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I'm a film student in Sedona, Arizona.While I am in a one year intensive program and learning a lot, I would say some of my biggest challanges so far are lack of creative souls who really want to brainstorm, and difficult personalities among crew members we are assigned to.
Id like to hear from other filmmakers about some of their challenges and how they may differ from country to country.
Knowing that I can't repeat the feet on Mortus Illumina for my next feature Henry V. you only make a movie once that way and the scale of Henry gets more and more scarey every time i open up my concept folder and play with my pastels.
plus taking my film to cannes next year, without really sitting down and working out the details.
Biggest challenge? Finishing the movie you once started, a long time ago. And to have it look like you wanted it to look as much as possible.
My rates...This rant only applies to Indies.
Indies don't/can't/won't pay my rates. So I work within their budget but in the end it seems that the director and I can never seem to agree on what the overall look and feel should be. They want clich?--I want rough. They want B&W I want color.
In the end they get what they want. But, I would like them to at least give me the duties of a DP and stop making me just a camera OP.
I think that Indie directors don't always see the value in a DP.
Good Luck
<font color="#a62a2a" size="1">[ November 23, 2004 03:30 PM: Message edited by: Nigel ]</font>
<font size="2" face="Verdana, Helvetica, sans-serif">Those are certainly applicable to me, but also getting people that are involved to live by your rules and work to your schedule. The fact that your not paying them doesn't help.Quote:
Originally posted by zonie:
I would say some of my biggest challanges so far are lack of creative souls who really want to brainstorm, and difficult personalities among crew members we are assigned to.
That said, I got them out-of-date Diet Dandelion & Burdock and Fanta for our last shoot, so it's them that's the tossers [img]tongue.gif[/img]
I'm averaging a finished production every five years. They (hopefully) get bigger and better each time. My biggest challenge is immersing myself in the world of air-kisses, vapourous promises and other people's self-obsession.
"I think the most important thing if you're an aspiring filmmaker is to get rid of the 'aspiring.' How do you do that? You make a film," Academy Award-winning director James Cameron told The Guardian. "I don't care if it's two minutes long and shot on Super 8 or DV or whatever. You shoot it, you put your name on it, you're a filmmaker. Everything after that, you're just negotiating your budget."
getting off my complacent arse is the biggest challenge.
But its interesting what you say.
Ive found crew to be the least difficult people to get on with. Most crew Ive met are happy to do what you ask, work the longest hours you can imagine, sleep in the coldest places, and still find something to laugh about the next day.
All for a cup of tea and quiet moment to have a cigarette.
Mind you finding those people is pretty difficult. If you do. KEEP THEM.
Its the people who want to brainstorm DURING THE SHOOT that drive me mad.
Thats what pre-production is for, and I consider it the Directors job, and maybe his closest compadres, to creatively get out of any on set problems.
Not really anyone on the set with a wacky or cool idea.....
Oh yeah, and finishing the fucking thing once youre up to your neck in it all, and not getting too sidetracked by other projects ;-)
BTW: Sedona eh? Vortex'es and desert mountains, and the only Green Macdonalds 'M' in the world -thats something to be proud of!
An oasis in Arizona, so long as your water table doesnt drop any further :-(
<font color="#a62a2a" size="1">[ November 24, 2004 06:51 AM: Message edited by: eidde ]</font>
Thanks, guys , for all responses. Its interesting to hear from filmmakers from the other side of the world..
as someone else mentioned, I also have concerns about bringing my vision to the screen with the same qualit and clarity that i see it now. I would LOVE a good DP on the short documentary I am shooting here in January, and while i do have the creative vision I am interested in working in a collaborative way with my crew, particularly DP and editor.
Nigel, as for pay rate, I can understand that would be a probelm for you, For me NOT having to pay crew much at this point is a complete blessing that will enable me to get this work done... sure its a short window and i know after my two shorts i am going to have to start paying people.. at least i make sure we are comped good food...
can any one tell me whats going on in Scotlkand as far as film? I may head over there and shoot a doc this summer.
ps. the green arches are not really that thrilling.
location releases without insurance . . . [img]frown.gif[/img]
My greatest problem of all is contending with cast and crew. This is half my fault - I'm quite aloof and I'm prone to having what some would describe as "bouts of eccentric behaviour" but it's all towards the end of making a point. The other half of the blame goes to this strange part of the collective Irish psyche (which thankfully seems to have passed over me) which reasons that it is better to tell someone that you can do something that you can't do rather then just tell them up front that you can't do it. This fucking infuriates me. "Can you boom operate on my short" - "NO PROBLEM!?.? Can you make it on set at six - now, if you can't just say so and I'll leave it till eight" - "SURE!?
