Filmmaking 101 – For all crew & cast



Filmmaking 101 – For all crew & cast

I’m no film making expert but I am always learning and always will be learning so the things below are from what I have heard or experienced along the way.

The one thing I have is dignity, respect, integrity, and perspective. You see, I am the type of person that I have a realistic timeline of when I will stop pressing forward on film and just settle for the next phase in my life. No, I won’t be a weekend film warrior either – my ego isn’t in need of “look at me” moments. I will stop and that will be the end of it – should it ever come to that.

I won’t fear speaking up and talking about things that may not be so glamorous or positive about this line of work – I believe that exposing such things allows us all to work on solutions to stop ill treatment or unprofessional tactics. To put negative things in the closet will only allow it to always stay there – open the door and expose it. It’s how we all learn to grow as self employed productions, a production, with colleagues and as a community.

No – you certainly do not have to agree with my thoughts.

Crew Respect

“I’m working as hard as I’m getting paid” said a DP once on set as he was receiving no pay but being ordered around to hurry and such by the AD/Director. At the time, it might seem disrespectful, but a couple years later, I clearly understand. Paid gigs are the priority. If you expect free labor, don’t push it. Be good to your crew/cast.

We could pick this apart by saying that the DP should be working hard no matter if it’s volunteer or paid but there is a different attitude when you’re paid. Now, if the DP was working for close colleagues, I’m sure he would have done everything possible to bust his hump. So was he out of line as he uses a $2,500 camera outside when the production has no equipment insurance to protect the gear? I don’t think so.

Payment – Contracts

It’s one thing to do a pro bono gig for close colleagues and another thing to do something for experience, but when a production company has full intentions of sending their movie to a film festival in hopes for it to be bought and made into a feature film or have full intentions of the movie going into distribution – crew, protect YOURSELF. Make sure that the contract you sign has the language of at least deferred payment with a base pay and a percentage depending on your position. Cast – this goes for you too.

Payment – DVD

This is the biggest complaint I receive on the Seattle Area Filmmakers emails or hear from colleagues. Why is it so hard for productions to just squeeze out a copy of the DVD for their crew/cast who have worked so hard to make “their” dreams come true? Shelved or not, give your cast/crew a copy of the movie they worked on and save your reputation. Give them something so they can use it for their demo reel – you OWE it to them no matter what. I will not be shocked if I see small claim lawsuits happen.

Payment – IMDB

Don’t promise this unless you have full intentions of going to film festivals or DVD distribution. Oh and by the way – that’s IF a festival considers the film. I.E. it must be submitted AND considered in order for them to validate your work. It’s a really lame excuse for payment as well and I would never offer it as a serious form of compensation. It just shows a filmmaker clearly know nothing about how the industry works and SCREAMS amateur.

Payment – Experience

Just because they work on your production, does not mean they get treated like the new kid to haze or make them bust their hump harder. There are a lot of people who would like to work in film – give them a chance to fill in a position. Don’t forget about interns from colleges. Treat them good!

Payment – Volunteer or Intern

Let’s look at it this way, you apply to a job at Microsoft or Boeing an they ask you one of two things: 1. What is the lowest pay you will accept or 2. Can you work pro bono for this job. Huh? You mean they don’t do that? Oh that’s right they don’t because as a legal/licensed business within the State of Washington, they follow the legal guidelines for hiring people.

What’s the legal guidelines you ask – here it is:

WA State:

See (d) for volunteerism. If they are working for IMDB credits and a DVD – you might want to give it to them. But we should all take a look at the few lines before (e) – for profit. This is an eye opener for us all.



lni.

I talked with the Labor and Industries to make sure of what I read and what I posted above IS correct information. If a filmmaker is seeking to profit from the film (distribution), then people can’t volunteer. They suggested that a filmmaker (with a business license) pay something to their volunteers and also with their Industrial Insurance to get Volunteer coverage as well to protect their business because volunteers have grounds for small claim suits and file worker right claims.

Most filmmakers around here are offering that they will give IMDB credits, good food, and a DVD once done. The biggest complaint from crew/cast are that they never get the DVD and the IMDB credits. Some got PB&J for lunch. Things need to change.

