When I was running the Central Florida Film Festival I came across many feature film entries. All but a few made on a shoestring. Which means the "I didn't have money" excuse won't cut it. There were quite a few films that if they had used a professional actor/actress rather than Mom and Dad the chemistry and performances may have been much better and in turn the making of a better film.
Yes, one or two professionals do make a difference. Did you know that SAG/AFTRA has a contract for films budgeted at two hundred and twenty-five thousand dollars and under? If your film doesn't have any money, think again. Are you making the film for twenty thousand dollars? Then you qualify. The Ultra Low Budget day rate is $125/day (+ Pension & welfare). The important thing to remember is that in the Ultra Low Budget you can mix non union actors with union actors. So, with P & W make it $150/Day. There are two reasons why actors like to work. One is money and the other a good script. Most actors like to work and if you have a good script perhaps someone in the Guild might even attach their name. A dozen characters in your cast? Perhaps three guild members would do the trick. They have more experience and have been on a professional set before. That's a requirement to become a member of SAG/AFTRA.
Actors have a way of either playing up or playing down to your lead performer. Setting the bar is important and by setting that bar higher you might think you're spending more money but it's definitely making your film a better project. This could mean the difference of receiving distribution or not and perhaps even getting your money back. Check out the SAG-AFTRA.org website and take a look at the sample contract. Remember the SAG/AFTRA representatives are only doing their job and that job includes getting work for their members and at the same time making sure their performers are treated with the proper professionalism that filmmakers should treat all their performers.
Next week I will walk you through the application process. There's some paperwork to get started and it can be frightening. I'm actually in the middle of applying for a new comedy I am making in May. Have three SAG/AFTRA members attached and now need to make sure their contract is in order. By next week I will be an expert in the process and gladly share it with you.
Sunday is also Oscar night and I would be remiss if I didn't at least post my selections.
BEST ACTOR - Gary Oldman (Darkest Hour) I already told you how I feel about UK films invading our award show but Oldman was Churchill and deserves the nod.
BEST ACTRESS - Frances McDormand (3 Billboards) I loved Sally Hawkins performance in the Shape of Water but I know how the Academy thinks and no one plays the middle age mom in distress like Frances McDormand.
BEST SUPPORTING ACTRESS - Allison Janney (I, Tonya) I have it between Janney and Octavia Spencer but I watch "Mom" and Janney's transition from comedy to drama was seamless.
BEST SUPPORTING ACTOR - Sam Rockwell (3 Billboards) It was a great ensemble and Woody Harrelson could cancel him out and veteran actors like DaFoe and Plummer could slip in but going with what I thought was the best stretch for a performer.
BEST DIRECTOR - Guillermo del Toro (The Shape of Water) The Academy has set this up for del Toro or a female director (Greta Gerwig). It seems as if Three Billboards Outside Ebbing, Missouri received all it's nominations including Best Picture without the help of a director. I hate when they do that. They did it to Spielberg for "The Color Purple." Everyone gets a nomination but the director. It's amazing what department heads can do without leadership.
BEST PICTURE - The Shape of Water. I was all over Three Billboards Outside Ebbing, Missouri but both pictures were excellent and the Academy swayed my selection by omission of the director. This could however be a ploy by the academy to give the women's movement what it wants but if Lady Bird is announced as best picture don't turn off your sets. Remember last year? I wouldn't be surprised if the winning producer's are pulled off the stage by del Toro's monster and the award handed to him instead.
My final prediction is that next Monday I will be ranting about the Oscar's .
Later,
Bob
Bob Cook
Film Director
You can view previous blogs as well as our new podcast at www.BCEntertainmentGroup.com
Showing posts with label producing a film. Show all posts
Showing posts with label producing a film. Show all posts
Tuesday, February 27, 2018
Monday, February 19, 2018
WHO WORKS FOR FREE?
I've read a couple of posts this week from, I guess, industry people ranting about producers that are looking for free labor. "Demand minimum wage" one of the writers insisted. While another just said, 'people looking for free labor are scams.'
