INTRODUCTION
Making Your First Feature Film, For Reel – Sure, plenty of people go broke putting
together a film that ends up looking as amateurish as you feel. This doesn't have to happen.
Learn how to spend as little money as possible and put together your directorial début with
funding and support from industry professionals. This notoriously difficult to penetrate career
choice doesn't have to be impossible. Follow these rules and steps to success to make a reel
film that doesn't suck.
If you've watched, studied and loved film for years, perhaps you would make a good director.
It's easy to get the bug, but how to actually make it happen?
The ability to see a story in pictures and manage people is a must, but so is the ability to see the
project through from one end to the other. There's hard work and long hours ahead, but if your
goal is to have a finished project you can be proud to show around, you can do it, just as so
many before you have. It's important to realize that just because it's not easy, doesn't mean
that it can't be a fun and truly rewarding experience that you'll either talk about for years to
come or actually set you off on a new career.
This book will show you how to go from your unrealized dream of being a director. We'll start
of by showing you how to doing all the planning that will help this film project go off without a
hitch and avoid some of the more common pitfalls that commonly plague first-time directors.
Next, you'll get a look at the production itself, from how to keep your crew happy and
productive to directing actors into giving the performance you've imagined. Lastly, your vision
will truly come alive in the post-production process – this book will give you hints and tips for
making the most of the footage you have.
More importantly, perhaps, this book will show you how to actually make enough money or
notoriety that will allow you to make a second film, preferably with someone else's money.
1
PRE-PRODUCTION
You may be surprised how much planning is absolutely necessary to guarantee the success of
your directorial debut. It has been proven time and time again that there's nothing quite like
skimping on this process to ensure chaos. If you're going to beat the odds, planning for
contingencies and making sure you've got a road-map to will guide you through the entire
process is essential.
Don't kid yourself – making a movie is a very expensive proposition. Regardless of how you go
about it, you will have to be extremely careful about how you spend your finite resources.
Every moment you spend in production costs money, whether the camera is on or not. You can
reasonably expect to spend 6-8 hours in pre-production for every hour in production.
EXAMINING YOUR MOTIVATIONS AND GOALS
Just what are you planning on doing with this film, anyhow? If your goal is to spend a
weekend running around in the backyard with your pals and a camcorder, that's great. The
pressure will be off and you can concentrate on having a good time. While you'll go through all
the same basic steps, there will be less urgency and panic. Though the finished product won't
likely look quite like what you've been seeing in your mind's eye, that's okay. As long as you
don't go broke doing it – no harm, no foul. If you can't expect to get money out, you'll at least
be aware that cash is only flowing one way and can plan accordingly.
On the other hand, if you want to put together a short or feature-length film to bring around to
festivals, that's quite another thing. This route is the classic long shot, but is also a chance for
you to jump right in with both feet. This is most especially true in the case of short films of
under 30 minutes. There are many festivals that specialize in such films, and this is a good way
to impress potential investors with your skills and build notoriety.
Should you be considering a feature, you should be aware that most successful film-makers
recommend against this. It's just a lot to fund or bite into, as a time director. Funding
concerns usually keep this from happening. If they don't, you've either found a sugar daddy or
are doing things even more cheaply than is advisable. Of course, there are stories of folks
who've gone against all such advice and made a name (and new directorial career) for
themselves, but be advised, they are few and far between. It's often best to start small, even if
you plan on ending up in the big time.
Another “middle road” type of film project is to put together a trailer for a feature-length film.
This will serve as a portfolio piece that you can “shop” around and hopefully attract investment
in the longer piece. Such a trailer, usually between 3-4 minutes, will prove beyond the shadow
of a doubt that you know how to tell a visual story, bring a good crew together and create
something that embodies all the elements of the feature-length film you hope to create with
someone else's money.
In the end, you need to ask yourself if you're looking to actually make money from your first
film or if you're willing to use this as an expensive crash course in film-making. Much of this
book will focus on money-making prospects, though most of the concepts presented will apply,
regardless.
THE RIGHT SCRIPT
Whether you write it yourself, hire someone to write something for you or find the very thing
has landed right in your lap, you'll need a script (or at least a well-fleshed out idea) to begin the
process. There are plenty of books available that outline the entire process, but there are a few
basic ideas to keep in mind when deciding how to go about getting the script you need.
