Indie Films – Page 2 – Shooting From The Hip

“10 Creative Ways for Indie Filmmakers to Market/Promote Their Film on a Shoestring Budget” – #021

Introduction:

As an indie filmmaker, marketing and promoting your new film on a limited budget can be a daunting task. However, with a little creativity and resourcefulness, you can still generate buzz and attract an audience. In this blog post, we will explore ten actionable strategies that indie filmmakers can implement to market and promote their films without breaking the bank. Let’s dive in!

1. Leverage Social Media:

Social media platforms provide a cost-effective way to reach a wide audience and engage with potential viewers. Create accounts on platforms such as Facebook, Instagram, Twitter, and YouTube, and regularly share behind-the-scenes content, teasers, trailers, and updates about your film. Encourage your cast and crew to share these posts with their networks, increasing the reach organically. Engage with your followers by responding to comments and messages, building a community around your film.

2. Utilize Influencer Marketing:

Identify influencers in your niche or local community who align with your film’s themes or target audience. Reach out to them and propose collaborations or partnerships. This could involve asking them to review your film, share promotional content, or even host a screening event. Offer them exclusive content or free access to the film in exchange for their support. Influencers can significantly amplify your film’s visibility and attract new viewers.

3. Organize Local Screenings and Events:

Take advantage of local communities and venues to host screenings and events related to your film. Contact independent theaters, community centers, or even local cafes to inquire about hosting a screening. Advertise these events through local newspapers, online community boards, and social media. Offer unique experiences such as Q&A sessions with the cast and crew, live performances, or panel discussions to make the events more enticing.

4. Engage with Film Festivals and Student Organizations:

Film festivals and student organizations are always on the lookout for fresh and innovative content. Submit your film to relevant film festivals, both local and international, that cater to your genre or niche. Winning awards or gaining recognition at film festivals can generate buzz around your film and attract attention from distributors and industry professionals. Additionally, reach out to student organizations or film clubs at universities and colleges, as they often organize screenings and events for independent films.

5. Collaborate with Local Businesses:

Forge partnerships with local businesses to cross-promote your film. Approach cafes, bookstores, or any other establishments that align with your film’s theme and propose mutually beneficial collaborations. For example, a coffee shop could offer a special “Film-themed” drink or display promotional materials in exchange for promoting their business during your film’s screenings or events. These collaborations can expand your film’s reach and create a win-win situation for both parties involved.

6. Implement Guerrilla Marketing Tactics:

Guerrilla marketing involves unconventional and low-cost strategies to create buzz and awareness. Get creative with your marketing efforts by utilizing street art, graffiti, stickers, or posters strategically placed in high-traffic areas. Create eye-catching viral videos or stunts related to your film and share them on social media platforms. These guerrilla marketing tactics can help your film stand out and generate organic word-of-mouth promotion.

7. Utilize Online Communities and Forums:

Engage with online communities and forums dedicated to indie films, filmmaking, or your film’s specific genre. Participate in discussions, share insights, and offer valuable content. Avoid overtly promoting your film but instead focus on building relationships and establishing yourself as a knowledgeable filmmaker. When appropriate, share relevant updates about your film or invite community members to screenings. This approach can help you build a loyal fan base and gain support from fellow filmmakers.

8. Collaborate with Local Media Outlets:

Reach out to local media outlets, such as newspapers, radio stations, and online publications, and pitch your film as a unique local story. Offer interviews, press releases, or exclusive access to behind-the-scenes content. Local media outlets are often interested in covering local talent and stories, providing you with valuable exposure to a wider audience.

9. Create Engaging Content:

In addition to sharing promotional material, create engaging and shareable content related to your film. This can include blog posts, articles, or video content that explores the themes, inspirations, or challenges behind your film. By providing valuable and interesting content, you can attract a broader audience and establish yourself as an authority in your niche.

10. Build an Email List and Launch a Crowdfunding Campaign:

Start building an email list early on by offering exclusive content or updates to those who sign up. As your film progresses, use this email list to launch a crowdfunding campaign. Platforms like Kickstarter or Indiegogo can help you raise funds while simultaneously generating awareness about your film. Offer unique perks, such as limited edition merchandise or special access, to incentivize people to contribute to your campaign.

Conclusion:

Marketing and promoting an indie film with limited resources may seem challenging, but by employing these ten creative strategies, you can maximize your film’s exposure and attract.

