Directing an Independent Film

By James F Simpson

All you need to know about directing an independent film. James Simpson has over thirty films experience, with films starring actors including Al Pacino, Robert DeNiro, Charlize Theron to name a few.
This book details useful tips in directing a film, whether this is your first film or you are an experienced director. Techniques for getting the most from your actors and crew and avoiding the pitfalls that can give you avoidable problems.
It covers all the stages and includes a breakdown of the film festivals and contact details. A must for any film maker. Everything you need to know from concept to screening.

• Language: English
• Publisher: Lulu.com
• Release date: Aug 7, 2019
• ISBN: 9780244808525

Book preview

AUTHOR

OVERVIEW

The key to this is openness from the beginning with the producer. You should agree your vision for the film with the producer. This should include;

The director’s vision for the film.

The level of cast, in specific the lead actors (this may be also key to the funding).

The locations and/or studio requirements.

The level of budget needed to deliver the script.

Level of crew needed and special requirements such as the DOP, first AD.

Special complexities of filming, drone shots, special effects, stunt sequences.

Schedule and number of days needed to film.

Amount of pre-production needed.

Post production – amount of time, agreement on editor and music and delivery date.

In essence there are five stages to film production. I will go through them as stages explaining what has to be done in each stage.

DEVELOPMENT

PRE-PRODUCTION

PRODUCTION

POST PRODUCTION

DELIVERY/DISTRIBUTION

DEVELOPMENT

The development stage is the first step to making a film. It is where the ideas for the film are created, or rights to books or plays are optioned and the script is written, director and main cast attached and the schedule and budget finalized.

As the director, you will put together the ‘director’s vision’ for the film (see DIRECTOR’S VISION) based on what inspired you in the script to want to direct the movie.

You can start looking at a wish list of the lead actors that you feel would work for the script and fit your ‘vision’. You’ll discuss this with the Producer.

If the budget allows at this point a casting director joins the development stage to help get the lead talent attached. A casting director will also be helpful in getting realistic advice on cast.

The producer will do a first draft schedule with the line producer, this will confirm the number of days needed to film plus a breakdown of how many days you will need for each acting part. You need to go through this in detail and discuss any issues you have in terms of timings. After all this is you agreeing how long you have to deliver the film, number of scenes you shoot a day, time you have to edit and post. All this information is needed to start putting the budget together.

Once the lead cast is attached then the budget followed by the finance plan. The budget will also depend on where the film is shot. This will be influenced by your creative ideas and where in financial terms, it makes the most sense to shoot.

It may be another country offers good financial benefits in film tax credits and also suits the creative requirements of the script. This is a decision that the Producer makes with you, in order to get the film fully funded and green lit.

Once the film’s funding looks secure, the production can move into the pre-production stage.

PRE-PRODUCTION

This is the next stage of preparing to film. This includes finding locations, planning set construction, casting for all roles and hiring the key crew.

In pre-production, every step of actually creating the film is carefully planned and put into action, including setting up the production office. The film is pre-visualized by the director, and often storyboarded by a specialist concept artiste. The size of crew is dependent on the genre and the budget. Contracts between the Executives, and key crew are signed. The remaining crew is recruited. Key actors are contracted and the remaining cast auditioned and cast.

PRODUCTION

The film goes into production as per the schedule.

A typical day's shooting begins with the crew arriving on the set/location by their call time.

Actors usually have their own separate call times, often before most of the crew, having their make up and hair done. Since set construction, dressing and lighting can take many hours they are often set up in advance.

The grip electric and production design crews are typically a step ahead of the camera and sound departments: for efficiency's sake, while a scene is being filmed, they should be already preparing the next one.

Actors rehearse their lines and block with you, and the camera and sound crews rehearse with them and make final adjustments. Finally, the action is shot in as many takes as you thinks necessary, as per your shot list. The script supervisor will note any continuity issues and the sound and camera teams log technical notes for the take on their respective report sheets. If you decide additional takes are required, the whole process repeats. When you are happy with what you have the crew moves on to the next camera angle/lens or setup, until you have enough coverage on that scene.

When shooting is finished for the scene, the 1st AD declares a wrap and the crew strike, the set for that scene.

