This is my first thread. I am currently directing a low/no budget film here in Harrisburg, PA and have been priviledged to work with a cast and crew who know what they are doing. Our actors have experience and can act and our crew has experience and is very good at what they do. However, I have had some trouble keeping some of the crew excited about the project. They all were at one time very excited, they all volunteered to do the project for no money. But now some of them feel they can just not show up to shoot. They don't bother to call me if they are late or even if they don't come at all. I'm not talking a camera assistant, I'm talking my 1st AD! I've talked to them already about the problem and tried to use the usual methods to motivate them (we always have plenty of food). Does anyone have any more ideas on how to motivate a crew that is not getting paid? The film is turning out beautifully and very professional, but I'm worried this problem might escalade as we get deeper into production.

Thanks -

Does anyone have any more ideas on how to motivate a crew that is not getting paid?
Nope. That's the problem.

It might help to show them some cut together footage, a scene or two.. so they can get a sense of accomplishment for their effort, and then remind them that you're nearly finished (which hopefully you are) otherwise.. replace 'em.

It might help to show them some cut together footage, a scene or two.. so they can get a sense of accomplishment for their effort, and then remind them that you're nearly finished (which hopefully you are) otherwise.. replace 'em.

Good call. I have done this, and it helps with motivation on the set. Usually people are excited when they're there, but when they're not they forget how much they enjoy it I think.

I didn't expect any magical answer:) but I was just fishing for more ideas.

- Thanks

Motivate them... well they have to BELIEVE in the project... also, people tend to stick around if they are well fed. Food and drink.... make sure you keep them fed... 12 hour shoot or more... feed them at least 2 meals and have snacks.... Water... lots and lots of water.

Oops... just saw the part about (always have plenty of food)

What will they get out of it? What's your plan for this flic?

Will they get credit? Will they get a final copy of the film? Will the film go to festivals? Is there a website that lists cast and crew?

If there's no money then there has to be value elswhere. Publicity could just be what they are looking for.

Is there a schedule? Does everyone know their place and what's expected of them?

Tell them how wonderful and talented they are and what a awesome job they are doing! Ask for their opinion even if you dont need it and thank them copiously for their time and efforts- over and over. Be flexible.

Make sure the food is top notch and maybe supply beer and wine after shoots (lots of it), so at the end of the day people can sit down and chill while going over the days events.

Personally I use bartering to get things done. Ive traded jewellery for comp repairs, lawn mowing, haircuts, carwashing, clothing, even dinner! Is there something you could do for your crew outside of filming? Babysitting? Lawnmowing? House repairs? What do your crew need and what are you capable of doing? Find out and negotiate a 'meal deal'. I have found time to be a more precious commodity than gold.

Good Luck!

I've been finding that showing them rough edits has proven quite effective...and having a visible checklist of your scenes and shot breakdowns how much is done vs. how much left. We just had a sheet with the scene numbers on it followed by m s s (master, single, single) we'd cross off each one as we finished shooting. Nearing the end, when each of my actors wrapped, they knew they got to cross off their last scene. This makes the finish line tangible and visceral.

I stayed excited about it too, you're the captain of the ship. Many pirate crews signed on risking life and limb with a captain with a good reputation knowing they'd be treated well in the end. Find what aspect of the project motivates each of the people you are having issues with and talk to them, get them excited again...I was able to get some actors reinvigorated by telling them new information about festivals I had found out here on IT. The though of that exposure got them all fired up again.

One of the guys loves business, so I pimped him a way to make a business out of our endeavors, he got excited at the $$$ prospects. Another was upset it was dragging on so long, I had them make the other actors show up to get their part finished.

Make them active in the process, not just a 1st AD, but ask him what he thinks of the scene, have him help rewrite a part or two that need help...put it in the film if it's good. Make the movie his! He'll want to show up again.

Thanks for all of these helpful comments! I agree, excitement definately helps, that's my strongsuit, but I need to do a better job of making it feel like the movie is 'their movie'. That is excellent advice, if they can catch more of an artistic vision and become as obsessed about it as I am it may help.