As always be inspired, be encouraged, and be collaborative.

Saki Bomb

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Crafting Cinematic Identity: A Director’s Artistry Through Mood, Style, and More – #020

In the realm of filmmaking, directors are the maestros of storytelling, wielding their artistic prowess to create worlds and narratives that resonate with audiences. While every director has a unique approach to their craft, a key element of establishing their identity lies in their ability to shape the mood, style, genre, writing, lighting, camera shots, and camera movement of their films. These components are the palette upon which directors paint their cinematic portraits.

Mood:

Mood is the emotional core of any film. It sets the tone for the entire experience, and directors use it to evoke a specific response from the audience. For example, consider the works of David Fincher, known for his dark, brooding, and intense mood. Films like “Se7en” and “Fight Club” immerse viewers in a bleak and unsettling atmosphere, a testament to Fincher’s mastery of mood.

Style:

A director’s style is their signature, the visual and thematic language they use to tell their stories. Wes Anderson’s films, with their vibrant color palettes, symmetrical compositions, and quirky characters, are instantly recognizable. Anderson’s unique style lends an air of whimsy to his narratives, making them one of a kind.

Genre:

The genre a director chooses to work in can significantly influence their identity. Take Christopher Nolan, whose exploration of complex narratives in science fiction has become his trademark. Films like “Inception” and “Interstellar” showcase his penchant for blurring the lines between reality and imagination.

Writing/Story/Topic:

The heart of any film is its story, and a director’s choice of subject matter and storytelling style can define their identity. Quentin Tarantino is celebrated for his unconventional narratives, sharp dialogue, and penchant for exploring unconventional themes. His films, like “Pulp Fiction” and “Kill Bill,” often delve into the dark and violent corners of society.

Lighting:

Lighting is an essential tool for shaping the mood of a film. Directors like Stanley Kubrick are renowned for their meticulous attention to lighting. Kubrick’s use of stark contrasts and meticulous attention to detail is evident in “The Shining,” where the oppressive, eerie lighting contributes to the film’s sense of dread.

Camera Shots and Moving the Camera:

The way a director frames their shots and moves the camera can have a profound impact on the audience’s engagement. Consider the long, uninterrupted takes in Alfred Hitchcock’s “Rope,” which create a sense of suspense and tension. Hitchcock’s masterful camera work is a testament to his unique cinematic identity.

In conclusion, directors’ cinematic identities are crafted through their mastery of mood, style, genre, writing, lighting, camera shots, and camera movement. These elements are the brushstrokes on the canvas of their storytelling. It is this fusion of creativity, technical expertise, and a distinct vision that allows each director to carve out a unique place in the world of cinema, leaving an indelible mark on the medium for generations to come.

As always be inspired, be encouraged, and be collaborative.

Saki Bomb

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5 Essential Things to Consider When Hiring a Director for Your Film Project – #019

Choosing the right director for your film project is a critical decision that can greatly impact the success of your film. The director is the creative force behind the camera, responsible for translating the script into a visual masterpiece. To ensure that your project is in capable hands, here are five essential things to consider when hiring a director.

Experience and Portfolio

When looking for a director, it’s crucial to assess their experience and review their portfolio. A director with a proven track record is more likely to handle the complexities of a film project effectively. Pay attention to the types of films they have worked on in the past. If you’re making a romantic comedy, a director known for their action-packed films might not be the best fit.

Vision and Style

Each director has a unique artistic vision and style. Your director should align with the vision you have for your film. Discuss their approach to storytelling, cinematography, and directing actors. It’s essential that their creative sensibilities complement your project’s goals. A successful collaboration is built on a shared vision.

Communication and Collaboration Skills

A director’s role extends beyond just artistic creativity. They must also be effective communicators and collaborators. A good director will work closely with your production team, actors, and crew to bring your script to life. Ensure the director can convey their ideas clearly and can maintain a positive working atmosphere on set.

Budget and Resources

Consider the budget and resources available for your film project. Some directors are adept at working with limited budgets, while others excel with substantial resources. It’s important to find a director who can manage your budget efficiently and make the most of the resources at hand. Discuss their experience in managing budgets and handling unforeseen challenges.

References and Reputation

Don’t hesitate to ask for references and check the director’s reputation within the industry. Speak with producers, actors, and crew members who have worked with them in the past. This will provide valuable insights into their work ethic, professionalism, and ability to deliver results. A strong reputation is often a sign of a director’s trustworthiness.

