Still, we managed.

If you’re going out on location, set up all your gear first, at the studio or at home, and then break it down into your van or car. This way, you know you have everything you need in the transport vessel.

Read More

What did you expect for Tip #69?!

Don’t sleep with your leads, your stars. Sure, they’re attractive as crazy, but right now, your priority is making a movie.

Read More

Choose Wisely

Trust your Assistant Director. If you can’t, then at least figure out what your expectations should be and make sure the two of you are on the same page. If your AD is both untrustworthy and unpredictable, get a new AD.

Read More

Aieee!

Easy on using the Wilhelm Scream as a sound effect. Ten years ago, it was cute, but nowadays enough people know of it that using it actually distracts from your movie and breaks the story.

Read More

Plus, fighting is cool!

Make every character a character that an actor can read and respond with “Man, this would be so awesome to play!”

Read More

One-night music stand.

Don’t marry your temporary music score. It’s temporary for a reason.\

And now, a moment of silence…

Get at least one minute of clean ambient sound from every location. This is very important.

Read More

Not to be confused with “hobo glue,” which is something completely different.

The same technique that will help you write a script will help you complete a movie: bum glue.

Read More

But order it in advance!

If you have to rent a van, rent a van. It’s only about a hundred bucks a day, but think of what that hundred bucks gets you: You don’t have to worry about who’s bringing what piece of gear. Everybody just brings everything the few nights before to one location, and the night before, you pack it all in one van.

Read More

Don’t be shocked!

Fix or repair broken cords, and do it right. If you can’t do it right, then cut them up and throw them away.

Read More

And Dinner!

Remember you have a life outside of production. Everybody else does, too.

Read More

Call it “Gravitas”

If you are using any miniatures (whether motorized or not, but especially if motorized), fill ’em with lead, wax, anything that’ll dry solid.

Read More

Win This One!

It’s that time of year. If you’re a screenwriter, you can do a lot worse than winning or even placing in the Nicholl Fellowship.

Read More

Noodles are for lunch!

You can noodle on a project forever. There will always be things you can fix, always things you can nudge, but that’s not progress — that’s stalling.

Read More

Including conversations between takes, mind you…

Whoever’s holding the microphone boom pole needs headphones. They must be able to hear what the microphone’s picking up.

Read More

Tension Breeds Resentment

When taping cables and cords down, always leave a very generous series of loops at each C-stand, tripod, or workstation. This is so you can move stuff around without retaping.

Read More

Remember, though, that power corrupts.

If you don’t know who your boss is on set, then your boss is the Director. This doesn’t mean who gets to boss you around, it means who helps keep you steady-on with your piece of the big puzzle.

Read More

The Wind Sounded Great!

ADR (depending on who you ask) is Automatic Dialogue Replacement. That’s when your actors come in to the studio and record lines over the outside crappy recording from on set. Pretty much every time you record outside, or in a noisy environment (such as a non-studio), you’re going to have to record ADR. Just plan for it.

Read More

Keep an eye on the right things at the right times.

Always check your monitor to make sure you’re happy with your framing, but after that, watch your actors.

Read More

The “Scotty Method” isn’t real.

If the makeup you want is going to take half an hour or an hour to apply, plan for that time. Don’t assume your makeup person is lying about how long it’ll take.

Read More

Leave No Trace!

It’s worth it to buy actual gaffer’s tape. Duct tape leaves a residue and you don’t want that residue on your gear, on your cords, on your host’s carpets, walls, or furniture. Gaffer’s tape is clean.

Read More

Still not a safety line, however…

When connecting one extension cord to another, or an extension cord to a light, try to always tie the cords in a knot before connecting them. That way, if the cords are pulled in opposite directions, they tighten instead of pulling loose.

Read More

“Sudden Massive Tissue Loss” +100 points!

When loading shells in a mortar, try to drop them in with your non-dominant hand (if you’re right-handed, drop with the left hand). That way, if you experience Sudden Massive Tissue Loss, you still have your favorite hand.

Read More

When’s the last time you read the script?

