February 27, 2005

•             Scheduling, Budget, and Coverage

   

  When you approach the production of any movie you'll firstly be concerned with the budget. After all, to get financing you'll have to show the script and the budget. But how do you make a realistic budget?  Especially, if you don't know what the "above the line" costs are. That is the cost of stars, actors, and other producers salaries.

   

  A budget can not be made without knowing the shooting cost per week and how many weeks you will need to shoot. It's all simple enough. Same as doing a budget for building a house. Except for one large mysterious detail. How long will it take to shoot each scene. "Ah, there's the rub."

   

  This is why having experience filming your own movies is important, as filming always takes longer than you think. And when you get to more professional features, it takes even longer than that.

   

  For example, I did my 16mm action movies with just a camera. Then my first feature with a camera and reflectors (shot all outdoors). When I did "Death Machines" I went outside to greet the grip truck that had been driven up from LA. I saw this huge truck of equipment pulling a giant movie generator  and knew that my set up time would be more than just my cameraman moving tripod and reflectors.  I started to sweat, but I knew that I had scheduled for it. But still????

   

  For scheduling you have to go through the script, figure out how many camera set ups you will do for each dialogue scene, and how long you will spend on action scenes.   And then estimate the time it will take to get your camera coverage. 

   

  I found that it's best to use a standard block calendar  (not production board)  to make the most efficient schedule. Later you can double check it with a production board or computer movie schedule maker.

   

  The most important thing I can say concerning this is: NEVER get off schedule, as it's too difficult to reschedule actors and effects people. On lower budget projects, finish the scene no matter what. Many directors say, "Well, we can come back for pick up shots later." and find that they can't get that location again, or the actors again. Even if you have little time, complete the whole scene in master, so at least you've got it. Then if you have time, move in for your close-ups. 

   

  Once a producer, that had hired me to direct years before,  called me to finish a movie that another director dropped the ball on. The producer told me, "Paul, when the other guy kept not finishing scenes, I always remembered what you said, 'Close out the scene, no matter what.' ".  The other director had left a series of uncompleted scenes that were a big headache to finish.

   

  Once you get the schedule, you're budgeting should be fairly accurate. When you get on the set, get as much camera coverage as you can. But then close out all your scenes before the end of the allotted time, and then move on to the next scene.

   

  Bringing in a movie on schedule and on budget will be the most important reputation you can have in the film business. Marlon Brando directed the great "One Eyed Jacks" .  But was never given a movie to direct again,as it went from 2 months at two million,to six months at six million. 

  • 8:45 am
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