Conclusion

Hiring the right director is a pivotal decision in the filmmaking process. Their experience, vision, communication skills, ability to work within your budget, and reputation are all essential factors to consider. Taking the time to carefully select the right director for your film project can ultimately lead to a more successful and memorable cinematic experience for your audience. So, do your research, conduct interviews, and make an informed choice that aligns with your project’s goals and aspirations.

As always be inspired, be encouraged, and be collaborative.

Saki Bomb

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“Crafting Compelling Characters: The Art of Character Development in a Screenplay” – #016

A well-crafted screenplay is more than just a sequence of events and dialogues. It’s a world where characters come to life, capturing the audience’s imagination and emotions. Character development is at the heart of any great screenplay, as it breathes life into the narrative, making it relatable and engaging. In this blog, we’ll explore the art of character development in a screenplay, understanding its significance and sharing tips on how to create compelling characters.

The Significance of Character Development

Character development is the process of creating multidimensional and relatable characters who evolve throughout the story. It is a vital component of storytelling, as it allows the audience to connect with the characters on a deeper level, fostering empathy and emotional investment. Here are some key reasons why character development is essential in a screenplay:

Audience Engagement: Well-developed characters make it easier for the audience to relate to and root for them. When viewers care about the characters, they become more engaged in the story, which can lead to a more satisfying cinematic experience.
Conflict and Drama: Characters with depth and complexity can drive the story’s conflict and drama. Their flaws, motivations, and internal struggles can create tension and propel the plot forward.
Arc and Growth: Character development often involves a character arc, where individuals undergo significant changes or growth throughout the story. This transformation adds depth and meaning to the narrative.
Memorability: Iconic characters are often the most memorable aspect of a film. Well-developed characters can leave a lasting impression and become cultural touchstones.

Now, let’s delve into some strategies for crafting compelling characters.

Tips for Effective Character Development

Know Your Characters Inside and Out: Start by creating detailed character profiles. Understand their backgrounds, motivations, fears, desires, and quirks. Think about their past experiences and how these shape their current behaviors. The more you know about your characters, the more authentic they will feel on screen.
Show, Don’t Tell: Instead of telling the audience about a character’s traits, show them through actions, dialogues, and interactions. Let the audience discover the character’s qualities naturally, allowing for a deeper connection.
Create Flawed Characters: Flaws make characters relatable and interesting. Nobody is perfect, and flawed characters have room to grow and change over the course of the story. These imperfections humanize them and make them more compelling.
Give Them Goals and Motivations: What do your characters want? What are their driving forces? Having clear goals and motivations will give your characters purpose and direction, making their actions and decisions more understandable.
Character Arcs: Consider how your characters will evolve throughout the story. What challenges will they face, and how will these experiences change them? A well-executed character arc can be the emotional heart of your screenplay.
Unique Voices: Each character should have a distinct voice and personality. Their dialogue should reflect their individuality, helping the audience easily distinguish between them.
Conflict and Relationships: Characters’ interactions with one another can reveal a lot about their personalities. Develop complex relationships and conflicts that showcase different facets of your characters.
Backstory Integration: Use the character’s backstory strategically to inform their present actions and decisions. This can add depth and authenticity to their character development.

In the world of screenwriting, character development is an art that brings stories to life. By creating multidimensional, relatable characters with their own goals, flaws, and motivations, you can engage your audience on a profound level. Through character arcs and well-crafted relationships, you can craft a narrative that resonates emotionally and leaves a lasting impact. So, whether you’re writing a drama, comedy, or action-packed thriller, remember that compelling characters are the heart and soul of your screenplay.

As always be inspired, be encouraged, and be collaborative.

Saki Bomb

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“Shedding Light on the Magic of Film Lighting” – #014

Lights, camera, action! If you’ve ever watched a movie and wondered how they create those mesmerizing visuals, you’re about to get the inside scoop on one of cinema’s best-kept secrets: film lighting. It’s the illuminating art form that turns a simple scene into a cinematic masterpiece. So, grab your popcorn, and let’s dive into the basics of film lighting with a touch of wit.

1. It’s All About Mood Lighting In the world of filmmaking, lighting isn’t just about banishing the shadows. It’s about setting the mood, and it’s moodier than a teenager on a rainy Monday morning. Whether it’s the warm, cozy glow of a rom-com or the eerie, spine-tingling darkness of a horror flick, lighting creates the emotional landscape of the film. Think of it as the film’s therapist, asking, “How do you feel, scene?”

