Enjoy this next installment of exclusive behind the scenes interviews with key members of The Storyteller production. Learn more about how the film was made and see footage of the making of!

This video features the incredible Rachel Noll, co-writer and Producer of The Storyteller.

In case you missed it, check out the breakdown of Coppola’s notes for The Godfather on No Film School. It’s truly an inspiration to see how meticulously Coppola prepared his script by breaking down every single page of the source material; analyzing, jotting down ideas, dissecting each and every beat of each and every scene.

Did you do this on your last shoot?

For a mildly OCD person like myself, it’s incredible to see how strict methodology can inform the creative process.

“Lights, Camera, Action!” We’ve all had that image of being the Director on set: Sitting in the chair, bringing a brilliant shot to life while the actors say your words exactly the way you wanted them to. That’s the dream, but the reality is more of a puzzle… and being on set is where you build and connect your puzzle pieces.

Yesterday’s Prep Becomes Today’s Mission

Every production day has a goal for how much of the script is going to be filmed. Typically, big budget action/adventure movies are lucky if they get through an eighth to quarter of a page. This is because the camera and lighting set-ups take a vast amount of time. Additionally, if it’s a scene that requires special effects, that equals more setup time, leading to less actual filming time. Now you understand why it takes months – or even years – for our favorite super hero movies to get made.

On the other side, independent films, like The Storyteller, often have to get through multiple pages/scenes each day. This is because you generally have a limited amount of time in a location and your entire shooting schedule isn’t three months – it’s three weeks. Because the shooting pace on an independent film is so quick, prep work such as Tech Scouting, Rehearsals, and the director creating a shot list is vital. So let’s talk about the shot list for a minute. It is literally a list created by the director that describes every shot they want for a particular scene. If you type “How To Make A Film Shot List” into youtube, you will get a page of videos detailing how you can create your list in photoshop or use different programs. This is all well and good, but never underestimate a pen and a piece of paper. Here you can see an example: the shot list for my short Lucky Charm.

The capital letters in the linked example stand for the name of the characters, “C” is for Colin, “D” is for Danni. And I use abbreviations for the type of shot, “MS” is for Medium Shot, etc. Example: CU C = I want a close up of Colin.

An excerpt of the final, edited scene can be viewed here.

How Does The Day Begin?

It’s pretty much universal, that a filmmaker’s day starts with a meeting between him/herself, the DP and the AD. They compare the prep work against the specific mission of the day.

As we’ve discussed, the AD acts a liaison between the Director and all the other departments. So once the meeting is finished, they are responsible for making sure that the plan is executed in the given time you have for any location. Basically, while on set, it’s the AD’s job to make sure your train keeps moving down the tracks – even if you’re the one holding it up.

It’s ALWAYS a compromise.

There was a good amount of thinking on our feet. You have to be ready to roll with unexpected delays and curve balls. The location would sometimes change the initial plan, the light, the weather forecast… all kinds of things. – Rachel Noll, Producer of The Storyteller

The scope of any film (or any project for that matter) is made up of three factors: Time, Quality, and Expense. You want to make the best film in the quickest amount of time without spending an exorbitant amount of money.

There’s often this perception that (excluding Steven Spielberg and Ridley Scott) there’s no creativity in big budget filmmaking and independent film is where an artist gets to really share a vision. But filmmaking, whether at a studio or on the independent level, is as much about creatively solving problems as it is about being creative.

For my money – time is your most valuable asset in filmmaking. This is because it gives you options. It lets you get coverage from a different camera angle, do another take. It’s because of this that sometimes the answer is not buying more time, but rather maximizing the time you do have.

This was the mindset used on the set of The Storyteller:

We did fall behind. That’s bound to happen, but in my eyes, it bred creative solutions. We started looking at the shot lists and deciding which shots we could lose, what was less important, and how to maximize the time we had left. We didn’t end up cutting any full scenes, but we would cut coverage. Joe and I would talk with Dan and the AD and figure out what shots weren’t essential to telling this part of the story, and we would make a game time decision. You really don’t know how well that kind of snap decision works out until you are editing it together, but on a tight budget and an even tighter schedule, sacrifices have to be made and you do the best you can to make it a creative choice. - Rachel Noll, Producer of The Storyteller

Where Is Everyone?

