Whenever I start the process of preparing a project for pre-production I start to breakdown the script. Every filmmaker has their own process, but for me I start on page 1 and list what’s needed apart from the characters themselves. Aside from the three locations and uniforms, the majority of the breakdown notes for First Signal is stock footage.
I’ve posted about stock footage before and its importance in film production. Without stock footage First Signal would only come to light with a significant seven figure budget. One scene calls for a “Helicopter Taking Off From Roof”. In the days before stock footage, such a scene would have to be produced. Now, it costs about $50.
For me the breakdown of a script brings the reality of production that much closer. Once that list is done, I just start to pull all these pieces together and check them off one by one. Of course, there’s always things that come up that seem next to impossible. With Justice Is Mind it was the 11th hour securing of an MRI center to shoot the pivotal scenes of the mind reading process.
The one thing I’m adamant about when producing a film (or anything for that matter) is organization. Nothing is worse than arriving on set and disorganization (or incompetence) seems to be the status quo. I honestly don’t understand it.
When I’m cast on a project I just do as I’m told. But I’m also observing everything. The one thing I have observed with these “large productions” is that there are simply too many cooks in the kitchen all trying to out maneuver each other. On a set there is only one cook, the director. It’s pretty laughable when a production assistant gives you direction opposite of what the director just gave you. Their look when I say, “Well the director wanted me to do it the other way” is priceless.
As for communication, next weekend I’ll be posting a casting notice on Backstage and New England Film for the characters in First Signal that have not been cast. Auditions will be in April. These next two months are going to very busy. The next Naval Justice School class starts on Friday for the next few weeks, then it looks like I’ll be casting for a major military exercise in April and May.
It’s not fashionable for actors to not learn their lines. Your number one job requirement when cast in anything is to learn lines. If you refuse to do that, please find another occupation or avocation.
When I read this interview with Bill Nighy (one of my favorite actors) that is has become “fashionable” for actors to not learn their lines, I always wonder where such nonsense started. Seriously, how do you execute a film (forget a play) when an actor doesn’t have their lines down? This is akin to a Director of Photography not interested in operating a camera.
Over the years I have unfortunately come across actors and performers that think it’s OK not to be prepared. Being unprepared is not only disrespectful to those in the cast and crew that have done their homework, but as a director I’ll never cast you in anything.
As a writer/director I do have to count myself lucky with the actors I have cast in my films. Out of the four films I’ve produced, only two of the actors arrived to set without having their lines memorized to say nothing of having read the script.
In one of my short films I was very excited to work with a particular actor who was also a producer/director. I was incensed when not only didn’t he have his lines memorized, but laughed it off in the process. Didn’t he care that there were about 15 people on set that saw this behavior? It was during that moment that I was reminded of a student film I was in the year before. One of the actors I had a scene with made a big deal that actors need to know their lines. I kid you not when our scene started he didn’t have his lines memorized at all. He thought it was cool. I was having none of it. Needless to say when he submitted for Justice Is Mind his submission was deleted.
This being said, ALL the actors I worked with in Justice Is Mind and Serpentine: The Short Program had their lines brilliantly memorized. For those that have seen Justice you know it was a dialogue heavy production. The courtroom scenes alone were basically one monologue after another. Their preparation and professionalism made the production a smooth one resulting in an on time and under budget finish. Professionalism (which has nothing to do with union status) goes a long way.
However, responsibility also falls to the director as well. Whenever I put a film into production, I always make sure the actors have received their scripts well in advance. Isn’t that my job? To give actors the tools they need to succeed? I can’t blame actors for not having their lines down if I don’t deliver them in a timely fashion.
Case in point I was approached this past week to be in a film that was shooting this week. Before I committed the director confessed they were still “tweaking” the script and it should be ready shortly. What the hell does that mean? Do I get it the day before? Or day of! Needless to say, I declined to be involved. I’m sorry, if you can’t get your act together on the production side, you’re asking for a disaster on set. Honestly, this isn’t rocket science.