Seeking MIcro Budget Feature advice

[Staven]

I would sit back and assess what my goal was with whatever film I set about making.

If it was commercial viability, I probably wouldn't make a $100,000 character driven drama that takes place in one location.

If it was to make one hell of a film because I wrote an amazing script, I'd first try and get the script into the hands of people that can make the movie for real on a larger budget that can attract big name actors looking for meaningful work.

If it was meant to be a calling card to get myself noticed... I'd write my awesome character driven script, put it in my back pocket, then set out making an amazing short film with $100,000 that can get into every festival around the world and potentially vie for an Oscar, so when people love it and ask what other ideas I have, I pull out my awesome script and say here. (maybe even do a short version of your feature)

You mentioned the Coens. They are the exception, not the rule. Harsh reality is if you go about trying to make an $100,000 feature on your own chances are your movie will end up being a moral victory if it gets to the finish line rather than something that kick starts your career or makes you a profit.

*But, I understand the allure of making a feature and the passion in oneself to take on ridiculous tasks that normal people would quit in 2 minutes if they knew the sacrifice to reward ratio. So feel free to ignore what I said above. As for things to think about when trying to make a micro budget feature film - post costs a lot of money. If you plan to go into festivals or sell it to distribution companies you need all your ducks in a row. That means sound mastering, film outs, various mixes for different regions, music licensing, legal documents and releases... there are a lot of things in post that cost money that need to be done in order to complete a film.

 

[Craig_Tarry]

If you're still writing the screenplay, you may want to give yourself some distance from the time you finish the script and the time you actually shoot. A few weeks or months in a drawer may give you a better look at the good the bad and the ugly of your script. I'd recomend also sitting down with a couple of actors and having them read it back to you (a table read). It won't cost much if anything compared to shooting the film. Don't paint yourself into a corner, telling everyone you're going to make a film with this kind of budget without a script is tricky. If the script isn't where you want it to be, your stuck. It sounds like you're writing the kind of story that would work on a variety of budgets. I'd explore your goals and objectives. Is this your grad school? A project to learn and grow as a director/filmaker or are you seasoned from directing many shorts/writing assignments and you want to take a chance, roll the dice and take your shot? Is it important to try and make back some money for yourself/investors/family? If thats a factor you would want to look at state film incentives/tax writeoffs or going ultra low budget (microbudget/mumblecore level) . Good luck with your project and it all starts with a good script.

Hi, I've done, three short films, basically self-taught. My intention is to make a pared down first feature, a graduation from short films, but not try to bits off more than I can chew, so to speak. Limited release would be great.
When I was writing the script I got curious about possible budget-crew-cast possibilities. Lots of responses to this thread, quite unexpected.
Thanks for your input - Craig

 

[Craig_Tarry]

Ha, I wish it was on IndieWire (they've pretty much ignored every press release we've sent thus far) but it is out there on quite a few sites, etc. Thanks for noticing it.

As for your budget, I don't know the particulars but the way you describe it I KNOW you can get a name. If you have that kind of $$ available, and you want me to consult you on your budget and what you'd have available to "offer" a name actor to be in it, just contact me (martin@cinematl.com). Trust me, I've attached names to projects with far less budget than you're talking about and I'm in ATL which is a lot farther than you are from the names.

You just have to spend the budget wisely and with the kind of project you seem to be describing, I think you will easily be able to do it.

Of course, it all goes back to the material like I said earlier. If the material is great, an actor will do all they can to be part of it. Remember, just like you want to prove yourself a great filmmaker, they want to prove themselves to be great actors...and the better the material they work with, the better chance they have to do so. So, a low budget feature that helps them do that is worth the investment to them. You have to shoot it at the right time and may have to work around their schedule but it will be completely worth it in the end.