2. Three-Point Lighting: The Star Trio Imagine you’re at a fancy dinner party, and the guests of honor are the key players in film lighting: the Key Light, the Fill Light, and the Backlight. The Key Light is the star of the show, providing the main illumination to the subject. The Fill Light is like a sidekick, softening the shadows created by the Key Light. Finally, the Backlight adds a touch of glamour, outlining the subject and separating them from the background. Together, they create Hollywood-worthy magic.

Quality Matters (Lighting, Not Diamonds)
In film, the quality of light is everything. It’s not about how expensive your chandelier is; it’s about how it makes your subject look. Soft light, often achieved with diffusers or bounce boards, can make actors look like they just stepped out of a dream. On the flip side, hard light creates dramatic shadows, perfect for those film noir moments when the detective is about to drop a killer one-liner.

Colors, Gels, and Cinematic Flare
Lights aren’t just white and boring. They come in all colors of the rainbow, thanks to gels. Cinematographers use gels to cast hues that match the film’s mood. For instance, a warm orange might evoke a cozy sunset, while a cool blue could transport you to an icy winter night. So, next time you see a film bathed in a specific color, you’ll know it’s not just mood lighting; it’s film mood lighting.

5. The Magic of Shadows What’s a great hero without a formidable villain? Shadows play the role of the antagonist in film lighting, adding depth, intrigue, and a dash of mystery. The interplay between light and shadow is where the cinematic magic truly happens. It can turn an ordinary face into a canvas of emotions or a regular alleyway into a haunting labyrinth.

Film lighting is the unsung hero of every movie, working its luminous charms behind the scenes to make the on-screen magic happen. The next time you watch your favorite film, pay attention to the subtle dance of light and shadow, and you’ll truly appreciate the artistry that goes into creating those unforgettable moments. Lights, camera, brilliance!

As always be inspired, be encouraged, and be collaborative.

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Saki Bomb

“Lights, Camera, Self-Tape: 5 Do’s and Don’ts for Aspiring Actors” – #013

In the era of virtual auditions and remote casting, the self-tape audition has become the actor’s best friend. It’s the modern-day equivalent of a live audition, but with a twist – you’re the director, cinematographer, and actor all rolled into one! So, grab your script, your camera, and a pinch of humor, as we delve into the world of self-taping with these five witty do’s and don’ts.

Do’s

Lighting: Find Your Inner Diva

Do bask in the glow of good lighting! Natural light is your best friend. Place yourself in front of a well-lit window, but avoid direct sunlight, unless you want to audition for the role of a solar flare. Soft, diffused light will make you look like the star you are. Don’t risk being mistaken for the neighborhood crypt keeper due to bad lighting.

Backdrop: The World Is Your Stage (Almost)

Do create a backdrop that doesn’t steal your spotlight! A plain, uncluttered background is ideal. Avoid taping in your laundry room with your unmentionables on display or against a poster of your favorite boy band from the ‘90s. Unless, of course, that’s the role you’re auditioning for.

Sound: Silence Is Golden

Do eliminate background noise! Your performance should be the only thing heard. Inform your neighbors that you’re not auditioning for the lead role in “Drunk Karaoke Night.” Keep pets, loud family members, and sirens at bay. Invest in a good microphone; it’s your ticket to crystal-clear audio.

Camera Work: Steady Wins the Race

Do invest in a tripod or a friend with steady hands! Shaky footage will make your performance look like an audition for “The Blair Witch Project.” Keep the camera at eye level, ensuring you’re framed from the chest up. Save the dramatic, handheld camera angles for your indie film debut.

Performance: Channel Your Inner Oscar Winner

Do bring you’re a-game! Treat this self-tape like it’s your one shot at stardom. Commit to the character, hit your marks, and deliver your lines with passion and conviction. Show them you’re not just an actor; you’re a force to be reckoned with!

Dont’s

Backdrop Blunders: Clutter Calamity

Don’t film in a cluttered or distracting environment! Your self-tape isn’t an episode of “Where’s Waldo.” Keep it simple and let the focus be on you, not on trying to decipher what’s on your bookshelf.

Wardrobe Malfunctions: Costume Catastrophe

Don’t dress for the wrong role! Avoid showing up as a space explorer for a period drama audition. Dress the part, but skip the full costume unless specifically requested. Leave the cosplay for Comic-Con.