- Thanks!

All good suggestions. Our founder said it best.

Besides good food, telling me how wonderful and talented I am, promise of credit and copy and that standard promise that I will someday see a lot of money when the movie becomes the next Blair Witch what motivates me to keep working for no pay is a very short shoot.

I get really tired of giving up my entire weekend three, four, five weeks in a row no matter how excited I am or how well treated I am. Do you know the exact number of days that are left? Do they know? Do you give them time off?

Motivate them... well they have to BELIEVE in the project...

...I think that this is possibly the most important thing, that they believe in the project. Faith in what you are doing and your idea I would think, would motivate people as much as a free dinner. Depending on the people you have on your project - actual crew people (camera, audio, etc) actors who are serious about what they want - If those things are in place, I would hope that if they are not being paid, then the potential and possibility could sustain them for a while...

...I would also think that it would help to be timely and show that there is some progression on what you are doing...

...these are only my opinions on what I would hope would motivate people (among other things). If there always had to be something tangible and immediate for every project, how would anything get done?

--spinner :cool:

I think most of it has been covered by the guys/girls, but I'd like to pay a little more attention to a point directorik made.

Do your crew know exactly how long their commitment to the project is? If people aren't getting paid they have to know just how much time they're committing, overuns to the schedule just aren't acceptable. If the project just feels like it's going to drag on for ever you are going to lose crew.

The other thing you might want to look at as a possibility is whether you are running a tight ship in terms of your shooting schedule. I always make sure that my shoots are buzzing, in that I keep the pace up through out the day and get a lot done. On average I'll get between 9 and 15 minutes a day. My crews know this; they know that if they are doing a fourteen hour day, I'm doing an eighteen hour day - this also means they know that I'm not wasting their time. Too much slack wasted time on set demotivates crews.

I think your biggest problem is your first AD. In your situation I'd be doing two things, firstly I'd be setting up a back up 1stAD and once I had my back covered I'd take my current 1st AD out for a drink and a chat. This chat has to be about asking what the problem is. The first AD's job is to keep the production rolling and a 1st AD who can't get on set on time is a liability. It sends all the wrong signals to the rest of the crew. Not only that if you've got crew sitting around waiting for the 1st AD that is wasting their time and will further demotivate them.

The other rule that I always work to is that no matter whether a crew is paid or not, the shoot has to be professional. Everyone who signs on for the project did so for a reason and made a commitment. Once on set I run a crew exactly the same whether the crew is paid or not. I apply exactly the same crew discipline and my crews know that. I think that that helps. I've never been in your situation because my crews know that I'll fire anyone who can't get on location for the call time. My experience is that if you treat a crew professionally and not like a group of mates you get better work from them. The only thing to remember about this is you can't change the rules mid shoot, If you're running a "friends" shoot you can't suddenly crack the whip halfway through. The trick is to do this before you you start. These things are harder to repair than they are to prevent.

A few lines to get people to work for free:

"Everybody's got to start somewhere!"
"It's something you can put on your resume"
"I'll buy you pizza and beer"

The third one almost always works.

Even if I deeply believe in the project and feel very connected to it, I can only work for free for so long.

Let's face it - even if the final film takes off like Clerks, Open Water or Blair Witch, the First AD, dolly grip and boom operator aren't going to rear the benefits. How many producers saw Clerks at Sundance and said, "Get me that assistant director!"

We work on movies because we need the experience, because we like the people and because we believe in the project. But too many days working for free can put real stress on "real" life.

So would the general sentiment be "If you can't pay 'em, keep the production as short as possible?"

Poke

So would the general sentiment be "If you can't pay 'em, keep the production as short as possible?"

Poke
Feed me well would be number one.
(you would be surprised how many times I've been fed with one 99 cent hamburger and a paper cup of water - or a couple slices of pizza and warm Coke)
Treat me with respect would be number two.
(you would be surprised how many times producer/directors have told me I should be glad to be working on such a great movie)
And have a clear schedule you stick to would be number three.
(a shoot that just goes on and on, because there is no payroll to make)

But all are essentially equal.

