So You Want to Make a Movie - The “and” Actor

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 11 - Casting ( part 2 )

I’ve saved the best for last. I’m going to give you a tip that may very well make your movie and significantly increase your chances of finding a distributor. Take a look at a few DVD covers for movies you are not familiar with, such as independent and low-budget features. Chances are you are going to see four names at the top of the cover. The first three names you probably never heard of. But the last name will be followed by “and”, and that name and face will be familiar. He’s probably not an A-list actor but probably someone you have seen in several major films. The “and” actor is the key to distribution. Here’s how it works. And trust me; it’s no real secret in the industry.

First, you need a movie that has a key part that requires an actor to be on set only for two or three days. The actor might appear early in the film and then later in the third act. It’s an important part, but it’s not even close to being a major supporting role.

If you can tuck away $10,000 to $20,000 from your budget, you can play this game. About two weeks out from the time you start production, you send offers to agents for actors you are interested in. It’s a risky move because you don’t know if you are going to land somebody. That’s why you need to have a backup plan with an actor you have already auditioned.

Most actors want to work, and that includes actors who have a recognizable name and face. They have a choice. Do your movie and pick up a paycheck or sit at home. What do you think they will do? I can’t believe how many big name actors are now appearing in relatively small, unknown films. And some of these movies are downright awful. So if you think you don’t have a chance to sign a named actor, you would be wrong. If you can write the check, he/she will come and play. You will also have to provide an airplane ticket, a nice hotel room, and meals to make the deal. What you get in return is a recognizable name and face. And whose face do you think will be featured on your DVD cover? Trust me, it won’t be your star or co-star. The truth is in the entertainment industry it’s the star who sells the movie—not the director, the story, or the concept. You need an “and” actor who will be your star.

This strategy will not work several weeks or months before the start of production. It has to be last minute. You have to catch a named actor between jobs and at a time he/she is willing to work at a reduced rate. Do yourself a favor. Keep this option open. Make sure your script has a part for an “and” actor.

Video 101: Shooting Basics

Video 101: Shooting Basics from Vimeo Video School on Vimeo.

A mighty, meaty movie in "The Mighty Macs"

By Cheryl Wicker, Christian Movies Examiner

Quaker Media's first theatrical release, "The Mighty Macs," which opened on Oct. 21, 2011, is inspiring many moviegoers nationwide with its sports Cinderella story theme. Adapted from the true story of the basketball team from the all-girls Catholic school, Immaculata College, that won the US women's collegiate basketball championship in 1971, "The Mighty Macs" is written and directed by Tim Chambers. Businessman and former basketball star at Penn Vince Curran and former NBA's Philadelphia 76ers president Pat Croce are the film's executive producers.

Coming closely in the heels of quality family films like "Courageous," "The Way" and "Dolphin Tale," "The Mighty Macs" stars Carla Gugino, David Boreanaz and Oscar winner Ellen Burstyn. It showcases the faith and determination of coach Cathy Rush, who is considered even then as a woman ahead of her time, for taking on the challenge of transforming a ragtag group of girls into the country's women basketball champions. All of this despite a lot of obstacles and naysayers within the school and outside. A dreamer and visionary, Rush is an inductee into the Naismith Memorial Basketball Hall of Fame for her august achievements

Read more at http://www.examiner.com/christian-movies-in-national/a-mighty-meaty-movie-the-mighty-macs

So You Want to Make a Movie - Casting

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. There is no shortage of books, videos, and online resources to help get you started. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view

Step 11. Casting

Now the fun stuff starts. You need actors for your movie. But as a low-budget and independent filmmaker, where do you find actors who will work at reduced rates or for free? Considering you’re working at a fast pace, what types of discomforts will they be willing to endure? And if you get actors to sign on for free, will they commit to stay on until the film is finished?

Casting is just as important as your script. I do not think you should proceed with your movie under any circumstances unless you are thrilled with your cast. That’s why it’s important to find actors who are a perfect for their parts. As the producer, you can do the casting yourself and may have to considering your budget. But if it is at all possible, find a casting director whose sole responsibility is to find you the right actor for each part. Good casting directors have an instinctive and intuitive sense and will know if the actor is going to work.

Where do you find actors considering you don’t have the money for A-list help? The good news is there are plenty of talented actors that have not been discovered. A good place to start is to contact local theaters, talent agencies and film commissions for possible leads. Make sure you state exactly what you are looking for. Is the part with or without pay? Let them know what part, what genders, what ages and what the first and last day of shooting is. Ask for resumes for the level and type of experience for each actor. Don’t just settle for anyone you can get.

The actors you are looking for that you can afford are called type actors. These are less experience actors that have the same wants and needs of the character in the script. Essentially, the actor is playing a version of himself or herself. Professional actors who have a wide range of experience are called chop actors. They understand the techniques that are necessary to access character traits alien to their own personality or character. In other words, they can act.

