VERTIBLOG Film School X - THE $1,000 MOVIE, Part 9
PRE PRODUCTION (continued)
STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
III. Assitant Director
You're going to have a lot of friends offering to help you. But you won't be able to count on all of them. I'm not saying they're fair-weather friends, only that the level of dedication you're going to require may too much for some. The key is to have that one friend, that one guy that you can count on for the duration, that one guy you can sit down and say, 'listen... you know this is my passion, you know it's something I've wanted to do my entire life. And I need you to help me."
If you're like me, and if you've been reading this you most assuredly are, then over the years you've developed relationships with like-minded friends who have similar aspirations, similar dreams, similar ambitions. This is the time to take one of them aside and say, 'if you do this for me, then I'll be there for you when it's your turn.'
Let's call this guy Frank.
Frank is going to be fill many roles in the production. He's going to call for pizza as the afternoon nears, he's going to run down to the Mini-Mart when you run our of water, he's going to track down your lead actor when he doesn't show for call time, he's going to hold the boom when your little brother gets the flu. He's the guy that the cast and crew will go to with their myriad questions, and then he'll filter out what's important and come to you only then. He's going to do everything that, without him, you'd have to do yourself.
Frank's job will be thankless and offers very little reward. He has to be without ego.
And when it's his turn, so will you.
STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
IV. Script Supervisor
This may end up being Frank's job, but if possible, try and find one more warm body to occupy it. In all honesty, a dedicated script supervisor is probably a luxury you won't have. And if you have that friend who could fill either the role of a script supervisor or assistant director... you're going to need an assistant director more.
I've mentioned Maria Escribano earlier. She was our script supervisor on MAGDALENA'S BRAIN. Maria was there for every take of every scene on every day. As a matter of fact, if you live in New England and you're looking for a damned good script supervisor, drop me an e-mail and I'll hook you up with her. Though, for your $1,000 movie, she's probably not for you.
What Maria excels at, and what you're going to be looking for, is a person with insanely high organizational skills. This doesn't necessarily have to be a movie person, though if they are they will be exponetially more useful to you.
The IMDB defines a Script Supervisor as "A person who tracks which parts have been filmed, how the filmed scenes deviated from the script; they also make continuity notes, creating a lined script."
So, what your need is someone with a copy of the script in a three-ringed binder who will watch every take of every scene and makes sure you're following along as you should be. They make sure the dialogue spoken is what's written... or if it's changed that you approve of it. They make sure things like close-ups and cutaways are shot, so you won't have headaches in the edit. And when each scene is complete, they draw a vertical line through it, giving you a visual cue that that part of the script is completed.
As you move through production, there is no greater feeling than seeing more and more of the script supervisor's script lined out. On that final day of shooting, when each and every page has a vertical line bisecting it... allis right in the world.
STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
V. Key Grip ( & Grips / Production Assistants)
(Hopefully, this isn't Frank, too.)
You've seen the term in the end scroll of movies for years -- key grip. Right there next to gaffer and best boy. A grip is a camera assistant -- a guy who does what the director of photography asks him to do. He lays cables, then wraps them back up again. He adjusts lights according to the DP's instructions. When doing nothing, he stands next to the DP and anticipates what will have to be done next. That's a good grip's biggest strength -- anticipating needs. A good grip instinctively knows how long the camera has been rolling, and is ready with a new tape when the one in the camera runs out. He always seems to have a fresh battery handy when the old one dies. A good grip watches the DP's eye line, trying to ascertain what he is looking at to anticipate his next demand.
That being said. You're probably not going to have a very good key grip.
But's here's what you going to have: about 5-8 young hungry film guys who will bust their asses for you, but not always be available when you need them. Chances are they'll be students (since you'll put up a flyer at all the colleges and universities saying there's cool production work available), and college students aren't the most reliable folk around. You'll get 5-8 of them because you'll need 2-3 of them per shoot. And I can almost guarantee that you'll find one guy who'll be your rock -- he'll be there every time, will be able to talk for hours on Quentin Tarantino and Kevin Smith, and will probably end up being credited as your key grip. It always seems to happen that way. The others guys will be somewhat interchangeable. As long as there are 2-3 per shoot, your DPs life will be much easier.
STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
VI. Wrap Up
And there's your crew:
-Director of Photography
-Sound Mixer
-Assitant Director
-Script Supervisor
-Key Grip
-Production Assistants / Grips
That's in a perfect world. In your world, it may look a little closer to this:
-Director of Photography
-Sound Mixer /Key Grip
-Assitant Director / Script Supervisor
-Production Assitants
Either way, you've got you have some faith in these guys because you're going to be putting a lot of trust into them. Don't hire people because it's convenient. Sure, your roommate could shoot for you, and since you're shooting primarily in your apartment, you know he'll always be there.
Don't.
Take yourself seriously. Take your project seriously.
You're about to start what is going to be a an extraordinarily painful process. You will lose weight. You will get sick. You will feel like sticking a dagger in your heart after about two or days of this. Everything will go wrong.
Do everything you can beforehand to make the experience worth it. Surround yourself with the very best people you can find. Don't be afraid to pick up the phone and ask total strangers for insane favors. Most will turn you down. But some may say yes.
Especially if your script is as good as you hope it is.
