Now Just Make It Look Good

One of the things cast and financiers will ask a first time feature director they want to work with is: Who's shooting it?  I learned quickly that if it's the director's first go at a feature, make sure it isn't your director of photography's. That's when you're really making it hard for yourself.  These financiers and actors want to know that if the director has any shortcoming experience-wise, the technical aspect of the project better be covered.  Whether this is fair or not, I can understand it: I'm taking a risk on you, don't ask me to take a risk on the entire technical and visual look of the film.  It's just a lot to ask of anyone.  And I admit it, many people who jump on board ask about this.  Find a DP who's done this before... several times.  It provides security for everyone who has already put all their faith in you.  I've shot multiple short films, and directing is the most fun and stressful thing in the world.  The last thing anyone needs is any hesitation on the technical side.  It can kill your whole shoot.  Of course, this isn't necessarily what will happen, but when people hear first time director mixed with first time DP, they'll probably get nervous and back away slowly.

With all this said, finding a director of photography is the first thing you should do when looking for your crew.  They are in charge of the overall look of the film you've always envisioned, and are such a key part of the set.  But I've got good news: in my experience, it's much easier to grab the interest of a DP than a cast.  In my case, it seems science fiction and time travel is exciting to most crew, especially DPs.  They don't have the same worries as cast and their agents.  They usually want two things: that your screenplay is something they want to shoot and they are available to do so.  They usually don't care who's in it, what the returns will be, or whether it's even financed yet.  They want to like the script, the director, and the project.  Simple enough, right?  Well, at least it's more straightforward than figuring out if "yes" means "yes."

Luckily, both of my producers had extensive experience on sets and already had very talented people in mind they knew personally and had worked with.  This helps make the process so much easier.

Be prepared when you interview a potential director of photography.  I for one know I'm usually so focused on my script and its story, that I really need to flesh out and think about the look of my film.  So many different scripts call for different things.  What's the overall mood and emotion you're trying to accomplish for the film?  This will help you discuss and decide on colors, lighting, camera movement, etc.  It also may be a good idea to watch other movies that deal with the subject matter of your project.  In my case, time travel, science fiction, and films taking place at colleges was a great place to start.  Time travel and sci-fi movies often have a certain feel.  I'm not saying you have to or even should emulate these films, but it's always good to research what's been done so you can either put your own take on it or even do the complete opposite.  That best part is it's all up to you and what you are out to accomplish in your vision.

The other key member of your crew will be the production designer.  He/she is responsible for a different aspect of the look of the film: sets and props.  In my case, one of the big projects for my production designer is the time machine.  That's not a usual task for an independent movie.  Also, all the scientific props and projects must look just as authentic in order to keep the credibility of the film for the audience.  As far as hiring, I found production designers fall in the same category as DPs.  If they like the script, they're in.  Hopefully they will come with ideas already for the interview.  This can consist of projects they worked on that were similar to yours or even new ideas sketched out specifically to your film.  This part is really fun, as you start to see your script come to life in the form of concept art.

So if all is going well you have a talented cast and crew signed on to your project.  Now with this ammunition, it's time to start firing and make a real push for financing.  This is where I'm at right now; you're all caught up on my end.  Oh well, I guess that's it...  just kidding, I couldn't shut up if I tried!  In some of my next blogs I'll go into some more detail in other subjects and try to keep you posted on where I am personally with Trust Us.  Somehow it never gets dull, so never fear... there's plenty to talk about...