Either you or the casting director will conduct auditions by giving your actors lines in advance and time to prepare for a reading. At the read through or audition, give them any specific directions they ask for but don’t offer any in advance. This gives you a chance to see if they approach the part the way you had envisioned the character. For those actors you like, do callbacks. Make sure you tape all auditions. At the callback, have your actors improvise to see if they understand his or her character. Now give directions to test the range of their acting skills. If you find a good actor, do whatever you have to do to get him or her in your film.

Most first-time and low-budget filmmakers struggle with the decision to register with the Screen Actors Guild (SAG). Should you do it or not? The truth is you’re going to have to jump through a few more hoops and deal with some constraints. But I think it makes sense to apply for an ultra-low-budget agreement. The agreement will give you access to SAG actors at a substantially reduced rate. A typical day rate will range from $100 to $125 for an eight-hour day.

So You Want to Make a Movie - Setting Up Shop

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. There is no shortage of books, videos, and online resources to help get you started. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 9. Setting Up Shop

Filmmaking can be fun and exciting; however, this next step is neither. There are a thousand and one things you have to do before you ever turn on a camera, and most of them are quite boring but necessary to the process. You are now moving from development to pre-production, and that means, its time to open up a production office. Whether you rent space or have it donated, you need a central command center. You can’t do this from the back of your car. In reality, you are running a small business that’s responsible to account for every dollar that comes in and how it’s spent, that means paperwork, accounting, meeting payroll, and all the other things necessary in running a business.

Your office should be open for business at least three months prior to the start of production. At this point, you should apply for a film permit, which is basically a license to conduct a temporary business and set up a film production company in the city where you are about to shoot. Also check with the municipality where your office is located to obtain all other necessary permits and licenses. Setting up shop is essentially about getting organized and planning your shoot. It’s a place where you have meetings with potential crew, cast, investors and other interested parties. Most important, don’t forget to obtain liability insurance and workman’s compensation. And you should make a call to your local or state Film Commission that you are planning on shooting a movie in their area. They will be more than willing to assist you with all types of compliance issues and possible tax breaks.

Step 10. Marketing and Promotion

Marketing and promotions does not start when you finish your film and secure distribution. You need to generate a buzz NOW and get the word out about your film. Find a good web developer and build a website for your movie. It’s not as expensive as you think, but it’s necessary and expected in today’s media environment. Use social media to engage your potential audience and keep your investors informed of your progress. Find a host who will do a weekly video blog and podcast about your film. Once production starts, you should produce daily updates on your video blog through your website. Encourage people to help by promoting your movie through Facebook and Twitter by asking them to re-share your post and updates. This is Gorilla Marketing 101. It’s inexpensive, easy and highly effective, especially if it goes viral. This may help you find a distributor if you can create an online sensation about your movie.

So You Want to Make a Movie - NEVER pay retail!

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 8 The Second Re-evaluation

Did you raise the money you need? Congratulations if you hit your goal. But if you are like most filmmakers, you probably fell short. If you were aiming for $200,000 to $250,000 and did everything right through Step 7, you probably raised somewhere from $120,000 to $160,000. So what do you do now? You have several options. You could move forward and hope that additional resources will be found. But the truth is the money you have is the money you have. My advice is don’t expect more money to magically materialize. Moving forward without the proper resources can be dangerous. Your finances must not only get you through the production phase but also all the way through post production as well as promoting your film on the festival circuit, which is essential in getting a distribution deal.

Another option is to wait until you’ve raised all the money necessary to produce your movie. There are advantages and disadvantages to this approach. By waiting, you get to make the movie you want and are not forced to make difficult choices. In some cases, waiting may be a good decision; however, delaying your project has risks. Your investors may become anxious and pull their support. With no firm production schedule, key team members that you have already lined up may not be able to continue to commit to your film. Delays lasting longer than a year usually means you will never get your movie off the ground. Some people dream about making a movie, others talk about it, but filmmakers make movies.

So I suggest following the final option. Push on and make your movie with the money you have already raised. If you have reached 60% of your budget, there is a way to get your film produced. It is going to require you to do a second evaluation. Go back and look at your script and your budget in the harsh reality of daylight. What absolutely has to be there to make your story work? This might mean that you may have to rewrite portions of your script considering the amount of money you actually have to make the script work. But, trust me; it can be done if you are within striking distance of your budget. I realize that some things dear to your heart are going to have to go, but it’s time to get out the chopping block.

You cannot pay top dollar or pay everybody who works on your film. Your goal is to mix paid professionals who are working at a reduced rate along with volunteers who, in some cases, are not experienced. I realize it’s a balancing act, but it’s the only way you will get your movie made. As a producer, you have to become a dealmaker. Can you make deals? Are you diplomatic? Can you negotiate for the best prices? I’m sure most of the costs that are contained in your budget are probably retail. NEVER pay retail! Nobody ever gives you their lowest price. You’re going to have to work for it.