(continued)
© 2006 by Marty Langford
STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
III. Assitant Director
You're going to have a lot of friends offering to help you. But you won't be able to count on all of them. I'm not saying they're fair-weather friends, only that the level of dedication you're going to require may too much for some. The key is to have that one friend, that one guy that you can count on for the duration, that one guy you can sit down and say, 'listen... you know this is my passion, you know it's something I've wanted to do my entire life. And I need you to help me."
If you're like me, and if you've been reading this you most assuredly are, then over the years you've developed relationships with like-minded friends who have similar aspirations, similar dreams, similar ambitions. This is the time to take one of them aside and say, 'if you do this for me, then I'll be there for you when it's your turn.'
Let's call this guy Frank.
Frank is going to be fill many roles in the production. He's going to call for pizza as the afternoon nears, he's going to run down to the Mini-Mart when you run our of water, he's going to track down your lead actor when he doesn't show for call time, he's going to hold the boom when your little brother gets the flu. He's the guy that the cast and crew will go to with their myriad questions, and then he'll filter out what's important and come to you only then. He's going to do everything that, without him, you'd have to do yourself.
Frank's job will be thankless and offers very little reward. He has to be without ego.
And when it's his turn, so will you.
STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
IV. Script Supervisor
This may end up being Frank's job, but if possible, try and find one more warm body to occupy it. In all honesty, a dedicated script supervisor is probably a luxury you won't have. And if you have that friend who could fill either the role of a script supervisor or assistant director... you're going to need an assistant director more.
I've mentioned Maria Escribano earlier. She was our script supervisor on MAGDALENA'S BRAIN. Maria was there for every take of every scene on every day. As a matter of fact, if you live in New England and you're looking for a damned good script supervisor, drop me an e-mail and I'll hook you up with her. Though, for your $1,000 movie, she's probably not for you.
What Maria excels at, and what you're going to be looking for, is a person with insanely high organizational skills. This doesn't necessarily have to be a movie person, though if they are they will be exponetially more useful to you.
The IMDB defines a Script Supervisor as "A person who tracks which parts have been filmed, how the filmed scenes deviated from the script; they also make continuity notes, creating a lined script."
So, what your need is someone with a copy of the script in a three-ringed binder who will watch every take of every scene and makes sure you're following along as you should be. They make sure the dialogue spoken is what's written... or if it's changed that you approve of it. They make sure things like close-ups and cutaways are shot, so you won't have headaches in the edit. And when each scene is complete, they draw a vertical line through it, giving you a visual cue that that part of the script is completed.
As you move through production, there is no greater feeling than seeing more and more of the script supervisor's script lined out. On that final day of shooting, when each and every page has a vertical line bisecting it... allis right in the world.
STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
V. Key Grip ( & Grips / Production Assistants)
(Hopefully, this isn't Frank, too.)
You've seen the term in the end scroll of movies for years -- key grip. Right there next to gaffer and best boy. A grip is a camera assistant -- a guy who does what the director of photography asks him to do. He lays cables, then wraps them back up again. He adjusts lights according to the DP's instructions. When doing nothing, he stands next to the DP and anticipates what will have to be done next. That's a good grip's biggest strength -- anticipating needs. A good grip instinctively knows how long the camera has been rolling, and is ready with a new tape when the one in the camera runs out. He always seems to have a fresh battery handy when the old one dies. A good grip watches the DP's eye line, trying to ascertain what he is looking at to anticipate his next demand.
That being said. You're probably not going to have a very good key grip.
But's here's what you going to have: about 5-8 young hungry film guys who will bust their asses for you, but not always be available when you need them. Chances are they'll be students (since you'll put up a flyer at all the colleges and universities saying there's cool production work available), and college students aren't the most reliable folk around. You'll get 5-8 of them because you'll need 2-3 of them per shoot. And I can almost guarantee that you'll find one guy who'll be your rock -- he'll be there every time, will be able to talk for hours on Quentin Tarantino and Kevin Smith, and will probably end up being credited as your key grip. It always seems to happen that way. The others guys will be somewhat interchangeable. As long as there are 2-3 per shoot, your DPs life will be much easier.
STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
VI. Wrap Up
And there's your crew:
-Director of Photography
-Sound Mixer
-Assitant Director
-Script Supervisor
-Key Grip
-Production Assistants / Grips
That's in a perfect world. In your world, it may look a little closer to this:
-Director of Photography
-Sound Mixer /Key Grip
-Assitant Director / Script Supervisor
-Production Assitants
Either way, you've got you have some faith in these guys because you're going to be putting a lot of trust into them. Don't hire people because it's convenient. Sure, your roommate could shoot for you, and since you're shooting primarily in your apartment, you know he'll always be there.
Don't.
Take yourself seriously. Take your project seriously.
You're about to start what is going to be a an extraordinarily painful process. You will lose weight. You will get sick. You will feel like sticking a dagger in your heart after about two or days of this. Everything will go wrong.
Do everything you can beforehand to make the experience worth it. Surround yourself with the very best people you can find. Don't be afraid to pick up the phone and ask total strangers for insane favors. Most will turn you down. But some may say yes.
Especially if your script is as good as you hope it is.
(continued)
© 2006 by Marty Langford
posted by Marty at 2:52 PM
1 Comments:
What a great site, how do you build such a cool site, its excellent.
»
Post a Comment
<< Home