Where does the edit begin?

The first step is syncing the footage. This means that an assistant editor (or you, should you be so lucky) will go through every video file and every sound file and match them up using the clapboard. When the “sticks” hit, you hear the “CLICK.” By the time the official editor on the project sits down, all of the footage should be synced and organized. In the case of The Storyteller, Director Joe Crump brought in numerous assistants to help sync the dailies.

They went through and they were ahead of me as I was editing… and they synced all the different microphones. There would be some places where we would have three or four microphones and they would sync all of them up so it would make it easier for us to work with. – Joe Crump, Director of The Storyteller

The plan helps the edit

Mad Max: Fury Road is a film that’s been mentioned several times during this series. Not only because it’s one of the best movies to come out of Hollywood in the last 20 years, but because it’s that rare combination of technical achievement mixed with fantastic storytelling. In the below clip you can hear Director of Photography John Seale discuss how his filming of every shot ultimately helped the edit and thus allowed the audience to have a smooth, albeit heart pounding, storytelling experience.

Mad Max wasn’t the only film with a plan. Director Joe Crump made sure he was well prepared when it came time to shoot The Storyteller.

I had a very extensive shot list. It was combined with the script and some maps that I drew. It was about 350 pages long and I broke it up into binders for each location. So each location had its own binder. - Joe Crump, Director of The Storyteller

Writer, Director and Editor

For Director Joe Crump there was no question that he would be the primary editor on The Storyteller. Joe is in very good company with this approach – James Cameron, Robert Rodriguez, Steven Soderbergh, and many more have all edited – or been an editor on – their own films. (Although some credit themselves with a pseudonym). And like most of these Director/Editors, he brought in a co-editor, his daughter Katie.

Katie was sitting at my side the entire time. She edited sometimes and I edited sometimes so it was a co-production. Joe Crump, Director of The Storyteller

The Storyteller was edited using the Adobe Suite on Joe’s PC. What’s interesting is that he was able to send an EDL to the Special Effects Editor who would then work on a MAC. This was all done using Google Drive (password protected of course). Additionally, Vimeo Pro was used to share cuts of the films for friends/family.

Now, if you’re reading this and thinking: “I can’t edit. I wouldn’t know where to begin. Do I have to know Avid, Premiere Pro, Final Cut? I don’t even know what those are!” My first piece of advice is to settle down; it’s okay. Choosing not to be the editor on your film doesn’t mean you’re walking away. Because let’s be clear: the Director is almost* always involved in the edit. Whether they’re there actually pushing the buttons doesn’t matter. Film is a Director’s medium and that holds true until the film is complete.

*The word almost was included because, yes, there are horror stories of directors being locked out of the editing room by the producers, or even producers forcing the director to change their edit. This is why we have several cuts of Blade Runner…

And speaking of having several people involved in the editing process – Director, do yourself a favor and screen the edit for the writer. Writers understand pacing and good writers put the story above their own vanity. They might be able to see what’s not working better than you do.

Editing is about solving problems, even brilliant ones.

Filmmaking (along with TV) has such a unique artistic journey. This is mostly due to the many forms your film inhabits before it’s completed. Think about it: Words turn into shots that turn into edits. At every one of these stages, you’re making artistic decisions. Artistic decisions that later on can cause you headaches. This doesn’t mean those decisions were wrong. On the contrary, I would argue that it’s this ironic and yet oddly appropriate, even comforting, fact that let’s you know you were doing something right.

Indeed, Director Joe Crump faced these challenges when editing.

We did a lot of longer takes and sometimes that put us up against a wall. I could have played it safer and just done coverage but I preferred to do something that was more interesting visually. So I took a chance and… there were some shots I hated but when I put them into the edit, I was happy with the way they turned out. Joe Crump, Director of The Storyteller

And Joe’s in good company…

Thelma Schoonmaker was Martin Scorsese’s editor before he was MARTIN SCORSESE. She edited his first film and has edited every one of his films since Raging Bull. In the below clip, Schoonmaker discusses the most difficult scene of her editing career. You might think it would be a violent scene from The Departed or maybe a grand scene from The Aviator but in fact it involves two brilliant actors improvising. Her challenge was taking all those brilliant moments and crafting a scene that highlights the energy of the performance while moving the story forward.

It’s Always About The Story

Unlike the writer who can shape, change or even completely restructure the story with the flick of his pen (or keyboard), and unlike the director who can change blocking or direct the actors during multiple different takes, an editor must work with the footage we’re given. Unless working on a multi-million dollar studio movie, reshoots are probably not an option. The footage and the script are our only raw materials.

Bringing those raw materials together in a creative way, that’s the final rewrite and what ultimately breathes life into the picture. An editor’s job is to make sure every moment hits. That the audience feels every emotion that the story conveys. It’s a kind of manipulation, really. We pick the best takes, the best shots. Put them together in a way that’ll make you cry or laugh. A great edit is when choice and timing come together to deliver emotion.

We’re always trying to find the perfect take, the perfect expression, and the perfect reaction shot. So much of the movie is about reaction shots and how people are feeling about what other people are saying. What people are saying is rarely what they actually mean. It’s a process of finding the pieces to tell the story – Joe Crump, Director of The Storyteller

Till next time, here’s a video highlighting some great editing moments on film. Have you seen all of them?

First, a little history lesson. The term dailies simply describes the raw, unedited footage from a film shoot.

Back when filmmaking was solely done on film, the film reel (typically 35mm film stock) from a day’s shoot would be sent to a lab and processed. It would then be synced with the day’s audio and a new film print would be made. This new, synced print would be the daily for that shooting day’s work and include ALL the takes and camera positions (set-ups) from that particular day. If you have a total of 18 shooting days, you will have a total of 18 dailies.