If I blindly agree I would be doing everyone trying to get into the world of film making an injustice. Do I agree? Yes. But there are exceptions to every rule. How do you create a resume? I'm listed on a few of those Movie Job sites including Stage-32 and Mandy and apply to most directing and writing gigs offered. I've got to admit, this person who posted didn't have a clue what a director does. I had one nameless person who said I could direct and my pay would be ten percent of what I brought to the project. I'm serious. Yes, I passed. It seems that most of these posts are from people that have never made a film or understand the commitment it takes to make a film. Yet they have an idea and want you to take their idea and turn it into a film. Their dream, not necessarily yours.
However, sometimes when you haven't worked on a film in a few years it's time to lower your standards. Is this a script you believe in? Is this a film that can showcase your talents to perhaps put you in a better position for another job? Film is art and there are many artists out there wanting to put their vision to the test. Some actually might have credits. Look 'em up! IMDB is there for you to search who is starting out versus who is looking to make a new vision come to life.
Did you know that in the state of Florida it's legal to NOT pay Interns? That's right, provided the interns in question are learning and not taking the place of another person who was getting paid. Did you also know that if you are a student right out of film school you really don't have any experience? Over the years, I've interviewed several students for features I was producing. Their resumes consisted of several student projects and not much else. I even asked a young student, "where he'd like to work on my film?", his answer was, 'to be the director.' Seriously, that's what he said at the interview. I told him, "that position was filled. Was there something else to maybe help him reach the goal of director." Deer in the headlight look. You feel we should pay these people? I believe we should help train these people because perhaps the film schools are missing a valuable part of reality and that's the interview process.
You want to work for minimum wage? Get a job at Burger King. The hours are much shorter. However, unless you're going to another fast food chain for work, that tidbit on your resume isn't going to move you along in life. When I was in LA I had to work at McDonald's on the overnight shift to pay my bills. Yes, just over minimum wage (hey, I was a night shift manager). I got offered a job on a movie set for four hundred dollars cash and four hundred dollars deferred. I took it and learned that in the film business sixteen hour days is the norm and I made more at McDonald's, but that wasn't what I wanted to do in LA.
What I am trying to explain is, research before you jump into a film project. Will this film have a chance in getting seen? Am I losing money or am I learning something that can be applied to future film jobs? Are there filmmakers out there that need someone to tell them where to point the camera? Absolutely, but there are others that just might make a difference in the business and when they do don't you want to be on their "First Call" list?
Until next time.
Bob Cook
Director.
If I blindly agree I would be doing everyone trying to get into the world of film making an injustice. Do I agree? Yes. But there are exceptions to every rule. How do you create a resume? I'm listed on a few of those Movie Job sites including Stage-32 and Mandy and apply to most directing and writing gigs offered. I've got to admit, this person who posted didn't have a clue what a director does. I had one nameless person who said I could direct and my pay would be ten percent of what I brought to the project. I'm serious. Yes, I passed. It seems that most of these posts are from people that have never made a film or understand the commitment it takes to make a film. Yet they have an idea and want you to take their idea and turn it into a film. Their dream, not necessarily yours.
However, sometimes when you haven't worked on a film in a few years it's time to lower your standards. Is this a script you believe in? Is this a film that can showcase your talents to perhaps put you in a better position for another job? Film is art and there are many artists out there wanting to put their vision to the test. Some actually might have credits. Look 'em up! IMDB is there for you to search who is starting out versus who is looking to make a new vision come to life.
Did you know that in the state of Florida it's legal to NOT pay Interns? That's right, provided the interns in question are learning and not taking the place of another person who was getting paid. Did you also know that if you are a student right out of film school you really don't have any experience? Over the years, I've interviewed several students for features I was producing. Their resumes consisted of several student projects and not much else. I even asked a young student, "where he'd like to work on my film?", his answer was, 'to be the director.' Seriously, that's what he said at the interview. I told him, "that position was filled. Was there something else to maybe help him reach the goal of director." Deer in the headlight look. You feel we should pay these people? I believe we should help train these people because perhaps the film schools are missing a valuable part of reality and that's the interview process.
You want to work for minimum wage? Get a job at Burger King. The hours are much shorter. However, unless you're going to another fast food chain for work, that tidbit on your resume isn't going to move you along in life. When I was in LA I had to work at McDonald's on the overnight shift to pay my bills. Yes, just over minimum wage (hey, I was a night shift manager). I got offered a job on a movie set for four hundred dollars cash and four hundred dollars deferred. I took it and learned that in the film business sixteen hour days is the norm and I made more at McDonald's, but that wasn't what I wanted to do in LA.
