Anything Goes : Pre-production questions! by Karen Goldfarb

Yes. Try to get as much help as you can get in fields that you're not too proficient in. It awesome to do things yourself, however getting an expert with eye for it would be ideal.

They are all important. From Craft Service and PAs to the DP and Production Designer... positions exist to ensure things are done properly. You may be able to find people to do two of three things - but you should ensure they actually can (physically and experience-wise). If you have to ask if a Sound Person is important, honestly, indicates to me that you feel that the sound of your film is not important. If your are doing a silent film, or one you don't mind actors voices not being heard properly - or lots of ambient room tone fuzz - then, sure, don't have a sound guy. If you have no sets and are shooting in a location you are happy to shoot in 'as is' with no one worrying about the set - then skip the Set Dresser. I hope you can see that EVERY position has it's need. You should staff as many as possible. Whether you have one set dresser as opposed to a crew of 8 in the department might be the better question. Best of luck on your project.

I agree, every position has a very large need. But when you're working with a small budget you learn to tackle some stuff you normally wouldn't. For production, my absolutes are DP, grip/gaffer, Sound, 1st AC, makeup, my wife (she does A LOT). That's all I need to pull off something. I run camera myself, so I don't need a cam op. I edit my own work, so I don't need a detailed script super or AD. If you're not skilled in these, then add a script supervisor, an AD (especially if this is your first time directing), and a cam op. Your DP may require a grip and/or gaffer, depending on the size of the project. Then if you might want set dec, art. It all depends on budget. I never have a large budget so I end up doing a TON on production day(s) and have food catered in.

If you need to Karen, message me directly and I'll give you any advice I can.

You need as much help as you can get from qualified people. Sound and the DP are #1 to try to get the best out of any production. There are always people around who will help out for credit and or more experience as well. If not shoot the project anyway and learn from your mistakes, you will be ready to handle the next one better. To many filmmakers wait around for the perfect situation and end up having the what if, should have; could have; talks over cocktails.

I wrote and co-produced a 16 min. doc some years ago, and to me, given that I am not a technical person, the most important person was the editor, who enabled me to make a seamless short. Best of luck!

Karen, Casablanca is a monumental, sacred cow. I might hang garlands around its neck. Might-could take key scene or two and write it as comedy and see, how does it read? Does a stranger read it and laugh? Best advice is in the two comments above, ie. just do it and get all the help you can recruit. You'll learn tons. Best...

Also, make sure you're not infringing any copyright laws. My script adviser happens to be one of Michael Curtiz' three grandchildren and I am curious to know why you chose to make a comedic short out of one of the most revered movies ever. Read what Victoria [Lucas] had to say about the movie: "You've got to remember that when the film was shot no one knew whether the Allies would, in fact, win the war. The news out of N. Africa (especially with Rommel) was fairly bleak. There was a big push (especially at Warners) to produce patriotic films. Rewrites started really emphasizing duty and honor and standing up against tyranny even more than in the original play ("Everybody Goes to Rick's"). The play is quite different: for one thing the woman was American (the character name is "Lois Maxwell) but it was decided to make her European. As I understand it, the studio's first choice to play her was Hedy Lamarr but they ended up 'borrowing' Ingrid Bergman from MGM. It's of course true that no one expected the film to become such a classic but there's no doubt that everything -- from casting, acting, writing and directing -- was on the very highest caliber. "

