MAKING IT! in Film Production
Posted: Thursday, July 14, 2005
by John Gaskin
Film Accounting
Do you, or do you want to, work in the feature films, or any film & video project in the film industry? Whether you want to become a film director, or already work in some capacity in film production of any kind, this article will help you make it!
Why aren't there more Props Masters, Sound Mixers, Costume Supervisors, Key Grips, etc. becoming Line Producers, Producers-For-Hire or UPM's? Why aren't more crew reaching the level of Department Head? Why aren't more film school students finding work? I'm sure there are lots of reasons, but take a quiet moment to really look. Let's see.... It's not competence - most crew disappear pretty quickly if they're slow witted and incompetent. Film students who graduate have shown they're pretty smart. It's not a lack of drive - again, for the same reasons. Wouldn't you agree that the biggest hurdle is getting the opportunity? Well, that's true and not true. The biggest hurdle is MAKING the opportunity.
First you need to get the confidence of the person in front of you. That single person in front of you needs to believe that you can control your sphere of work so effectively that he/she can get on with creating their vision.
If you're already a working professional in film production, you can easily convince someone that you can control the heck out of your area of expertise. But, if you want to upgrade, what do you know about the other areas? What do you know about the relationship of your department to all other facets of film production? You need to be able to convince others that you understand the underlying, common denominator of all filmmaking. Some people feel that a creative mind is all that's needed. Nobody denies that you need to have a creative bent in film productions. But let's lay it on the table -
The driving force behind film production is MONEY.
By the time we, as working crew, start working on a film production, our creative bent is totally bent by the amount of MONEY available to us. We want to get the best product we can out of every buck. Like it or not, your performance in film production is measured, to some degree, by how well you control the money. It's like 'Directing', only you're 'Directing the Money".
Do you want to be the best? Do you want to get that upgrade? Then, learn the language of those who 'Direct the Money'. To my way of thinking, that's the only way to be taken seriously.
Here's the deal - you need to show them, with attitude, that you will provide them with a controlled environment from which they can create their vision. The only way I know of to do that is to graduate to a 'Director of Money'. From that position you can be the go-to Line Producer, Producer-For-Hire, Department Head, UPM, etc.
Let's pretend for a moment that you've met a hot new Director, Actor or Executive Producer, etc. with a script. Whoever you meet, they'll be in love with their script and they'll be very excited to talk with you about it. They want someone interested in their baby and they want someone to contribute to its success in any way. After the first ½ hour or less, how do you segue into being their Line Producer, Producer or UPM?
Here's some real questions that would knock their socks off and show that you're the one to 'Direct the Money' while they get on with creating their vision (if you you're foggy on some of these terms, be patient, you'll be very familiar with them after a little reading):
1. Do you need help with the budget? (Don't agree to build it from scratch - but know someone who can find out what you can about the script breakdown)
2. Do you have an idea of the Above-The-Line costs budgeted? (Cast, Director, Writers, Producers)
3. What kind of bottom line do you have in mind for the final budget?
4. Who needs to approve the budget? Will it be an independent film or studio driven? (This is important for your chances - if it's studio funded, you'll need all of his/her backup, and if it's an independent production, find out which bonding company is involved.)
5. What locations are in the script? (Suggest using the services of various Film Commissions to scout for cost efficient locations compatible their vision)
6. How many days of shooting are planned? (If no script breakdowns are completed, recommend somebody you know to do it)
7. If union crew are planned for, find out how many shooting hours a day are planned for? (Insist on at least 13 worked hours per day, as well as a storyboard artist)
You get the idea. You need to know the 'lingo' of budgets and you need to understand that those budgeted numbers need to be directed. You'll also need to inspire confidence in the Financiers, or the Bonding Company, that you know what the weekly financial report card is all about (that is, the universally standard Weekly Cost Report).
Most of those questions, with a little imagination, can also apply to anyone who wants to upgrade to a Department Head. Take my word for it a Production Manager would be completely blown away if a crew member started showing an informed understanding of how budgets and costs could advance the Production Manager's career!
So how does a crew member get familiar with Budgets and Cost Reports? I've been a Production Accountant for 20 years and I've NEVER shown a crewmember a Final Budget or a Weekly Cost Report (the universally standard financial report card issued to the Financiers and Producers every week) in that entire time. They are considered sacrosanct by Studio Executives, Financiers and Bonding Companies everywhere.
Well, I'm about to tease you with some relevant articles that will open the door enough to let you walk through. They're written for the complete novice, so be patient if you've already been exposed to budgets and cost reports.
The articles are NOT techniques on budgeting. They are techniques on being FAMILIAR enough with budgets and cost reports to be able to 'Direct the Money'.
Let's better define the end result of my five articles:
Film Budgets: The reader will be able to make comments about budgets with the confidence that the words and topics are universally accepted by financiers and producers, not just in Hollywood, but also throughout the world. You will also be able to read and follow the style and format of the industry leader of budgeting software, Movie Magic Budgeting©. It won't make you into a master, but it will certainly give you the confidence to upgrade at your next opportunity. If at any time you need help, you can always email me by visiting my web site www.talkfilm.biz and I'd be happy to point you in the right direction.
Film Production Weekly Cost Reports: Don't let the title scare you. The Cost Report at first glance looks incredibly detailed, and to some, even complex. As a direct result of these articles, the reader will be able to understand the layout of Cost Reports (remember they're the same the world over), and be able to make comments about them intelligently. You'll have the confidence that you'll be using the same terms, and are looking at the same topics, as the pros. You won't become a production accountant, but you'll get the drift, and with experience it will become second nature. There are several more examples and charts in my book, "Walk The Talk", which will expand on your familiarity with Cost Reports.
The reading is six more articles - all only about 1,400 words each (about the size of a big commentary-to-the-editor). The practice comes from drilling the content of the articles, asking pertinent questions at work and bugging me whenever you get stalled. There is a seventh article that could have been added for those who haven't been exposed to the simple administrative procedures like petty cash, purchase orders, check requisitions, etc. But in these articles I'm going to assume you are already familiar with those procedures. If not check out my book at www.talkfilm.biz .
Here are the article titles:
1. Introduction to 'Directing the Money'
2. Translating Ideas Into 'Money Talk'
3. Creative Budgeting - Do's & Don'ts of Above-the-Line
4. Creative Budgeting - Do's & Don'ts of Below-the-Line
5. Understand How Investors Grade You - The Weekly Cost Report
6. 'Sell' Your Investors - Presentation of the Weekly Cost Report
When you read my articles, print them out. Make your own examples. Reread them. Send me your questions if you get stuck. You'll find that you'll be way out in front of the pack! For the full information, buy my book from my web site, or simply click this link Walk The Talk.
Cheers,
With over 20 years experience and 40+ film productions, John has worked with some of the industries top professionals, including academy award winners Ron Howard and Brian Grazer. John brings his expertise to aspiring & established film professionals.
Click here to sign up for 7 FREE articles. Or, just buy the book, Walk The Talk for the full information.
Email: articles-7@talkfilm.com
Blogging Address: http://filmproduction.wordpress.com
You may use this article in your ezine or on your site as long as the article and links remain the same.
This Article has been viewed 3,554 times. (Not updated in real-time.)
No comments yet.We want your comments! If you can read this, you don't have javascript enabled, so you can't use this comment system. Please enable javascript.