How to keep your cast and crew dedicated?
- Thread starter MrSeth
- Start date
Chris Adler
Veteran
I've shot 2 four day shorts where cast and crew weren't paid. Motivation comes from believing in the project, treating them with enormous respect, and feeding them well. They aren't workers or employees when you aren't paying them-- they're friends and collaborators. At least that's how it's worked for me so far.
Bruce Watson
Veteran
"There is nothing to keeping a band together. You simply have to have a gimmick, and the gimmick I use is to pay them money!" -- Duke Ellington
There was perhaps a little more to it than that. The unsaid implication is that he kept them working, and therefore he could pay them regularly. He was an excellent manager; his band always had work. His loyalty to his crew generated loyalty back from the crew; he had some people in his band for 40+ years. I'm thinking Harry Carney was with him like 45 years.
But if you don't have money, they'll have to earn something else. What else can they earn? Food, respect, gratitude, references, various swag, etc.
But mostly what people want, is to work for someone who has a vision, who can communicate that vision so that their crew gets it and everyone is on the same page, and who can coordinate the work so the vision is accomplished in a timely manner. This includes delegating responsibilities so that everyone actually gets to contribute to the final product. They came to be part of your team; they didn't come to be your minions.
There was perhaps a little more to it than that. The unsaid implication is that he kept them working, and therefore he could pay them regularly. He was an excellent manager; his band always had work. His loyalty to his crew generated loyalty back from the crew; he had some people in his band for 40+ years. I'm thinking Harry Carney was with him like 45 years.
But if you don't have money, they'll have to earn something else. What else can they earn? Food, respect, gratitude, references, various swag, etc.
But mostly what people want, is to work for someone who has a vision, who can communicate that vision so that their crew gets it and everyone is on the same page, and who can coordinate the work so the vision is accomplished in a timely manner. This includes delegating responsibilities so that everyone actually gets to contribute to the final product. They came to be part of your team; they didn't come to be your minions.
RyanT
Veteran
Just give them more responsibility than they're used to. As soon as you get someone in there who knows what they're doing, they're going to be upset because you don't have the right gear, and then once you have the right gear they'll be upset because you have all this fancy gear and you can't pay anyone who knows how to use it.
You really just can't hire professionals either. Especially when the project goes on for more than 3-4 days. It's impossible to keep people motivated for that long when they could be doing the same thing for money. Sad truth is no one really cares how good your movie is.
You really just can't hire professionals either. Especially when the project goes on for more than 3-4 days. It's impossible to keep people motivated for that long when they could be doing the same thing for money. Sad truth is no one really cares how good your movie is.
Andrius Simutis
Veteran
Keeping people happy is also a matter of the people you choose. Get a couple of really charismatic happy people in the mix and they make everyone else happier. Throw in a couple of complaining grumps and everyone gets bummed really easily.
StratPlaya
Member
I couldn't pay anyone and we had a great, and highly dedicated cast and crew. I think for me, it was my passion, giving encouragement (gobs of it) and shooting super fast (we shot Splashed at 1.4 pages per hour). They knew I was sweating, and they stepped up and worked too. It was a great way to show supreme respect for their time.
And very rarely did we ever have "food" Only 3 shoot days that I can recall (there were the occasional snacks here and there).
And very rarely did we ever have "food" Only 3 shoot days that I can recall (there were the occasional snacks here and there).
Patryk_Rebisz
Veteran
Too hard to answer your question because way too many variables are present.
Here are my findings based on being both side of the barricade:
Length of a project. For long projects, even with pay - people burn out. You, the director/producer, is the only person who will be bursting with energy - the rest will slowly drift away.
Rates. $100/d simply doesn't work for pros. They will give you their pro skills the first few days then realize that they could be making way more money so they will become bitter.
Responsibility. Giving people more responsibility can really backfire. For instance if you are trying to move up a crew member presuming that in higher position they will bust their ass more - what if they fail? What if they simply don't have the skill set to fulfill that higher position?? They are where they are for a reason. Use people to their strengths.