Typically, we’d shoot an average of 2 to 6 takes per set up. We did 346 setups in 18 days of shooting – so an average of 19 setups a day. Most of our days were 10-12 hours of actual shooting. – Director Joe Crump, The Storyteller

Wanna sound like a real know-it-all? Dailies is a US term. The UK uses the term rushes, because the film reel was developed as quickly as possible, aka it was a rush.

How Are Dailies Used?

Was that critical shot in focus? Does the man in a suit actually look like a dragon? And of course for Producers/Studio: are we going to make our money back?

These are the kinds of questions that used to plague production. Because again, when film was film, the Director, DP and Producer had no idea whether or not they were getting the results they wanted, aesthetic or performance, without viewing the dailies.

Either before a new shoot day began, during lunch or even after the shoot day has ended, a select group of the crew (typically the Director, DP, Producers and/or the actors) would view the dailies in a theater or screening room, so they could assess how the film’s production was progressing.

The dailies looked great – Our DP, Dan, did a wonderful job of lighting and we were seeing some really pretty pictures. We also had wonderful performances from our entire cast – but we knew that while we were still on set. - Director Joe Crump, The Storyteller

Dailies have had a lasting impression on the movie zeitgeist.

Did you know the studio wasn’t pleased with the casting of the then unknown Al Pacino for The Godfather? They actually tried repeatedly to fire him. Francis Ford Coppola, who had total faith in Pacino, eventually moved up a very important scene in order to convince them, while watching dailies. The rest is film history.

Conversely, dailies have been responsible for causing major cast shake ups. The dailies for Back To The Future helped convince Robert Zemeckis that Eric Stoltz wasn’t the right fit for the iconic role of Marty McFly.

The Actor’s Relationship with the Dailies:

I think it might be a problem for actors to watch their dailies and get nervous about their performances – and perhaps, stop listening to their director – although this never happened on this set. There were a few times on the set when we watched a playback of a shot and I’d always invite the actor to come look at what we were seeing. But this was pretty rare simply because there wasn’t much time to do it. - Director Joe Crump, The Storyteller

Echoing Joe Crump’s sentiments, many actors actually don’t want to watch dailies, because they don’t want to influence the process. They know that watching themselves might make them self-conscious in a way that they’ll start planning the performance rather than being in the performance. Other actors don’t mind – and actually want that reassurance.

So what do you do?

It really comes down to the actor and their process. As a filmmaker, it’s your job to help the actor do their best work. If that means letting them watch dailies, then let them. If it doesn’t… keep them away.

Dailies In A Digital Age:

Digital filmmaking has turned everyone into a filmmaker. Your dailies are suddenly at your fingertips. This has changed not only the purpose of dailies, but how they are delivered and used.

When dailies were film, they had to be screened in a theater. The onset of tape, and later DVDs, allowed the dailies to be given separately to key crew members. This also meant you didn’t have to sit through each and every take. You could fast forward; skim to make sure you’re getting what you wanted and move on.

Today, dailies can be uploaded to the cloud, a (secure) ftp, or a dropbox. Directors don’t even have to wait until the end of a film day. Footage can be downloaded and viewed almost in real time. So how did The Storyteller view their dailies?

Usually at night after the day of shooting while Katie Crump (our DIT) was transferring the footage to the redundant hard drives. We also watched them on Sunday’s, which was the only non-shoot day in our schedule. – Director Joe Crump, The Storyteller

The digital age has also affected the length of dailies. Back in 2012, the senior veep of Deluxe Television, Bill Romeo, told Variety that previously a typical show would deliver “something like an hour a night… now we’re looking at around four hours of material.”

Whereas dailies used to be the only way for the filmmakers to view their film pre-edit, today we have the camera playback and monitors that allow for so much more information.

I had a teradek (handheld) monitor with me all the time, so I was able to see in real time what was going to the camera. Nothing I saw in the dailies surprised me since I’d seen it all as it happened. Dan was also keeping an eye on the waveform monitors so we knew we were within the tolerances of our camera (Alexa Mini) and that we weren’t losing image in the hot spots or shadows. – Director Joe Crump, The Storyteller

This instantaneous feedback is great for an independant film that can’t afford to wait even one day to find out they didn’t get that critical shot. However, it also costs you perspective. How many times have you written something, edited something, walked away thinking one thing, only to return with a new perspective? Yes, the traditional viewing of dailies made you sift through footage, but that allowed you to find unexpected surprises! So while there have been great gains, you also have to be aware of the potential losses and missed opportunities when you choose not to view dailies.

As technology progressed, dailies have adapted and some would say struggled to find their place. But they still offer filmmakers a very important commodity: reassurance.

I think I could have done this entire film without watching the dailies at all. But with that said, it’s a source of comfort to watch what you have done and know that you are getting what you set out to get. – Director Joe Crump, The Storyteller

It All Comes Down To The Edit.

Most of the takes we circled are the ones in the movie, but sometimes we discovered the tone or mood of a scene was leaning too heavily one way or the other and we found different takes where the performance changed and we were able to tweak the feel of the entire movie because we did those extra takes with a different tone to the performance. – Director Joe Crump, The Storyteller

George Miller described his masterpiece Mad Max: Fury Road as a mosaic; each shot creating a grander image. Dailies are what the editor uses to assemble this picture. It’s the editor’s job to create the best version of your film and that won’t always mean it’s the exact image you had in your head. Sometimes it might be even better!

h/t Variety for the Bill Romeo quote.

“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.