I'm willing to do a ten day shoot over five weekends. But one weekend off would be nice.
I'm willing to do a ten day shoot straight. But it better stop at ten days.

So yeah, Poke. I think you got it!

I think rik's got it nailed, any director that forget's his/her crew are working for nothing is onto a loser.

I think I'd walk on any production where the director said I should be "grateful" to work on it, unless they were paying me well over $800 a day.

But more important than anything else is getting the job done efficiently.

I've run shoots with crew's on defered payments where we worked eighteen days straight, but you only get to ask that once of a crew.

I think these days that I could ask for twelve/fourteen days tops for an unpaid gig.

What a lot of director's forget is that it's not just not gettting paid, it's the money you could have made if you'd been working. I always try to remember that my crews are investing about $300 a day into my production. That's the reason I stressed being professional in my posting.

Excellent thoughts, Clive.

I plan 12 hour days if it's going to run more than one day. The last paid gig I had did the same, although we ran over once to 14 hours.

btw- is that really you on your avatar now? It's a good photo, whomever it is.

I really appreciate all your remarks. Especially Clive, these things really help me to take a step back and see the real problem at hand. I think it narrows down to one or two people that are the major problem. My back-up 1st AD is spectacular and we haven't missed a beat for all of our problems. I had a talk with my 1st AD and from what i gather, her husband was jealous of the time she spends on set (with me). I didn't see this coming (stupid I know). I think things are leveling out, She will not be as involved in the project but still may want to perticipate. In other words I won't count on her for anything.
Thanks for all your great advice, this is the best forum for filmakers! I can guarentee you'll see more questions from me as our production goes on.

Recent update... It may interest people to know that this project was abandon due to three of our key cast/crew members moving accross the country. I would just like to reiterate what was said in this thread about time. If the cast/crew isn't getting paid keep the project as short as possible!
I learned a great deal from this experience. I'm thinking of starting a thread about all the things i learned from some of my failed projects. I think i've learned more from getting it wrong than from getting it right. lol
The biggest lesson though was to rely more on people that have talent than on your friends. People with talent and desire cannot be stopped when it comes to creating art. Whereas friends tend to take advantage of you even if they don't mean to.
hmmmmmmmm....... (pondering in deep thought) :p

Recent update... It may interest people to know that this project was abandon due to three of our key cast/crew members moving accross the country.

Sorry to hear that your production folded.

So, what now -- a new, simpler feature or cutting a trailer from your existing footage and hoping that you can raise completion money?

I've switched gears. Someone i know is producing a documentary and has asked me to direct... I've never done a doc. and don't know the first thing about it... But of course i didn't tell him that- So any tips for that vain would be nice.

My thoughts on this (and please excuse any repition from others). I know the film has now folded but I think this is an important thread....

We shot Left for Dead over 18 months and our lead actors never once lost motivation, even though we never paid them or their expenses at the time. This is the way it was because we couldnt do anything else with it. But when they were at cannes a year later, watching their film in a room with sales people and seeing posters plastered everywhere they thanked us for the oprotunity we had given them.

1. Make them believe in the film. without that you might as well not bother. Make sure they know your aspirations, desires and wan't for the film. And make them /show them what you intend to do with it.

2. Be fair. Don't expect 16 hour days, no money and crap food. Treat people well and be nice with them on set. Shouting at a badly paid, badly fed actor in ac old room will prob get you punched or at least your actor walking out.

3. Get them listed on the IMDB with your film. That can help alot...

4. Non-Union actors who want to becomes union affiliated will often appricate letters detailing what they did on the film to help them get the accredition.

5. Press. Get there images & names in the papers (lcoal), film mags and across the web. All these thinsg will help with moral.

6. Give them good credits and make sure you ahev a contract detailing what they will get if the film amkes money. Again this helps no end.

7. Make it fun. have nights out, make the team bond and become friends because that will help no end.

Hope this helps...