Your Script Supervisor is supposed to get in your face and interfere — their job is to make sure you aren’t screwing anything up. Listen to what’s being said.

Read More

Look! The Sun!

Network, network, network! Meet other people making movies! You’re all in this together and you all offer unique talents. Yes, there’s a lot to be said for keeping your head down and working, but once in a while, you need to get out and meet other filmmakers.

Read More

The world needs more ‘Lerts.

Be secure. Lock your personal stuff in your car or keep it on your person.

Read More

“Fourple”

On a low budget movie set, a lot of people have double, triple, or fourple duties. On a low budget set, “fourple” is a word. No matter what you’re supposed to be doing, chances are, you’ll wind up doing some other things, too.

Read More

After he destroys the Ring, of course.

You can’t just eject the warp core and hope a matter/antimatter explosion will produce a shock wave that let’s you surf out of the event horizon. That’s stupid. Find a more down-to-Earth solution to problems for your story.

Read More

Wish there was a spray for ‘em.

Watch out for drama queens. Drama belongs in front of the camera, not behind it. If they are indispensable, contain them severely. If they are not indispensable, dispense with them.

Read More

Except when they’re in the bathroom.

When writing a script, keep track of each character, and always try to know what they’re doing at any given point in the narrative, even if we never see it in the script or in the movie. Doing this helps keep the timing right, and the rhythm of the movie benefits from it.

Read More

Or even a Furby!

Anyone who thinks animation has to be hyper-realistic in order to be emotionally connective never cried watching Bambi. Conversely, the more realistic an animation is, unless it is indistinguishable from real life, the creepier it is, even if it’s supposed to be happy. At best, you can achieve a creepy sort of happy. Usually, that becomes a “fail.”

Read More

Like peas in a pod.

The Director, the AD, and the Cinematographer should always get on well with each other. Find time to make that happen.

Read More

Yes, even a nuke.

If you must have a live weapon on set, such as a pistol, or a shotgun, or a nuclear weapon, have one expert dedicated to babysitting that object. They must never let it out of their sight. Pay attention to what they have to say. If they say the actor is being unsafe, fix the actor — don’t shush the expert.

Read More

You Can Always Shake it in Post!

Get a tripod! Battlestar: Galactica was a fluke — if you don’t lock that camera down, you’re going to make your viewers queasy. You can pan and tilt and even dolly if you have one, but unless you have a real good compelling reason, please, please, please get that camera on the sticks!

Read More

Even at the dollar store!

If you can’t pipe your sound into your camera, borrow a camera with a microphone jack and use that to record audio. There is no real difference between a ’spensive 16-bit digital recorder and a 10-year old Handicam that records sound in 16 bits. Except, well, cost.

Read More

The Shadow tells…

When shooting with a greenscreen, make sure the model is away from the screen. You don’t want any light reflected back from the greenscreen onto your model. Your effects person will bless your heart, assuming they’re on set.

Read More

Although it’s good to know who’s hungry.

Internal microphones suck. Never use the microphone that’s attached to the camera body.

Read More

The patient net saves $$.

Over time, you can find practically any prop you need at a thrift store, or even the bins store (where the thrift stores dump their excess inventory). The sooner you tell your Art Department what you’re looking for, the cheaper the whole thing’ll be.

Read More

The operative word is “steady”!

A cheap-ass steadicam you built using $15 worth of parts is better than no stabilizing tool at all, especially if you practice diligently with it, but it’s not a $1000 Steadicam, and it’s not realistic to compare the two. Make do with what you’ve got.

Read More

Get. The. Shot.

There are three words that should drive everything in Production: “Get the shot.” The only two types of activities on set are activities that help get the shot and activities that are preventing the shot. Keep the former going, and minimize the latter. Food belongs to the former category, by the way.

Read More

Think of it as “Contemplative Time”

If you can’t cut around bad acting, the best you can hope for is to be saved by your cutaways, and by the reaction shots of other actors. Another alternative is to rewrite the scene on-the-fly to be one of those moody contemplative scenes with billowing cloth and slow-motion cigarette smoke. I suggest you grab lots of cutaways, though.