One-Way vs Two-Way Street – Collaborations

This is a huge problem that many people are bothered by and I’ve seen it happen as well. Here’s the example: You go and work on production for free and a few months later, you are now rounding up crew and ask those you worked with to work on yours. You suddenly get whapped in the head with, “How much are you paying me” or they are “so busy” that they can’t work for you. The lesson here isn’t for the guy who got screwed here – the lesson here is for the one-way street filmmakers: 1. Karma 2. Word gets around. Personally, I like a two-way street. I have met many awesome filmmakers who are there to support me as much as I do for them.

One-Way vs Two-Way Street – Support

Everyone wants to be supported but when I see people expecting people to support them and then pass those people over when they want some support – I’m sickened by the audacity to be one-way. I’m careful anymore on who I support – I’ve had this very thing happen to me. Hell, I get emails from people that I don’t normally work with expecting support and a recommendation but never do I see support back. Is that crappy of me to expect it? No longer do I think so after three years of breaking my back for anyone and everyone.

One-Way vs Two-Way Street – Crap Not Included

If you make something that is crap – do not expect people to take you serious. Do not throw a temper tantrum, do not lash out. This is where a person should really show their product to a group of people and asking them for constructive criticism and if it’s not good – fix it before you take it to the public. You will grow this way.

Feedback or Criticism and Honesty

I have begun to think that the problem with many films is the lack of criticism and people being honest with each other. Look – I know everyone is trying to get ahead of the next guy, but tell someone the truth if the movie is crap before it goes public. Tell them that a scene doesn’t make sense or a cut is off so that they can fix it. Yes filmmakers, you should be willing to fix your film. If you didn’t get a shot right, you probably didn’t do enough pre-production planning but hey, you may have to go back and re-do a scene to get it right. I know one filmmaker who did that and I think it was a wise choice.

I have worked on things that were out of my control but gave my two cents worth and other things that the Producer(s)/Director were too full of themselves to care what others thought and released it anyway. Be honest with people but honestly accept your mistakes and correct them.

Crew Titles

Give credit where it’s due and don’t take advantage of people who may have more knowledge but are hired for something lower. If a Producer is a Producer – did you know that the Producer owns the film? Crew – protect yourselves with contracts. A Director is a Director – not a PA. An AC is not a PA. A PA is not a 2nd AC. If they have to switch gears on set, be sure to give them full credit for what they did. I don’t care if it’s an independent film – there are plenty of people out there who are willing to help out for experience.

Crew Praise

You didn’t make that film. Your crew and cast did – this is the biggest pet peeve I have experienced and won’t ever tolerate this self-glory crap again. This is why I set the standard of everyone seeing on movie fan pages that I’m the Producer on to see ALL crew/cast members and now see other productions taking the same route now – some who were not this way before.

Film Crew – What are the positions and the meaning



Read it. Know it. Respect it.

I don’t care if you’re an independent film, read it and respect the positions. If you were to ever become a “successful” filmmaker, you’re going to end up having to hire UNION members and that means you better know the real deal and not pretend to be a filmmaker.

Burning Bridges

Burning bridges in this town, in this town…..please. Listen, no one is big enough to screw your career up. The only person who can screw up your career is you. You can do that by how you treat people. If people turn their back on you because you can’t work on their production for some reason like – your car doesn’t work or you live 45 minutes out of the city or your Mac/PC is a pile of crap and you can’t edit anymore – you don’t need to have those people in your database.

If they don’t like you because you don’t booze it up and take a line with them – you’re not screwing up or burning bridges, they are just douchers.

If you did any of the above things like not paying crew, not giving their DVD, not giving their work, lie, cheat, steal, or not giving their credit where due – expect a cold shoulder and no referral. That’s a legitimate reason that you burned your own bridge.

There are people who have bailed on me over and over but their reasons were legit – I don’t shun them for it. Who am I? Just a filmmaker in an area trying to get my work out. No one controls any area – no one is the boss of film in any city.