Ok, in terms of pre pro who you should get, probably in or around this order: Producer-- very important, paper works, fund raising, that sort of thing. Production Designer-- Overall look, controls the look of sets (props) Costumes, make up (to a certain degree) and overall color scheme. Director of Photography - Very closely tied with production designer. These two need to be on the same page to make things make sense. Production Sound Mixer-- head of sound department. Actors (obviously). and the most important and ALWAYS overlooked position-- Assistant Director-- Scheduling! These department heads will sit down with you and go over what you need for your project-- how much money, overall visual style in physical objects, overall visual style in lighting and camera language, overall sound, and overall time. From there, they will be able to recommend how many people are needed, and generally have lists of folks they like to work with, in order to bring the film in on time and on budget with the look you are trying to get. Editors can be hired later on or have them editing during production. For post you'd want Editor, Sound Mixer, and Colorist, also and VFX artists you may need. In very early pre pro there is no real reason to start looking for key grips or gaffers as the DoP you hire will probably have people they like to work with anyway which will save you a lot of time on set and generally lead to a more successful shoot-- because there is a level of trust there. Same with production designer knowing art directors, set dressers, wardrobe people, the sound mixer will have boom ops ect who they can trust, and the AD will know how to run the set so you can focus on what your job really is--- directing. Failure to get these important people involved-- especially the AD-- is one of the quickest ways to have things compounding and going horribly wrong. I mention the AD a lot because honestly, when you're shooting, you and the rest of the crew will be too damned busy to pay attention to the time. next thing you know you're out of time on the location and you loose shots. Or, you try to do too much in one day and in an effort to get it all in you start mucking up. Good luck.

I think the first question should be -- "What do you want to do with it?"-- Are you going to send it to festivals? Are you just going to put it on the web? or are you just using it as a learning experience? And to answer the questions respectively would be -- 1. Get the best people you can to work on it/Call in favors/Read all you can get your hands on across the board. 2. Just put out the best product possible with what you got but still be careful of copyright and trademark issues. 3. Smoke a bowl/drink a beer or read a passage from your favorite bible -- whatever floats your boat -- anyhow, just git-er-done and have a good time regardless of the outcome.

Hi Guys! Wow -- First of all -- just want to say thanks .. you've all been very generous to take the time to answer my post.. let me explain: To answer some people's questions on the script. -- this is just a SHORT 10 page script -- it won first place in a scripped contest -- that was to be a remashing of a beloved romantic classic -- and put a comic twist on a classic love story -- I did it for fun -- that's why I'm making -- or trying to make this short, little film -- to get my feet wet as a director and have a few laughs -- and hopefully create something wonderful -- if it's good enough to enter into a contest ..that's my aim -- So -- to all you Casablanca lovers out there -- I am one of you -- this is just a short, 10 minute kind of homage... and to get some experience.. that's all.. And thanks so much for all your great advice.. so appreciated... xxxxx

Take a look at my reel, I would love to help out! It is very important to have a cinematographer that is seasoned no matter what your budget is. (my hand is up) LOL. When I do film production, I take care of the audio as well because it must be perfect.

K.G. Can you share the title of your ten-page homage to Casablanca? In "wot... scripped contest" did it earn first place?

Hi Harry.. Are you familiar with the Scripped contests -- it was the Romance Redux contest.. and script is called:Here's Lookin' at You, Kid..

Hello Karen, there are no dumb questions. Important to have a good director, assistant director, cinematographer, sound person, script supervisor, gopher or cable wrangler, craft services, great lighting person(s), and patients. Good luck. Can't wait to see the finished film.

Hi Anthony... I wrote that about 2 months ago.. I have now finished my first short film.. it took alot -- of effort, blood, sweat.. tears..;) ..but it was all worth it.. I crammed a lifetime in 2 months.. would be happy to share my experiences...

If you have a small budget to hire a small crew... Pre Production -- Find an EXPERIENCED Assistant Director -- who can also serve as a Production Manager -- He/She will reach out to 2nd AD who will reach out to PA's etc. Production -- Find an EXPERIENCED cinematographer with a GRIP TRUCK. He/She will get the support based on the scope of your project including Sound, Set Designers, etc. Post Production -- Find an EXPERIENCED editor who will help you find the right resources for color correction, foley, etc etc Oh and find a good craft services person because a FED CREW will be a HAPPY CREW :-) Good luck!

I hope you took the time to get an audio guy..... They are very curtail to making sure the best take can be heard!