WRITING IT YOURSELF
Though there certainly are exceptions to this rule, it is considered good operating practice to
refrain from writing the script yourself. There is such a thing as being “too close” to a project,
and this is an easy way to do it. Many people consider the film-making process to be the
essence of reinterpretation between words and images. If both parts of the process are yours,
this can become confused, and that confusion will appear on screen.
Be careful not to fall in love with your own words. It's far easier to pick dialog (and discard the
rest) when it's written by someone else and there's no personal investment. A beautiful line is
of no use to you if it doesn't move the story forward. Screen writing is, to some extent,
minimalist, so you can expect to make some significant cuts from what you've written in the
process of getting it down to a shootable script.
If you do choose to do the writing yourself, you will at least have the advantage of being able to
pen it according to your strengths. For instance, if you live somewhere with lots of space to
shoot near ship-yards, you can set your tale near a wharf – that wouldn't work nearly as well in
a land-locked area. You can also make allowances and plot twists that you'll be able to work
around without spending extra money. In short, you can start with the ideal script.
One way that many directors choose to start is to make a series of note cards that generally
block out scenes and ideas. There's no need to actually put down dialog in such cards unless
you have a good idea as to a key catchphrase you want to use. Otherwise, these will serve as
your road-map to be knit together later, either by going directly to a script or to storyboards
from which the actual script will be crafted from.
HIRING A WRITER TO SCRIPT YOUR IDEA
Perhaps more often, you'll need a “words person” to take your really great ideas and put them
into something that resembles a usable script. Even if your plot outline is fairly well-formed,
stiff and unbelievable dialog and gaping plot holes will most certainly be a problem. This is
where a professional comes in.
Even if he or she doesn't have a great deal of scriptwriting experience, getting a writer to put a
bit of polish on a script will certainly help you to sell your final product. Since film is
inherently a collaborative effort, the scriptwriter you choose will have to be someone who
actually can see your vision may be better at putting together
If the relationship turns adversarial for any reason, you may need to simply call the deal off,
give them their work back, and start over. It never hurts to have a contract that spells out the
rights and responsibilities of each party in case of success or failure. Though it may seem a bit
heavy-handed, it's when people don't' have contracts that things can turn ugly.
OPTIONING A SCRIPT
Another option is to purchase someone else's existing script. As a first-time film-maker, you
will be limited in what you're able to offer someone for their script. Given that most scripts
take months and several re-writes to put together, it is very reasonable for a screenwriter to
expect to be paid accordingly. That alone makes buying a script a somewhat less attractive
option for a first-time director. There are, of course, ways around this.
If possible, you'll want to see if you can offer a screenwriter a percentage of future profits rather
than money up front. Sometimes you'll find new screenwriters who are so eager to have their
work turned into a film they can show around and reference to in a resume, that you can get
such scripts for a song. Though you'll limit yourself to young and “hungry” writers this way, if
you're very picky about the script you use, this can work out quite well.
Remember, screenplays are sold – not leased. You are able to change anything you like
without consulting the author, so don't let yourself be bullied into accepting any part of a script
you don't think works in your film. Often times, such a script will contain a great idea that you
can then finesse into something usable yourself or with the help of another writer.
STORYBOARDS
The best way to get people to really see your vision is to commit it to paper. If you're a
reasonably talented artist, you can do this yourself. Otherwise, don't be afraid to spend a few
coins to pay someone else to do it. They certainly don't have to be works of art, but they must
portray a preliminary vision of the film as you want to see it shot.
ESSENTIAL STORYBOARD ELEMENTS
When you're putting storyboards together, you want to make sure you get at least one frame for
each different shot within each scene. Some scenes might have one or two frames and some
might have 20. It should give you the visual clues you need to put the finishing touches on
your shooting script and a semi-solid shooting plan.
Generally, you need to boil down what is happening in the entire shot into a single picture.
This won't look like a finished comic book, but will indicate, without words, exactly what action
will occur in that scene. This might indicate a camera pan with arrows or join two scenes
together.
They need not be an example of fine art, but it should be apparent to anyone what is supposed
to be happening. You may include with these some basic directions, or a general outline of
what's happening, but when you're putting them together, it should be obvious (to you at least)
what is going on.
One trick, when using storyboards to assemble a shooting plan is to cut them into individual
frames and to physically put them into order. This can help you get a visual handle on how
your shooting is going to proceed, and make you better able to convey that information to your
cast.
