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:

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.

And while certain aspects of camera movement, dialogue, lighting, etc. can be hashed out on set, sometimes just minutes before the cameras are rolling, you don’t want to take any chances when it comes to pulling off those visual FX that are really gonna sell your story. It’ll be too time-consuming and if a certain effect is not playing on camera the way you anticipated, you might not get the shot you need – let alone the shot you want.

In the case of The Storyteller there’s a magical realism that imbues the story with a certain mood, sometimes even moving the characters forward, informing choices and plot. In certain scenes, this magical realism is manifested by fairies. But how do you successfully pull off showing fairies on camera, when you’re working on a limited budget and don’t have access to the bells and whistles of high-end CGI? Or perhaps more importantly, when you don’t want to use high-end CGI, but rather have your actors interact with practical effects on set? Well, you think, then you experiment and then you plan accordingly.

When faced with the challenge of creating organic, realistic and practical fairies for The Storyteller, the team (producers, director, writers, actors) came together for a visual FX test – and 20 Questions Film tagged along for some behind-the-scenes video:

Let’s break it down. The filmmakers wanted to create a small, moving light source, ethereal and whimsical, effectively coming off as a fairy, fluttering around – and interacting with – the actress. They wanted to add visual detail in post-production, but to have the light from the fairy play off of the actress’ face realisticially and organically. They also wanted to be able to capture the spontaneous reactions and movement by the actress, as she responds to the fairy (and in some scenes several fairies) flying around her. This is how they went about it:

#1. The Tools

Pulsating single-LED lights were to act as the fairies. Removing the outer plastic shell of the lights, leaving only the tiny LED diode and the battery, decreased the footprint enough for the camera to only pick up the light and not the hardware. String was used to hang the lights from a C-stand – and later to be controlled by the producers, moving the lights around the actress and camera. When it comes time to shoot, the string will be replaced by clear fishing line, which won’t show up on camera or will be easily edited out in post. Plastic wrap (the ordinary kitchen variety) was used to experiement with grouping together several LED diodes into a single light source, while also slightly changing the way the light breaks on camera, changing its properties like hue and brightness.

#2. Positioning

Hanging the light from a C-stand allowed them to have a controlled height of the light when moving the LED around, making it easier to frame on camera and to reset between takes.

#3. Interaction With Light

One of the most important reasons for the FX test was to see how the light would bounce off of the actress’ face while moving around. This gave the DP a chance to experiement with exposure and focus in order to achieve the effect needed.

#4. Movement

Testing the movement of the lights proved beneficial, not just because it gave the DP a chance to see how the light would bounce off of the actress’ face, but it also gave the filmmakers a chance to see how the light behaved differently when moved on the C-stand vs by hand.

#5. Several Light Sources

Some scenes call for just one fairy on camera, while some scenes call for several fairies moving around at once. The practical test showed the filmmakers how close to – or how far away from – the camera they could have the lights and still have the lights look like organic, moving creatures.

#6. Lens Whacking

Experimenting with lens whacking as a way of creating dream-like visuals with light leaks and tilt shift focus also gave the filmmakers an idea of how to move the fairy lights around in a realistic, organic way.

#7. Distance

A common theme in the FX test was experimenting with distance. Distance between lights and actress. Distance between actress and camera. Distance between lights and camera. All while keeping in mind that the end result should feel magical, but real and natural.

The take-away from a day of experimentation? Some things work and some things don’t. Some things will require additional planning and experimentation. Regardless, a day or two spent in pre-production will no doubt save the crew precious, stressful hours on set, which may again be the difference between getting the shot they need or not. It’s worth it.

We’re following the production of the feature film, The Storyteller, from idea all the way through to distribution. Learn from the process with real-world examples right here.

Nicole Duport recently completed her own series, BURNS, which went through many rewrites and months of pre-production, before the cameras started rolling. Here she shares her thoughts on the advantages and disadvantages to using the webseries medium versus, for example, a short or even feature film.

The producers are looking for actors who can work as LOCAL INDIANA HIRES ONLY. This means you either live in Indiana, or are willing to fly yourself out and put yourself up for the shoot. Production will not be able to pay for travel/accommodation of any actors coming from out of state. Please indicate in your submission that you are able to work as an INDIANA LOCAL HIRE or they will not be able to consider your submission. Please also include the name of the character you are submitting for, as well as a direct link to your demo reel – any submissions without a demo reel will not be considered.