After the initial meeting between the director, DP and AD, the next step becomes prepping the scene. Blocking is a technique used to help the DP decide how to light the scene. Blocking is essentially this: The actors along with the Director decide where they will be on set in a given scene. You’re planning out their actions. So why take the time to block when time is so crucial, you ask? Well, let’s ask the filmmakers on The Storyteller.

It gives the DP and his team enough time to light and prep, while the actors are getting ready, to maximize our time. The actors would meet with Joe (the director) and block this scene, and then they would go into hair and makeup while the lighting team would set up. Joe would often join them in wardrobe/makeup to talk through the character beats of the scene at this time. - Rachel Noll, Producer of The Storyteller.

Yesterday, Today and Tomorrow – All Happening At the Same Time

While the DP, Production Designer and Sound Department are all prepping the set for their respective needs, the Director and Producer can use the time to run through their plan from yesterday (yesterday meaning pre-production) and continue to prep tomorrow’s.

Joe would often be with the actors, or looking at his shot list to make sure he was clear on what he was doing and thinking the rest of the day. I would usually step off set and move back to my computer to deal with logistics with the locations, with payroll, with SAG… lots of paperwork and busy work to be done on my part that I tried to wrap up as efficiently as possible in between shots since it was important to me to be on set and with Joe at the monitor whenever we were shooting. – Rachel Noll, Producer of The Storyteller

Everyone On Set

The DP has finished setting up, the actors are back from Hair & Make-Up, everyone’s ready for a take… is it finally time to start shooting? Well you can, or you can do a rehearsal. Different than you, the filmmaker, and the actors working privately in a room, a rehearsal on set is as much for the crew as it is the actors. (Actually, if you ask some actors, it can be exclusively for the crew).

This rehearsal allows your crew to practice their moves: dolly shot in, a focus pull. It solidifies the basic blocking. It’s more prep that increases the chance for a technically perfect shot. But again, it costs you time.

The compromise? You can always be like Danny Boyle and shoot the rehearsal – which was actually requested by an actor!

From Action to Cut

The time between action and cut is the time where the actors really get to contribute to your film. It’s when the magic comes alive. You have to respect that it’s that time between action and cut that everyone, not just the actors has been waiting for. Simply getting a take isn’t the mission, nor is getting the perfect take. Because frankly, unless you’re Kubrick, you won’t have the time. It’s about getting the take.

The take can be defined by many different things, but it ultimately comes down to satisfaction. Are you – the filmmaker – creatively satisfied? This isn’t a question I or anyone can answer for you. It’s a gut feeling that’s in a perpetual state of motion and develops every time you make a film.

Thank The Crew!

Whether you’re a PA on the next blockbuster or the director of your own independent short, you will discover that every set has an atmosphere unique to itself. Making a film is a team effort and you set the tone as the filmmaker. You have to be patient but strong with your crew, creating an atmosphere that allows everyone to do their best… not just for you but for them.

On an independent film, a filmmaker’s greatest asset is indeed their crew.

We had a lot of interns and crew members who had never worked on a feature before, given the limitations of Indiana local crew, and they surpassed my expectations far and away. It took us a few days to get into our groove, but everyone worked so hard and I was incredibly proud and impressed by the level of proficiency and passion they all displayed. – Rachel Noll, Producer of The Storyteller

On set is where where drive meets preparation meets sheer luck. You’re bringing a story to life and every day (and I do mean every day) will come with its own set of problems. But you have to make sure that your push to make a film doesn’t make you forget the magic of the story.

Here’s JJ Abrams talking about the magic of the “mystery box.”

Check out this list of crew titles for a better understanding of who’s who on set and why they’re all there. And don’t miss the upcoming Storyteller Series articles on utilizing dailies and how to shoot for editing.