The term was originally used to describe the visual design of a theater production; literally what was on the stage. With the advent of film, the expression was expanded to mean the visual design of everything that’s captured by the camera, including the actors, the sets, the lighting, the framing of the shot, props, costumes, etc. If the camera sees it, it’s part of the mise-en-scène. The physical design of a film’s mise-en-scène is brought to life by the Production Designer.

The Production Designer is the head of the Art Department and works with the Director to design and oversee the visual atmosphere of the film. This includes set building, set dressing, and props. They bring to life the world in which the story takes place. This look is catered to both the story and how the filmmaker wants to visually express that story. Think about it: a Tim Burton period piece will look vastly different from a Joe Wright period piece.

So how does one find a Production Designer? Well in the case of The Storyteller, Director Joe Crump didn’t have to look far.

Joe approached Hamilton Southeastern HS, where I work. I teach history and run a film studies program and film production company where students come together to create completely original feature length films. We met to discuss the project and Joe found out about my side career as a sculptor/artist, so my involvement grew from there. - Jamie Follis, Production Designer of The Storyteller

Check out this featurette on how Director Darren Aronofsky worked with his Production Designer, Thérèse DePrez to create the look for the Academy Award Winning Black Swan.

We met and discussed certain films that had elements we both liked. Joe had some ideas and I read the script and came up with my own as well. I am also well versed in history, art, and mythology as I teach those subjects at HSE HS. Those would come to be strong influences. We met and my ideas were received well; we ran with them in some cases, and in others I found a way to give Joe what he wanted, or we found ways to blend both what Joe wanted and what I envisioned to create something even newer and better. – Jamie Follis, Production Designer of The Storyteller

During pre-production a Production Designer’s duties include:

• Reading the script and breaking down all the visual aspects that will go into the film. These include: locations, set design, and props
• Determine with the Director if there is there a visual theme that is apparent in each location? (As noted in the above featurette: every set took on an aspect of Swan Lake)
• Determine with the Director if CGI should be used to aide in the creation of the design (will green screen be needed?)
• Create designs conveying the mood, lighting, color and indeed texture of the film. These will be distributed to the rest of the art department
  • Once created, technical designs will be generated so that any construction that needs to be completed can be planned

In deciding what the film will look like, all decisions are based on the idea that the Director and Production Designer are on the same page as to what atmosphere they’re trying to achieve. In the case of The Storyteller, that look came together from a lineage shared by both Director Joe Crump and Production Designer Jamie Follis.

The film had a lot of celtic influences which were very personal to Joe and his wife Nancy. I am also of Irish descent so there was no real communication barrier. I understood what they wanted and loved including those things where we could. Joe really wanted that magical fantasy element and I discussed the Romanticism era and its reverence for nature as being potential influences. I liked the idea of a magic that is devoid of the more fantasy elements of today’s pop culture and draws from more of the celtic druidic folk beliefs of magic and the wonder, awe, and nostalgia they held in the post-industrial era; Joe agreed whole-heartedly. – Jamie Follis, Production Designer of The Storyteller

Once production begins the Production Designer:

• Works with those in the Art Department to coordinate schedules and monitor the (art) budget
• Monitors what upcoming locations are being built and the status of those sets
• Arrive on set early to look over the location with the Director and Director of Photography – Assess the camera set-ups and go over what part of the set needs to be dressed and what props will be needed.

Did You Build It Or Did You Find It?

Shooting on a set involves much more work on the designer’s part. You are starting with a blank canvas, in most cases, and you are bringing in symbolism, imagery, color, and textures that represent the mood or character. You have much more control and ultimately a much more personal and specific look. Actual locations are often chosen because of the look they already have. You also have much less control because you can’t move a tree or paint a building (at least on this scale). The canvas is in many ways 90% done, and you can bring in some small elements to emphasize things. - Jamie Follis, Production Designer of The Storyteller

We’ve talked before about Locations and Tech Scouting. A Production Designer’s job differs whether you’re working in a Practical Location - an existing location – or creating your location on a Stage. But regardless of the type of set, the Production Designer always works with the Director of Photography so that the frame has everything it needs. In the case of The Storyteller, this led to an interesting lesson for Jamie Follis.

Our DP, Dan Clarke, has been amazing. I have learned so much from working with him. We talked very briefly before production began. But during production I worked with him a lot as the shots are being planned and set up. We talked about colors and placement of things. We also discussed wanting to fill the negative spaces to not distract the audience, but no so much that we inversely distract by being too busy or looking cluttered. I basically plan the space, place my pieces and props, and then we move them slightly to give the greatest impact. I have learned to always have a few pieces not placed, that I put up after the shot is set up. - Jamie Follis, Production Designer of The Storyteller

Most films involve some set building and some use of actual locations. But just because the location is built, doesn’t mean it can’t have a fantastical element. Check out this featurette (worked on by yours truly) that explores the amazing world created for Joe Wright’s adaptation of Anna Karenina.

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:

To create the best schedule, you must account for every element in your story.

How does one find all those elements? Simple: They are in your script.

A Script Breakdown is when the producer and/or the first assistant director take the locked script and go through and mark the occurrence of every element. This should not be confused with a casting breakdown, which is used when finding your actors.

The first step in the script breakdown process is to have a script that you feel is ready to be broken down. It won’t do you any good to start planning your production if the script is still in the collaborative stage.

We waited until we were pretty certain there would be no more major changes – because we didn’t want to lock in the shoot dates until we were sure no locations would be changing dramatically. – Rachel Noll, Producer of The Storyteller.

