Let's Make A Movie In New York

Get the right crew

Okay, Mr. Producer – so you have a vision. Great… prepare to say bye-bye to your “vision”. I’m not trying to sound negative, but the first thing every good filmmaker must know is that nothing is perfect. The rule of thumb tends to be “If you can get sixty percent of what you want, then be happy.” The experience of making a movie can be way more fun and easy when you surround yourself with the right crew. If you’ve got friends with experience or want to help you, that’s your best resource. Just make sure that you’re the one calling the shots. If you end up having to seek out a crew, then do your homework. Don’t get stuck working with someone who’s lazy – or worse – someone who will scam you. Ask to see previous work and make sure there’s always a contract.

Get a permit

More often than not, you won’t need to pick up a filming permit if you’re shooting in your neighborhood. I can’t see the point in a cop tracking you down if you’re shooting in an alleyway on Lower East Side. However, if your shooting schedule calls for a few hours in Times Square – where there’s tons of law enforcement and tourists – you may want to consider otherwise. There’s a ton of paperwork involved in obtaining a permit, but once done, the city government will leave you alone. Actually, they’ll go out of your way to accommodate your production and give you a tax break. Something worth considering… especially when an unlicensed film crew can get slapped with a million dollar fine.

Please the union

If you’re really, really, really set about having union performers in your film, no one is going to stop you from making that happen. So, you got the special contracts, right? Having SAG talent appear in your film is never a bad thing. Doing so can get your film seen by a wider audience, plus you always want to be on a union’s good side. However, just remember what filing for a contract, plus putting down money for insurance will ultimately run your budget. Whatever you do, DON’T SKIP OUT ON SOMETHING LIKE THIS. If you can’t afford it, then just settle for working with non-union talent. They have assassins, you know. Really goo assassins.

Beg for money

Now, remember the most important bit about making movies: convincing people to give you their money. First and foremost – a producer. If you’re not keen on spending any more cash than you have to, then it’s time to look up that ex-girlfriend who works in development and get some fundraising tips. A very popular practice is shooting a trailer first, so you have something physical to show a possible backer. Also, you can show-off (or explain) the quality of your work and why a generous donation would help improve everything. Whatever you plan to do, good luck; it’s not easy convincing somebody to open up their wallet. That is, unless, it’s your grandmother.

Buy a camera

When you commit to making a movie, one naturally assumes you at least have access to a camera. However, you know the old saying when one assumes. Anyway, the importance of having and knowing your budget couldn’t be more clear than when you need to spring for equipment. Make sure you know what your purchasing. Don’t splurge on something you don’t need. That said, make sure your camera actually works and will actually connect to a computer. In this age of digital media, you don’t want to left out in the dust. Check out Craigslist, as well as any retailers you can find. There’s no reason you can’t get your hands on an affordable camera that will meet your basic needs.

Cast the right people

Okay, so you’re determined to play Orson Welles in your own little warped version of Citizen Kane, no argument there. But who’s in your supporting cast? You could definitely cast your friends… hope they have the chops. If not, no worries. Welcome to the wonderful world of casting. Casting a movie can be fun, but it can also make you want to inflict violence on yourself by the end of the day. Only you know exactly what you are looking for, so keep that in mind as you sort through headshots and cold reads. Here’s a tip: even if someone is super-talented, pay attention to their behavior in an audition situation. If he can’t be himself in front of a camera, or if they don’t know proper etiquette, you’re production experience won’t be pleasant.

You have a script, right?

You would be surprised how popular improvisation has become nowadays. Thanks to the advent of sheer laziness, a whole new kind of filmmaker has emerged. One that doesn’t believe in a “script”, or “structure”, or a “schedule”. If you’re part of something, shouldn’t you just go with what your director sees for himself? I’m not knocking more seasoned folks who know how to work fast and loose on-set, or even people who know their way around a camera. Who I am finger-pointing at would be people with no experience (thanks, YouTube) who give the world long, rambling (or worse, plotty) pieces of dreck that centers around “a really funny line/idea”. Y’know: amateurs. Sometimes you find real talent in people willing to jump without a safety net. More often though, you should take some time to actually sit down and writer something.

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