My favorite description of the rehearsal process and why it’s so important comes from Sidney Lumet’s book, Making Movies. Sidney Lumet, for the youngsters in the crowd, is of course the visionary director behind classics like 12 Angry Men, Long Day’s Journey Into Night, Serpico, Dog Day Afternoon, and many more. In his book he explains that he will ”generally hold rehearsals for a period of two weeks. Depending on the complexity of the characters, we sometimes work longer – four weeks on Long Day’s Journey Into Night, three weeks on The Verdict.” Clearly not a process afforded most independent directors. But the process itself is a master class in directing. Lumet would spend two-three days with the cast around a table, simply discussing the script to figure out it’s central theme. Then delve into each character, each scene, each line. Then the first complete read-through, full of discoveries and spontaneity and instinct. Then breaking the script down even more, with emphasis on important scenes between lead actors, and then another complete read-through. This time not nearly as exciting as the first, because, as Lumet puts it, ”instinct wears out quickly in acting, because of repetition.”

So how do ensure a fresh, emotionally truthful performance take after take? You substitute instinct with technique and use different actions in your performance to get the same response that you got from your first, uninhibited take – all based on the discoveries made in rehearsals.

But how can you make the most of the (most likely) limited rehearsal time available to you on an indie production? In the case of The Storyteller it was a matter of technology and priority.

Rehearsals were always a priority for Joe. He really wanted to have time with the actors well in advance of the shoot to start discussing the characters and building relationships and chemistry and comfort between them, so that when they got to set they would feel fully prepared to jump into the scenes. We initially did Skype rehearsals individually and in pairs. Joe talked with the actors about the character and the script, got into the nuances of character and arcs and story, and then we did one day of in-person rehearsals in LA where we actually stepped through each of the scenes with the actors and got them together and working. – Rachel Noll, Producer of The Storyteller

Skype is a great way to cover great distances without the cost of airtravel. Your producer will thank you for the dollars saved and your actors will thank you for taking the time to get into every little detail in the script ahead of shooting, even if lengthy in-person rehearsals aren’t an option.

The second trick to making the most of your rehearsals is to be structured enough to make time for discoveries. Sound like a contradiction? Consider this: If you put a bunch of strangers in a room and tell them to act, what you get is a noisy mess of personalities trying to find their place in the group. It’s human psychology. As a director you need to take control and make it clear which scenes are being rehearsed and why. Once the actors have a framework to operate within, they can leave their insecurities or egos behind and focus on making those discoveries.

And if you have the luxury of a long rehearsal period – is there such a thing as rehearsing too much?

I dont think so. I come from a theater background where rehearsal is everything, so I may be biased, but I think that preparation and time to think and discover can only help. – Rachel Noll, Producer on The Storyteller

The lesson to be learned here is, that even if your rehearsal time is limited to a number of Skype conversations and one day of walking through scenes, don’t assume that you can just as easily get the same results without rehearsing and while on set. In another anecdote from Sidney Lumet he recalls rehearsing with Paul Newman for The Verdict: ”At the end of two weeks of rehearsal … there were no major problems. In fact, it seemed quite good. But somehow it seemed rather flat …We hadn’t quite reached the emotional level we both knew was there in David Mamet’s screenplay … There was a certain aspect of Frank Galvin’s character that was missing so far. I told him that I wouldn’t invade his privacy, but only he could choose whether or not to reveal that part of the character and therefore that aspect of himself … On Monday, Paul came into rehersal and sparks flew.”

Foregoing the rehearsal process may seem like a bold and spontaneous move, but it actually just allows your actors to play it safe. Instead, force them to discover and make choices before you get on set.

By definition a tech scout is an on-location walk-through with your production’s department heads – think director, cinematographer, UPM, 1st AD, production designer, etc. – ahead of shooting at that particular location. This walk-through will give each department a chance to familiarize themselves with the location and the challenges it may bring. In other words, it’s a final preparation of the technical logistics associated with each major shooting location.