-M

Thanks Martin - I don't plan to rush into anything. When I get the script right, and that will take a while, I'd like to touch base with you again. This film would be my graduation from short films, so I'm just trying test the waters.
Once again - I really appreciate your input - CT

 

[Craig_Tarry]

If you can get the cast you want from your local area, it may benefit you to work in a rehearsal period like a play, if you have access to the location even better. Film with whatever you have and a boom man and do a rough cut to know you are getting what you want. If you and the cast are well prepared you could probably shoot this in a week, with a full crew and rental package rather than a month or more. Keep your final shooting ratio low and it will keep your post budget manageable as well. Even with digital pretend it is film and only shoot what you need. Consider using a name for a key yet smaller role, as you probably won't be able to get for extended rehearsal time, but a seasoned professional should be able to do it for you as long as you know what you want.

A single location can make a big difference in terms of time. If it is secure you can leave gear set-up and not pack and reset everyday. I have shot a feature in seven days with only 3 locations, not having to move everyday or even half day makes a huge difference.

I also have shot a half hour film in two days with a cast of six in one location, but the director rehearsed with the actors for 3 months prior to the shoot weekend, preparation is key.

Hey, thanks fro the input. And yeah, I think a long rehearsal is great. I did a 30min. short film (I know, too big!) a couple of years ago and I had them rehearse at the location and it helped a lot. Actually, I always wished I'd had more rehearsal. You get so many good ideas watching your actors rehearse.
So I'm taking my time with this. Gotta perfect the script. I just got curious when I was writing it as to cost and such.
Thanks again - Craig

 

[Craig_Tarry]

I would sit back and assess what my goal was with whatever film I set about making.

If it was commercial viability, I probably wouldn't make a $100,000 character driven drama that takes place in one location.

If it was to make one hell of a film because I wrote an amazing script, I'd first try and get the script into the hands of people that can make the movie for real on a larger budget that can attract big name actors looking for meaningful work.

If it was meant to be a calling card to get myself noticed... I'd write my awesome character driven script, put it in my back pocket, then set out making an amazing short film with $100,000 that can get into every festival around the world and potentially vie for an Oscar, so when people love it and ask what other ideas I have, I pull out my awesome script and say here. (maybe even do a short version of your feature)

You mentioned the Coens. They are the exception, not the rule. Harsh reality is if you go about trying to make an $100,000 feature on your own chances are your movie will end up being a moral victory if it gets to the finish line rather than something that kick starts your career or makes you a profit.

*But, I understand the allure of making a feature and the passion in oneself to take on ridiculous tasks that normal people would quit in 2 minutes if they knew the sacrifice to reward ratio. So feel free to ignore what I said above. As for things to think about when trying to make a micro budget feature film - post costs a lot of money. If you plan to go into festivals or sell it to distribution companies you need all your ducks in a row. That means sound mastering, film outs, various mixes for different regions, music licensing, legal documents and releases... there are a lot of things in post that cost money that need to be done in order to complete a film.

Thanks for all the input. I'm not sure about the future, but briskly paced dramas are my thing. It will take a long time to perfect this script, then I'll take a fresh look at possibilities. I'm not one to just shoot something for the hell of it, I mean, it's got to go somewhere.
Thanks again - CT

 

[biginvegas]

Craig, Netflix Surrender Dorothy a Slamdance award winning micro budget feature from '98 that pretty much takes place in one location. It was made for half your budget on film with a great crew and of course a great writer/director. The DVD has the director commentary that is very informative. Like wise the director commentary for Primer is the best in that genre.
Here is list of films that are in the micro $10k to low budget $250k:
1. Primer http://www.imdb.com/title/tt0390384/ great audio commentary ( mostly in one house)
2. Breathless http://www.imdb.com/title/tt0053472/
3. La Jettee http://www.imdb.com/title/tt0056119/
4. Following
5. Pi
6. She's Gotta Have it
7. El Mariachi
8. Stranger than paradise
9. Man Bites Dog
10. Surrender Dorothy ( mostly one apartment)
11. Eraserhead
12. Night of the living dead (Romero)
13. Faces (Cassavetes)
14. Slacker
15. Kids
16. Buffalo '66
17. Man Push cart
18. Rhythm Thief
19. In The Company of Men
20. Tetsuo- The Iron Man
21. Hybrid (documentary)
22. Bitter Tears of Petra Van Kant (not low budget but best one room drama ever!)