Techno-Troubles: Don’t Be the Pixel Picasso

Don’t use outdated equipment! Grainy footage and pixelated faces are no one’s idea of a good time. If your camera dates back to the pre-smartphone era, it’s time for an upgrade. Your smartphone can do wonders with the right settings.

Monologue Marathon: Keep It Snappy

Don’t ramble on! Keep your self-tape under the specified time limit. Directors won’t appreciate a ten-minute soliloquy on your love for cat memes. Get in, deliver, and get out.

No Audition Aids: The Magic of Editing

Don’t rely on post-production magic! Directors want to see your raw talent, not your editing skills. Resist the urge to add filters, special effects, or a laugh track. This is not your stand-up comedy gig.

Remember, the self-tape audition is your chance to shine, and a touch of wit and preparation can go a long way. So, follow these do’s and don’ts, and break a leg (not literally) on your next self-taping adventure. You’re one audition closer to becoming the next big sensation!

As always be inspired, be encouraged, and be collaborative.

Saki Bomb

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“5 EASY STEPS TO WRITING YOUR FIRST SCREENPLAY USING AN OUTLINE” – #011

First, start with your Beat Sheet. If you are familiar with Blake Snyder’s Save The Cat, then you know what a Beat Sheet is. If not, let me explain. A Beat Sheet is a condensed outline version of
your screenplay with a few caveats. Generally, there are roughly 15 beats that mark certain story points and progressions. They range from the Opening Scene/Image to The Set-Up of the protagonist in his/her world. It operates off the idea that there is a particular structure most movies have.

Second, use index cards to write out each scene. On a two-hour movie, or 120-page screenplay, the scenes per movie is somewhere between 40 and 60, give or take. Each scene can range between two to three pages. Write the action and characters of each scene onto an index card.
E.g. – INT/APARTMENT: John confronts Jill about her infidelity.

Third, use the index cards to elaborate on each scene. Ideally you would be writing a paragraph or two in this portion.
E.g. – John comes home early to surprise Jill with takeout and a bottle of her favorite wine. She is in the bedroom on the phone. He eavesdrops and hears her confess her undying love to her lover. John barges into the room, she hangs up quickly, and he confronts her.

Forth, describe any actions and revelations in the scenes. A scene should always reveal something new about the characters or move the story forward.
E.g. – John eavesdrops and shows he already distrusts Jill.
We can show John going through great pains in the scene to sneak into the apartment and tiptoe up to the bedroom door.

Fifth, insert dialog as you move forward. If dialogue strikes you, write it down. Even if it’s just one character’s dialogue, you can always come back later to add or take away. It’s important to get the dialogue on paper, no matter how bad you think it is.

Lastly, there are no hard and fast rules to creating an outline. In the end you should do what works for you. Do what comes easiest. Some scripts you may use all the above steps, while other scripts you may use only a few of the tools. As you become more proficient you will develop your own special tools for outlining your screenplays.

As always be inspired, be encouraged, and be collaborative.

Saki Bomb

“WHAT’S WRONG WITH YOUR SCRIPT” – #010

Recently I was asked by my friend and fellow screenwriter to critique a short movie he had written. I agreed, but with slight hesitation. Why the hesitation you asked? I am not THAT screenwriter. At least that screenwriter in the traditional sense. I don’t always follow the rules. I don’t enter screenwriting contests and the ones I have entered have never been a blip on anyone’s radar. I usually have a lot of typos and sometimes struggle to keep the rules in order. Like when to use a FADE OUT or DISSOLVE or when not to use CUT TO after scenes. Or my favorite – how to properly write a montage scene and the difference between montage and a Mise en scene.

So, when someone asks me to critique their screenplay, I struggle.

To date I have written around 15 features and written and created several digital series, so I do know a little something, even if it’s only writing a bad script. I don’t do a lot of rewrites unless I intend to film them. There are a few things I hold to when writing screenplays.

Figure out your THEME.

In Blog #003 “What are Movie Themes?” I go in-depth discussing the importance of themes. Essentially, theme is a film’s dominant thought and unifying idea. It’s the thumbprint of film. It’s unique even if it’s been done in previous films. It will still be unique because it will be your spin on the idea. It is important to know what this is because all films are about things. Those things matter if you intend for your film to have some sustenance.

Syd Field’s Best selling screenwriting book.

