Film Production Management

How to Budget, Organize and Successfully Shoot your Film

Bastian Cleve

• Publisher: Routledge
• Year: 2017
• ISBN:
  9781351840125
• Edition: 4
• Topic: Media & Performing Arts
• Subtopic: Film & Video

This new and updated fourth edition of Film Production Management provides a step-by-step guide on how to budget, organize, and successfully shoot a film and get it onto the big screen. Whether you are a film student or film production professional just getting started in the industry, this book is an indispensable resource for day-to-day business on the set.

Written by veteran filmmaker Bastian Clevé, this book will teach you how to:

• Break down a screenplay
• Organize a shooting schedule
• Create a realistic budget
• Find and secure locations
• Network with agents to find actors
• Hire a crew and communicate effectively with unions

The new edition features updated information on contracts, permits, and insurance; special tips for low-budget filmmaking; new information on digital workflows and production software; advice on green production practices; and expanded coverage of the role of the line producer.

1

The Production Manager

Movies are make-believe. They are designed to portray reality to such an authentic degree that even stories taking place millennia ago in faraway galaxies look true and convincing. In historic movies or science fiction films, this becomes obvious as there is no any such “reality” that might be used to film in—but of course, this is true for any story set in everyday life—and even for documentaries to a certain degree. Considering that it takes a small “army” of technicians, actors, and other personnel to create this illusion, it becomes obvious that there is no “let’s just go ahead and shoot” without meticulous preparation, planning, and legal work far prior to any first day of cameras rolling (however, there are no cameras “rolling” anymore as there is no “film” anymore—digital data are being “stored” instead). This book will try to offer an insight into the mechanics of organizing for and accomplishing shooting of motion pictures, especially from the viewpoint of a production manager and a line producer.

Few people grow up with the goal of becoming a motion picture production manager or a line producer. Everyone knows what a director does and what producers do. Everyone can identify with an actor or a star. Even director of photography is a generally known profession. But who knows what production managers or line producers do?

Admittedly, it sounds boring. Yet this field of work is one of the most complex, responsible, and diverse in the whole process of motion picture production. It poses challenges in vastly different areas and requires legal, technical, organizational, and psychological expertise. These professions demand the very best from those who pursue them—it is a job that starts first thing in the morning and closes late at night—production managers usually make themselves available at all times during day and night, they act as emergency help and should be relied on at any time during pre-production, shooting, and post-production. It is normal to expect competent and up-to-date answers to all and every question however strange or far-off from the production manager—he or she is the one person who embodies the complete production and has a clear overview of what has happened, what is happening, and what is going to happen. The production manager sets the mood of the overall production and often serves as a go-between to restore balance and common sense if necessary. This business being what it is, this personal quality might be called upon more often than can be imagined. The production manager’s work gives a production the necessary structure within which the director and other artists and craftsmen can create their visions.

If your ultimate goal is to become a producer—for theatrical motion pictures, commercials, music videos, corporate image films, documentaries, or TV—you will probably proceed through the levels of production management, from assistant director to production manager, line producer to independent producer. To do a thorough and creative job as a producer, it is wise to get as much experience as possible guiding a production from conception through final screening. The best way to do this is through hands-on, detail-oriented, nitty-gritty production work on the set and in the production office. The production manager and line producer are some of the few people working on a production who are involved from beginning to end. Few others know and are responsible for as many details about the production. The knowledge you gain as a production manager will be invaluable when you achieve the title of producer. It will give you the power and authority to seize control of the production; through personal experience, you will know the limits of what can be done. As a producer, your creative ambitions will be set free. You will decide on story ideas, developments, and creative aspects of the screenplay; you will make choices in casting and all other artistic aspects of production; and in a collaborative process, you will be fully responsible for making your vision a reality.

 The Production Manager’s Job

The Directors Guild of America (DGA) has a very precise job description for the position of production manager. In reality, though, the areas of authority often become hazy, particularly in the field of independent nonunion production. The job titles, also, may become indistinct. Virtually the same position might carry the title production manager (PM), unit production manager (UPM), line producer, or producer. The title depends on the size of the production, the staffing of the production department, and the relationship of the position to the producer and executive producer.