So, with terms like “department heads” and “technical logistics” being thrown around you’re probably thinking that a tech scout is something reserved for big budget movies, right? Wrong. They most certainly do it, but if you’re helming a low-budget indie production, you probably have even more incentives to do a tech scout before your shoot. Ask yourself this: Can I afford to rent my location for an extra day, if I encounter unforeseen circumstances? Will my lighting package be able to compensate for any changing conditions? Do I have the necessary means to do extensive ADR on noisy takes? No, you say? Then you better plan ahead.

Typically you will do your tech scout during prep week, about one week prior to the actual shoot, when all department heads are able to get together and finalize their preparations. However, if you have access to your locations even further ahead of time, there are benefits to visiting them.

During pre-production Joe did some initial location scouting and we rewrote scenes once we understood the layout and limitations of the locations available to us, so the script reflected accurately the locations we will be using. – Rachel Noll, writer/producer of The Storyteller

Once you have the script locked in, locations secured and shot lists made, you do the full tech scout of all major locations.

Producer, DP, Director, 1st AD, Production Designer, UPM, gaffer, key grip – they were all there. We wanted to make sure all the heads were clear on the limitations and possibilities of any given location, so we could all plan accordingly. Any limitations on power outlets or lighting sources, etc. we wanted to be able to make a note of, and also have an eye on the production design, possible areas for actor holding, for makeup and hair, and other details, so we were prepared come the day of the shoot. I think all the departments can benefit from a scout prior to the shoot, just to know what they are up against and to be able to plan contingencies or brainstorm creatively if things aren’t ideal or there are any surprises. – Rachel Noll, writer/producer of The Storyteller

Let’s break it down.

Producer – will be working with each of the department heads to accommodate any changes in budgeting due to the limitations or possibilities uncovered during the scout.

DP – will be making sure the planned camera movements will be possible. Are there narrow corners to turn? Will there be shots in harsh light? Your DP might change certain shots to accommodate the locations and retain the overall visual aesthetic.

Director – will be balancing the vision of the film with the circumstances and making any necessary changes in shots to stay as true to the original intentions as possible.

1st AD – is largely in charge of scheduling, background actors, callsheets and script breakdown, so any changes to either of these based on the limitations of the location will be noted and arranged accordingly. Is there a proper holding area for the background cast? Will shooting have to wrap an hour earlier than anticipated due to traffic conditions in the area – and what does that mean for the callsheet?

Production Designer – takes note of anything that needs to be dressed for the shots planned and anything on location that will add to or subtract from the environment she is trying to create. Also pay attention to details like whether the centerpiece executive boardroom conference table that’s been rented for a certain scene is able to fit through the doorframe and whether the colors of the the costumes are going to clash with the wall color.

UPM – the Unit Production Manager oversees all the off-set logistics, as well as day-to-day budgets and production personnel, so if a certain location calls for more lighting than initially planned for, the UPM needs to make sure this can be made available, is budgeted and operable with the hired crew – or make the necessary changes.

Gaffer – is the chief electrician on set and will need to make sure there are adequate power sources for the lights that will be brought in. Will a generator be needed? Are the outlets on separate circuits? What’s the maximum load for each outlet?

Key Grip – will in large part be responsible for making the director and DPs wishes come true, so if there is limited space on set or a shot calls for more equipment than can safely be utilized in a certain location, adjustments must be made in advance.

All of these obviously work together, which is why the tech scout is best done with all department heads at once and not separately. Filmmaking is a collaborative process and the tech scout is the perfect opportunity for everyone to contribute in order to make your film the best it can be.

Not only is it an important part of the final stages of pre-production, the tech scout is also a hell of a lot of fun – it’s great to get a chance to know your crew and to be impressed by what they do. And doing the tech scout also means that we are just days away from shooting – at last. – Joe Crump, writer/director of The Storyteller

In some cases you will need to do your tech scout months in advance, so every single aspect of your shots can be meticulously planned and rehearsed, like for the 2015 Academy Award winner Birdman. Because of the extremely difficult long shots used throughout the film, the crew prepared by drawing up a minimalist (but to scale) version of their theatre location in a warehouse and used that space to rehearse camera movement, cast movement and lighting for weeks before the actual shoot. Imagine pulling this off without diligent planning:

Follow the entire process of making a film – up close and personal – through the trials and triumphs of The Storyteller, as told in our on-going article series.