ASSEMBLING THE CAST, CREW AND LOCATIONS
Film is a partnership between yourself, as the director, and your crew. They are certainly there
to follow your lead but, also, to give you their time, labor, expertise and suggestions for how to
make this a good production they will feel good about seeing their name in credits of.
One important aspect of a low-budget shoot is that it should be as short as possible while still
allowing enough time to get the coverage you need. This is especially true if folks are
volunteering their time, as a commitment to an entire year of weekends is far harder to make
than just two of them. Consider what you'll be asking people to do and you'll get a feel for just
how much you can reasonably ask of them.
FINDING COMPETENT PROFESSIONALS TO ASSIST
You'd be surprised how many working professionals are willing to help you put together a
trailer for your good idea if they think you can actually sell the idea. For many, helping your
movie get sponsorship, by giving their all to make it look good, is akin to a job interview.
This is especially true when you are able to assemble a highly skilled and experienced crew. If
you're looking to create a film that his both bold and fun, while seeming to have a chance in
heck of actually getting funding (for this or another film), you may have access to folks who can
guide you into success. When you stack such folks into some key positions, you'll have time to
focus on your vision.
They are, of course, in demand, so you could loose one or more crew members to higher paying
gigs, often right at the last minute (or even in the midst) of your shoot. Be ready to leap in and
make a bold change or promotion on the spot. If you trust your intuition and consider the
recommendations of other crew members, one can often find at least a suitable stand-in.
Ideally, each basic part of the production will have a professional leading their own part of the
crew. There certainly can be some overlap – a professional Director of Photography (DP) may
be able to use a semi-professional Lighting Director and a small group of amateurs to assist,
especially if they've worked together before.
WHEN AMATEURS WILL DO
Maybe it's holding the boom or keeping the shoot free and clear of interference from gawkers.
You may not have considered just how many different jobs there are to do in a high-intensity
shoot. As long as there is someone to tell your amateurs what to do, it's mostly a matter of
getting reliable folks who are genuinely interested in giving up their evenings or weekends to
assist.
This is true of those “behind the scenes” as well as the actors. Non-speaking roles can be easily
handled by your friends and family, as long as they have the right “look.” Other jobs can be
fairly easily taught with just a few moments of instruction from yourself.
CASTING ACTORS
Though some will swear by it, one of the cardinal rules of being a first-time director is to NOT
star in your own film. Sure, make a cameo appearance is fine, but this is not the opportunity to
impress anyone with your acting ability. The end result is almost always a less-thanimpressive
job on both fronts.
Choosing actors is partly a matter of getting people who simply look the part and convey in
their look the essence of your characters. Casting for type means that the best looking actor
you know might not be the best person to By the same token, if you're casting a hero, they
should look heroic, no matter how good of friends you are.
Of course, acting experience is useful. This doesn't have to be film experience, as many theater
actors have the chops to follow your direction, even if you do have to subdue their performance
a bit. Most importantly, you want someone who won't freeze up when the camera is rolling.
Most cities have plenty of actors who are looking to expand their resume, especially if it's a cool
project and the finished product will be a piece of video that can be added to their resume. In
fact, it is often easier to get actors to volunteer their time than crew members.
LOCATION SCOUTING
Of course, you'll have to make the film somewhere, be that on a set or at an existing location;
indoors or out. Even if you plan on starting off with a blue or green-screen trailer, you'll have
to put it somewhere. While some folks might recommend running down alleyways, you'll
usually want somewhere with reliable electrical outlets, protection from the elements (in the
case of a set) and a reasonable noise level.
The ideal situation is to find a warehouse or other inexpensive/free location to put a minimal
set together. Shooting spaces, when rented as such, are quite expensive. It is not unusual to
find that someone on the crew you assemble knows of the very place or the right folks to put
you in touch with. Even a building that is still under construction can be a good place, as long
as everyone agrees that it's a “no lawsuit” area and that anyone who get wounded has only
themselves to blame.
Outdoor shoots are often more complicated because of the reliance upon natural lighting,
weather and lack of interference from the inherent uncooperativeness of the natural
environment. If your shoot is to take place in any sort of inclement environment, such as rain
or snow, there will be additional challenges in keeping the equipment from being damaged.