Now let’s be honest, a script is never truly finished. Even while filming there can be changes. Still, a schedule has to be made. So how does a filmmaker know when their script is ready for breakdown?

Once we had a general idea of what our locations were and where they were located, and had secured our cast and confirmed they had no conflicts with the shoot dates, we sat down with our 1st AD to break down and schedule the script. This happened in January – 5 months out from the shoot. We wanted to get this stuff locked down early so we could start booking travel for our actors. – Rachel Noll, Producer of The Storyteller.

The script is ready? Time to start breaking it down!

Step 1: Number Your Scenes

Below is an example of a Scene Heading from a writer’s draft:

Int. Heather’s Apartment – Afternoon

Now this is fine for the writer, but production needs to know how many scenes are in the script and which of those scenes are self-contained. A self-contained scene is one that can be shot in its entirety. Thus whether you schedule that scene in the morning, afternoon, end of the shoot or the beginning of the shoot, you’re going to film the entire scene.

Below is an example of a Scene Heading from a production’s draft:

1. Int. Heather’s Apartment – Afternoon 1.

Step 2: Measure Your Scenes

Numbering the scenes also allows production to have an idea of how long each scene will be. In a properly formatted script, 1 page equals 1 minute of screen time. So, if Scene 5 is three pages long, we can estimate that Scene 5 will equal 3 minutes of screen time.

An 8th of a Page:

When it comes to the length of your scenes, you want to be as specific as possible. If a scene is longer than a page but less that two pages, simply saying “the scene is a page and a half,” doesn’t work. The industry standard is to divide your pages into 8ths.

Thus a scene that’s longer than a page, but less than two, can be accurately described as “a page and 3/8ths,” or such.

While there are many programs that aid in the breaking down of a script (more on those in a moment), there is a more tactile way:

1. Print out your script
2. Take a ruler
3. Using the ruler, horizontally divide your script into 8ths.

Here’s a visual for that nifty little trick.

Step 3: Time To Color

Whether you are working in a budgeting software or are using a printout and colored highlighters/pencils, the process in the same. Each element in your script is assigned a color or symbol. You then read through the script and highlight (or if using color pencils, underline) the element with its corresponding color/symbol.

The Elements and their color/designated symbol:

1. Cast – The speaking actors. Remember, this is NOT for casting, this is so you know which members of your cast are needed in a given scene.
2. Featured Extras – An extra that has no lines but performs a specific action
3. Background Extras – Extras that create the atmosphere for a scene. Example: Diners in a restaurant.
4. Stunts – Any action where you will need a stunt coordinator and possibly a stunt double for the actor(s).
5. Props – The objects in a script that are used by the actor.
6. Special Effects
7. Vehicles/Animals
8. Sound Effects/Music – This is for anything that happens on set, NOT sounds added in post.
9.Wardrobe (circle all occurrences) – This is for specific costumes needed for the production AND to track any changes to those costumes. Example: The character is running in the woods, trips and rips their pants.
10. *Hair/Make-up* – All actors have hair/make-up done, but this is to call attention to a particular story point. Example: The character has been cut and is bleeding.
11. Special Equipment (box all occurrences) – Does the scene require any kind of unique camera equipment? Example: The scene takes place in a lake, and you would like an underwater camera to do a shark POV.
12. Production Notes – This calls attention to any concerns/questions for a given scene.

Still need help with the breakdown? Here’s a great video from a working Assistant Director that takes you through the process:

Step 4: The Breakdown Sheets

Once you know every element needed for every scene, you will use that information to create both your schedule and determine the budget not only for your department as a whole, but how that budget will be divided between the different departments.

Each scene of the script is given a Breakdown Sheet. It lists all the different elements and information for that scene.

Here’s an example of a Breakdown Sheet template. Breakdown sheets are then used to build your production schedule.

So Many Programs!

Our 1st AD – who is usually in charge of scheduling the shoot – did the breakdown with me (producer.) So I was able to offer insight into some of the production logistics, and she worked within the software to break it down digitally into the scheduling program. – Rachel Noll, Producer of The Storyteller.

As mentioned above, there are a number of computer programs that are designed to help breakdown, schedule and budget a film. Let’s take a look at some of them:

Final Draft Tagger – This function allows you to go through the script is Final Draft and “tag” all the elements. You can then export those tags and input into most scheduling software. This is basically the same as using a highlighter but done digitally. The caveat is that you must use a scheduling software that can use the export. Here’s a link that lists the types of scheduling/budgeting software that is compatible.

Movie Magic Scheduling – Allows you to input all of your elements, create the breakdown sheets and, based on those sheets, create a schedule.

Our AD utilized a program called Scenechronize online. She prefers this program for its ease of use compared to Movie Magic Scheduling. – Rachel Noll, Producer of The Storyteller.

Scenechronize – The big difference between this program and Movie Magic, is that Scenechronize is a web-based program. Here’s an in-depth article describing the differences between the two programs.

The prep work is now over: With your breakdown sheets in hand, you can commence with scheduling your production. Join us next time when we do just that; Scheduling and the Importance of Having a Great 1st AD. Until then, here’s a trailer for another movie about making movies that came out this year. May your production be easier than theirs:

h/t StudioBinder – Breaking Down A Script

Giving it to friends and family for feedback is not always the best way to go. I know how hard it is to give honest feedback to someone I care about because you don’t want hurt your relationship by being negative about their work. – Joe Crump, director of The Storyteller

Understanding Script Coverage

At its core, script coverage is the process of having a reader read the script, analyze it and then give a report/feedback. In the filmmaking world, script coverage is done at production companies who have stacks upon stacks of screenplays. Typically an intern or assistant will read the script and submit coverage that then determines whether the script will move up the ladder within the production company. In the screenwriting world, a writer can employ a coverage service/reader to get an outside perspective on their screenplay.