I don’t see Mr. Spielberg acting like a 15 year old kid claiming to be the King of Hollywood. It doesn’t matter if you’re broke or wealthy trying to do film – do it! No one owns you, no one controls you and this is a free country with a lot of filmmakers. Just always remember, treat your crew/cast with respect.

Family, friends or colleagues

I don’t know about you all, but my family is very dysfunctional and I have been treated just like that from so called “film family” as well. I don’t call my productions “family” – they are my colleagues. I have been able to make friends with some that I trust immensely. I’ve seen throat slicing, knives in backs, money taken, etc – I am not a part of that. So – with respect is how I will treat people.

Gossip

Seriously – do not give a crap as to what someone says about you if you have done nothing wrong. People will talk – sometimes for good warnings, sometimes to sneer and those sneering, evil assholes are the ones to run from. Example: “Did you know that John’s real last name is…..” Truth is, who gives a shit? I mean, it’s not like it doesn’t happen in Hollywood – William Brady Pitt a/k/a Brad Pitt, Mark Sinclair Vincent a/k/a Vin Diesel or Carlos Irwin Estévez a/k/a as Charlie Sheen. Other than that, if you don’t want people knowing you’re screwing the director or you have an open relationship, don’t tell people.

Dagger Back Syndrome

Are you a person who’s extremely nice and end up with daggers in your back? Do you have a full set and can sell them off on Ebay? Now’s the time to stop being so nice and learn to say no. A person with daggers in their back is a person who is not wisely choosing who their business partner is. I’m pretty sure these people can look back on the previous warnings and probably have “Sore Ass Syndrome” from kicking themselves in the ass over and over.

Communication – You snooze, you lose

This one is a peeve with a lot of my local peeps towards our local peeps. Let me put it this way – I can get faster response from my Washington D.C. and Scotland crew members than I can from those right here in my own area. Those crew members have worked on Star Trek: The Next Generation and Braveheart – they of all people should be harder to reach but they are not. I can get an email from them stating: “Hey G, I’m on set for a few more days, back with you then.” At least then I know what to expect. I have heard this complaint from people down in Hollywood about Seattle filmmakers – “too slow, too laid back.” Due to delayed reactions, I’ve gone with other people and others have done the same thing with hiring.

Communication – Response time

Try to respond within 24 hours with something – if you’re a “slow ass” about emailing back, try setting up a “vacation” notice so people at least get the idea of when you’re going to respond back – 24 hours, 72 hours, a week, a month, a year….never, etc.

Communication – Auditions & Crew Ads

For your career, do not email the producer with a one line or just a link to your website or IMDB. I’m going to be blunt – who gives a fuck about your IMDB.

If you are an actor: send your resume, head shots, and a link to a reel if you have one.

If you are crew: Send your resume and reel. Do NOT go without a resume for film.

In your email: Do a paragraph as to why you’re interested in working with the production. A paragraph is five sentences.

Communication – Casting Emails

The one thing I have not understood as being an “industry standard” is to not email those that did not get the part. Why? I understand in Hollywood/Vancouver and Atlanta (Probably Portland too now) where they get hundreds to thousands of actors but here – in Seattle, we should be good to the cast we have got here.

Communication – Communication

Don’t send one line responses.

Theft – Taking someone’s idea and twisting it to be yours

You are a fucking douche-bag to even do such a thing. Seek a good attorney. Enough said.

Pre-Production

I know that there is this HUGE excitement to write and film a movie but for the love of film and respect for quality – please take the time to do some pre-production planning. You can’t write something and two weeks later get it on film.



What’s the big deal about it? Well it can save you hundreds to thousands of dollars by getting it right. It can save you hours of dead time or confusion on set. Why waste in haste?

Post Production

I can’t believe how many productions royally screw up by not calculating post production into their PRE production schedule!! Post is the most important part after pre – why? Well listen, an editor is going to be sitting down for well over 40 hours for just a short film and this isn’t including colorizing and any VFX (visual effects) that need to be added as well. Audio – maybe some ADR (automated dialogue replacement) is needed. Don’t expect editors to work for $50 to $100 bucks for your film.

Business or full of it

If you’re a filmmaker, it’s time to act like a real production COMPANY ................
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