Previously on The Storyteller Series we discussed how breaking down the script is the first step in scheduling your production. Once that process has been completed the next step is to analyze those elements and build your schedule. How is this done?

Well, first you get an Assistant Director. The Assistant Director (or 1st AD) acts as a liaison between the director, producers, cast and crew. They are charged with keeping the production on schedule so the film is efficient. During pre-production, their duties include breaking down the script, assessing and securing locations, assessing actor availability, and working with the director to create a shooting schedule.

Sienna Beckman is the Assistant Director for The Storyteller.

We knew the 3 weeks that we were shooting, so obviously the location dates had to be within that time frame. But we had to work with each location’s schedule and availability, as well as actor availability and consecutive shooting days, etc. A lot of the locations have been very flexible and gracious about us using their space, which makes scheduling so much easier. - Sienna Beckman, 1st AD of The Storyteller

A thing to keep in mind as we’re breaking down the elements of scheduling your shoot is that while most aspects of your indie production might differ from those of a big budget movie, having a cast of A-list stars doesn’t necessarily equal long shoots; Phone Booth, a movie starring Colin Farrell, was shot in just 10 days.

Making Your Schedule: The Key Factors

Shoot Dates = The days of your production.

The idea of shoot dates includes both your general production timeframe, as in ‘we are shooting from May 1st to June 15th’, and what the schedule will be for each specific day.

Location Availability = When you can have access to a certain location.

As we’ve discussed, finding and securing locations is a key part of the the production process. Making sure that you can film in all of those lovely locations is where the need for a schedule becomes key. As very few films are shot in sequence* it’s important to note when each location is available and for how long. A certain location might be available during the whole production whereas another is only available one day.

Example: There are two locations in your script: A bank and an apartment. The bank may only permit you to shoot on the weekend, outside of normal business hours. However, the apartment is available at any point during the production. In this case you would prioritize securing and scheduling the bank location first because it has less availability.

*To shoot a film in sequence means that the first scene you shoot is the first scene in your script, the next scene shot is the second scene in the script and so on until the end. This is rarely done, because if you have a script where, say, two thirds of the film takes place in a grocery store, it isn’t time or cost efficient to shoot one scene, leave the store and then reassemble the cast and crew when it’s time for the next scene in the store. Better to shoot all the grocery store scenes at once.

Know that a locked shooting scheduled may have to be unlocked, if a location suddenly falls through – like in the case of the iconic quote “How do I do a film called The Old Mill when I don’t have an old mill?” from State & Main:

Actor Availability = Making sure the actors are there when you need them.

The AD needs to know if the casted actors have any commitments before or after the production that will affect their schedule. This is because they need to assess which actors are needed on which shoot dates. If an actor is on another movie, and can’t arrive until the second week of production, it would make no sense to schedule scenes that include that member of the cast in the first week of production.

Example: When making Marvel’s Civil War the main actor Chris Evans was needed for the majority of the shoot. However, Paul Rudd (Ant Man) was not. As Paul Rudd is constantly working, the Assistant Director needed to know when he (Paul Rudd) would be available during the Civil War production so that the scenes involving Ant Man could be scheduled around that.

When casting breakdowns are created, companies like Breakdown Services will ask for the Shoot Days so that the actor will know whether or not they are available. A range of dates is acceptable, since the detailed shooting schedule won’t be locked in until much later in the pre-production process.

Shooting Schedule = What scenes are going to be filmed on what day.

The most important things are shoot dates, location availability, and actor availability/travel/time constraints. Then once those factors are locked, I can go in and shuffle around the actual scenes within the days to create the most streamlined and efficient shooting schedule. - Sienna Beckman, 1st AD of The Storyteller

To build a schedule, the 1st AD will compare the key factors along with each element from the script breakdown. There is a variety of scheduling software and online templates that will aide in this process. The most well know is a program called Movie Magic.