As Godard said find me the budget I will show you the film...

Good luck

 

[JonathanLB]

Well, the indie film world has changed many times since they made that film. Some for the better (like the ability through talent and technology to attain high production value on a budget) and some for the worse (like the inability to garner high return on investment without bankable cast)...so you really have to balance it.

If it's supposed to be a learning excercise...why spend 150K? If it's meant to be a viable film for the market...you better spend it on CAST!

Believe me, it's the 1st question that will be asked by any distributor...WHO'S IN IT?

They judge everything else after that.

-M

You gotta listen to Martay, he knows what he's talking about.

Trust me $150,000 is enough to get name talent. Are you going to get Tom Welling from Smallville or Michael C. Hall from Dexter? No, you won't. Can you get a really solid working actor who has been in tons of movies and is a known face? Sure, you can. Can you get a TV star on a big show who isn't the main guy? Yeah, you can. I'm speaking from experience

You also don't need just one location unless it works for the script and the film. I have an idea for a horror film that would be one location, maybe even $500,000, but it is an absolutely amazing location, a 20,000 sq. foot mansion on 40 acres, and it'd be horror, where one location is not a limitation but a part of the plot, part of the tension. It just has to make sense for the film.

 

[Craig_Tarry]

Craig, Netflix Surrender Dorothy a Slamdance award winning micro budget feature from '98 that pretty much takes place in one location. It was made for half your budget on film with a great crew and of course a great writer/director. The DVD has the director commentary that is very informative. Like wise the director commentary for Primer is the best in that genre.
Here is list of films that are in the micro $10k to low budget $250k:
1. Primer http://www.imdb.com/title/tt0390384/ great audio commentary ( mostly in one house)
2. Breathless http://www.imdb.com/title/tt0053472/
3. La Jettee http://www.imdb.com/title/tt0056119/
4. Following
5. Pi
6. She's Gotta Have it
7. El Mariachi
8. Stranger than paradise
9. Man Bites Dog
10. Surrender Dorothy ( mostly one apartment)
11. Eraserhead
12. Night of the living dead (Romero)
13. Faces (Cassavetes)
14. Slacker
15. Kids
16. Buffalo '66
17. Man Push cart
18. Rhythm Thief
19. In The Company of Men
20. Tetsuo- The Iron Man
21. Hybrid (documentary)
22. Bitter Tears of Petra Van Kant (not low budget but best one room drama ever!)

As Godard said find me the budget I will show you the film...

Good luck

Thanks for the list. I'll definitely check out Surrender Dorothy. I saw Primer a few years ago and thought it was a very good film. I didn't think they had the ending well thought out, but I was very impressed with their accomplishment.
I keep trying to write small like that, but they keep turning out bigger than planned (it's my fifth screenplay - arrgh!) That's the reason for this thread, to find out what's possible for a certain amount. Below are the three short films I've done so far. The most recent is The Choice, a 30min. monster in mostly the same location. Parting Ways is smaller, but it plays more like an episode than a complete film. Fondue Magic was my first Audition/Rehearsal/Makeup-Hair stylist/Wardrobe etc. production. I tend to do a lot of studying and planning between projects - I'm not a "let's just go shoot something" guy.
So thanks for the info/input. If you get a chance, check out the flicks - Craig

The Choice – 30min.
http://www.openfilm.com/videos/the-choice

Parting Ways – 10min.
http://www.openfilm.com/videos/parting-ways

Fondue Magic – 15min.
http://www.openfilm.com/videos/fondue-magic

 

[Craig_Tarry]

You gotta listen to Martay, he knows what he's talking about.