What I am trying to explain is, research before you jump into a film project. Will this film have a chance in getting seen? Am I losing money or am I learning something that can be applied to future film jobs? Are there filmmakers out there that need someone to tell them where to point the camera? Absolutely, but there are others that just might make a difference in the business and when they do don't you want to be on their "First Call" list?
Until next time.
Bob Cook
Director.
Thursday, January 11, 2018
Add Insurance to your Budget!
Happy New Year! You haven't missed anything. This is my first column of 2018. Who decided that getting a flu shot is a good thing? I received a flu shot at the insistence of my doctor and out course a week later got the flu. Coincidence I think not. When I called I was told it's probably a different strand of flu and not the one I received a shot for. I get there are many strands of flu in the world then why not just take your chances? I've been down for almost a week but on the good side I lost about seven pounds.
Why should we add insurance to the budget of our low budget film? One a film with a few hundred thousand in the budget it's a MUST. All rental houses demand you be insured. The minimums are one million dollars in liability. You lost or break the equipment you are covered. Simple as that. Should give you piece of mind when shooting with a rented camera or lighting package. Even Chapman Leonard requires insurance to rent one of their dollies.
Okay let's say you are shooting on a shoe string and everyone promises to be careful. Do you still need insurance? No one wants to have an accident. That's why they;re called accidents. One time I sent a PA to the store for a modest pick up. Someone ran the light and hit her. Wrecked the car and the PA was taken to the hospital. Not her fault. Did she have insurance coverage? Yes, but why should her rates go up? We had her vehicle on file with our grip truck, camera truck, and wardrobe van as a production vehicle. Everything was covered. Piece of mind.
Stunts carry a rider policy but what is considered a stunt and what is considered an accident. While shooting "Lycanthrope" in Smithville, Tennessee, veteran actor, Robert Carradine was suppose to deliver his line and rush into a cave. He really didn't have to rush we kind of added that. First step into the cave he slipped on moss and fell cracking a knocking out his front tooth of his signature smile. Had someone rush him to the hospital and they found him a dentist who had all the work done on his mouth before we returned from shooting. Bobby couldn't wait to show me his smile. The Medical bill would have been sixteen thousand dollars but insurance covered everything.
Even if you are just shooting in your mother's house it would be nice to be able to repair or replace anything that winds up broken or damaged. Insurance is your friend.
Next week I will be writing to coincide with a podcast we will be starting. Highlights will be found here at the column and I will let you know how to find us at our podcast entitled "Next Stop Hollywood." Until then, I'll see you at the movies!
Bob
Why should we add insurance to the budget of our low budget film? One a film with a few hundred thousand in the budget it's a MUST. All rental houses demand you be insured. The minimums are one million dollars in liability. You lost or break the equipment you are covered. Simple as that. Should give you piece of mind when shooting with a rented camera or lighting package. Even Chapman Leonard requires insurance to rent one of their dollies.
Okay let's say you are shooting on a shoe string and everyone promises to be careful. Do you still need insurance? No one wants to have an accident. That's why they;re called accidents. One time I sent a PA to the store for a modest pick up. Someone ran the light and hit her. Wrecked the car and the PA was taken to the hospital. Not her fault. Did she have insurance coverage? Yes, but why should her rates go up? We had her vehicle on file with our grip truck, camera truck, and wardrobe van as a production vehicle. Everything was covered. Piece of mind.
Stunts carry a rider policy but what is considered a stunt and what is considered an accident. While shooting "Lycanthrope" in Smithville, Tennessee, veteran actor, Robert Carradine was suppose to deliver his line and rush into a cave. He really didn't have to rush we kind of added that. First step into the cave he slipped on moss and fell cracking a knocking out his front tooth of his signature smile. Had someone rush him to the hospital and they found him a dentist who had all the work done on his mouth before we returned from shooting. Bobby couldn't wait to show me his smile. The Medical bill would have been sixteen thousand dollars but insurance covered everything.
Even if you are just shooting in your mother's house it would be nice to be able to repair or replace anything that winds up broken or damaged. Insurance is your friend.
Next week I will be writing to coincide with a podcast we will be starting. Highlights will be found here at the column and I will let you know how to find us at our podcast entitled "Next Stop Hollywood." Until then, I'll see you at the movies!
Bob
Subscribe to:
Posts (Atom)