I have used Movie Magic several times before for more complicated shoots (multiple units, foreign travel), but for smaller projects like these, Scenechronize is very comparable and is very easy to make quick changes in. I like both, but Scenechronize is a bit easier to learn and it’s a bit easier to manipulate the data entry. - Sienna Beckman, 1st AD of The Storyteller

Scenechronize is a web-based program, which has HUGE advantages for an indie production. The most obvious being that it’s accessible in any location where you can get online. This allows the AD to update the schedule while on set. It also allows all the different departments to have access to the schedule and know exactly what wardrobe, prop or other item pertaining to their department is needed on any given day.

Other Important Factors

The biggest factors have been the locations and the actor availability. Some things might shift around within certain days to accommodate for wardrobe changes or specific lighting/camera requirements. We will know more about that after doing our tech scouts in the week leading up to the actual shoot. – Sienna Beckman, 1st AD of The Storyteller

Example: Towards the end of Seth Brundle’s transformation in Cronenberg’s The Fly, Jeff Goldblum had to sit in the makeup chair for 5 hours. It wouldn’t have made sense to schedule a scene where he’s without makeup before doing one with the makeup.

Similarly, scenes that require big light changes, even if they take place in the same location need to be scheduled accordingly.

Example: On my short film Lucky Charm, there were several scenes that took place in a jewelry store. For two of those scenes, I wanted the same camera set up. Now, if those scenes both took place during the day, we simply would have shot them at the same time. However, one scene took place at night, the other during the day. Because of this we shot all the day scenes first, then broke the actors and the crew changed the lighting so that the set looked like it was now night time* and we shot the night scenes. Bonus info – shooting a night scene during the day is called shooting day for night and is something you want to make note of in your schedule.

The Storyteller is a unique movie in that they have had a very long pre-production process. This has an effect not only on the writer’s ability to sharpen the shooting script, but also for the Assistant Director to prep the production.

My job has just been a bit more spread out. It’s better for the production team to have a longer pre-production process, so they have time to sort out all the details. Most of what I’ve been doing is creating the first draft of the schedule, then making changes as more details are locked by production. It hasn’t affected me too much, but it has been nice to have the time to digest and absorb all the details of the shoot, so I feel prepared and ready when we actually go into production. – Sienna Beckman, 1st AD of The Storyteller

And production is officially underway! The Storyteller’s first shoot day was June 27th and will continue through July 16th. Join us next time when we discuss Tech Scouting. Until then, remember that even with the most meticulous planning, things can and will go wrong. Just ask Terry Gilliam:

#1. The Script

It all starts with the story. Any investors will want to know that your script has gone through rewrites, readings, and has been given the professional blessings of several experienced directors, line producers and actors, effectively telling them that the final script is thoroughly tested and viable for production.

#2. The Shooting Schedule

Remember the line producer we just mentioned? When you find a line producer who sees the potential and marketability in your script, keep her number and start negotiating her fee. A good (read: experienced and with several credits) line producer will be able to take your script from words to numbers. Your line producer will break down the script, create a shooting schedule and subsequently a defacto production budget.

#3 The Production Budget

This is a puzzle you don’t want to put together on your own – and investors will want to know that the budget you present them with has been done by someone who knows exactly what they’re doing. Your line producer should completely describe all costs of production, including editing, writing, post-production, directing, producing and marketing. Check out this leaked budget for M. Night Shyamalan’s The Village – not that your first business plan should be in the $70 mio. range, but it should be detailed and professional.

#4 The Marketing Plan

Describe who the film is targeted and why they are gonna love it. Describe how you are gonna reach that target and which similar films has done the same thing successfully. Describe the cost and the timeline. Creativity is great, case studies and proven methods are better. Together they are unstoppable.

#5 The Distribution Plan

This is one of the most important parts of the business plan, but also one of the most tricky. After all, how is your film ever going to make any money if no one is going to see it? You need distribution and you need to describe exactly how you are going to get it. Describe how you can guarantee a theatrical release, PPV sales, cable rights, overseas rights, DVD rights, subsidiary sales and any other avenues of distribution you have planned for your film. Don’t sign a distribution deal before securing financing – it might turn out to work against you in the long run – but know exactly how, why, when and with whom you are going to secure one.

