1. Know why you are making your film and be sure the story is worth telling
Are you making it to get rich? Are you making it as an artistic statement? For whatever reason you’re making the film, make sure you and the rest of your team are aware of it and above all else, work out how you are going to distribute it afterwards. It’s useful to work out what your marketing angle is on the film before you shoot so you can really make sure it’s brought out in each scene.
If you just want to make a film because you want to make one, think carefully about making it a feature. It’ll take a lot more work than you think and if you don’t believe in the story you could get sick of it by the end. It doesn’t have to be highly conceptual, political, or artistic. Toaster was a personal story that everyone could relate to and it helped keep people motivated. (That and strategic measures of bribery/blackmail).
2. Check the screenplay is as good as it can be.If your script is shite, your film will be too. No question. Try and keep the story simple and single-minded i.e. tightly focussed on one key idea that you explore fully. Don’t over rely on dialogue to express characters desires or to impart information.
Make sure your principal character is a) likeable b) fully fleshed-out c) experiencing some change through the films events and d) doesn’t know too much about what’s going on. If they do, the audience gets bored and loses empathy.
Also, if you want to sell the film, consider giving it a happy ending (unless it’s a horror or a serious statement). It’s the question we got asked most at film markets. Fact!
Make sure each scene isn’t too ‘on the nose’ i.e. If you have an unhappy couple don’t have them talk about the fact that they are unhappy. Instead, drop in clues to make the audience work a bit, like bickering over something small like finishing the milk, or have one talk oblivious to the other ignoring them. Think about how you react in situations so the script feels truthful.
Edit, edit, edit. If a scene or line of dialogue isn’t adding anything then get rid of it.
Finally, get on screenwriting websites like Triggerstreet.com to get constructive feedback to get your script as good as it can be. Format it correctly, read some screenwriting books and get actor friends to workshop it. Not everyone will love your script. Take the constructive criticism and leave the rest. Or just have them killed*
*This is a joke, admittedly not a funny one. Seriously though, don’t kill anyone. It’s against the law and you could spend a long time in prison. And now even longer since the Home Secretary has abolished early parole for such crimes.
3. Be professional and aim high
As far as format, equipment, casting, crew and locations are concerned, get the very best you can. It’s surprising how much you can get for free or deferred if you are up front and honest.
Plan everything. If it can go wrong it will. Don’t skimp on crew – things like sound, continuity and props are all vital and can mean expensive and time consuming
reshoots if not looked after properly.
Make sure everyone has detailed call
shoots including maps. Get one or two more extras than you need. Get a strong 1st AD and if you’re a Director whose not story boarding, at least do a shot list of the minimum amount of shots it takes to make the scene work. Or
alternatively just do loads of reshoots and piss everyone right off.
4. If shooting digitally do the film look in post
If you use diffuser filters on the camera to achieve film-like grain it’s harder to focus and
you’re stuck with the look. You’ll have more control if you do it in post. You might piss off the cinematographer though.
5. Choose your editor first and get them on set.
You’ll be able to know what if anything you need to reshoot and generally how you’re doing (i.e. that you couldn’t even direct a nativity play).
6. Don’t overlight
If you’re shooting digital you generally (but not always) need less light. Don’t be afraid to use available light and to keep things simple. Glare is everywhere – use hoods to eliminate it, but make sure they don’t creep into view on wide shots. As well as the boom, old ladies walking by etc…etc…etc
7. You are the camera
Strictly you’re not. But what this means is don’t be afraid of the camera, and don’t be afraid to move it. If you’re looking at the action where would you want to see it from? and as the action unfolds where do you feel you want to move to, if at all? There are no rules in directing, only a series of choices you have to select from. Saying that, plenty of close ups and reaction shots are pretty important. Keep your mind open for those
flashes of inspiration and don’t be too proud to take suggestions from your cast and other
members of your crew. But follow your gut and don’t be afraid to persevere until you’ve got what you want. (or until the cast and crew start beating the shit out of you).
8. Where is the scene in the story?
Whichever scene you’re shooting, always think about the scene before and the scene to follow. It helps sharpen your focus about what the scene needs and it can help you slot in some nifty options for cutting to the next scene, e.g. if the follow scene fades in from black, one of the characters could walk right up to the camera to make the screen go black. Clever eh?….
…eh?
9. Actors are extremely sensitive – handle them with care
When working with actors always boil the scene down to the basics – ie. What’s happening in this scene. If the essence of the scene is lost, your story is weakened. A scene is usually a small story in itself so characters positions will change throughout the scene.
Don’t give your actors ‘results-orientated direction’ e.g. “Give me sadness” or “be more
angry”. Try and get them to think about what their character wants in each scene, e.g. instead of “You’re angry with Courtney in the scene” try saying “Punish Courtney in this scene”. Never demonstrate how you want a line delivered. It’s often tempting, but it’s totally de-motivating.
Try different things in each take – otherwise every take will play exactly the same.
Think laterally – try getting them to do a scene in the style of someone else, or get characters to say their lines in a manner opposite to what their line would suggest. For example if someone is saying vile things to another character, get them to say it nicely. It adds depth, can sometimes feel more truthful and liven up a flagging scene.
If you’re having difficulty extracting emotion, try getting the actor to recall a similar personal experience. Or get them do the scene as if their character is in a more extreme situation than the one they’re in. E.g. if they are going to the headmaster’s office for a bollocking, get them to imagine they are walking to the electric chair. If you’re still struggling, try playing music to create an atmosphere.
Get actors to listen to each other – it takes them out of their self-consciousness and keeps them in the moment. And sometimes don’t be afraid to tell them to stop acting! Or just rob a bank and get heavy-weight A-listers in**
10. Have fun!
WATCH OUT FOR FURTHER PRODUCER’S TIPS COMING SOON!