Read More

Tongues are irreplaceable.

In a pinch, shop light’s do just fine. The color balance is great and they’re cheap as hell. Every home improvement place has ’em. You have to take off those little grills, but you probably would figure that out on your own.

Read More

Sugar is Power.

Bagels and doughnuts are not the same thing. Not even close. No amount of goo spread on a bagel makes it a doughnut. It’s still a bagel, only now it’s a bagel covered in schmeer. If your crew asks for doughnuts, give them doughnuts.

Read More

In a nutshell: Watts = $$

If you find extension cords for sale, especially long ones, get a bunch. Use a sharpie and write your name and contact information on each one, at each end. If you can, get a weird color (I have a purple extension cord that I have never lost), but if not, definitely mark them at each end. And it’s probably the case that you can’t have too many.

Read More

Hell, I’ve been tempted to put my own name in the hat…

Have prize drawings for extras, if you have more than half a dozen. Everybody puts their name in a hat, and at the end of the shoot, draw for prizes. Movies are good prizes. Must be present to win. Helps ’em stick around longer, too.

Read More

Pores might be a bit overboard.

Don’t be afraid to get close with the camera. A movie made all out of long shots (because the Director was afraid to get close) is a movie without any emotional context whatsoever. Get in there and get some of that!

Read More

Beware of Werewolves, However

To simulate a full moon, try strapping a 1K Lowell DP, at the end of your longest tripod or C-stand to the top of a fully extended extension ladder. It worked surprisingly well for us. We were able to cut the light through apple trees, which made for even niftier shadows. Gel it if you want. Spooooooky!

Read More

But Never Surprise Their Bank Accounts!

If you’re going to trigger a cue with a countdown and decide to trigger it early to get a better reaction of surprise, you should be confident your actor(s) can handle the unexpected so you don’t have to reshoot the scene should they break character.

Read More

The Great Red Eye of Disturbance!

If your actors absolutely cannot act whatsoever, or freak out once the camera’s on, make a big noise about your DP turning the camera off while you run through some off-camera rehearsals. Have the DP filming this secretly (“Just pulling focus, guys — don’t mind me!”). No matter how crappy an actor might be, they can usually be themselves with some reasonably convincing skill.

Read More

Well, even if you’re not stealing the shot, too.

If you’re stealing a shot (and we all do it), be quick, quiet, fuss-free, and the bare absolute minimum of crew. Get in, get the shot, and get out.

Read More

Plus, audiences have a short attention span.

It’s probably the case that someone else has done it before, but don’t let that worry you. No one’s done it quite like you plan to, and for each story out there, there are a million variations.

Read More

…or hate it, but I recommend against that.

Making movies is fun. Never forget that. Maybe some folks do it only for the money, but I doubt it. I think they still want to have fun, and making movies is fun. If you’re not having fun, you’re probably not doing it right. Don’t get me wrong — it can be hard work, but the big picture is that it should be fun. Have fun!

Read More

I keep losing my Personal Priority List.

There’s nothing wrong with getting paid, or with volunteering, or with accepting credit and copy. Some people need money, some people need a fun activity, and some people need to build up their portfolio. Everyone has to take care of their own soul, and no one ought to be lording it over anyone else.

Read More

Delete Current Project? (yes | delete | nuke | sorrow)

Do not upgrade your system in the middle of a big project. You can wait until it’s finished, and then do your upgrade. This includes OS upgrades, CPU upgrades, application upgrades, etc.

Read More

Plus, ringtones are embarrassing.

On every shoot, there’s at least one person whose phone rings. The first time it happens, there’s a little bit of razzing, and then you move on quickly. The second time it happens, it’s trouble. If it’s not you that first time, use that tiny bit of razz-time to make sure your phone won’t go off. Even if you’re sure, check again. The second phone must never be you.