#6 The Cast and Crew

Now comes the fun stuff. Numbers alone are not going to make your film a success, you need a team that investors (and the general public) can believe in and rally behind, and this is your opportunity to showcase them. Though there may not be any actual contracts signed at this point, you would do well to get letters of interest from key crew members (director, cinematographer, production designer, composer) and include biographies, as well as samples of their previous work. Same thing goes for the key cast. Though not signed onto the project, you might be able to get letters of interest from the actors and actresses you believe would make this film everything it can be. In some (read: most) cases this will not be possible, but don’t fret. You can still include cast pictures, biographies, resumes and samples of previous work simply as examples of your vision. Don’t include A-list talent unless you have a letter of interest. Be realistic, be reasonable and be smart. Include cast fees and availability, if you can get it from their respective agents. Your investors are going to want to see that you can make your vision a reality without Jennifer Lawrence and Joaquin Phoenix, and that you can do it with a reasonable budget.

#7 The Visuals

Consider this the one-two punch of business plans. You start out presenting the facts and the plans and the market research, then you make those numbers come to life by attaching cast and crew. You have piqued your investor’s interest – now you start sweet-talking. Adding visual components to your business plan will make your project more tangible and give it a certain sex appeal – and we all know that sex sells, right? Include a couple of storyboarded scenes, pictures of locations, samples of your previous work and distinct visual style – even a professional film poster. You can add additional visuals and look-books as an addendum to the business plan so the numbers don’t get lost in flair, but make sure that what you are presenting – the complete business plan as it reads from start to finish – is a clear vision of your film.

#8 The Revenue Projections

Back to what most filmmakers might consider a bog of eternal stench, but which your potential investors will find just as sexy as the visuals described above: The revenue projections and rock-solid market analysis. Show how 15-20 recent films comparable to your own performed in theatrical release and on VOD/PPV. Be specific. Do lots and lots of research using resources like boxofficemojo.com, the-numbers.com and filmspecific.com. Go the extra mile and include revenue from product integration and state film production rebates. Companies like brand-inentertainment.com and Entertainment Partners will be useful resources.

#9 The Letter of Intent for a Completion Bond

If you have all of the above-mentioned sections sorted out and you have (tentatively) secured your locations, you can get a quote from a bonding agency. Your line producer will likely be the one to do this, as she will (hopefully) have done it before and have a working relationship with a good agency. Providing a letter of intent to get a completion bond will give your investors added piece of mind.

#10 The Letter of Intent for Insurance

Investors are not going to want to bet there money on anything but an (almost) sure thing. One way to eliminate risk is to have your film insured. Get a quote and a letter of intent to insure your film from a reputable insurance company. Again, this will be something your line producer can/should help you with.

#11 Wrap it up nicely and get it out the door

Rarely will you need to have a physical copy of your business plan handy, but make sure that your digital package looks and feels like the real thing. Check and double check spelling, grammar, formatting, graphics, alignment, colors – and then click “Save as PDF”. PDFs cost $0 to send, so make sure this gets into a lot of hands. If you attend film markets or social events where angel investors may be present, carry USB sticks with the complete package or an iPad with a presentation-ready package.

Please, please, please be aware that there are many hopeful filmmakers looking for easy money, so there are just as many scammers looking for the same. If you find yourself in negotiations with an interested investor, always require proof of funds and only ever go into business with investors that have a proven track record. If something is too good to be true, it’s because it is. Do your due diligence.

h/t Bright Hub and Nancy Fulton

No. 1 – There’s always an excuse to not do something. So stop tip-toeing in circles around your dreams and get to work. Even if your first few attempts aren’t gonna get you where you ultimately want to go, they will set you down the right path.

