Last year I made a $30,000 film shot on Super 16mm. Development was a month and a half, pre-production was about 4 months, production was 2 days, and post production was about 3 months. In total, after festivals and everything, I spent about a year on The Empty Playground. That's a lot of time. Writing and getting notes from producers, interviewing crew members, meeting with your cinematographer, test screening the film with audiences, giving notes to your composer, submitting to festivals.
It was a great learning experience. I learned a lot. Here's a list of principle's to live by for a young director:
1) Pick your producer(s) carefully. -->Don't pick someone just because they have produced a high budget film, or because they've been on projects that have won awards. Pick a producer that is going to be in this with you. Someone that you can trust, and will be there for you.
***Some producers have their own agenda and want to USE your production to better their own career. Decisions should be based on the story, the budget, and what the director needs to achieve his goal. To be honest, there was no reason for me to shoot my short on S16mm, but I did, because one of my producers told me to. He said festivals wouldn't care if I shot on the RED, but if I shot on S16, they'd be impressed. He said he was going to walk off the project if I didn't shoot on film. THAT WAS THE 1ST SIGN. I SHOULD HAVE LET HIM WALK IMMEDIATELY. He wasn't there for me, or for the story, he had his own agenda, to build better relationships with rental and post houses, and to say he producer ANOTHER short on film.
2) Don't get an actor through an agent.
That's for the big time. Right now, get an actor that really understands the character and is available to meet with you, have conversations with you, do test shoots, rehearse. My actor, who is an excellent guy, was brought on 2 days before the shoot, flown in from LA, and I had my 1st conversation with him about the character on the day. Some people do like this, and if that is your style, cool, go ahead, but if you are someone that likes to be extremely prepared (as I do, with every aspect of production), it's extremely counterproductive to do this.
ALSO, there was no reason to spend that kind of $$. Once again, see item #1 for producer's mentality dictating bad things.
3) Hire a Script Consultant
It's easy to think your script is perfect and ready to be shot. It might not be though. It might need another revision. Perhaps it's not complex and challenging enough. There might be a character that could be tied in better. If you hire a script consultant, for nothing less than piece of mind, you've already won the battle.
4) Pick your camera format based on the story, shooting style, and budget.
What camera are you shooting your film on? The Panasonic HVX200? Why? Because your best friend own it. Okay, does it have everything you need to achieve the look you want? Have you done tests? Have you supplied visual references to your cinematographer? Do these things. I am ecstatic to do them on this next short.
5) Go to museums, look at books of photography, and watch excellent films (foreign films too).
Study how painters use composition; how they block the subjects in a frame. Watch great films. See how certain directors cover a scene. Do they do Master shot, medium shot, close up? When do they move the camera? Why do they move the camera? When do they cut? Why do they cut? Who's scene is it? How do you know that?
I have to call my consulting producer now and go over the 1st draft, but I will continue this later. Please look for part 2.