<font size="2" face="Verdana, Helvetica, sans-serif">I can't even get them there for 10am [img]mad.gif[/img] Once we started shooting at 5pm after a 12pm request due to my actress sleeping in.Quote:
Originally posted by Peter_G:
Can you make it on set at six - now, if you can't just say so and I'll leave it till eight" - "SURE!?
I dunno. Can't work with 'em, can't smack 'em in the face with a shovel and bury them under the patio.
If the crew doesn't show up you fire them. If you can't fire them because you didn't sign a contract then the shit is in your eye. Get it in writing. In the USA a binding contract should include an amount of payment it can be as low as a dollar. This way when someone doesn't show you tell everyone to go home and sorry for the trouble then you find a replacement.
Good Luck
<font size="24">LEARN TO SHOUT VERY LOUDLY AND PUT THE FEAR OF GOD INTO THEM</font>
One of the biggest challenges in filmmaking has got to be getting funding.
Makes it more difficult when you see shorts (& features) that are poor and you're pretty certain that you could better it with half the budget. But life's not fair, and filmmaking is even less fair, so the biggest challenge is to KEEP TRYING.
All these stories about cast and crew being unreliable, fact is that until you can pay them what the hell do they care and what do you expect?!? That's just something you must deal with as and when, but DO remember the guys and gals that stuck with you through it all!!!
The problem as I see it is not one of the crew not caring in the first place. That would be OK. I feel that if someone says they'll do something they are honour bound to keep their word, particularly when you have put everything on the line for the sake of the production. I've heard of industry low budget films of budgets like US$100,000 or $200,000 paying only a little above minimum wage (Nigel: European minimum wage is a lot more then its American equivalent. Here in Ireland the minimum wage is US$9.28 an hour). The main reason professionals work in these sorts of films is because they believe that they are contributing to something good, something that at the very least deserves to exist. The money itself is just a good will gesture. Essentially, you?re paying them in good will (if they were completely mercenary they'd just go work in Tesco).
It?s not that difficult to perform many of the periphery functions on a film set. In an hour or so I could teach someone of average intelligence with no prior experience to clapper load, boom swing or even to focus pull or operate a nagra.
I?m not asking anyone to be brilliant. Shit, most of the time I don?t even ask them to do their best. The only thing that I take as a given is that when someone claims they can or will do something, they keep their word as much and as often as is practically possible.
That, Kev O, is what I expect.
I am not saying that I won't work for little if not nothing. What I am saying is that I don't want to work where I feel like I am working for nothing. Does that make sense??
There have been times when I have worked for nothing becaus I feel like I can get something from it being a future connection or something for my reel.
But if you expect me to step on set for nothing and work my ass off for free then you are dead wrong.
Make me feel like I have value and I will bend over backwards for you.
Good Luck
This is a big deal, and Im suprised it doesnt get talked about that much here.
You cant make a film on your own, or at least I cant imagine WHY you'd want to even if you could.
So you have to get other people involved.
Which requires a certain amount of reliability.
So how do you motivate your cast and crew? Without money?
As Nigel says, no one is going to work for you if they feel they arent getting anything out of it.
Film making isnt like anything else.
People get the strangest things from a film set - different people will work for different reasons.
Some people only work for money - at this level you can scrub these people straight from your list.
Some people will do it because they like the team work - or perhaps their day job doesnt give them what they want - on a film set they get the responsibility they crave for a while.
Some people just love the idea of making something from nothing and will break their back to see it completed - even if its shit in the end. Its satisfying to be involved in a finished work - especially one created with meagre means.
Some people work for the experience, for future paid work in the business.
Some people need a bit of creativity in their lives.
Some people just love fannying around.
Some people like the buzz on the set
Some people enjoy organising....
Some people just fancy the excuse to get out of the house for a while.
blah blah blah....
Low budget indy stuff - directing or producing - I reckon the trick has to be satisfying these different needs for different people, so you dont lose them. But they do need to know that it wont
take over their life - its playtime after all - they need to know before hand exactly what is required of them and for how long.
It really isnt always about money. Although thats a misty eyed thing to say I do beleive it. Look at what can be acheived (not just in the sphere of filmmaking) with nothing....
And you see it all the time - odd people on filmsets truly going the extra mile to help get the thing finished. Its amazingly rewarding to see people that keen and helpful, when 5 other people let you down, for no real apparent reasons.
I guess weeding out the wrong people- the air kissers, the vacuous promise makers and the egos, takes experience.