Trust me $150,000 is enough to get name talent. Are you going to get Tom Welling from Smallville or Michael C. Hall from Dexter? No, you won't. Can you get a really solid working actor who has been in tons of movies and is a known face? Sure, you can. Can you get a TV star on a big show who isn't the main guy? Yeah, you can. I'm speaking from experience

You also don't need just one location unless it works for the script and the film. I have an idea for a horror film that would be one location, maybe even $500,000, but it is an absolutely amazing location, a 20,000 sq. foot mansion on 40 acres, and it'd be horror, where one location is not a limitation but a part of the plot, part of the tension. It just has to make sense for the film.

Hey Jonathan, thanks for your reply. I think your idea for a horror film in one location is great. I think horror films lend themselves to that very naturally. And having a 20,000 sq ft. mansion to play in would be awesome!

As for mine, I’m thinking that an up and coming TV actor who wants to break into films might be motivated to do it. The lead male character is a young guy in college. Of course, getting a script to somebody like that is a problem. Also, what special treatment would be required for them? I was entertaining the possibility of just having everyone sleep in the house during the week. (a great way for actors to connect with their characters)
But yeah, if it were doable, that’d be great.

Here’s the working title, current tagline, and a rough synopsis of the story:

Chess game

“Chess, it’s just like life”

Jake Nolan, wanna be musician and second year college student, decides to live off campus this year, so he rents a room from Annie, a sweet elderly woman in her huge old country house. He finds his housemates to be an interesting bunch. There’s Mike - a tattooed biker type who sports a huge hunting knife, Hector – a latino culinary student who cooks for the house, and Cosmic Remy – a long haired, tie–dyed, throwback to the sixties.
Jake also meets and falls for Caroline –a beautiful, angelic, drama student who is Mike’s girlfriend. All these people have something in common. They all play chess.
He slowly realizes that Mike, Hector and Remy are drug dealers and his obsession with Caroline drives him to commit an incredibly foolish act, pitting him against big Mike in a life and death battle.

My short films:

The Choice – 30min.
http://www.openfilm.com/videos/the-choice

Parting Ways – 10min.
http://www.openfilm.com/videos/parting-ways

Fondue Magic – 15min.
http://www.openfilm.com/videos/fondue-magic

 

[biginvegas]

Craig,

Check out Thomas Vinterberg's Celebration a Danish Dogma film shot on mini DV that is the best of the genre. Takes place almost entirely in a mansion and in theory is something that could be made micro.

Will check out your films!

 

[lambert]

Look at "Tape". Takes place in a motel room. It was an award winning stage play. Shot for a few thousand dollars (Ethan Hawke, Uma).
Also check out the the horror film "Them" vary small cast. 95% one location, mostly just two characters. Eastern euro, great film. Big creepy hous in the middle of nowhere.

 

[Martay]

Craig, Netflix Surrender Dorothy a Slamdance award winning micro budget feature from '98 that pretty much takes place in one location. It was made for half your budget on film with a great crew and of course a great writer/director. The DVD has the director commentary that is very informative. Like wise the director commentary for Primer is the best in that genre.
Here is list of films that are in the micro $10k to low budget $250k:
1. Primer http://www.imdb.com/title/tt0390384/ great audio commentary ( mostly in one house)
2. Breathless http://www.imdb.com/title/tt0053472/
3. La Jettee http://www.imdb.com/title/tt0056119/
4. Following
5. Pi
6. She's Gotta Have it
7. El Mariachi
8. Stranger than paradise
9. Man Bites Dog
10. Surrender Dorothy ( mostly one apartment)
11. Eraserhead
12. Night of the living dead (Romero)
13. Faces (Cassavetes)
14. Slacker
15. Kids
16. Buffalo '66
17. Man Push cart
18. Rhythm Thief
19. In The Company of Men
20. Tetsuo- The Iron Man
21. Hybrid (documentary)
22. Bitter Tears of Petra Van Kant (not low budget but best one room drama ever!)

As Godard said find me the budget I will show you the film...