Here is how the DGA describes the production manager’s role:

Unit Production Manager

A Unit Production Manager is one who is assigned by the Employer as a Unit Production Manager of one or more motion pictures, as the term “Unit Production Manager” is customarily used and understood in the motion picture industry. Subject to the provisions of Paragraph 13–202, a Unit Production Manager (hereinafter referred to as “UPM” and collectively referred to as “UPMs”) may be assigned to work concurrently on one or more productions, whether theatrical and/or television. No UPM need be employed in those instances specifically set forth in Paragraph 13–202.

After a picture is approved for production, there shall be no delegating to other employees (except First Assistant Directors when no UPM is assigned to the production involved) the duties of UPMs. It is an element of good faith of, and part of the consideration for, this BA that no Employer will make a general rearrangement of duties among such categories, change classifications of employment for such categories, employ persons not covered by this BA or delegate the duties ordinarily performed by UPMs to persons other than First Assistant Directors acting in the dual capacity of UPMs or to bona fide Producers for the purpose of eliminating UPMs who otherwise would have been employed hereunder. There shall be no restriction on delegation of duties ordinarily performed by UPMs when a UPM and a First Assistant Director both are assigned to the production.

The UPM, under the supervision of the Employer, is required to coordinate, facilitate and oversee the preparation of the production unit or units (to the extent herein provided) assigned to him or her, all off-set logistics, day-to-day production decisions, locations, budget schedules and personnel. Without limitation, among the duties which the Employer must assign to the UPM or First Assistant are the supervision of or participation in the following:

1. Prepare breakdown and preliminary shooting schedule.
2. Prepare or coordinate the budget.
3. Oversee preliminary search and survey of all locations and the completion of business arrangements for the same.
4. Assist in the preparation of the production to insure continuing efficiency.
5. Supervise completion of the Production Report for each day’s work, showing work covered and the status of the production, and arrange for the distribution of that report in line with the company’s requirement.
6. Coordinate arrangements for the transportation and housing of cast, crew and staff.
7. Oversee the securing of releases and negotiate for locations and personnel.
8. Maintain a liaison with local authorities regarding locations and the operation of the company.

Subject to the following paragraph, the foregoing description of the UPM’s duties is not intended, nor shall it be construed, either to enlarge or diminish the duties of UPMs, First and Second Assistant Directors or other personnel as such duties are presently and were heretofore customarily performed in the motion picture industry. Notwithstanding any other provision of this Paragraph 1–302, an Employer may not assign the duties of a Unit Production Manager to

Extra Player Coordinators, Production Assistants, or persons in positions in which the assigned duty has not been customarily performed in the motion picture industry. There shall be no alteration of job titles to evade or subvert the provisions of this Paragraph.

(from Directors Guild of America, Inc., Basic Agreement of 2011–2014)

2

The Business of Film

Next to the producer or executive producer, the production manager (and line producer—if there is one—which is not always necessary or the case) is one of the few people on a production team who stay with the project from beginning to end. The four distinctive phases in any production are development, pre-production, production (principal photography), and post-production. This chapter looks at the role of the production manager (PM) at each phase.

Development

The PM is usually spared the most nerve-racking and frustrating phase of all: development. In this phase, the producer conceives an idea for a movie, develops it into a presentable package, and tries to raise production funds to get the project into pre-production. To put it bluntly, filmmaking is all about business and earning potentially vast amounts of money. This statement might sound harsh and cynical to a beginning filmmaker, but it accurately reflects the dealings and philosophy of the entertainment business (it’s called business for a justifiable reason—if this aspect does not work out, then there will be no “next movie”).

The development process sounds simple, but let’s take a closer look. First, the producer searches for material that can be turned into a successful (that is, financially successful) motion picture. Inspiration might come from an original screenplay, novel, stage play, short story, book, periodical, real-life story, pop song, or another motion picture. Regardless of its source, the producer must acquire or option all the exploitation rights to it before making the movie. If an intellectual property is being optioned, it means that there is usually a certain time-limit (mostly one year with the possibility of a prolongation for another 12 months) during which time the producer must be ready to pay the full amount of the previously agreed-upon full price. This does not necessarily mean he or she must get shooting, but it means the producer has to purchase the property completely.