These are the characters that are currently being cast:

MAGGIE – Female, 40 LEAD. Maggie is Jen’s adopted mother, and takes Abby in as a foster kid. Jen and Maggie have a challenging relationship. A frustrated writer, and an English teacher. Maggie had an affair with John right before her husband Michael died, and was planning to leave Michael to be with him. But his death caused her such tremendous guilt that she pushed John away even though she still loves him. SAG or NON-UNION may submit.

ABBY – Female, 9-11 years old LEAD. Abby is the film’s protagonist. She is enigmatic, intelligent, and disarming with a maturity that outstrips her years. Abby has darkness in her past, and a secret that she only shares with a select few. SAG or NON-UNION may submit. Must be Indiana local hire and comfortable with a lot of dialogue and VO.  PLEASE SPECIFY IN THE NOTES SECTION THAT YOU CAN WORK INDIANA LOCAL HIRE OR WE WILL NOT LOOK AT YOUR SUBMISSION.

JOHN – Male, 40-45 LEAD. John is a washed up rock musician who now teaches music at the local high school. He had an affair with Maggie while she was married, and she was going to leave her husband for him. When her husband died, she pulled away, and they haven’t been in relationship for some years. John has not been able to let go of his feelings for her, and has become bitter and angry as a result. When Maggie asks him to teach the girls over the summer, they are brought back into relationship. MUST play Guitar at a very high level and SING. Please indicate level of experience with guitar and vocal range. Include any vocal or music samples with submission. SAG or NON-UNION. PLEASE SPECIFY IN THE NOTES SECTION THAT YOU CAN WORK INDIANA LOCAL HIRE OR WE WILL NOT LOOK AT YOUR SUBMISSION.

ROSEMARY – Female, 80s-90 years old LEAD. Rosemary is Maggie’s grandmother, and raised Maggie as her own. She lives in a nursing home and suffers from Lewy Bodies Dimentia. She lost her sister Abigail when she was a child, and believes Abby to be this lost sister. She is 89 years old, and about to celebrate her 90th birthday. She is a strong, independent and self-reliant woman who reverts into a childlike state at times. SAG or NON-UNION. Must be an Indiana local hire.  PLEASE SPECIFY IN THE NOTES SECTION THAT YOU CAN WORK INDIANA LOCAL HIRE OR WE WILL NOT LOOK AT YOUR SUBMISSION.

CAROL – Female 40-50 SUPPORTING. Carol works for social services. She takes on Abby’s case and discovers Abby’s true origins. SAG or NON-UNION.

DOCTOR GORDON – Female 50-60s SUPPORTING. Doctor Gordon is a family psychologist who works with Social Services. She has a session with Abby to determine Abby’s mental state. SAG or NON-UNION.

STORY LINE: A young girl claiming to be immortal is placed in a foster home, uniting an unlikely family as she explores a world teeming with magic to escape the traumas of a dark past.

To submit, please email character name, headshot, resume and demo reel link to STORYTELLERSMOVIE@GMAIL.COM – do not send video files. Links only.

What is The Storyteller? The Storyteller is a feature film co-written by 20 Questions Film creator Joe Crump and 20 Questions Film writer Rachel Noll. Joe will be directing the film, while Rachel is producing and starring. Independently financed and scheduled to start filming next year, the film is the story of a young girl claiming to be an immortal who unites a dysfunctional family while she explores a world teeming with magic in order to escape the traumas of her dark past.  Though still in development the script was recently named a quarter finalist in this years highly regarded PAGE International Screenwriting Awards.

It’s one thing to talk abstractly about the idea and stages of filmmaking; it’s quite another when those stages are put into action. Stages merge – a decision in pre-production, such as casting, has an affect on the story and the script is rewritten. Financing may change a bank location called for in the script to a jewelry story. Access to visual effects (or lack thereof) may mean that a ghost is actually a monster in make-up.

And so The Storyteller Series will explore not only what is involved in each stage of the filmmaking process, but how each stage is being tailored and enacted during the making of an actual film.

Before we get started, though, remember that making movies is – and should be – fun! Just ask Barton Fink:

In order to understand our series, let’s discuss each stage that The Storyteller, like any film, will be going through…

Development: the birthing place of screenplays. The development stage is that interesting place where your idea goes through the metamorphous of becoming a screenplay. It’s during this process that the writer must ask him or herself: which of my many ideas is ready to be developed into something bigger? Once that decision is made, the question becomes: how do I start writing? Should I write a treatment and then outline scene by scene? What research do I need to do? What is the theme of my story? Many writers ask these and a multitude of other questions before even starting draft one while others will simply dive in and answer those questions along the way. However the questions are answered, it’s in your development stage that your writing craft and process is key.

