the beginning of film production to ask cast & crew to give me a list of suggestions for snacks.
Lunch should be provided as well but if it is not than an “off the clock” meal (of about 1 to 1 ½ hours) is also a very good idea.
“DON’T” #5: “Don’t forget to have fun!”
The #1 Rule of Indie Filmmaking is to never forget to have fun! If the people in charge of the production are not visibly having fun than neither is anyone else. Contrary to what you may believe, the cast & crew knows when the individuals who are in charge are on set and not enjoying the experience it can be seen and felt by other cast & crew members. This can bring down the moral on set (which every filmmaker tries to avoid).
These are only a few of the handful of “Don’ts” that should be remembered by production managers, producers, and directors, among others, because it will promote a healthy and productive film shoot from beginning to end.
“DON’T” #1: “Be on time.”
As a person in charge of an independent film production you should always make it a priority to be on time. This does not mean being on location at the Call time of 8:00a.m. As a person in charge of a film production you should be on location thirty minutes, if not more, prior to the rest of the cast & crew. This is not only to pre-set anything that needs to be pre-set but this is also to fix any on location problems or being available for cast & crew members whom may get lost. It is very common that when filming on a practical location to run into problems with store owners (or the personnel running the store that day) to have forgotten or have no knowledge of you and your crew having access to a location on a particular day. On the set of the Unique Production Between Love & A Hard Place, when we arrived at one of these such locations, the store owner was unaware or had forgotten we were suppose to film that day (even though it had been in the production schedule for weeks). Luckily, none of the cast was at the location and we were able to change locations at the last moment to accommodate the change. It was an easy transition to change locations at the last moment and very little time was lost at this location due to the abrupt change.
“DON’T” #2: “Don’t belittle your cast & crew.”
It is not uncommon for indie film productions to be populated by cast & crew whom are getting paid very little or may even be on deferred payment (or even working for free). It is very important to remember that many members of your cast & crew may be working on your film because that either want the experience, believe in the project, or need the screen credit, therefore don’t take advantage of their generosity. Respect your cast & crew whether they are a production assistant (PA), an extra, a camera operator, or a grip, etc. because film is a collaborative medium and it takes a community to build a complete house not an individual. On the Cake Baby Production short film The Tedious Existence of Terrell B. Howell, I was working in assistant catering capacity (instead of as a production manager or producer) but the producers afforded me the same respect as they did the cinematographer or any of the main actors. Since I was working on the production because of the writer and the director, I felt like any other crew member despite being in a crew position I was not familiar to. I felt just like any one of the other crew members.
“DON’T” #3: “Don’t forget to praise your cast & crew.”
Because film making is such a collaborative medium it is extremely important to remember that it takes many creative and technical people to put a film together and despite what naysayers may say, no one person’s job is more important than anyone else’s. Although this can be overlooked on a low budget film, everyone, whether they be a boom operator, a best boy, an extra, a supporting actor, the script supervisor, or a dolly grip, should be treated the same and praise should be doled out equally. As I will reiterate time and time again – many cast & crew members participate in an indie production for the love of it despite the low or no pay (or deferred), so, praise should be handed out to everyone and not just a few select individuals.
I try not only to do this at the end of each day but at the end of the production as well (this can be done at a cast & crew party as well as at the screening for the production personnel). It is very common, for me, to send out a mass email to the entire cast & crew of any production I work on a “Letter of Thanks” so that they know how much I appreciate working with them. This has not only helped me get onto subsequent film productions but has also helped me maintain and cultivate these relationships for my own production as well.
“DON’T” #4: “Don’t forget to feed your cast & crew.”
I have been on over fifty short films, commercials, and features of all budgetary constraints and I’m sorry to say that some of them have not provided and catering. It is my opinion that a well fed cast & crew is a happy cast & crew and therefore, I try to provide snacks and food and meals on all my film productions. Shooting days can sometimes stretch as long as fifteen or more hours and it is important that you have snacks and drinks on set at all times to not only prevent dehydration but to also provide cast & crew enough sugar and energy to get through the long day(s). Drinks should not only include both water and coffee but drinks with caffeine and juices but even energy or re-hydration sports drinks. Snacks should include fruits and vegetables in addition to snacks with sugar. On my film sets I usually provide fruit and cheese plates in addition to a variety of drinks and snack size candy and chips. This usually provides cast & crew with a wide variety of choices. I also remember at the beginning of film production to ask cast & crew to give me a list of suggestions for snacks.
Lunch should be provided as well but if it is not than an “off the clock” meal (of about 1 to 1 ½ hours) is also a very good idea.
“DON’T” #5: “Don’t forget to have fun!”
The #1 Rule of Indie Filmmaking is to never forget to have fun! If the people in charge of the production are not visibly having fun than neither is anyone else. Contrary to what you may believe, the cast & crew knows when the individuals who are in charge are on set and not enjoying the experience it can be seen and felt by other cast & crew members. This can bring down the moral on set (which every filmmaker tries to avoid).
These are only a few of the handful of “Don’ts” that should be remembered by production managers, producers, and directors, among others, because it will promote a healthy and productive film shoot from beginning to end.
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