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.
Writing an original story is by no means an easy process. There are times when I think and rethink various elements to make sure they flow. Does this transition from that transition make sense? Am I carrying the story forward and adding something with each moment? Even though I’m writing fiction, I always ask myself would people act and respond this way in “real life”?
But at one point it starts to click. For this story it happened around page twenty. While I have the general outline for act one, two and three (Yes, I believe in the three act structure), it’s the journey these characters take that will make the story what it is.
But one thing that is easy, is creating worlds that are larger than they appear or you have the budget for. With every film I’ve produced (and some commercials), I always use stock footage. From the White House in First World, to Reincar Scientific in Justice Is Mind to the FBI in Serpentine, it’s a simple purchase from one of the stock footage houses.
Most stock footage is very affordable. However, there are times when it can get pricey. Case in point was footage from the Nuremberg Trials after World War II in Justice Is Mind. In addition to the footage, I also had to obtain it at a certain aspect ratio. But in today’s modern world of filmmaking, it’s amazing what’s available if you just look for it.
As this story largely takes place in one room, it will be stock footage that takes us out of the scene to illustrate certain moments of the story. Why ask the Department of Defense if you can film a B-2 taking off from Whiteman Air Force Base if you can just acquire the footage for $79.
I remember after Justice Is Mind was released, I was asked by someone in the industry if I went to Logan International Airport in Boston to film planes taking off. I remember jokingly responding that it was a real pain in the ass to get over all the fences and position myself with a cameraman at the end of the runway. I think they thought I was serious. Oh well.
As I dove back further in the First World story and archives, I came across a time in 2008 when certain funding commitments were imminent for the production of the film (it was going to be part of a slate of films with a particular producer). But then the global recession took hold and literally decimated the film industry (particularly on the independent side). At the time it was disappointing, but everything happens for a reason.
It’s interesting how one is turned to a particular story. When the idea came to me during my moments at the Naval Justice School about developing a story in a one location environment, something drew me back to First World. Was it the military aspects of that story? The fact that I’ve already created these characters? Who knows, the one thing I never ask myself is why. I just write.