At the end of the day, you will approve the next day's shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. Call sheets for the next day are distributed to the cast and crew.

POST PRODUCTION

The video footage and dialogue are synced and the edit starts. There are various stages of the edit, first assembly, first cut, fine cut, and then when you the editor and producer are really happy, the final cut, which becomes the ‘locked picture’. The stages are just tightening the cuts to be stronger and closer to getting to the ‘locked film’

Once the locked film is agreed, then the composer and sound designer/Foley artistes can be briefed by you and they can start their creative sound work.

Once the music score and any songs are composed; sound effects and Foley are designed and recorded.

Any computer-graphic visual effects are digitally added. Finally, all sound elements are mixed into stems, which are then synced to picture, and the film is fully completed (locked).

DELIVERY/DISTRIBUTION

The completed film is marketed and distributed in cinemas and/or released to DVD and digital platforms (VOD)

As part of the distribution process the film is duplicated as required (on DCPs, Digital Cinema package) and distributed to cinemas for exhibition (screening). Press kits, posters, and other advertising materials are published, and the film is advertised and promoted.

Often film festivals play an important part in the marketing strategy such as Cannes, Berlin, Venice, American Film Market (AFM) and Toronto. The aim is to get the film seen and sold for distribution.

The distribution rights for the film are also usually sold for worldwide distribution. The distributor and the production company share the profits.

The Internet has provided new distribution platforms such as Netflix and Amazon etc.

PRE-PRODUCTION FOR THE DIRECTOR

THE SCRIPT

You as director have to be 100% confident with the script. You need to be totally confident with the story arc, the subplots, the characters and the dialogue and the actual length of it (remember as a guide a page in the script is a minute in screen time).

The writer will have probably delivered the script in one of the script writing software programs, such as ‘Final Draft’. This will help you to organize the shoot, as you can export from these software programs, breakdowns of the characters, scenes and locations as you choose.

You need to work with the writer to shape and tighten the script during the development stage to get it to the point where you can lock it as the ‘shooting script’.

STORY ARC

The questions you need to ask of the script should be;

Does the story arc work?

Does it need any changes in the script structure?

Do the main or sub plots need developing?

You need to go through the script and visualize each scene. Feel confident that it delivers the feature film you want.  Ask yourself who the audience is? Is it strong for the genre it’s in?

You should check the script carefully, be objective, is it over written - are there scenes that don’t move the story forward or develop the character?Are there scenes which you could take out which will actually strengthen the film? Every page that is filmed and not used in the final cut is not making effective use of the budget.

Does a scene move the story forward or is it a distraction?

Is the pacing keeping the audience engaged?

Is the script a page-turner?

Be brutal with the script to make it as strong as it can be, it will make for a better film.

THE CHARACTERS

The director should have a clear image of the characters from what is written in the script. You may feel they need to developed more, by adjusting the character’s description or maybe their backstory and set up within the story.

The characters should be as strong and defined as possible and written to attract good actors. Getting the right actor is mostly about the script and their character, so the script needs to be as strong and powerful as possible.

You should work with the writer to get to the stage that you and the producer are confident to go out to the lead cast with the script.

THE DIALOGUE

The director needs to feel the dialogue works for all the characters, that it is natural, succinct, powerful, and flows and works for that character and the story. Very often scripts are over written and dialogue tells instead of shows. Generally in a film it is much better to show something visually than explain in dialogue.

A useful exercise is to do a table read. A table-read is an organized reading of the script using actors, (they don’t necessarily have to be the actors you will use). It helps let you and the producer hear how the dialogue works and comes alive. It needs to feel natural for the characters and hearing, rather than just reading it, is a really good way to critic it.

Actors are used to doing table reads, it gives them experience. Assign one actor to read out all the non-dialogue script to read so everyone knows what action is happening.

It is also useful to time pages in terms of the pace of the dialogue.

Remember too often    - ‘LESS IS MORE!!’

WORKING WITH THE WRITER

It is important that you have a good relationship with the writer. If the script is an original idea from the writer, then it is very much the writer’s ‘baby’. You should be respectful that the writer will be very protective of their idea.

But you have to make the best film you can and if that means changing some of the script and the producer agrees with you then it should be changed, referred to as a ‘polish’.