Traditionally, a script coverage report will consist of a synopsis, comments, and a recommendation.

• The Synopsis: This is the reader’s summary of your story.
• Comments: This is where the reader analyzes how well or poorly the writer communicated their story. What was the journey of the characters? What was clear? What wasn’t? Was the reader emotionally affected? Do they have any recommendations or suggestions on how the writer could solve some of their problems?
• Recommendation/Rating: This category is used by production companies and offers an opinion as to whether the screenplay should continue to be developed by said production company. There are typically four answers to this category: Pass, Consider With Reservations, Consider, or

So many options

There are countless companies/readers ready and willing to take your money in exchange for “coverage”. Do your research and ask yourself:

1. Who is this company/reader? How long have they been in business?
2. Who are their clients? Can you confirm that they’ve read and given coverage to the people/companies they claim?
3. What are the reader’s credentials? Have they read scripts in your genre? Because yes, while it’s good to get an outside eye, script coverage is supposed to offer a trained outside eye.
4. Do you know or can you get in touch with anyone who’s received coverage from this company? What was their experience?

Writer/director Joe Crump and writer/producer Rachel Noll used a unique method when seeking out their script coverage.

The place we found the most competent people for the best price has been by placing an ad on craigslist (gigs/writing). A lot of the people who responded to that ad had some pretty impressive credentials and the cost was typically between $100 and $125 per coverage. After each major rewrite, we’d find 3 or 4 people to do coverage. – Joe Crump, director of The Storyteller

Don’t want to place an ad? Here are some trusted Script Coverage companies courtesy of Stephanie Palmer and her site Good in a Room:

1. Amanda Pendolino – Packages vary (A Feature under 130 pages = $129)
2. Scriptapalooza – Packages vary, (Their Regular Package = 4-6 Pages of Coverage for $176)
3. Screenplay Readers – Packages vary, (A One-Reader Package = 6-8 Pages of Coverage for $97)

I would also like to personally recommend Maureen Green at Book an Edit. While her services don’t include a Coverage Package, she does offer Story Notes and can refer you to a professional reader.   I have used her services numerous times and have found her help invaluable.

How to deal with critical feedback

Sometimes I’d think they were hacks, sometimes they weren’t close and sometimes they were so close it was painful. Whatever they said, I always thanked them and never complained about their comments. – Joe Crump, director of The Storyteller

Even though we know a first, second or even third draft isn’t perfect, getting any kind of criticism or feedback is ALWAYS hard. The key to implementing coverage, is knowing how to listen.

They didn’t always get to the problem – sometimes they would talk around the problem and not really get it – but other times what they would said would give us ideas and a general guideline of where to go next. – Rachel Noll, producer of The Storyteller

Don’t get discouraged. Listen to Denzel!

So your script is ready, now what?

The start of a New Year brings many things: resolutions, commitments, and for writers it brings a new round of screenplay contests. There are countless contests, some are part of a larger film festival, others offer fellowships, and all of them bring a certain amount of prestige. As a filmmaker planning to produce your own film, winning a contest can bring both attention and possible funding to your project. As a writer, winning/placing in a contest can bring industry attention to not only the script you entered, but to you as a writer.

Think there are a lot of script coverage companies? There are even more screenplay contests. So, how do you decide which ones are worth entering?

I did research online and polled websites, fellow screenwriters and other resources to find the contests that had the industry clout and connections to actually help the winners advance their scripts and careers. Or prizes that were substantial or valuable. There are certainly a lot of contests to wade through, but you can pretty easily narrow them down by reading up on articles posted by other industry writers on which ones are worth your time. – Rachel Noll, producer of The Storyteller

Create a budget for how many competitions you’re going to enter and ask yourself:

1. What am I trying to achieve by entering a Screenplay Competition?
2. Are my chances of winning/placing and potential prizes worth the entry fee?
3. Does the Screenplay Competition offer any kind of feedback? Is this in addition to the entry fee?
4. Does the Screenplay Competition have a specific category for my script?

Here to Help!

Well, just as she provided a list of great Coverage Services, Former MGM Studio Executive Stephanie Palmer has also provided a list of the best 2016 Screenplay Contests on her blog Good in the Room. Here are her Top 5.

The Big Two:

1. Academy Nicholl Fellowship – This is the MOST prestigious Screenplay Competition. Even becoming a Quarter-Finalist can help to open doors.
2. Austin Screenplay Competition

Three Others:

3. Blue Cat Screenplay Competition
4. PAGE International Screenwriting Awards – you may recall that The Storyteller did VERY well this past year
5. Scriptapalooza

Which contests did The Storyteller enter?

We entered the Nicholl Fellowship, Bluecat Screenplay Competition, PAGE International Screenwriting Awards, Script Pipeline, Final Draft Big Break, AFF Screenplay Competition, Scriptapalooza, and Stage 32 Features Contest. – Rachel Noll, producer of The Storyteller

The screenplay for the 2000 film Finding Forrester earned writer Mike Rich the Nicholl Fellowship in 1998. Check out the trailer below.

Remember  your target audience

After writing an Action/Adventure screenplay, I submitted to a number of contests, including those that had an action/adventure category. These included the Breaking Walls Thriller Competition and the Film Crash Screenplay Competition. My script was a Finalist and Winner in the Action/Adventure Category respectively.

Screencraft is a GREAT resource for specific screenplay contests. They cover everything from Comedy to Action/Adventure to Short Films.

