Do I tend to overthink things in filmmaking?

[Josh Bass]

thats BS and shouldnt happen

[Ryan Elder]

That's true. But if it does happen, on the shoot day, what do you do?

[Josh Bass]

get fuming mad, do what you have to, and never trust that person again

[Ryan Elder]

Yeah I mean I got frustrated about it, but still shot the scene in only about an hour and a half and then packed it all up. So I guess it should all work out as long as no one changes their minds hopefully.

[Pete Cofrancesco]

"If I were the man I was five years ago, I'd take a... FLAMETHROWER to this place!"

[Ryan Elder]

I guess next time I will really be adimant that they cannot cancel on the shoot day and hope that helps.

But another thing that concerns is it was said before that the camera I used looks like 16mm, so I was wondering, should I use a different camera then?

[Brian Drysdale]

Why should the camera matter? I assume the location owner knew you were making what was an "amateur" film and not a professional production. If it was the latter he'd be paid location fees for the use of the premises.

Location owners tend to be hold their word, especially on the day of the shoot. It usually only breaks down if they've been misinformed about something

[Pete Cofrancesco]

So Ryan how much did you pay for use of the location?

[Josh Bass]

Yeah. This should be obvious but if you go through a professional location manager they can find you legit places to shoot that will not pull this crap. Of course that will cost you substantial money (no i dont know how much), first for the location manager and then for the location itself. But basically youre choices are a) ONLY shoot in places you KNOW you wont get jerked around on...your house, trusted friend’s house, etc. b) pay the appropriate folks as i just described or c) risk this happening again and again

[Ryan Elder]

I didn't pay anything for the location because I thought I would make a zero budget short. But I was advised to make zero budget shorts on here before, but maybe that will cause things to go wrong more likely, if they are not being paid?

[Brian Drysdale]

You don't usually pay for locations on those types of films. It's also unusual for owners to ask you to leave after 2 hours on the day, when you've agreed 8 hours.

These time issues (plus no shows) seem to be a common feature on your films. Either it's part of the culture where you live or there's an aspect of your approach to things that is causing these issues to arise.

[Paul R Johnson]

Remember - Proper Planning Prevents Piss Poor Performance - usually this sort of thing is because location owners expect two or three people, and you turn up with lots, plenty of vehicles, lights, cables, demand power not asked for, and prevent them functioning. Remember that they are NOT movie people, so they may be expecting a small camera and a few people and get a huge disruption. If you explain that you need 8 hours, need parking for 6 vehicles, and will be running many cables, you can also ask if they have any special safety issues tha they need you to cover - like trip hazards, hot items etc etc etc. Getting a location involves a lot more correspondence than just calling on the phone. There may be no charge, but they need to know what will be happening on THEIR property. If you don't tell them, there can be huge issues through no fault of anyone's. I do lots of stuff now in churches, and it's always best to explain about flightcases, cables, lights and attaching things to their building. I have a non-damaging system now for flying microphones above the heads of the performers. They then usually let me string the catenary. Turning up on the day with a ladder just gets a blanket NO! There are two routes for locations.

NEVER ask in advance and apologising afterwards is better than risking refusal in advance - as in do what you know they won't like and if they notice say sorry, or.....

ALWAYS ask in advance and have good arguments and solutions for the questions you know will be generated. You never apologise for upsetting them, because you haven't!

[Ryan Elder]

Oh okay, I showed up with three crew members and two actors, for that location. I think his reason for canceling had to do with some unexpected business related thing to him that snuck up on him. We didn't have a whole lot of equipment aside from a small light kit, camera, tripod, cables, audio equipment... I thought it was overall pretty small.

We parked on the street so parking didn't interfere with his building, I don't think.

When it comes to the actors though, in the past short films, a few of them I felt were not the best casted, but I went with them anyway, in the auditions because I really wanted to get a movie in can.

So perhaps from now on, if I don't have a good feeling about the auditions then do not go for it?

[Brian Drysdale]

If you're dealing with a business, unless it's an area that doesn't get used is the location, shooting over the weekend or on a day when they're closed is usually the best policy.

Given that your acting pool seems very limited, you may get stuck with the cast. Allowing extra time during the filming day allows the possibly of getting the best out of your cast. However, you do need to get involved with coaching and directing performance out of them. It's a proactive process.

[Greg Miller]

Originally Posted by Paul R Johnson

I have a non-damaging system now for flying microphones above the heads of the performers.

Paul, I'd like some information about this, if you care to share it.

Thanks!