Even adapting a book into a screenplay takes craft and creativity, just ask Charlie Kaufman:

Now, once the draft is written that doesn’t mean development is over. There are still rewrites, copywriting and financing to be done before you can move onto the next stage: Pre-Production.

Moving into the Pre-Production stage doesn’t actually mean that the script is locked and doesn’t need any further development. What it does mean is that financing has been secured and the process of planning the actual filming can begin. This means location scouting, casting, securing a crew, production design, costume design, and, perhaps most importantly, scheduling are coordinated. All of these variables will have an affect on the story, either changing it or further sharpening it. This is why Development leads to Pre-Production but, at a certain point, they exist simultaneously.

This is the point that The Storyteller is currently in. The script has been written, financing has been secured, so casting, location scouting and other parts of the pre-production process are now taking place while the script is being further developed and redrafted, as the pieces of the puzzle fall into place.

Let’s be clear – Every stage of the filmmaking process affects every other. It’s because of this that your story and thus your script will always be developing.

Some filmmakers consider Production or, in simple terms, the time during which the movie is being shot, to be the most stressful. Should we rehearse? Is there time to rehearse? How do I, the filmmaker, make sure I get all the shots I need? Should I “shoot to edit?” All these questions and many more are asked to and by the director every day of production. And again, just because the story has been developed and pre-planned to be one way, doesn’t mean that’s how it’ll be shot. What if you wrote and planned for a big chase scene in a field but it’s raining on the only day you have your stunt drivers available? Do you rewrite the scene or change what you’re shooting that day? Can you afford to lose a day of production? What the actor brings to a scene on the day of filming can also greatly affect your plans.

Here’s a fun behind-the-scenes story. Remember that scene in Silence of the Lambs? No, not the fava beans… the scene where Clarice tells Dr. Lecter about the ranch she ran away from as a child. Jonathan Demme actually planned to shoot flashbacks with a young Clarice but when they filmed the scene he knew the performances were so good, he simply didn’t need it. That film went on to win 5 Oscars including Best Picture, Best Director and Best Screenplay:

We’ve talked about Post-Production workflow before, but the actual stage of post-production is, like it’s sibling production, taken into consideration during the pre-production and even development stage. Do you plan to edit the film yourself or is it better to have an outside perspective? Visual effects, what can and can’t be accomplished with your budget? How can the sound such as Foley, ADR and mixing both hide problems and become a character in the movie? Should you commission an original score or pay to license existing songs?

There is a common belief that post-production is actually the final stage of the screenwriting process. Lines are taken out; scenes are re-ordered or taken out completely. This isn’t to say those scenes weren’t needed in the script. They can be cut for time or because the combination of the camera work, actors performances and pacing simply makes it so they’re repetitive and unnecessary.

Even master filmmakers like James Cameron refine their stories. Check out these deleted scenes from the film that put him on the map:

One may think that the filmmaking process is finished with post-production but it’s actually not finished until the film has been distributed. Distribution is about making people aware and getting them to see the film. Whether one should play the festival circuit? How to find a distributor and negotiate a deal that is mutually beneficial? How to market the film? These are all questions that need to be asked and pursued during pre-production, but the minutia of each detail can’t fully be answered until the film is complete.

Making a film is a long journey, one that The Storyteller is only at the beginning of.   As this series develops we will dive deeper not only into each stage of the filmmaking process, but the process within these stages. Next up on The Storyteller Series: The Process of Ideas – which ones are worth pursuing and how do you start writing?

Movies about making movies can be funny too, especially with Woody Allen directing, check out this trailer for his film Hollywood Ending:

Be sure to subscribe to our newsletter in order to always get the latest articles as soon as they’re out. When you sign up you also get two free e-books that’ll help further your filmmaking career!

Sean McDaniel explains how the more moving wheels you have in play on set, the easier it is to waste time – which in the end can be the difference between the take you’ll settle with and the take you really wanted. So come prepared. It’s worth it.

More videos in the series of interviews with Sean McDaniel will be posted shortly, so keep checking back – or even better, simply sign up for our weekly newsletter.

