2 Minute Video of the On-Line Courses
image
image
image


Film Production Tips

EMERGING LINE PRODUCERS - 'Direct the Money'


FILM CREW - MAKING IT! in Film Production

 

FILM CREW UPGRADING TO LINE PRODUCER

There are a lot of different skills on any film & video production, no matter how large, small, studio driven or independent. Within the Film Industry there are skilled Props Masters, Sound Mixers, Gaffers, Cameramen, Costume Supervisors, Grips, etc.

Why do so few of them upgrade to Line Producers, Producers-For-Hire or Unit Production Managers? Why aren't more crew reaching the level of Department Head? Why aren't more film school students finding work, let alone directing their own independent films?

I'm sure there are lots of reasons, but take a quiet moment to really look. Let's see.... It's not incompetence - 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.

MAKING THE OPPORTUNITIES

The biggest hurdle is MAKING the opportunity.

How do you increase the odds of landing a contract as a Line Producer, a Department Head (if you're not one already), or even a UPM on a small independent production? Lots of film school graduates are ready to burst with ideas to get their movie scripts into a film or video production; how do they get to produce their scripts?

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 & video 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 & video production is MONEY! --------


CREATIVE BENT GETS BENT

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'. To my way of thinking, that's the only way to be taken seriously.

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 film budgeting. They are techniques on being FAMILIAR enough with budgets and cost reports to be able to show that one person interviewing you for the upgrade that you can talk the same language as they do.
The reading is seven articles - all only about 3 to 5 pages each. 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 eighth 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 as working film crew are already familiar with those procedures. If not, Buy the book! (See how to below).

SOME ARTICLE TO HELP FILM CREW BECOME LINE PRODUCERS

Here are the article titles:
1. MAKING IT! In Film Production
2. Introduction to 'Directing the Money'
3. Translating Ideas Into 'Money Talk'
4. Your Participation In Above-the-Line Budgeting
5. Your Participation In Below-the-Line Budgeting
6. Your Report Card - The Internationally Recognized Cost Report
7. Presentation of the Weekly Cost Report � It�s As Important As the Dailies

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 upgrading in no time!

 

I've written a series of 7 articles summarizing the book for Film Directors, Producers, Film Crew and Film Students. Check them out:

 

----------------------------------**-------------------------------------

For those of you who are interested in more than just a a readers-digest form of familiarity with Film Budgeting and Cost Reporting, get an instant download of my Ebook (see below).:

FILM BUDGETING

Filmmakers who read my book "Walk The Talk" will be able to make comments about film budgets with the confidence that financiers and producers, not just in Hollywood, but also throughout the world, will have confidence that you're 'on their team' - because you'll be using the same words and concepts that they use everyday! 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 sell yourself as the ... ____, or to have your independent film produced, or to convince a Studio Exec that you're the first-time Film Director they've been looking for, etc. If at any time you need help, you can always email me by visiting my web site johngaskin@talkfilm.biz and I'd be happy to point you in the right direction.


FILM PRODUCTION COST REPORTS

Film Production's Weekly Cost Reports (the Report Card sent to all those who hold the purse strings, and the strings to your future):

There are many within the Film & Video Industry who are interested in becoming a respected producer or production manager. Those who read my book, "Walk The Talk" will get o read and do many examples of real-life Cost Reporting.

This is an opportunity not available anywhere else.

The Cost Report at first glance looks incredibly detailed, and to some, even complex. As a direct result of these articles, regular film crew 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.

Instant Download of the EBook for only $22.50 - immediate access to a practical guide with173 pages of experience to help you make it in film.

Throughout the book I've inserted some of the juicier real life pitfalls that I've personally witnessed, reported on, or unwittingly participated in.

See Story #8 for one such story.

An added aim of this book to give an insight into the world of Production Managing. To my knowledge and research, exposure to this type of information just isn't available anywhere else. This book is vital for film crew who want to become a Production Manager.

See Crew-It's Cool To Walk The Talk.

 

 


 
image