Favors. NEVER ask for favors. Present the deal and either the crew take it or not. If you mention that they are doing you a favor they WILL use it against you when you are pushing what they assume too hard (remember their outlook on the project is vastly different than yours).
The vibe. On longer projects you HAVE to find people with similar vibe. It seems like such an obvious statement but it took me some time to realize it. Basically, interview people - even if you've worked with them before - and see if their taste in art, world events, politics etc is similar to yours.
Food. In my experience the only food that affects crew's morale is BAD food. Having excellent food over average food doesn't make a difference - when you are hungry after 6h of work the crew will eat anything decent.
Elitism. Do not make friends! You are here to work and your crew members - even if grossly underpaid - are there to work too. There is nothing worse then good crew members assuming that they are among friends and so they work ethic starts slipping. You have to retain certain layer of difference - you ARE their boss - and even though you should be respectful you can't let the crew think that you are not paying attention to their performance.
Here are my findings based on being both side of the barricade:
Length of a project. For long projects, even with pay - people burn out. You, the director/producer, is the only person who will be bursting with energy - the rest will slowly drift away.
Rates. $100/d simply doesn't work for pros. They will give you their pro skills the first few days then realize that they could be making way more money so they will become bitter.
Responsibility. Giving people more responsibility can really backfire. For instance if you are trying to move up a crew member presuming that in higher position they will bust their ass more - what if they fail? What if they simply don't have the skill set to fulfill that higher position?? They are where they are for a reason. Use people to their strengths.
Favors. NEVER ask for favors. Present the deal and either the crew take it or not. If you mention that they are doing you a favor they WILL use it against you when you are pushing what they assume too hard (remember their outlook on the project is vastly different than yours).
The vibe. On longer projects you HAVE to find people with similar vibe. It seems like such an obvious statement but it took me some time to realize it. Basically, interview people - even if you've worked with them before - and see if their taste in art, world events, politics etc is similar to yours.
Food. In my experience the only food that affects crew's morale is BAD food. Having excellent food over average food doesn't make a difference - when you are hungry after 6h of work the crew will eat anything decent.
Elitism. Do not make friends! You are here to work and your crew members - even if grossly underpaid - are there to work too. There is nothing worse then good crew members assuming that they are among friends and so they work ethic starts slipping. You have to retain certain layer of difference - you ARE their boss - and even though you should be respectful you can't let the crew think that you are not paying attention to their performance.
Drew Ott
Wish I were banned.
I think this is the wrong question, specifically the notion that there might be "tricks" to keep somebody dedicated. If you aren't paying anybody, then they aren't -your- cast and crew. You don't have the same sort of authority that you would have if the cast/crew were your employees. From this mindset, you are a group of friends creating art for the pure joy of creating art. Financially, you can and should offer fair profit participation. After that, the only thing you can offer is the partnership. Here's the real question you should ask: What are -you- looking for? Can it be shared?
Drew Ott
Wish I were banned.
Reading Patrick's post above mine reminds me of an interesting paradox. No, you don't have the same authority you would have if the cast/crew were you employees, but Patrick is right--you ARE still the boss. You are the boss, but only because it's necessary to see the film completed, and this is why everybody must share the incentive in making the film. So it works like this. 1) Are we friends who want to make good art together? Good, so 2) Now let's divide roles and do this the best way we can, and one of us is the boss. The cast/crew will want you to be the boss because it's required to satisfy step 1, making a good film. Group dynamics are subject to change.
Brandon Rice
Distributed Producer
This is a great question, and one I've dealt with often. I would say, you need to be charismatic about your project. If you have a good body of work, that helps as well, because the folks know the project is going to be something they're proud of. Also as mentioned above, feed the crew well, doing little things goes a long way. I'm having a read through with my unpaid cast of a short I'm shooting in a few weeks, and I'm providing coffee/pastries at the read through. Those "small" things go a long way in them wanting to work with you again, and feeling respected. I also always try to provide small gifts to the cast and crew, and keep them well aware of the project, as it's in post production. I want them to feel like it's their project too. That's the key.