You have to be totally confident with the script before it goes into production. This includes the story arc, action, locations, the characters, dialogue and the ending, which is important, as it is the last thing the audience remembers.

If you feel the writer can’t deliver the changes you want then you need to either make the changes yourself or engage another writer to do the polish. This is very common. This needs to be discussed and agreed with the producer.

The Production Company’s contract with the writer should permit another writer to do a polish if you require it. Confirm this with the producer.

Whilst it is important to have a good relationship with the writer, you will need to be strong and get the script that you want at the end of the day.

THE DIRECTOR’S VISION

This is your creative vision of the film, how you see the film looking, in terms of the locations, the actors, the sets everything as a concept inspired by the script.

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This is important, not only for you to have a clear vision of the film you’re making but the way to communicate it all involved, such as the DOP, production designer, art department and of course the actors, so that everyone is on the same page.

This detailed presentation can be in the form of visual images, stills from other films of a similar genre that have a similar ‘look’ to your vision of the film.

It is sometimes helpful to edit together clips from other movies that help show the look, style and feel of your approach to the script.

You can develop this with the producer so you both agree on the creative approach and indeed it can be extremely useful to show to potential investors, to help secure finance.

This will help the art director understand your vision so that they can prepare a ‘look book’ for all departments to use as the template for style, color and ensure a cohesive creative approach.

SCRIPT BREAKDOWN

Break down a list of the script, scene by scene, the locations, whether it requires studio scenes and therefore set building. It is basically a breakdown of all the composite creative elements of the film. It is an essential part of the budgeting process.

All the requirements of the script need to be broken down into specific lists. These can be used firstly to help put the budget together and also to discuss with the relevant head of departments.

If the script was written this in ‘Final draft’ or similar software designed for script writing, you can output the elements as ‘reports’.

Locations

Sets

Costumes

Props

Vehicles

Cast

Other

These lists will help you focus on the creativity and what is needed to deliver the film you want.

LOCATION BREAKDOWN

Make a list of all scene locations, with specific requirements for what is needed. This will show you the number of set ups and location moves. It will also show the number of sets that are needed and the complexity of the build in the case of studio filming.

Remember every location move will cost time and budget and is real money that is not actually going onto the screen. Moving the crew and all that involves takes time and can be expensive and eats into the shooting day.

Remember the breakdowns will give you a sense of what will be needed. Is part or most of it in a studio rather than on locations? If it needs a studio shoot, then sets need to be built and these need to be costed and accurate logistics of the time needed to complete them.

This is potentially the single biggest cost, so you need to have a clear vision of what you want for the film so that everyone gets a clear brief to plan the work that is needed.

STORYBOARD

A storyboard is a set of pictures or drawings, which show what will happen in a film, depicting the scenes in story order (setting, dialogue and action).

The storyboard often is a sequence of line drawings, drawn for each scene to show the story action. This is really important in helping you plan and map out how you will shoot each scene.

This together with the ‘director’s vision’ helps you put together the presentation for the film. The storyboard is often drawn by storyboard artistes who specialize in creating them from the briefing you give them. There are also computer programmes such as ‘frameforge’ and Storyboard fountain’. The DOP will then work with you to offer ideas on shots that will form the ‘SHOT LIST’ (SEE LATER).

IMDB

The Producer should have set up the IMDB page, but check the details are correct. See below for details in case it is not been given a profile.

IMDB (internet Movie Data Base) IMDb, is an online database of information related to films including the cast and the production crew. This is the ‘bible’ for the film industry and everyone wants to build their profile with credits on it. Actors need to start a presence and this can be part of your bargaining tool.

To list a title you will need to register an account, go to;

https://www.imdb.com/registration/signin?u=https%3A%2F%2Fcontribute.imdb.com%2Fupdates%3Fupdate%3Dtitle&ref_=login_contribute_site

It can be a little frustrating getting your first title up, persevere it’s worth it!

You’ll be prompted to provide your full name, email address and a password of your choosing. Input your info, and then click Create Your IMDb Account. After that, you’ll be able to submit new titles, add production and credit details, look over your contribution history and make use of other functions reserved for members.

Go to ‘Help’. There will then be another long list of frequently asked questions, however the one that concerns you lot is ‘ How do I