Movie FX artist, Film Crew, director, A cast members.
You forgot about both the editor and the sound designer.
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Please take this is the way that this is intended, but...
This sounds like a 40's Judy Garland & Mickey Rooney film - "Hey kids! Let's put on a show!" and in the barn they put on a Hollywood quality spectacle the next Saturday.
Jkds and
mlesemann are correct. You need a properly formatted screenplay for anyone to even give you a glance, much less an opportunity. Blazes, you'll need a script if you want to produce this yourself, even if it's a low/no/mini/micro budget project.
Filmmaking at the technical/financial/quality level is all about production and post production. Sounds obvious, I know. But with most arts it's all about layers, and in filmmaking (and many other interactive "commercial" arts) each layer adds to the budget.
The budget is all about time and money. Time = Money, and conversely Money = Time. Each layer that adds to the quality of the production will increase your budget. At the lowest level a camera is plopped onto a tripod, a cheap mic is mounted on top of the camera, a couple of Home Depot lamps are used for lighting, you use your friends and their friends as your cast, and you shoot in someone's living room. At the other end you have the most high quality video and audio equipment available controlled by experienced professionals, a multi-million dollar cast and dozens from people who design, build, dress and detail the sets plus hundreds of others. There are many layers - budgets - in-between.
If you are a superlative budgeter (time & money) and organizer (producer) with an extremely clear vision for your film and a superlative script you could conceivably create a wonderful movie on a very restricted budget. But the script must be written with-in the confines of your very restricted budget, and the entire project must be exquisitely preproduced to take advantage of every nickel and every second of the budget. So you expand HUGE amounts of time/budget to take full advantage of your meager funds/budget.
An example is the first "Paranormal Activity" film. They preproduced to the last detail a solid concept/script, and chose a shooting style that took full advantage of prosumer-quality equipment applied a genre that could be accepting of the "poor" visual quality. (As a sound guy I have to mention that they put A LOT of effort into the production and post sound as well.) With everything planned like a military campaign combined with a Wall Street IPO they managed to get funding.
Indie filmmakers always trot out "The Blair Witch Project" as what can be done one a sub $50k budget. Most are ignorant of the fact that about $2 million (some say as high as $5 million) was put into audio and visual post to make it palatable to the general film-going audience. "Paranormal" learned those lessons and took advantage of the the new technologies that appeared less than ten years later, so were able to make a quality product on a very small budget.
So start with a script. Polish it until it shines. Do the initial preproduction break-downs - crew, cast, sets & dressing, wardrobe & HM/U, visual & audio post, etc. This will give you a good ball-park budget range. Every layer of detail you add to your visual and sonic story-telling adds to your time/money budget. Then you can take the next step of looking for your financing. If you have done a phenomenal job you could attract quality folks for little or no money. I did lots of freebees when I started, but at this point in my career it had better be damned good and well organized before I will donate any time/money.
I hope that this had helped.
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I was just about to hit REPLY when the other posts showed up.
Hi Al! It's been a while.
Maybe network with your local indie film crowd and see if you can round up some folks willing to put in a 3-day weekend. If you can pull together a good cast and crew and make a notable short, that can be your proof-of-concept to try and secure funding for the larger project.
I worked with a producer on quite a few near-freebees and low budget projects. Everyone, from the first-project intern PA to the working professionals, were treated like royalty. Her husband loved to cook and was very good at it, so we ate really well. We all got travel money and OOP expanses. Everyone was involved from the beginning of preproduction at beer, wine, cheese & cracker meetings in the evenings. Detailed schedules, maps to locations, equipment lists, etc. were given to all. We all contributed to the project. On one project I actually caused a script rewrite that eliminated pages of dialog by making a few sound suggestions, which the DP expanded upon, which gave the writer an idea.... We were all intimately involved in the entire production. On another of her short productions she housed a 1st time PA who had driven all the way up from Pennsylvania to Connecticut to work on one of our shorts (notice I said "Our" shorts). At a prepro meeting he said, "Why don't we shoot it all in one room? We could save the time on all of the set changes; just make a few minor location changes to the dialog in the script."
"Why didn't we think of that!"
Why did we all work for her? Because we knew without question that our time would not be wasted, we would be treated like the professionals that we are, we would have a lot of fun, and we got to work & network with some amazing people. I picked up a lot of jobs using those shorts as demos. I was recommended to others by the folks with whom I worked. I reaped a lot of benefits working on those shorts. I bumped into that 1st time PA a number of years later when he was working on the set of "I Am Legend." So you can see that it was worth our while to donate a few evenings and a couple of weekends. And for me a few more evenings and a weekend to do the audio post.
THAT is how you attract talent on a micro-budget.