Write a LOGLINE.

What is a logline? It is a one sentence that contains what, who, when, and why in every film. I can say I have never started any film or script without one. I am working on a script called The Visit that I intend to shoot late summer of 2022.

Here is the logline:

“A recently widowed neat freak entertains his free-spirited aspiring actor sister when her flight gets cancelled in Los Angles for the weekend.”

Loglines keeps the writer honest. It also communicates what your film is about without spending minutes explain every plot twist and inciting incident. Writing a logline forces you to conceptualize what your story is about in its totality, in one concise stroke.

Understand Basic Screenplay FORMAT.

I am not a screenplay snob. I am far from it. I don’t derive any pleasure from knowing all the minute intricacies of screenwriting. However, screenwriters should know the bare minimum.

What are slug lines, transitions, and action lines and how are they used in the screenplay? What is the basic breakdown of a 3-act structured screenplay?

Screenwriting is a craft. This means it’s an activity involving skill. You get skilled by doing. There are hundreds of books, online seminars, and classes that broach this subject. In 2022 there is no reason for an ill formatted screenplay, yet they exist.

Aaron Sorkin, Writer: The West Wing, Money Ball, The Social Network, Steve Jobs and A Few Good Men.

Too much DIALOGUE.

A Director of Photographer friend of mine named John Gardiner once said to me, “most first-time screenplays have way too much dialogue.” I never forgot this. He was correct. When I looked back on some of my earlier screenplays, and I had pages and pages of useless repetitive sentences of characters saying the same thing in different ways. My early screenplays sucked by the way. He suggested doing an edit pass after the first draft and cutting the dialogue by fifty percent. This is a practice I do to this day and am still amazed at the number of repetitive sentences I write. Screenwriting is about word efficiency and economy. You simply don’t need the fluff that would be in a novel.

READ other Screenplays.

Make a habit of reading screenplays. This is the quickest way to find out what’s wrong with your script. You see how Paul Haggis wrote his academy award winning movie, Crash. You can get a few lessons from Spike Lee by reading Do the Right Thing and see how Shane Black writes such vivid descriptions in Lethal Weapon. My point is read screenplays often. And don’t just read great screenplays, read some not-so-great ones too.

As always be inspired be encouraged and be collaborative.

Saki Bomb

Screenwriting Books:

The Screenwriter’s Bible: A Complete Guide to Writing, Formatting, and Selling Your Script by David Trottier

Story: Style, Structure, Substance, and the Principles of Screenwriting, by Robert Mckee

Save the Cat, by Blake Snyder

Four Do’s to Casting Your Next Microbudget Film – #009

Having worked pre-production on several microbudget projects ranging from short film to full feature movies, I have seen the full spectrum as it relates to casting. I can honestly say casting can make or break your film. Here are a few commandments I think every micro budget filmmaker should include in their casting process.

Give yourself ample time to audition.

As a rule of thumb, you should start your casting three to four months from the start of principle photography. In theory if you follow this you have two to three months to cast and thirty days to allow the actors to study their script.

For example, if you give yourself 90 days then your first 30 days will consist of posting and reviewing several hundred: head shots, reels (if any), and resumes. The next 30 days will be auditioning the top 10 percent and converting the 10 percent into your top three actors. This process is duplicated for each role. You take the top three actors and discuss them with your production team. You weigh the pros, cons, and potential scheduling conflicts before making a decision. Never rush this step. If you need to push the film date back, then push the film back. This is the one step you must get correct.

Audition multiple actors for each role.

This sounds like a no brainer but trust me I have cast roles after auditioning just one actor. I did it for my last feature and it worked out fine. I wish, however, that I auditioned more, even if it’s just for the sake fortifying your bet/gamble on the actor you choose. Another reason why you should audition several actors is in case of a recast. You will have to recast at some point in your film career. I have recast on every single film project I have ever produced but if you have three actors who you have auditioned and vetted it’s easier to simply pick the next actor on your list.

Don’t cast the look. Cast for talent.

Film is such a visual medium that it’s easy for us to get caught up on how actors look. As a producer you get wrapped up with who you envision playing the role. I can’t tell you how many times I wrote a screenplay for Denzel Washington, Michael Ealy, or Idris Elba while knowing I couldn’t cast them. Or wrote screenplays with those actors in mind. When it is time to cast, I would look at every actor through my Denzel Washington casting glasses and be utterly surprised when none of these actors hit the unrealistic marks I had in my head.