Read More

It’s part of the foundation, y’see…

If you don’t have a dedicated makeup person, try to get one. If you can’t, let your actors know as soon as possible, so they can plan ahead. You definitely don’t want them showing up thinking there’s going to be makeup, and then having to do their own at the last minute with whatever tools-on-hand they happen to bring.

Read More

Tick-Tock

Always be on time. Better yet, try to be a little early. Move heaven and earth to make sure you are not the one holding up Production. And if it’s not you, then be a little patient with whoever it is — it’s always got to be somebody, and your patience with that fact can help get things done later. This isn’t the Death Star, y’know…

Read More

You know what looks great in a trailer? Gear!

All actors are Actors. Extras are actors, too. Treat ’em all equally.

Read More

Preparation is the antonym of frustration

Get the script to the actors as soon as possible. Give them time to learn their lines. If they ask about their characters, talk with them and make sure they have all the character notes from the writer. The more they know, the better their performance will be.

Read More

There’s honor, and then there’s practicality

If anything goes wrong, the Director takes the bullet. If anything goes right, the Director thanks whoever did it. It’s unfair, but that’s the way it is, so if you’re the Director, suck it up and move on. Anyone who does it opposite comes across as an asshole and no one likes to work for assholes. Unless they pay a lot of money, but then it wouldn’t be a low budget movie.

Read More

But not the single malt.

Sometimes, after a late shoot, when everyone’s busted hump and created Great Things, it’s okay to overspend the Craft Services budget and treat ‘em to a few beers, or a hot meal at the nearby tavern. Everybody can use a little occasional decompression time with the gang.

Read More

The Director’s supposed to notice these things…

If you notice something that nags at your brain while you’re shooting, fix it then. Learn to trust that little voice. If you don’t at least speak up, then forever afterwards, you’ll see that same glitch and cringe inside. Chances are, three other people have noticed, but no one wants to be the first to say anything.

Read More

Practice, practice, practice!

Rehearse scenes before shooting. If possible, at least a day ahead to give people a chance to work out the kinks, and if not, give them a few hours break between rehearsal and shooting. Actors need to work on their roles, sleep on ’em, and dream a bit. It’s usually worth the effort.

Read More

It was brilliant!

If you can’t light your action, then at least try to light your set. Dark figures moving around in a room can be spooky and still tell a story, but poorly lit figures in a big black meaningless space is hilarious. And not in the way “hilarious” is intended.

Read More

Although we might need a gritty reboot of Gilligan’s Island.

Pick one person to figure out what the actors are wearing during each “day” and to keep track of that for everything you shoot. Give that person the authority to keep costumes and props with them. Unless you’re shooting Gilligan’s Island, people change clothes once a day. The viewers will notice.

Read More

Where the buck actually does stop!

The Director determines the mood of the set. If the Director is cheerful and having a good time, chances are everyone else will be, too. If the Director is being bitchy and fussy and demanding, everyone else gets that way, too. It’s a law of nature.

Read More

Sand makes for a terrible foundation

Make sure the story makes sense and the script makes sense before you start. Cause and effect should make sense. Motivations should be pretty clear. What happens at different times and places should be obvious. The script is the blueprint, and everybody uses it. Where it’s weak, everything else is weak.

Read More

Of course, without a broom, you’re hosed…

Get it right on set – fixing it in post takes ten times as long and is twenty times as expensive as doing it again right there. Probably more, by the time you read this. Yes, I’m guilty of saying “we can fix that in post.” And for each of those instances, yes, I suck.

Read More

Jump in the Line…

Rehearse any physical effect or stunt. Film the rehearsals in case you need some handy pickup footage. If people are rehearsing a physical effect or stunt in costume, even better. After a half dozen rehearsals, you may find that you have the footage you need, with everyone relaxed and focused during shooting. But that’s just a bonus. Rehearse the crazy stuff regardless.

Read More

Safety Third!

Avoid the use of real guns. You can buy fake guns that look just as good as real guns and make realistic sounds in post. It’s practically impossible to hurt someone with a fake gun. Fake guns are cheaper, so you can buy more, which is useful because they often fly to flinders.

Read More