Good luck

Nice list, particularly In the Company of Men and Buffalo '66 are impressive movies on very low budgets.

I'd add,

The Brothers McMullen & Clerks to the list. Both limited locations and done for sub 50K (without name casts though).

As for the living arrangements, as long as the house is decent and the accommodations for the actor are nice (private room, decent amenities) and it was all arranged ahead of time with them, then it shouldn't be an issue.

-M

 

[Wilbur Eddings]

LOL... here I go again.
Some great suggestions here. i wish I knew about this forum when I started...


I'm just gonna let rip with whatever thoughts come to mind and hope it helps you somehow.
I am very opinionated so just add salt where necessary.


1) I agree with getting a recognizable face in there. My first movie was mediocre at best but it was full of local stars and people went to watch it just for those trusted faces. Without a popular face you'll be shelved with the ten million other Indy movies trying to break into the market.

Find your talent first and then tailor make your script to suit their personality (or lack thereof).

Don't discount singers, radio presenters, whatever. Performers are performers and sometimes they really catch on quick. Confidence on screen is worth a thousand acting lessons! Write cleverly around their lack of screen presence if you need to and surround them with capable, talented student actors or find support actors who were famous like 15 years ago but have a nice show reel for you to chat about on your blog and EPK..

2) Keep your script within your Direction range - This means you need to first determine how many strong character arcs you can confidently handle and stick to that. If I could do my fist project over I would have had a Protagonist, Antagonist and a girl and made it brilliant. You may be able to handle more arcs, make sure you are uber confident and don't clutter your story.

3) Resist the urge to give family and friends lead roles. You will suddenly find that you have friends crawling out of the woodwork. Your movie is 100% pure business and 200% pure passion - if you ignore the first one, the second one will take a serious knock. Protect the movie and it's story at all costs. "No baby, being my girlfriend does not qualify you as a lead actress!!!".

Take it seriously, very seriously! You'll be working on this for a long time and when it is done, it cannot be changed. Think in years, not in weeks or months. Think in dollars, not in sentiment.
(Don't be nasty about it but do your best to protect your baby!).

4) Make sure your scheduling is perfect.
I mean PERFECT. Force yourself through the mundane, unexciting, boring as hell scheduling process and then do it again. Make sure you have time to set up those lights, move em around and move em around again. This movie has one shot to be awesome, don't rob it of it's destiny because 'Scheduling is boring'. Build in time for creative experimentation - keep that horrible hourglass away for as long as you can.
Scheduling can make or break your movie. If you do it wrong, you'll be rushing takes and settling for mediocre performances towards the end of your shoot.

5) Trust no-one with your money. Spend every cent yourself and be a tight fisted miser. Unless you have a fantastic line producer (a gift from heaven!)
When it comes to money, people tend to mean well but end up making promises they cannot keep. Especially when it's someone else's money!
A production manager who is used to big budget ads or movies will blow your budget on gaffer tape and portaloos. On that note:

IMPORTANT:

There is no (insert violent swearwords here) industry standard!
Don't let people tell you how to spend your budget. 'Industry standard' rates and expectations will eat through your 150k like a termite through a skateboard!
Stuff like feeding your crew is very important but don't let them tell you they want 3 different meats and rubbish like that. You can feed them caviar when you have a 30 mil budget, until then, pasta and energy drinks with lots of fruit will do.

6) Negotiate PERSONALLY and clearly with every single person on your team and make contracts. Leave nothing in the land of vagueries and assumptions.
12 hour days have a way of eating away at promises and verbal agreements. Make sure you have the contract in your briefcase in the car ready to rock n roll. It's better to have them and not need them than to need them and not have them.