Another popular resource for script feedback – and for a few select scripts, even a road map to industry recognition – is The Black List. And no, this is not the James Spader series. Since 2005, The Black List has served as a highly respected database of the best unproduced scripts, with strong industry connections as the main selling point.

Read all about The Black List in our Do You Know: The Black List article.

I believe The Storyteller received a 7 from the person we paid for coverage. Which is quite good I’m told, but not enough to really get anything moving for us on there. We weren’t willing to pay to host the script for more than a couple of months without any organic traffic. It adds up fast. – Rachel Noll, producer of The Storyteller

The key to a great screenplay is understanding where your script is in the writing process and what you need to get it to the next stage. Getting feedback is crucial to making any script grow.  Whether Coverage, Contests or The Black List is your next stage, you should now have a better understanding of what’s involved in each stage.

Here’s the trailer for a personal favorite that was listed on the 2010 Black List report.

h/t Good In A Room and in particular this blog post for being incredibly helpful when researching this article

Image source: Nicholl Fellowship/Facebook

In 2005, Franklin Leonard, an industry executive, surveyed around 100 industry executives about their favorite unproduced screenplays from that year. He published their answers and thus The Black list was created. Since then, it has become a database where screenwriters can upload their script, pay for evaluations and get the attention of industry players. In addition, The Black List continues to publish a yearly report of the best unproduced screenplays. Past screenplays on this list have included Hanna, Argo, The King’s Speech, The Butler, and this year’s award favorite Spotlight.

So how does it work for me?

“Putting your film on The Black List” does NOT mean you are automatically included in the yearly report. You are paying The Black List to host your script on their database and make it accessible to industry executives/filmmakers. That’s it. The hosting fee for your script is $25 per month.

Similar to script coverage, The Black List offers script evaluations. Qualified readers will rank your script from 1 to 10 in a number of categories and give comments. Evaluations are a $50 one-time fee per evaluation.

Scripts that receive a “high score” (usually 8 or higher) are then labeled a “Spotlight Script.” The Black List sends a list of these Spotlight Scripts to industry members. If interested, industry members will then go to your scripts page and can choose to view/download the script. If they like it, they can then get in contact with you.

What if there’s a rewrite?

You do have the ability on The Black List to switch out versions of your script. However, you must consider this: How different is the draft? If we’re talking a page one re-write, then you might not want old evaluations and ratings associated with the new draft. It’s recommended (both by The Black List and myself) that you delete the previous entry and essentially start over.

Listen carefully, please – While The Black List does offer screenwriters an invaluable opportunity to receive industry attention, it’s really only screenplays that receive a rating of 8 or higher that get attention.

I believe The Storyteller received a 7 rating from the person we paid for coverage. Which is quite good I’m told, but not enough to really get anything moving for us on there. We weren’t willing to pay to host the script for more than a couple of months without any organic traffic. It adds up fast. – Rachel Noll, producer of The Storyteller

The key to a great screenplay is understanding where your script is in the writing process and what you need to get it to the next stage. Getting feedback is crucial to making any script grow.  Whether Coverage, Contests or The Black List is your next stage, you should know what you’re buying before you whip out your credit card. Our comprehensive article on the subject – The Storyteller Series: Script Coverage & Screenwriting Contests – will give you a head start.

Need an example before we get into the nitty-gritty of scouting for locations?

Take a look at this trailer for Woody Allen’s Manhattan.

Now take a look at the trailer for Martin Scorsese’s Mean Streets.

Both Directors are synonymous with New York, both movies are set in New York, but the stories are very different and their locations reflect this.

There are two kinds of Film Locations:

1. A Stage: A stage is basically a building where you can build your sets. The benefit to this option is that you have complete control over the environment and actual structure of the set. A wall can be moved so that a camera can be placed to get a certain angle.

Have you seen Room yet? This Academy Award nominated film’s main location is not only the title of the movie but is also a built set.

Check out this featurette with the Production Designers talking about they created Room.

2. A Practical Location: Often referred to as just a Film Location, this means that the filmmaker shoots in an actual existing location. The scene is set in a house, you film in a house. Low budget/independent filmmakers often utilize this option because it can actually be less money to shoot in a local location and dress it (meaning make it look the way you want) than to rent a stage. There’s also an added authenticity for the audience; they know that what they’re seeing actually exists.

Here’s the trailer for another Academy Award Nominated film, only this one was shot on location.

To the less trained eye, a Film Location is simply the place that a film (or television show) is filmed, but a specific location can really add depth to a story. However, this doesn’t mean that a location should dictate the story. In the case of The Storyteller, Writer/Director Joe Crump and Writer/Producer Rachel Noll found a balance between using locations to fuel their ideas and letting their ideas inspire their locations.

We didn’t restrict the story too much in our first drafts, we let it flow organically and then went back and tailored locations to fit places we knew we could get once we moved into the early stages of pre-production. We did try to keep conscious of not using too many locations or anything that would be hard to find. We kept the story simple and the locations as well. – Rachel Noll, Producer of The Storyteller

Once the script is written, production is tasked with finding suitable locations. There are many factors, both logistical and creative, that a filmmaker should keep in mind when choosing the locations.

The first step is to decide where you are going to film the project.

Did you know?

Many states offer production benefits for companies to shoot in their state/locations? These benefits can include Tax Credits, Cash Rebates, Sales Tax and Lodging Exemption and/or Fee-Free Locations.