No. 2 – Build a body of work. Whaddayaknow, look how nicely this one ties into No. 1. Your body of work will be your calling card, your resume and your boost of confidence. You may have the best script in the world, but there’s a fat chance anyone will fork over hundreds of thousands of dollars (not to mention millions) to a newbie without a solid body of work. But how do you build a body of work, if no one wants to take a chance on you. Well, my friend, YOU take a chance on you. Short films are a great way of doing this. They can be shot for cheap, you can edit them yourselves, you can tailor the writing to whatever locations/props/cast/crew you have available to you, and even more importantly they give you a chance to explore and define your own visual style. With a handful of short films (or whatever other projects you can dream up – be creative) under your belt and a visual style to show for it, you now have a body of work that will help you move on to …

No. 3 – Create a visual business plan. Numbers are good and important when seeking investments, whether it’s privately, online or at the bank, but they are also unlikely to really impress anybody, so don’t rely solely on the digits. Write a detailed business plan, then make it visual. People will invest in a clear vision, not a spreadsheet, and a clear vision is much easier to convey, well, visually. Storyboarding, pictures of your desired locations, the style of your previous works – these will all help sell you and your vision.

No. 4 – Don’t get hung up on budgets. All of the above rings true whether you’re making a $500 film or an $85,000 film. Sure, a bigger budget can buy you nicer things, but in the end your visual style and your vision will come from something much more cerebral than that; a good story and a passion to bring it to life.

No. 5 – Repeat No. 1. There’s always an excuse to not do something.

h/t Film Courage

Image from On The Horizon short film by Pascal Payant

With a tight budget and a whole lot of creative tenacity, you may still be able to fund your first feature simply by charging your expenses on your personal credit card, but it’s hardly the way to go anymore. Crowdfunding, bank loans, angel investors – there are more options available to you and most of them are less risky than a possible 19% APR weighing you down the next few years. Still, credits cards are bound to be used during production, so think ahead and figure out what’ll serve you best in the long run.

Do you have a production company? Is it registered as an LLC? Do you need a company credit card or can you simply use a personal credit card? Next, think about whether you are better off charging all expenses on one card or spreading them out over several. Some cards offer cash back rewards, while others may help you accommodate your crew while on location, or make air travel a little easier.

And start thinking about these things at the very beginning of pre-production. If you start earning miles on a Chase Sapphire card six months before shooting, you will be able to fly in your lead actress on points. If you charge your daily expenses on a Hilton Honors card, you will have enough points to put up a small crew for a day or two on location. That is, if you qualify for the respective card’s sign-up bonus, which can take anywhere from 1-3 months.

Do your research on sites like thepointsguy.com and nerdwallet to figure out what’s best for you.

For larger productions, consider the CASHet Card – a cash rewards credit card specifically created for filmmakers, with advanced spending monitoring and restrictions, unlimited additional cards and much more.

And remember, credit card companies make a living encouraging you to spend money you don’t have, so always have a long-term plan for paying off debt and sustaining a good credit score.

Now, before you get the printer going, know that any contract you use in your production may have more of an impact on your current and future business than you care to think about, so always consult with an attorney to make sure the contracts you use are up to date and covering all your bases. If this is your first production and you’re DIY-ing as much as you can, you should also consider creating an LLC for your production company, which will help protect you and your assets, should your production get into legal trouble down the line. Check out FilmmakerIQ’s introduction to forming an LLC.

FilmContracts.net has put together a very comprehensive directory of production contracts (and other assorted paperwork), all available for free in the super annoying FlashPaper format. For these documents to be of any use to use, you will need to find each document you need, then Print/Save as PDF, open in your PDF editor (such as Preview on Mac) and fill it out there. It’s always a good idea to also print out a few extra, blank copies for any on-the-go changes. Here are a few examples of what you can find in the FimContracts.net directory:

• Script Breakdown Sheet
• Cast & Crew Call Sheet
• Cinematography Pre-Production Checklist
• Production Requirements Checklist
• Location Contract
• Use of Still Photographs Release
• Product Placement Release
• Original Music Licensing Agreement

In addition to the forms found on FilmContracts.net, always make sure you fill out all appropriate union paperwork, which you can obtain directly from SAG-AFTRA, WGA, DGA, and so on and so forth.

You can – and probably should – of course also enter the digital age and handle a bunch of your paperwork in apps like ShotLister, Celtx and SyncOnSet.