Buying the exploitation rights to an existing screenplay can involve a considerable amount of money. It all depends on the market value of the script, whether it is brand new or has been shopped around for a while, and the “name value” of the screenwriter. In any case, the producer must consult (and pay) a lawyer to ensure that exploitation rights are cleared and obtained. The lawyer must also make sure the story of the screenplay does not violate other rights, such as the right to privacy. Even if the producer believes the screenplay must be rewritten, either by the original author or by another writer, buying an existing screenplay still is the easiest and quickest way to obtain a property ready for “pitching”—that is, for presenting, packaging, and trying to sell it to the parties who are interested in exploiting the finished movie. To obtain the rights, the producer must have up-front money. If the producer does not have a development deal with a studio or a production company, he or she personally must advance the money. Of course, an author may grant the producer the right, without financial compensation, to try to sell the project and agree to get paid once the production is secured and green-lighted. There are no hard-and-fast rules in this regard, so whatever deals can be made, will be.

If the screenplay will be based on an existing novel, play, short story, or book, the producer first must obtain the rights to have the screenplay written (assuming the property is not in the public domain). The time needed to negotiate adaptation rights and then to obtain a finished, presentable screenplay, including rewrites and the like, can be considerable—several months to a year or two. The process is similar if the producer wants to base the film on an article from a periodical. The rights must be cleared, and the screenwriter found, motivated, and paid. Once again, rewrites by other authors might be required—contractual provisions for such a case must have been previously implemented

The process is slightly different with a real-life story. If the story is “hot,” there will be fierce competition for the right to create a film about it. This means that cash is likely necessary to secure the rights. In any case, the producer must obtain the rights from those involved. In addition, of course, a screenwriter must be found, and the screenplay must be written. Lawyers must be involved in negotiating any agreements. The rights of those who might be affected by the story must be cleared. All this can be quite an exhausting enterprise.

If an existing motion picture is involved, the original producers or holders of the copyright will probably want to retain their rights for a sequel if they can. Otherwise, the author must be contacted, and the rights purchased as described earlier. If you plan to make a sequel to your own movie and you retained the right to do so, the process is somewhat easier. If you want to use the original cast, negotiations might prove to be expensive unless a provision was made in the original contract for a sequel.

Finally, if the movie is to be based on the plot or lyrics of a song, the producer must obtain the adaptation rights. Besides the songwriter and singer, a record company might be involved. Whoever owns the copyright must participate in the negotiations. It is easy to see why a seasoned entertainment-lawyer should be at the producer’s side at this early but essential phase of any production: exploitation rights that have not been obtained from the very beginning—and this list must be complete, exclusive, worldwide, and for all media—are very difficult to clear at a later stage.

Next, to raise money for production, the producer must find a production company or studio willing to provide financing. This is where the process of packaging begins. The producer must create an attractive overall package. “Name” actors who will guarantee—in a tentative sense, as there are no sure-fire guarantees—the film’s success must be found. The producer might also seek a well-known director to guarantee the financiers that a professional and superior product will be created. However, “name” actors and directors will only agree to be in a movie if distribution is guaranteed, and to get a distribution contract, commitments are required from the actors and director. It is a vicious circl...

Table of contents

• Cover
• Title
• Copyright
• Contents
• 1 The Production Manager
• 2 The Business of Film
• 3 Preparing for Production
• 4 Special Tips for Low-Budget Productions
• 5 Locations
• 6 Unions
• 7 Cast and Crew
• 8 Contracts, Agreements, and Working Permits
• 9 The Budget and Production Budget Forms
• 10 Insurance
• 11 Completion Bonds
• Appendix 1: Green Shooting
• Appendix 2: Selected Addresses
• Appendix 3: Example Agreement Forms
• Index