Im about to embark on another massive project for someone else.
We (the main team) are lucky we dont need the work to pay the bills - we have other jobs.
So this is done just to do it, to be a part in this machine.
But it wouldnt be happening if we didnt all like the script, trust the director (who wrote it) and actually enjoy working with each other -knowing that each person will do the job they are asked to do.
Still early days yet, anything can go wrong, but Im in it for the ride anyway....
Not sure what the answer is, only to relax. Dont try and pressure people to help you, because it'll backfire on you.
Dont expect miracles, trust your crew and give them interesting jobs to do. Trust your cast and give them good roles.
Delegate, and try and create an atmosphere where each person involved beleives that what they are doing matters.
Biggest challenge?
Working with new / first time directors that have read a lot of books and watched the "special features" on some DVDs but have no clue how to communicate what they want. That said, a lot of the people I?ve worked with have been very good. I?ve only had a couple of the bad ones.
Oh yeah, and the arrogance of some of them. I'm crew, I'll always be crew, I don't want to direct or produce. But, especially when we show up for free, PLEASE remember that we are not YOUR crew. We are contributing our time and talent to help you out. It's collaborative people.
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set RANT = 0
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<font size="2" face="Verdana, Helvetica, sans-serif">Expectations like that Peter G. are slightly naive. You're saying you'll take people by their word (which in fairness if you're not paying them what can you do?)and by doing so you must assume that some people won't keep it! You must be prepared to deal with that, and you must expect it.Quote:
The only thing that I take as a given is that when someone claims they can or will do something, they keep their word as much and as often as is practically possible.
That, Kev O, is what I expect.
<font color="#a62a2a" size="1">[ December 01, 2004 10:33 AM: Message edited by: jb_617 ]</font>
<font size="2" face="Verdana, Helvetica, sans-serif">That's pretty paranoid man. The biggest reason I?ve seen for people leaving a shoot or disappearing from a project is that they felt they weren't being trusted to do their job. There are a few directors out there, not many, but a few, that seem to want to have total control over every aspect of the shoot. The best projects I've worked on have been the ones where people were given a fairly free reign to contribute their skills.Quote:
Expectations like that Peter G. are slightly naive. You're saying you'll take people by their word (which in fairness if you're not paying them what can you do?)and by doing so you must assume that some people won't keep it! You must be prepared to deal with that, and you must expect it.
Chance_1234 is a good example of this. The times I worked with him it wasn?t like ?Do it this way, I want it to be like this.? He is more of the approach ?Here?s my vision of what I want, how do we make that happen??
That?s the way I like to work.
I do agree that you need to plan for people dropping out on you though. There are always some of those, especially people that are new to it and find out it isn?t what they expected. But generally, if you respect people and are nice to them, they will respect you and your project.
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Seriously, this is the worst cold I have EVER had.
<font color="#a62a2a" size="1">[ November 26, 2004 11:59 AM: Message edited by: jb_617 ]</font>
Well, it's not paranoid then really is it? People who aren't getting paid drop out, simple as that, and expecting and planning for it doesn't make me paranoid in the slightest, just prepared.
I agree with a drop out reason being making a film wasn't what people expected, but another I found was that people wake up at 6am and think;
"Do I get up, go out and work until late tonight for free, or stay in bed. Zzzzzzzz"
I had to do a re-shoot day once, and had planned the shots, agreed the date and time, spoke to everyone involved, sorted. It got to the day and an actor decided he couldn't make it. We used another guy who looked like him as he was only in the background and we got away with it... JUST. Anyway, point is that he screwed me, nothing I could do but NOT use the guy again. (And laugh, tell him to go and fuck himself and hang up when he later phones me to tell me he's interested in performing in main roles if I make another film!!! )
Yeah, I agree. It is really annoying to have to do a re-shoot and the suddenly some prat can?t/doesn?t show. I hate that. What a lot of people forget is that in this country (especially in the indie scene) it?s a really small community and the word can get out on you fast. I have know a few directors that really do check up on everything someone has written on their CV, or any references they have. Quite a few times I?ve heard of someone saying ?Oh that guy/gal, yeah they were ok, but you know they only showed for the first two days so I wont be using them again.?
If someone is brand new and it?s his or her first time out, you have decide if you want to risk it. But if someone is saying ?Oh, yeah, I did X, Y, and Z with A, B, and C.? Then call A, B, and C and ask about them. Anyone with any credibility will have no problems giving you some numbers to check them out on. Anyone who won?t is suspect in my opinion. I think that?s the best way to get reliable people. Also you get to call some other people that are doing what you do, contacts are always cool, and you can get some good advice and sometimes a bit of free kit or help that way.