7) When it comes to conflict management, prevention is far better than cure. Make sure every single person on your team knows how you operate. Give them an opportunity to understand your modus operandi. "I'm a perfectionist, I like stuff like x and y" or "I'm a free spirit, i hate it when x and y happens". You losing your temper on set because someone took a sip of your coffee and you have germ phobia will make you look like an idiot and cause an extremely counter-creative atmosphere. Rather tell everyone ahead of the shoot "I'm a Germ0phobe - it's lame but it's how I am - please wash your hands before every meal, thanks." (I knew a Director like that once, he made us wash our hands at every break - I still wash my hands at every break today - haha).

8) A deal is a deal. ne grateful for the massive discount your DP gave you, but thats where the favor stops. You are still responsible for that final product so don't act sheepish around your crew. Lead them confidently and be strong!

9) I talk too much.

10) Never forget that the Burger joint down the road might want some product placement in your movie. They might not have cash-flow, but they make a mean salad! Salad saves you money therefore it IS money. Product placement can save you tons of props and stuff.. work it!

 

[thisisapocalypse]

If I had 150,000 dollars to spend on a film. I'd have at least 1 name actor, and hire a profressional lighting crew, and I'd probably rent some other production value goodies. I made my film EXIT 101 for alot less than that.

Totally - for that kind of bread you can definitely get at least one name actor - get on the phone to some talent agencies.

 

[thisisapocalypse]

As for mine, I’m thinking that an up and coming TV actor who wants to break into films might be motivated to do it. The lead male character is a young guy in college. Of course, getting a script to somebody like that is a problem.

I don't think getting the script to someone like that will be too much a problem - find someone you like, call their agent, you have money to spend, if what you can spend lines up well with the actor's rate, and they like the script, it shouldn't be too hard.

 

[biginvegas]

So called "name talent: for a no budget independent is asinine!

You will have to work with SAG agreements that will waste your time and cost money you don't have. So called name talent will bring nothing to to the table when trying to get it in a festival or eventually selling the film. Name talent comes with ego's and very short scheduling. You might get a day to a week with a name talent for a no budget SAG film. Don't be duped by what indie Hollywood says, you do not need a "name talent". Take a look at that 20 no to low budget films I listed. Not one has a so called "named talent". It is up to you the filmmaker to discover new talent. Surrender Dorothy filmmakers discovered Elizabeth Banks, Spike Lee created his own persona in She's gotta have it... the list goes on and on..

Hollywood agents will not take your call, the assistant will and he will ask your budget then never call you back. If you do want name talent you have to hire a reputable casting agent in NY or LA that has the relationships with the actors and agents. The casting directors wield the power to make your film. You will be required to pay her a basic retainer.

For your first feature avoid it! I repeat avoid Hollywood like the black plague.

Casting is 90% of a low budget film, if you are outside the LA/NY/USA scene better for you. Cast regional authentic actors and non actors. Authenticity is the key.


Essential articles on the no budget by Peter Broderick:
http://www.filmmakermagazine.com/issues/winter1993/abc_no_budget.php
http://www.peterbroderick.com/writing/writing/abcsofnobudgetfilmmaking.html
http://www.peterbroderick.com/writing/writing/ultralowbudgetmoviemaking.html

 

[Wilbur Eddings]

Cast regional authentic actors and non actors. Authenticity is the key.

/Agreed

Don't forget Radio presenters, Singers and other types of performers.

'Industry standard' is a very dangerous term around Indy film makers. Cover your wickets! try and do everything 'Indy Industry standard!'

Agents are salesmen. it is their job to lie, inflate and schmooz to get the best possible deal for themselves and their clients.

Watch those purse strings!

 

[Craig_Tarry]

Hey Wilbur, I actually had a go at film scheduling a while back on a previous feature script. I got a copy of Ralph Singleton’s book on film scheduling, I underlined, circled, etc. I printed breakdown sheets on different colored paper. It wasn’t that bad, yaw just got to make the time.
I think I’ll try and do that with this script. Maybe I could do it and have the PM check it when I hire him and save paying him all that labor. It’s worth a shot. Of course, they have software to do that. Either way, cutting costs here and there is always worth it.
As far as the name talent goes, I’d love it, but I’m going make this film either way. I’m more interested at the moment as to how I’m going to pay for things like:
1. A quality DP - a DP who has worked as DP on several feature films.
2. A quality Editor - an Editor who has worked as Editor several feature films.
3. “ “ Production Manager
4. Crew
5. Camera Package
6. Insurance
7. Food
8. Pay for everything in post
9. PR
10. Festival promotion
11. etc. etc. etc...
Just to name very few of what’s required - all have to be squeezed out of $150k in order to make that name talent look good.

