Thursday, October 22, 2009

How Much?

The first and last rule of filmmaking- how much. As in, you can't shoot until you know how much it's going to cost. Just one of many reasons why a budget is crucial before anything starts. It is the Producer’s (or Line Producer) job to create a budget that is not only accurate, but complimentary to the project. It may not be rocket science but it’s not as easy as you might think and requires more than a bit of know-how in order to predict and account for the myriad possible "bite you in the ass" surprises.

What's the weather going to be during your exterior locations? Nightime...? Did you factor in hot soup, external heaters to keep cast/crew warm, or even how to get 2nd meal at 3 in the morning in some small town where the only thing open is a 7-11 and you have a vegan actor who doesn’t want anything made in China?

Or how about the desert location, did you factor sunscreen, plenty of water, or spending the money to ensure you have a qualified medic on stand-by?

The producers job is all about creating and maintaining the budget without dipping into any other departments or the contingency. Shifting money from one department to another is normal, but doesn’t mean you don’t have to be more than thoughtful about every aspect.

For instance--
the director suddenly calls for a crane shot and you have $1800 accounted for it, that needs to cover the cost of rental, the half-day prep for the operator, probably two techs for set-up (factor at least an hour on down time while it's being built) then the same dismantle it and drive it back to the shop to unload and all on the clock since they charge portal to portal. On top of that, you're now spending at least another 2k in salaries and fringes in addition to the actual crane rental.

And this my friends is only one line item out of a 75 page budget! It’s these happy little surprises that make everyday on the set an adventure in making movie magic...

Wednesday, October 21, 2009

Got Scripts?

It's an old saying but one that speaks the ultimate truth of our business, "If it ain't on the page...it ain't on the stage" It all starts with a good script!

That being said, let me commend you, the writer. Your ability to see the blank white pages that sit before you, your mind racing and fingers tapping slowly as you channel your inner Tarantino. Meticulously crafting each word, giving a story its shape and bringing characters to life via your finished work; a product of sweat, tears, and caffeine induced late night writing sessions that is ready to be critiqued, ignored, loathed, or loved by us the PRODUCERS.

It's with these honest words that I ask....is it really too hard to use spellcheck these days? I actually received a script the other day where the writer either totally misspelled the lead character's name or over stepped the bounds of artistic license by adding 5 extra letters to a name not unlike Aleeshyia instead of Alicia. Are you kidding me? Whether it was taking liberties or an egregious error, I chucked it aside.

In the past three weeks I have read about 25 scripts. Out of that bunch, maybe 3 were worth my time. I'm not sharing this info to deter you, but to let you know why, for any given reason, your script might be rejected or rejoiced. There have been times when I've re-read a script and come to enjoy it the 2nd time around, maybe I was in a better mind set, or that particular genre was suddenly the "Next Hot Thing".

Whatever the case may be, I would say DON'T GIVE UP, keep plugging away, stay strong and be positive, because without you, the writer....us PRODUCERS are about as useful as a blank page.


So You want to be a Producer???

Another day hard at work, the usual: starting it off with a large coffee, script by my side, a shuffle mix of blues, jazz, and cinema scores compliments of iTunes. This is my life…the life of a producer, constantly in search of the next big thing, idea, or person to work with.

Coming off a weekend where I submitted a revised budget to director, Scott Glosserman for his upcoming project. Completed a version for a possible UTAH shoot and now putting the final touches to the OREGON version. I of course would hope for the latter as it would keep me home near my kids. But, at the end of the day as any producer will tell you, the cheapest most cost effective place will determine the bottom line. There are no line items that allow for personal emotions. People want results not emotions.

This producer finds himself with a little too much space in between gigs. I'm faced with a reality-check. I NEED TO MOVE TO LOS ANGELES. I need to be where the action is 24/7. I must heed the advice so eloquently stated by Gordon Geckko, brilliantly played by Michael Douglas, ”If I’m not on the inside…I’m on the outside looking in”. Don’t’ want to be that person. I think we all agree that being on the inside is the place to be. To be seen, heard, and taken literally. Though brief, I was in Los Angeles last month for 5 days- I had no less than 3 meets a a day…While I love Portland the best I could muster was a couple of actor friends and one struggling writer, all working out of the same office as me- the coffeeshop.

Like a small town kid with a big dream- Hollywood I'll be home soon...