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Underground > Creation >

Film project requires HELP!!

10:29 / 08.03.02

I've been working on a short film script for some time now, and in the last two months I have been assembling a crew, looking for finance, location hunting, read throughs with the cast, make up tests, etc, etc.
Because this is a low budget shoot and being filming out of London (Colchester, Essex to be precise), I'm hitting alot of interference. Such as locking down the shooting schedule, securing location use, Executive Producer having to leave etc, etc. (again)
I would really love some advice from anyone who may have experience in this field. I'm having a difficult time making some tough choices and could do with the feedback.

Either Private Message me, e-mail or post here.
Many Thanks.

pointless and uncalled for

10:58 / 08.03.02

I can't really offer much advice other than if you run into too many problems quit Essex and come to Ontario. People will happily line up to suck your directorial dick if you'll shoot in their town, let them work for you, kick them in the head and put that in the credits.

It's no small secret that this province is a bunch of sluts with big wood for independant film making.

Oh and David Cronenberg will probably try to make a cameo.

Kitten Caboodle

12:26 / 08.03.02

I have a friend who's into that sort of thing and has directed a couple of shorts himself - do you have an email address I can give him?

05:14 / 09.03.02

what are you hoping to accomplish by shooting the film? festival entries? distribution? a reel? a learning experience? tremendous debt? or something else?

05:14 / 09.03.02

No useful advice - just popping in to say Good Luck.

(films are so cool .. why do the methods of making them and getting them shown have to be so difficult..)

12:56 / 09.03.02

I have a lot of experience with this, Will. But a couple of questions come to mind. What format are you working in (film, DV)? You mentioned an executive producer which implies an actual budget - how is that being managed? Do you have investors or are you paying for it yourself? And do you plan to shoot it all in one schedule or is it a piece together as you can sort of deal?

14:56 / 11.03.02

Budget? What do you need with a budget for??

What's your crew - do you have a UPM/Line Producer? Do you have a Location Manager? Considered finding one from among your friends?

How long is the script? How long is the shoot? How dedicated are the actors? Are they being paid? How - cash or points?

A UPM is *vital*. I call them (regardless of gender) "set moms". They know what should be going on, where you need to be now and where you need to be in three hours, and who is responsible for what when. It's also tricky getting one, because once the cameras are rolling, the UPM doesn't do anything except watch what's going on and maybe look over the clipboard and hassle someone a cellphone in the next room.

What're your locations? What's the story ?

17:15 / 11.03.02

I'd say, Grant, that a good Assistant Director is more vital than a Unit Production Manager, but both are good to have. Experienced ones, I mean. But with money to hire only one, I'd go with the AD.

18:04 / 11.03.02

Heh. I come from zero-budgetland, where both tasksets get folded into one brave person. But yeah, point taken.

10:44 / 12.03.02

videodrome check your PM.

The budget is for the Sony DSR 500 and the Lights. looking at a budget of around £1500, but I am currently busting my ass to get better quotes/blags.

quote: What's your crew - do you have a UPM/Line Producer? Do you have a Location Manager? Considered finding one from among your friends?

Got a solid DOP/Cam op. onboard, plus excellent make up artist, sound recordist (416 cabled into cam).

Got a line producer come 1st AD, worked with her before on student work. very good

quote: How long is the script? How long is the shoot? How dedicated are the actors? Are they being paid? How - cash or points?

Script is approx 12-15mins long. So this is a short film for festival exhibition and showreel. Bringing shoot in for 4-5days. Actor is solid though has trouble with work schedule.

quote: What're your locations? What's the story ?

One location, first floor flat interior. Story is a psychological horror.
Is Luke having a nervous breakdown in his girlfriends flat or is there a zombie holocaust building outside?

Cheers for all the interest and support.

16:41 / 12.03.02

Two related pieces of advice:
1. Shoot long.
If you're in one location, you should be able to shove a *lot* of action into two 16 hr days of shooting. Just make sure your actors are well rehearsed.

2. Craft services & full meals.
Keep the food good, and if you shoot long, break for lunch and dinner. Do your best *not* to work on the film during the breaks. You probably have a small enough crew that you won't need to stagger breaks (send actors in, then sound, then camera, then lights).
Effective breaks can really make a long day seem more like three short days.
Oh, and make sure there's *no* alcohol at the breaks (try not to leave location at all), and keep fresh fruit & juice on the craft table along with the coffee and sodas. The fructose can turn a trudge into a pleasant chore. Seriously.

Rehearsing the actors too much beforehand can be a good thing. It's also possible with most DV cameras (I'm more familiar with Canon XLs than the Sony, but from what I can tell from online pictures, I've worked with one before) to use a minimal light kit with some clever forethought given to reflectors or bouncing lights off ceilings & walls for fill lighting. Think about lighting while dressing set, not once you've got the actors there.

Having not read the script, I'd imagine you could get away with a half day of set dressing, one long day of shooting, and another day of pickups and catchup. Thus, you *should* be able to get an apartment for a weekend - Show up with the set, camera & lighting on Friday evening, do the filming Saturday and most of Sunday, spend Sunday night breaking down. Most people will be cool with letting you do that, if they're friends of yours. Especially if they're leaving town for a holiday (isn't Easter coming up?).

Since it's DV, see if you can't get your camera op to shoot close ups - both line deliveries and reaction shots - while the actors are doing final readthroughs before officially filming the scene. The extra footage can be a big help in the editing room, and can speed up the process (double tasking). If possible, don't let the actors know you're doing this, because it makes them tense up during the readthrough.

Umm - I'm sure there are other things, but that's the main stuff I can think of.

17:45 / 12.05.02

Well, teh project is now on a major HOLD cycle. This is due to backers/fuckers. I've had two independent backers drop out, both due to unrelated issues. What is it with people who have money huh?
Anyway, I'm nopw thinking of taking the narrative and the large amount of storyboard and translating a version to DV stills and Flash animation, for a web site I'm teaching myself to create. www.magickmedia.co.uk. (currently under construction).
Just thought I'd keep people posted and enquire if anyone has had any experience with creating dynamic and atmospheric, manipulated stills narratives?

14:04 / 13.05.02

PM PATricky. He knows the Flash.

17:30 / 13.05.02

TAH

Tryphena Absent

16:43 / 14.05.02

One of my best friends is the 3rd AD on one of the units for the Bond film, if you have any specific questions I can ring him up and feed them to him. He can be a bit crap though sometimes so I'm not promising actual answers.

pointless and uncalled for

16:48 / 14.05.02

Still no helpful advice. But a friend of mine is coming to England at the end of September and will be looking for make-up work, stage and FX. If you think you could use some of that then I can ask them if they will be interested in doing a resume job for kit fee, travel and something.