El Mariachi may have been made for $7000, but it took $250,000 of finishing funds to make it releasable. Blair Witch Project was shot for $20,000, but the final edited, color corrected, with sound and clearances, + blow up to 35mm cost $200,000+ !
So, I’m basically concentrating on making a great script and then we’ll see if $150k will cover everything.

 

[Wilbur Eddings]

Hey Wilbur, I actually had a go at film scheduling a while back on a previous feature script. I got a copy of Ralph Singleton’s book on film scheduling, I underlined, circled, etc. I printed breakdown sheets on different colored paper. It wasn’t that bad, yaw just got to make the time.
I think I’ll try and do that with this script. Maybe I could do it and have the PM check it when I hire him and save paying him all that labor. It’s worth a shot. Of course, they have software to do that. Either way, cutting costs here and there is always worth it.
As far as the name talent goes, I’d love it, but I’m going make this film either way. I’m more interested at the moment as to how I’m going to pay for things like:
1. A quality DP - a DP who has worked as DP on several feature films.
2. A quality Editor - an Editor who has worked as Editor several feature films.
3. “ “ Production Manager
4. Crew
5. Camera Package
6. Insurance
7. Food
8. Pay for everything in post
9. PR
10. Festival promotion
11. etc. etc. etc...
Just to name very few of what’s required - all have to be squeezed out of $150k in order to make that name talent look good.

El Mariachi may have been made for $7000, but it took $250,000 of finishing funds to make it releasable. Blair Witch Project was shot for $20,000, but the final edited, color corrected, with sound and clearances, + blow up to 35mm cost $200,000+ !
So, I’m basically concentrating on making a great script and then we’ll see if $150k will cover everything.

Great stuff.

Well, I wish you the very best of luck, blessings and good fortune! Enjoy it, remember at every discouraging point that you are actually shooting your movie and that half the planet would give their left testicle (or ovary) to be in your position!

If you get discouraged or stressed, there's a whole forum of awesome people who share your passion right here! Don't hesitate to vent or ask for input or encouragement.

Every movie has only one shot to be awesome. Give it every last breath of your potential!
Dammit, film making is sooooooooo exciting!
We have the best job in the world!

 

[biginvegas]

Craig,

El Mariachi was in a diffrent era. No need to budget expenses in post you cannot predict or may not need. Keep it as a work in progress and finance as you go otherwise you will forever be looking for cash before starting. In this digital era you can send to festivals like Slamdance and screen off HD cam, you don't need a 35mm blow up. As far as Dp's, editors, crew use who REALLY WANTS to do the job.
You can find 1st AD cameramen willing to step and shoot a feature no problem. Budgeting and scheduling is a no brainer. Print out your scene list as a card from your final draft screenplay. Make a list of items on the scene card to rent clothing, props etc, list your locations and find them and secure them. Lighting, gear, catering, accomodation, transport as well per scene. List actors for scenes, cast them, schedule them. This should all be WRITTEN TO BUDGET. Insurance is a once off payment before 1st rental.

Set up your post in advance. That is your own system, do not rent post!

Casting is 90% your film.

Preparation, preparation.... will save you thousands. Get technical and understand everything you use and rent. The more equipment you own the less you need to rent. Shop smartly.

Do everything up to this point yourself (and assistant casting director) then ally yourself with smart young DP, sound guy and small crew. Voila! Shoot!

Toss the Ralph Singleton book, it's a huge waste of time.