• Tax Credits: When a production company works in a specific state, they will have to pay an income tax back to the state. If a production company meets the minimum spending requirements as determined by that state, then they (the production company), will qualify for a tax credit. This means that a portion of the income tax will be given back to the production company. On big productions, this can end up being rather large amounts.
• Cash Rebates: These are similar to tax credits in that money are given back to the production company. However, a cash rebate is based on the production company’s expenses.
• Sales Tax & Lodging Exemption: A state will try to entice a production company to film there by offering an exemption from both sales and lodging taxes.
• Fee-Free Locations: It’s important for any filmmaker to know that government owned locations are often offered for no cost.

Remember – These benefits vary by state so it’s important to do the research and compare your production needs and constraints with the offers provided by each. Here’s a great website that compares state incentives!

Understand that tax incentives offer options, but should not solely dictate where the filmmaker decides to shoot their film. The Storyteller will be shot in Indiana, a state that does not offer incentives. This may seem like a disadvantage, but shooting in a state that doesn’t regularly have production companies shooting can be very welcoming, especially when compared to places like Los Angeles and New York.

Everyone I have spoken to has been so excited and generous. Everyone wants to be a part of a movie out there because they have not been over saturated. Its still exciting. We have gotten such a tremendous positive response from the locations and the owners of the businesses we approach offering us all kinds of things and saying they are honored we thought of them. It’s been really heart warming. – Rachel Noll, Producer of The Storyteller

Once you’ve picked the state you’ll be shooting in, it’s time to start looking for specific locations. A Location Scout can be very helpful at this point. The production company will employ them to find a number of possible locations and present those decisions to the filmmakers. The benefit of having a location scout is that they know the area you’re shooting in and deal with location managers all the time. It can especially help when the production company isn’t local.

We are currently looking to bring on a local location scout to help us with our final house location, because its really specific in terms of what we need it to accomplish for us – multiple locations as well as crew lodging – and since I am based in LA it would be very helpful to have another pair of boots on the ground in Indy to help us find some options. Our UPM is currently vetting some location scouts for us. – Rachel Noll, Producer of The Storyteller

The Key Criteria when looking for location is to know what you are looking for and be aware of your shooting schedule. The filmmaker has to have a vision for the film to understand if the scouted location will help bring the film to life. In addition, you have to understand how shooting in that location will fit into the entire production schedule. The filmmakers of The Storyteller have been sure to keep this in mind.

Joe has had a pretty clear vision in his mind of local spots in Indianapolis that he wants to use, so we always go there first… We are very aware of our time limitations on a three week shoot, and so the more locations we can find that are within close proximity to each other, or can serve as multiple locations, the better off we are. It’s also important that they look and feel like the world we are trying to create. – Rachel Noll, Producer of The Storyteller

Other criteria to remember when scouting locations:

• Lighting: What does the location look like during the time that you’ll be filming? It’s important for your DP to know their canvas. Understanding how light enters a building will inform how the DP lights the scene and even what kind of equipment is needed.
• Power supplies: Are there enough power outlets for your equipment? If not, are you going to need to rent a generator?
• Outside noise: Sound should NEVER be underestimated. Is the building near any kind of airfield? If so, your days will be filled with “holding for sound” until the plane finishes flying overhead.
• Parking: How large is your crew? Is there enough nearby parking? Is it free or will you have to pay? Will you need a permit to park on the street?

Depending on what locations are available, it is possible that your story will change. This is something The Storyteller has had to deal with first hand.

Small adjustments in the script have been made as we began to understand the logistics of the various spaces. Nothing major though. At least not yet. There was one scene we had written to take place at a pond when we thought we had a certain house location with a pond out back. This location fell through, and so we adapted the scene to be in a park we are already shooting another scene in. Small modifications like that. – Rachel Noll, Producer of The Storyteller

Permits, permits, permits.

Once a location has been selected, it needs to be secured. Obtaining a Film Permit is a key part of the process. Issued by the state government, a film permit authorizes the production company to film in the desired location (state owned or otherwise). The requirements for obtaining a film permit are different for each state and usually include: providing location details, date and time of filming, a description of the scene and if there are any stunts involved. In order to obtain a permit, the production company will also have to pay a fee and provide proof of production insurance.

We are too far out to begin obtaining permits – and actually, Indiana doesn’t require permits in the same way California does unless you are closing down a major street, which we are not. We have tentatively secured the majority of our locations already, but will not be able to formally lock them down until we have a locked shooting schedule, which our AD is working on now and we hope to have finished in the next few weeks. – Rachel Noll, Producer of The Storyteller

Join us next time when we discuss Script Coverage, Screenwriting Contests and The Blacklist: What is it and what’s it good for? Until then, here’s the trailer for an Academy Award Nominated film set in Australia – but filmed on location in Namibia!

The written page is where you first form the character and that is exactly where your search starts.

We let the story inform the characters rather than the other way around. The characters changed and shifted with each draft, and it wasn’t until we felt we had fully discovered them that we started putting out feelers for actors. We wanted to really understand who each character was and how they served the story. – Rachel Noll, Producer of The Storyteller.

With so much riding on the shoulders of the cast, how does a filmmaker even begin to build their team?

Since we are shooting in Indiana, our original plan was to cast all local Indiana actors. We assumed we would have a cast of mostly unknowns and our main priority in thinking about casting was making sure our actors had the skill and talent to bring the roles to life. – Rachel Noll, Producer of The Storyteller.

The casting process is literally a search and the first step is to decide how you want to conduct that search. Do you want to bring a Casting Director on board the project or do you, the filmmaker, want to conduct the search yourself?