You can also get caught up with how actors look on camera and forget about their acting abilities. Focus on whether or not the actor has range. Does the actor have craft? These are the important aspects every producer and director should pay attention to.

Make sure the Actor can take Direction.

Good actors want direction from directors. They crave this. They see this direction as a way to gauge performances and keep from over overacting. In casting it is slightly different. You want to know if the actor can give different performances when given notes (suggestions) or adjustments from the director. You also want to know if they are willing to take notes from the director on the set. You can see how this could be a huge problem and a guaranteed showstopper to your film. You would not hire someone if they could not perform work related task. Actors taking direction is a work-related function, so be certain.

As always be inspired be encouraged and be collaborative.

Saki Bomb

HOW TO BUDGET FOR A MICRO-BUDGET FEATURE FILM? – #006

I had a fellow filmmaker ask me, “Where does the money go?”. By money he means the film budget if you are fortunate to have one. I decided to write a post that deals with this glossed over aspect. This will not cover insurance cost, legal fees, etc. These are extremely important to filmmaking for the crew and talent, but it will not be covered here. As always you should consult a professional and have all your bases covered legally when partaking in filmmaking.

Let’s start with a nice round number, let’s say 10k. I think 10k is a solid start for a micro budget film. I could consistently put out 75-minute films in 10 days give or take. Let’s also assume that the script is written, and you are not paying for a screenwriter to produce first, second, third, and fourth drafts. Let’s assume you are the director and producer. Let’s also assume that you have relationships with other filmmakers (i.e., DP, Grip, Sound, PAs, etc.) and you are not a newbie. Why? Newbies pay retail and you can’t make your films for 10k as a newbie. The same film will cost newbies 30k to 50k, easily.

Below is my personal break down and allocation of 10k for a 10-day shoot. I personally think 10 days is too long for a micro budget feature. So, try to shoot for 8 days with 1 day for pick up if necessary. Here are a few parameters I think you should incorporate.

Shoot your film for less than your budget, if possible. Off a 10k shoot aim for $8,500 or $9,000. This way you have $1,500 or $1,000 for unplanned expenses. Trust me they will come up. If you come under the budget, you can save the money for marketing and promotion or spread the love out to the cast and crew, if you are able.

When negotiating crew and actor rates never negotiate day rates, try to do a flat. If your actor rate day is $150 per day. $150/actor x 10 days = $1500. If there are 4 actors, then you are at 60 % of your budget already. Lead actors get more than costars and actors who are in just one scene get only food and credit.

If possible: Barter, Barter and, yes, Barter. Let your filmmaking friends know – if you can shoot, record, act, or PA for this flat fee then I will help you on your next project. When the time comes do what you promised.

Consolidate actor’s performances and see if you can shoot one or more actors’ scenes in one day. Actors maybe be willing to work with a flat rate if you wrap that actor in one or two days.

Ask anyone who has a home or apartment if you can film there for a nominal fee. You might be surprised. As a matter of fact, ask your fellow actors if you can use their apartments in exchange for casting them in your new film/films. It worked for me. If they agree, write them into the movie.

DO NOT cut corners with craft services. No fast food like McDonald’s or pizza. A well-fed cast and crew is a productive cast and crew.

Look for Student film crew to fill positions but check their work and ask qualifying questions when interviewing. Why? Because anyone can fudge a reel and resume.

You as the Director/Producer will not get a salary. Get use to it. Put all the money on the screen.

Tell your actors to come hair and make-up ready.

Shooting From The Hip Film Budget

Crew
- Sound recordist – $900
- Director of photography with film equipment – $900
- Production Assistant – $700

Actors
- Starring Actor – $800
- Co-Star – $500
- Co-Star – $500
- One Scene Actors – Food/Credit

Locations – $1500

Post-production
- Coloring -$1000
- Post sound mix – $1000
- Film editing – $1000

Food/Props
- Food – $1500
- Props/Set dress – $500
- Gas and miscellaneous – $750

Total: $11,550

It seems we went over budget by $1550. It happens and trust me it will continue to happen in the wonderful, less than perfect world of micro budget filmmaking. The budget game is an ever-changing world of give and take. You take from one column only to give it to another. So, we didn’t come under budget, but we got the film in the can and at the end of the day that’s what’s most important.

As always be inspired, be encouraged and be collaborative.

Saki Bomb