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| RETURN HOME |
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FILM SCHOOL BASICS |
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SCREENWRITING TIPS |
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Because a good screenplay is the first step to a good film |
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The things every beginning filmmaker should know |
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| PRE-PRODUCTION |
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The Best Laid Plans. . . |
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Pre-production is one of the most important, and most often overlooked aspects of independent film. If you prepare well for your shoot, you'll be in a better situation to deal with the unexpected problems when they come up. And trust me, they will. The following tips should get you on the right track to planning a sucessful shoot. |
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| START WITH THE SCRIPT |
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Everything you need to begin planning is in your script. Obvious, right? But as you go through all the numerous preparations, it's sometimes too easy to overlook the obvious. So start off by going through your script, page by page. Circle, underline, and highlight. Make notes in the margins. Look at the script with an eye toward practical production needs, starting with the basics. |
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| LOCATION, LOCATION, LOCATION |
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Assuming your script is written in standard screenplay format, a slugline heads each scene with location and time of day. Circle each location, then make a separate list of the location and where you intend to shoot it. Have at least one back-up for each location, unless you personally own the title and deed (or at least pay the mortgage) on the property. Even if you want to shoot in your apartment, talk to the landlord and get a signed release. It will save you from headaches and possible legal issues down the road.
If a property owner seems uncertain about letting you use his property, it might be best to find another. You'll have enough hassles on the day of your shoot without a nervous landlord hovering over your shoulder. If all else fails, a small fee of $25 - $50 will usually satisfy a property owner. But not always.
The signed release is one of the most important tools in the planning stage - not only does it protect you legally, but it gives your whole production a more legitimate feel. Make sure your location release allows you to stay beyond your scheduled time if necessary. And if the property owner has a problem with that, go elsewhere. Trust me, it's not worth the hassle. But make sure you begin securing your locations well enough in advance of your shoot that you're not scrambling for anything you can get. |
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| YOU'LL ALSO NEED PROPS . . . |
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Highlight all the props mentioned in the script. Make a note of any props implied by action (though the script may not specify it, a character setting the table would obviously need dishes, silverware, glasses, etc.). Make a list of all the props you'll need, and where they will come from. If possible, gather them together and assign one person to keep track of them all. Don't forget about special props which need to be bought, created, or customized. Know what they are and make sure they're available when you need them. Again, don't put it off or you'll be scrambling at the last minute. |
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WHAT DAY IS IT? |
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If your story takes place over more than one day, number the days and note in your script which scenes are on which days. This will be useful later, for continuity and for costumes. If your film is shot out of sequence (as most are), these simple notations can help make scheduling easier - and that will make your shoot go smoother. |
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AND THE REST . . . |
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Every script is different and will present its own problems. Try to catch as many as you can now, before you get on the set and experience that nauseous dread when everyone is looking at you to start and you're not prepared. Evaluate your script critically and realistically. Don't count on anything to "just work itself out", because it won't. You have to make it happen, and you have to start planning early to keep your options open. |
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SOME RECCOMENDED READING:
For more on pre-production, check out these books . . . |
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Making A Winning Short
by Edmond Levy.
Don't let the title scare you - most of the tips in this book are as useful for features. And it's one of the few readable books on filmmaking which goes into pre-production. |
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Independent Feature Film Production
by Gregory Goodell.
This book reads like a college text, but it's the most thorough account I've seen of what goes into making a film. A lot of overkill for the low-budget independent, but a reference book worth having. |
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 MAKING A WINNING SHORT; HOW TO WRITE, DIRECT, EDIT, AND PRODUCE A SHORT FILM |
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 INDEPENDENT FEATURE FILM PRODUCTION; FULLY REVISED AND UPDATED |
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ORDER BOOKS
<<BY CLICKING ON TITLES >> |
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e-mail me |
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