Option One: The Casting Director

A Casting Director (also know as a CD) is a person who aides the filmmaker and facilitates the search for actors for each role by contacting agents/managers/actors, scheduling and holding auditions. They specialize in being aware of what the filmmaker and production is looking for while keeping an eye out for that special quality that an actor can bring to the part. A CD is an outside eye – one trained to think and not only look at how an actor performs in the audition, but how they’re capable of performing. They can be champions for the actors, while also guarding the filmmaker’s best interests.

Many of the most famous actors owe as much of their careers to casting directors as they do to, say, directors. Here’s the trailer to a documentary on one of those pioneering CDs, Marion Dougherty. It’s well worth the watch.

Wanna learn more? Check out this round table discussion by some of Hollywood’s hardest working CDs.

Option Two: The Filmmaker as the Casting Director

We decided to not use a casting director. The main reason being that our budget is so tight and I have some experience in casting myself. We felt we had the know-how to do at least a first round of casting calls ourselves, and if we didn’t find who we were looking for, we had talked about reaching out to a CD for the next round to help us find our key roles. In our case, it turned out not to be necessary. I in no way mean to diminish the role of a CD, as they are invaluable to a production and have resources and connections that can really enhance a films casting pool, we were simply lucky in that we got a lot of interest and were connected with bigger actors without the aid of a Casting Director and found our cast before bringing anyone on. – Rachel Noll, Producer of The Storyteller.

Oftentimes low-budget productions do not have the option of bringing in a CD. The filmmakers will instead organize, search and audition the actors themselves. Do not look at this as a disadvantage. This means that you, the filmmaker, get the opportunity to meet and discuss your story directly with every actor and find exactly the best cast for your film – and most likely learn something new about your project in the process. Such is the case with the Cast of The Storyteller.

If you know who will be casting your project, the next step is understanding how.

The first step with casting is to break down the roles. This means that you (or your CD) go through the script, list all the characters that need to be cast and compose descriptions for each role. Descriptions should include an age range for the character, their ethnicity, and a brief overview of the character. This is the first chance actors have to get a sense of your character, so your descriptions need to communicate not only personality, but how that character fits into the story.

Can you guess the character from this breakdown?

MASKED HERO: 16-20, any ethnicity. This high school student was once a normal, science-loving, picture-taking nobody, but that all changes when he comes in contact with a radioactive spider. Endowed with strength, speed and agility, this webhead must battle the world’s greatest villains while trying to keep his identity a secret, get the girl and survive high school.

Once you’ve compiled your list of roles, you’ll then post those roles on a casting website. It’s on those sites that actors can read about your project, the roles you are casting and submit themselves for your review. The most prominent casting sites in the US are Breakdown Services and LA Casting.

The thing that stood out with everyone we called back was a connection to the character. It didn’t seem like they were reading lines, it didn’t feel forced or like they were “acting” – I felt like I was seeing the character come to life through them. They took their time. They listened. They responded honestly. Every person brought something different, but it was immediately apparent who really connected with the lines and made them their own. Some were off book, some weren’t. Some filmed themselves with a professional set up, others on an iPhone. Ultimately none of that mattered. The people who connected with the character and expressed it honestly were the ones who stood out. – Rachel Noll, Producer of The Storyteller.

Once a project has been posted and the actors (or their representatives) have submitted, then comes the – to some people fun, to others terrifying – process of bringing actors in to audition. It’s a daunting process for both parties. You, the filmmaker, want to find the “perfect” actor. You want the actor coming through the door to be “the one!” Similarly, the actor coming through the door wants to do their very best – and be “the one.”

The ultimate key to casting, however, is that there is no “the one.” For the filmmaker: You’re searching for that spark that will bring your story to life. For the actor: It’s not always about whether or not you can act; it’s about whether you are right for that part.

Just as every scene builds on one another, so does each member of the cast. With one role filled, your audition process evolves. Does the auditioning actor have chemistry with the lead? If you’re casting a family, do they look a like?

Okay, but Heather – my production isn’t shooting in LA. Won’t that hinder my chances of finding the best cast?

In today’s digital age, not casting in LA won’t slow down your production. Case in point; The Storyteller!

We had actors do a self-tape for the initial audition and then asked some of the actors to come to a round of in-person callbacks. We asked actors to submit only if they could work as an Indiana local hire, and ended up with a list of actors based in Los Angeles and Indiana areas, so we set up callbacks in both cities. Right around the time we started scheduling the callbacks we started getting approached by people offering to connect us with actors with a little more experience, so we started taking meetings and talking with actors outside the initial pool of actors we auditioned as well. - Rachel Noll, Producer of The Storyteller

Even the best and some of the biggest stars will put themselves on tape for a role. Check out this featurette that includes the tape of Rachel McAdams auditioning for a little film called The Notebook.

Filmmakers, remember: Casting is where the relationships between the characters come to life. It’s also where your relationship with the actors begins. Thus, assembling your cast must feed your story, your vision and your production. And keep in mind that you will be working long, hard days with the cast, so be sure to assemble a team that will get along.

We built our cast based around a number of factors. Talent and experience are obvious ones, but beyond that, we really took the time to get to know each actor, to talk with them about the role and the story and make sure they understood what we were doing, and connected with the script and the way we were going about filming it. On such a low-budget production, passion is really the fuel and the glue that will hold the shoot together, so the cast we ultimately assembled is full of people who came at it heart first, just as we have.- Rachel Noll, Producer of The Storyteller

For more information about the practicalities of posting breakdowns and starting your search, Breakdown Services is a great resource. They have staff on call to answer your questions and also provide in-depth explanations throughout the process online.

Join us next time when we’ll be discussing locations: How to secure locations based on budget and story. Until then, here’s a featurette exploring how one of the most famous and beloved 80s movies had a very different actor originally cast in the lead role.