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Find a comfort level where you can, at the very least, know what to ask during the Budgeting phase, and have a good understanding of how you can trade-off one cost overrun with a cost savings in another area.1 in my book). I can get that back over the next 5 days here in New York. The best way to get the confidence of those who hold the purse strings is to know how polyolefin shrink film to participate in the budget approval process, and then to trade off costs to get YOUR vision during the shoot. Have the accountant make a schedule of the costs and we can check them.
Every creative decision involves money. You've shot the exteriors called for in the script and you've seen the dailies; however, you KNOW that there's a better shot of that exterior in Oklahoma that would give the perfect hook to the opening of your film. The heavy grinding SHOULD be left to accountants - but, let's lay it on the table:The Film Director is at the helm of a big money-burning machine.Experienced Directors know of The Weekly Cost Report. You know that you can convince the producers of this on a creative plane. But that process is all too often tainted with blame on 'the blue suits' and 'the money guys' and 'all they're interested in is the money', etc.2, Table 3)- You see, I've rehearsed the next five days with my very experienced cast and there's no way that we can't complete the scenes scheduled in 10 hours a day instead of the budgeted 13 hours a day. I'll talk to the 'whoever' - (it's a stall for sure). Walk The Talk WayAlternative: Film Director- The cost of shooting 1 day of exteriors will not require a full crew in Oklahoma. It's only good sense to learn to translate creative ideas into costs. And, as you all know, that last 2 hours in New York costs about $10,000 a day (see Figure 15. How do you pose solutions to those added costs?2.Usual Way:As the Film Director you sincerely express your view that the Oklahoma shot would be a perfect opening for the movie.
Most Film Directors have elected to stay away from film budgets and production costs. If you are unable to challenge, or defend, the conclusions made by those who read that financial 'Report Card' (that is, those who hold the purse strings) your ability to control your career is significantly weakened. If you're not yet familiar with it, let me introduce it to you:The Weekly Cost Report informs all Producers, Studio Executives and Financiers of the costs you're expending and how those costs compare to the Approved Budget. (Oh, did I tell you that we're going to Okl)1. I've called the Film Commission there (see my web site for internet links to all Film Commissions and major Unions) and they have assured me that there are plenty of local crew available to work at a very decent rate. Picture the following scenario:You're the Film Director of an Independent Film Production.) all there to assist the Film Director to do just that.Film Directors make it their business to understand the basic functions of on-set filmmaking, without being able to fully light a set, or operate a crane, or focus a steadicam. - I estimate it should cost about 1/2 of your estimate, say about $75,000 to give us a bit more than we absolutely need.) You get the drift. Know how to formulate general concepts of trading off costs to arrive at your vision and you'll impress the money belts off the Studio Executives.So how does a Film Director get familiar with Budgets, Cost Reports and the trading-off of costs techniques? Visit my web site at .
It is the Film Director's job to produce his/her vision of the script - on time and on budget. How do you defend those cost trade-offs?It's always going to be a challenge to present this kind of choice - but, a very doable challenge if you know how to translate your needs to cost trade-off's by using my Walk The Talk ideas.
Take my word for it; unless you, as the Film Director, can be familiar enough with the language of money in film production, you're up the proverbial creek.You, as the Film Director, are at the helm of a money burning machine. You could think of it as Directing, only you're Directing The Money. You are simply applying a cost trade-off technique in the same technical way as you would use focal points, storyboards, crane shots, etc.Some Directors, through the school-of-hard-knocks, have developed a 'knack' for conceptually streaming their creative ideas through a 'what's the cost?' process.
Every creative decision involves money. You've shot the exteriors called for in the script and you've seen the dailies; however, you KNOW that there's a better shot of that exterior in Oklahoma that would give the perfect hook to the opening of your film. The heavy grinding SHOULD be left to accountants - but, let's lay it on the table:The Film Director is at the helm of a big money-burning machine.Experienced Directors know of The Weekly Cost Report. You know that you can convince the producers of this on a creative plane. But that process is all too often tainted with blame on 'the blue suits' and 'the money guys' and 'all they're interested in is the money', etc.2, Table 3)- You see, I've rehearsed the next five days with my very experienced cast and there's no way that we can't complete the scenes scheduled in 10 hours a day instead of the budgeted 13 hours a day. I'll talk to the 'whoever' - (it's a stall for sure). Walk The Talk WayAlternative: Film Director- The cost of shooting 1 day of exteriors will not require a full crew in Oklahoma. It's only good sense to learn to translate creative ideas into costs. And, as you all know, that last 2 hours in New York costs about $10,000 a day (see Figure 15. How do you pose solutions to those added costs?2.Usual Way:As the Film Director you sincerely express your view that the Oklahoma shot would be a perfect opening for the movie.
Most Film Directors have elected to stay away from film budgets and production costs. If you are unable to challenge, or defend, the conclusions made by those who read that financial 'Report Card' (that is, those who hold the purse strings) your ability to control your career is significantly weakened. If you're not yet familiar with it, let me introduce it to you:The Weekly Cost Report informs all Producers, Studio Executives and Financiers of the costs you're expending and how those costs compare to the Approved Budget. (Oh, did I tell you that we're going to Okl)1. I've called the Film Commission there (see my web site for internet links to all Film Commissions and major Unions) and they have assured me that there are plenty of local crew available to work at a very decent rate. Picture the following scenario:You're the Film Director of an Independent Film Production.) all there to assist the Film Director to do just that.Film Directors make it their business to understand the basic functions of on-set filmmaking, without being able to fully light a set, or operate a crane, or focus a steadicam. - I estimate it should cost about 1/2 of your estimate, say about $75,000 to give us a bit more than we absolutely need.) You get the drift. Know how to formulate general concepts of trading off costs to arrive at your vision and you'll impress the money belts off the Studio Executives.So how does a Film Director get familiar with Budgets, Cost Reports and the trading-off of costs techniques? Visit my web site at .
It is the Film Director's job to produce his/her vision of the script - on time and on budget. How do you defend those cost trade-offs?It's always going to be a challenge to present this kind of choice - but, a very doable challenge if you know how to translate your needs to cost trade-off's by using my Walk The Talk ideas.
Take my word for it; unless you, as the Film Director, can be familiar enough with the language of money in film production, you're up the proverbial creek.You, as the Film Director, are at the helm of a money burning machine. You could think of it as Directing, only you're Directing The Money. You are simply applying a cost trade-off technique in the same technical way as you would use focal points, storyboards, crane shots, etc.Some Directors, through the school-of-hard-knocks, have developed a 'knack' for conceptually streaming their creative ideas through a 'what's the cost?' process.
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