Sean McDaniel has been working as a cinematographer for over a decade on narrative, documentary and experimental films. He furthered his studies as a cinematographer while acquiring his MFA in Film Production at USC’s School of Cinematic Arts and his work has screened in numerous film festivals around the world including the Cannes Short Film Corner, Palm Springs Film Festival, LA Shorts Film Festival, HollyShorts, and the Vancouver International Film Festival, among others. He was a USC selection for the 2014 A.S.C. Heritage Award, which looks great on paper, sure, but more importantly speaks to his passion for telling powerful stories through his work behind the camera in support of his collaboration with talented directors.

My name is Rachel Noll, and I’m the producer and co-writer of the film, as well as one of the lead actresses. I look forward to sharing our ongoing journey with you as we move into pre-production and production on the film. With this online production diary, which will likely be passed between key crew and cast members to add their perspectives throughout, we hope to give you all a window into the process of producing an independent film from start to finish. Along the way, we encourage you to ask questions in the comments section below. We’ll happily answer.

The Storyteller began as an abstract idea that Joe Crump, the director and co-writer, brought to me. “What if” he said, “we explored the story of a young girl who is immortal? What would it be like to live for hundreds of years? How lonely would that be? How would the world change?”

The goals of this film were threefold:

1. Create a feature-film we could shoot for under $100K in Indiana, where Joe resides.
2. Create a story that contained elements of magic and the fantastical.
3. Bring in a musical element that would help tie the story together and unite the characters, as in movies like Once and Begin Again.

Joe and I have often discussed how creating a script is like putting a puzzle together… You have a table full of pieces, and it’s our job as writers to figure out how they all fit together into one compelling picture.

I would sit down and write 20 pages to send along to Joe, and those 20 pages would inspire us to completely rethink a character or a key element of the script. And back to page 1 we would go. By the time we had a completed first draft, it hardly resembled the original concept we had outlined. It had become something else entirely – a rich, complex and multi-dimensional story about people finding their way back to themselves, with a clear message about creating the life we want on our terms. It felt like the story had taken us by the hand and lead us where it wanted to go, guiding us gently scene by scene.

The writing process often feels like this, in my experience. We come to each draft with our own ideas and notions of where it should go, but more often than not, the characters and the story dictate to us where they want to go next, not the other way around. There have been times when Joe and I have sat with a scene and had no idea what was coming next… and then an inspiration would strike one of us, and all of a sudden the world would open up again.

Writing a script is truly a process of trust, openness, patience, collaboration, and a willingness to try things. Like improv – sometimes it’s just saying yes to the inspiration, wherever it comes from and however it shows up.

In the end, what was born was a story about Abby, a young girl believing herself to be immortal who helps to heal a dysfunctional family as she explores a world teeming with magic to escape the traumas of a dark past.

Now that we have a shoot-ready script, we are moving rapidly into the pre-production phase. There are two elements that we felt we needed to nail down early on; one being the main cast members, and the second being the musicians we will be collaborating with on the music for the film.

Currently, the script is out to a handful of talented indie musicians. We want to find the right fit – someone to help us write the music, collaborate with the actors who will be singing and playing on screen, and create a soundtrack that we can promote and sell along with the film itself. There are two original songs in the film that need to be written, and a cover of the old spiritual Wayfaring Stranger that needs a unique update. The musicians are working away on songs as we speak.

Simultaneously, I put out the film’s first casting call on Breakdown Services, and received submissions for the main four roles from actors all over the country. Technology is amazing; it allows us to see and experience the talents of actors we might not otherwise be able to see. Due to our budget constraints, we are only able to consider actors who can work as Indiana local hires. The number of talented actors who live and work there blew me away!

We wanted to start the casting process early because the roles we need to cast are rigorous and require specific talents. Our lead actress, Abby, is a 12 year old girl with wisdom and maturity well beyond her years. She has to carry the film on her back, and we know that finding the right fit for this role is make or break for the movie. Two of the other lead characters have to sing and play instruments with skill in a specific style. This also requires a very particular kind of actor and collaborative attitude to make it work.

We have seen and narrowed down our list of actors and are holding callbacks in the next couple of months to find our cast. Once we have our cast, and have settled on musicians and songwriters to collaborate with, we will be able to lock in our shoot dates for 2016, begin working on the music with the actors and the musicians, and start preliminary character rehearsals.

In our upcoming blogs, I will be taking off my writing hat and putting on my producer hat to talk you through the pre-production checklist in real time, so you can get a feel for what happens when, and how to make sure your checklist is complete before you go into production. Until next time!

Got any questions about the writing or casting process? Post them below!