Of course, if it?s your mates that you are casting / crewing with, then you have to be really honest with yourself about them. You probably know them quite well, and I know it?s hard to turn them down if they seem really enthusiastic at the start. But we all know these things can go on for months and you need people with real staying power.
By the way, I read your post again and yeah; the paranoid thing was a bit off. Soz, I was speed-reading and I?m not good at it.
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This is what got me into animation in the first place.
I think I've been misunderstood -
Naturally I recognise that no matter how hard I try a certain percentage of people will make an unsatisfactory effort - This percentage increases as you pay your crew less and decreases as you, the authority figure, do a good job.
What I intended to convey when I said I expect everyone to show up is that I think it reasonable and due that each individual, having made a commitment to show up and make a reasonable effort should do so.
Nigel, I understand what you mean - When you work on a film project you want money or the sense that you are contributing to something worthy or some combination thereof. But whatever the case you?re always going to want respect and to feel appreciated.
<font size="2" face="Verdana, Helvetica, sans-serif">I don?t think that anyone working in this profession does it completely for the money (with a few exceptions, few and far between, like Marlon Brando in his later years.) For instance, when Nigel made that beer ad I?m sure money was a bigger motivator then it was with all the other things I saw on his reel. But still, a big part of it was he wanted to help create something beautiful or interesting or fun to create. He loves photography.Quote:
Originally posted by eidde:
Some people only work for money - at this level you can scrub these people straight from your list.
Actors are pretty low on the food chain, most of them'll do pretty much anything and are pretty reliable, because they really WANT to act.
Friends are the most least-trustworthy crew IMO. They'll say "I won't be there at nine, i'll come later. I have some parties tonight." And that's it. However, I had a few good friends who really worked just as hard as I did, and that was a great experience. But then again, we had fun during the shoot, so except for the damn cold they didn't really mind helping out because there was food as well.
I think the best way to keep everyone happy is to 'ease' each shooting day. Give everyone some time to eat, laugh and chill. Don't start to early because you don't want to call them all out of bed. You'll only find yourself in chaos in the afternoon finding out that you can't make what you originally planned, which will result in agitaged folks and a bad atmoshpere.
Thing is, everyone wants to work on movies. Everyone wants to cooporate. Or they at least say so. But when it actually comes down to it, they want to have it their way, sleep, laugh and afterwards say 'Look, we made that movie' While they did jack shit.
In the end you have to offer something...No matter how little. Ask a crew member what their rates are--Tell them that you don't have much to offer but you feel like everyone should get at least something for their hard work.
Make sure that there is good food on the set too. Then people working for peanuts will at least know that they are going to get good food during the day.
Also, it all comes back to Pre-Production. If you plan you will have not just a "Plan-B" but a "Plan-C and D". Which means if your slack-ass friends walk away you don't have mud in your eye.
Good Luck
<font color="#a62a2a" size="1">[ November 28, 2004 11:02 AM: Message edited by: Nigel ]</font>
good advice about motivating people... feed them, make them feel important, dont get them out of bed too early... pay them SOMETHING if you can, involve them creatively and get them inspired with your project and fire them if they dont show..
I also hope to gather a crew I can work with in the future when i CAN afford to pay them and use those same people again and again.
hey any of you guys want to work for free?
You pay for the flights and we're all in mate! [img]wink.gif[/img]
Oh the days of film school....
I shot my first 16mm short in film school-
and the biggest challenge I butted heads with was a thing called "Ego's" (and to this day I haven't found the key to working with those types....Besides smiling while cursing under your breath,) But the things I did find that worked on that first project-
I did "Feed them well" and "let them be
a voice"- But I kept my crew to skeleton size which kept people from having down time. I shot over one weekend and stuck to a tight clock- I really wanted to direct so I sprang for a Good DP/ you can never go wrong on that! Having someone who knows their craft can really bring balance to a first time project. It went smoothly-
- The film world is very different! When I went to do my first low-bud Indy. It was wild... Budget/budget/budget- and seriously.. you want good product... pay people!!! "Friends" can be wonderful or a curse!! I used all friend's on that project and some were great other's I could have strangled!
My biggest Challenge to over come....
"You can never be prepared enough!!!"
So don't ever slack on Pre-production!!!
and always have a plan "b"!!
I had to learn that the hard way: when I had to send home 150 extra's(Non-paid) who had driven close to two hours because I failed to check the weather!
Spunk
<font color="#a62a2a" size="1">[ December 01, 2004 03:33 PM: Message edited by: Spunkey1pestic ]</font>