As a dealmaker and low-budget filmmaker, you have to be willing to give people a little piece of your movie. Be creative. For example, rewrite a scene in your movie that can be shot in a restaurant. Pick a location that you know will work in your film. Most owners will be more than happy to allow you to shoot in their business for free as long as you promote their business in your film. You job is to create partnerships which mutually benefit each party. Ask the restaurant owner to provide food for you cast and crew for the days you are shooting in his or her business. Go a step further and see if they would be willing to supply food for the entire length of the production. Of course, it might mean featuring them more prominently in your movie; but if you can make a deal and get something for free or at a reduced rate, you are going to be a little bit closer to closing that 40% gap.

If you reduce the number of days for production, it will help to stretch your money. Most feature films are shot on a 6 to 8 week schedule with a total of 36 to 48 production days. I realize that’s what the book says, but you don’t have that type of money to pay cast and crew members or to rent equipment for that length of time. As a low-budget filmmaker, you will need to shoot your film in 2 to 4 weeks with 12 to 24 production days. To have any chance of finishing your film, production days will need to range anywhere from 12 to 16 hours. The industry standard for shooting a movie is 3 to 4 pages of script per day. You will have to work much faster. The best case scenario is you will have to shoot five pages a day. The worst case scenario is you could have to shoot up to 10 pages per day. This can be done with the right attitude, crew, plan, and someone who knows how to schedule a tight production.

I’ve yet to talk about faith or how God fits into all of this. Considering the fact that you do not have the resources or the money to pull it off, I hope by now you have come to the realization that you cannot do this without God’s help, At this point, you have to make a decision. Have I been called to do this? Am I willing to take a leap of faith and move forward despite all of the obstacles I will face? The second re-evaluation is a good time to ask these questions to check your motives as well as your motivation and resolve. I think you will discover that if you are making a Christian or faith based movie, there will be a lot more people willing to help. A good place to look for support is in your church community. Give people opportunities to volunteer with their time, expertise, labor and materials.

So You Want to Make a Movie - The Pitch

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker.

No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 7. The Pitch

Now that you have potential investors, how do you get them to sign on the dotted line? It all starts with a solid business and marketing plan. Your marketing materials should include a detailed analysis of the current independent movie market, how your film will be successful within that market, and a bio on yourself as well as your team members. You need to think this out. Who is your audience? What is the demographic group you are you aiming for? Can you compare similar successful films to your project? When investing in a movie, there are no guarantees; however, the goal is to give your film a reasonable shot to turn a profit.

There are two questions your investors will undoubtedly ask. Are there any well-known actors in your film, and do you have a distributer. First, getting a well-known actor attached to your project is unlikely because at this point you can’t afford one. You’re not making a big blockbuster so your budget is going to be well below a million dollars. In fact, if your budget is over a quarter of a million dollars, you’re not dealing with reality.

Can you convince your investors that you can attract a well-known actor to your project? It’s quite possible to obtain a “letter of intent” from an actor who has the kind of credits that would impress your potential investors. A “letter of intent” is not a contract. There are no commitments from either party. It merely states that your actor is interested in being in your movie. And, if you think about it, isn’t every actor interested in every part as long as he or she gets paid? Getting a “letter of intent” is not as hard to get as you might think. Find out who represents the actors you are interested in. Send him/her a script and a potential offer. It’s a bit of a fishing trip, but you never know who you might catch. Don’t aim for A-list actors. Put your sights on solid B-list actors, who are on their up or slightly past their prime.

How do you handle the issue of distribution? There’s an old saying within the film industry that applies to your situation. First you make the movie and then you make the deal. It’s never going to work the other way. But there is a way to show your investors that there are some distributors who have an interest in your film. The reality is every distributor will be interested in your movie if they can make money.

Start contacting distributors who work with films that are similar to the type of movie you are producing. Call the acquisition person and see if he/she will read your script. Ask for their input or advice. If you get some interest, they may actually write some script notes for you. There’s nothing in writing or a deal at this point, but by getting a distributor interested and involved in the development process, they get an opportunity to help shape a film that they feel could be potentially successful. Of course, you have to decide how much of their input you will include in your movie. It’s a fine line that you have to walk to keep them interested while maintaining control.

Your potential investors will undoubtedly love a little Hollywood hype and the royal treatment.So give it to them. Hire a movie theater and put together an event to showcase your project. Almost all theaters are available for rental in the mornings. Serve breakfast. Make sure all of your key members are there to do a meet and greet. Have some actors read a few scenes from your movie. Show some of the demo reels from your director and your cinematographer. As I said, everybody loves a little bit of Hollywood, especially in a town that seldom sees any film production.

Now you’ve set the table, and you can pitch your movie. The thing your investors want to know is can you pull this off. You have to convince them that you are an expert in the movie business. At the least, you need to know more than they do.