I'd like to add this: A good, positive and pleasant attitude from those in charge is important. Everthing begins and ends with the director and those close to him/her on set. They set the tone for everyone. Respect each other and thank each other, acknowledge all accomplishments and tasks performed both big and small, laugh a lot, and stay on schedule if you can.

Couldnt agree more!

I agree with all that has been said. However, from what i've experienced I still feel it's best to keep no-budget films as short as possible -unless- somehow you know 'for sure' that all your actors will remain comitted for the duration of the shooting. And not only comitted, but they need to not move too! :)

Yeah bad luck on not getting it finished.. seems you learnt some good lessons and then can pass them on to others so thats always a plus! And now you have moved on.

Just an aside to the original thread. One thing I like to do is after a sequence of takes on a scene (when I think I have the shots I need) is gather everyone around the monitor, run through the takes, get thier feedback. They really feel invested. At one time I was suprised on a late day that everyone wanted to redo the final scene for the day.... which meant an extra hour, they pretty much chose to do it and I didnt need to ask. When they nailed it, everyone was pumped at the end of that day... they all showed up early the next morning - NO PAY.

One thing I like to do is after a sequence of takes on a scene (when I think I have the shots I need) is gather everyone around the monitor, run through the takes, get thier feedback.

I think you have to be careful with this, because seeing the rushes can make actors self conscious in their performances, simply because it takes them away from creating the character and focusses them on how they look.

Oh man Clive hit it there, I totally agree. Do NOT let your actors see themselves.

Also the other issue is people having a say. Not being a dictator but I prefer as feweer people with input as possible, it can cloud the vision and lead to arguements. That said every now and then on a really good take we may let the actors watch it back. Also on a more base level it can take a lot of extra time...

Also the other issue is people having a say. Not being a dictator but I prefer as feweer people with input as possible, it can cloud the vision and lead to arguements. That said every now and then on a really good take we may let the actors watch it back. Also on a more base level it can take a lot of extra time...

I totally agree with you there, Phil. The director has to be the "Big Dog" on set, because film making by committee almost never works. The rule on my set is all creative input goes through the director -- that means people can come to me with their ideas, but I have the final say of whether it is used or not.

The only difference is, I AM a dictator! LOL

The other thing that I discourage is cast and crew watching the monitor over my shoulder during takes. There are two reasons for this:

1) If I've got an actor that needs careful handling, I will carefully control what information they get about their performance -- if you've got someone looking over your shoulder, you only need them to say the wrong thing to that actor over lunch (ie. actor asks how the scene went and the person says "You looked a little nervous to me") -- that kind of indirect directing can really do lots of damage.
and
2) I don't like people looking over my shoulder - LOL

Ha!!!! It's such a balancing point doing a film with no money. To be honest even with money all the sames rules apply, the main difference being you can shout at the pricks and they cant walk off.... that makes one hell of a difference.

To be honest even with money all the sames rules apply

Sure. My core philosophy is that there should be no difference -- if only because if you can't pay, then giving people a professional experience is the best thing you can give them -- I honestly believe that anyone who starts their career working on set with me, would slot in comfortably to any paid, industry crew.

Sorry maybe I should have been clearer in my post: The original post was referring to CREW and so was I. I only allow crew to give feedback on shots, the actors I let worrying about acting and character input is all I need to discuss with them but thats a whole other subject.

See I still wouldn't show crew...

Personally, I like to do everything myself while shooting. I don't like to have a 'crew', but needed one recently while shooting Bad Cat 5.

I emailed my friend Ross and asked for his help. Without a moment of consideration, he said YES! and we set up for that weekend. He also helped me tweak the script.

I still experience a lot of pain with my cancer and just couldn't do it alone. Its a good feeling that I have friends who will help me without asking for a thing in return (no pizza, no beer). I should have finished all the photography for BC5 by now, but I haven't had the strength to get up and finish it.

I've learned that sometimes you really do need a crew, I can't be a one man operation forever. I'm grateful for those who I consider friends, they are truly rare and I couldn't pay enough for that kind of help.

BC5 is hopefully coming soon. :pop: