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The Making Of Django Unchained

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5 Elements to Picking a Good Location on an Independent Film

What You Need to Know About Choosing a Good Location to Film

by Kevin L. Powers

As both a producer and production manager on many indie productions I’ve had the task of choosing locations for various films and there are a few elements that must be observed before a good location can be obtained. If these elements are not observed the production could suffer tremendously or entire problems on the day of filming which could have been avoided if a few key things had been taken into consideration before hand. The following are five elements that I take into consideration before I sign off on any location on an indie film production.

ELEMENT# 1: Ambiance - The look and feeling of a location can mean everything to the final look of a film. If you’re filming a period piece on an indie production you can’t find a location in the city in which power lines, street signals, and other modern technology will be a problem (unless you have the budget to CGI them out in post). It’s safer to find a location out of the city limits or film a small town to film in. This is especially important for films in which much of the filming is done outside. As a producer of indie films the ambiance is everything to the film especially when you don’t have the budget to change a lot of the physical location…

ELEMENT# 2: Parking - Although this may seem like a small thing it is not especially when you have a large cast. Parking can be a huge problem if there is nowhere for your cast & crew to park their car. Sometimes car pooling can be arranged but a producer must keep all of this into consideration when finding potential shooting locations…

ELEMENT#3: Catering - Where ever you film, always make sure that there is plenty of room for catering. You should always find a room or area at any location you go to that is dedicated 100% to catering that will not disturb filming and will not need to be moved because the catering tables are in the shot. You should never need to move the catering area (although sometimes this cannot be helped)…

ELEMENT#4: Lighting - No one really thinks about this until it’s too late but been scoping out for locations on an indie film you must be aware of the location’s limitations in regards to lighting and electrical requirements. Domestic locations have the biggest limitations as they were not constructed in regards to the lighting requirements of a film production. Order houses have even more electrical problems as they were built in an age when technology didn’t dictate that every bedroom have their own television and DVD/game system which also includes a computer and numerous other electrical appliances. Order houses can house many problems for an indie film production with high energy requirements in regards to the electrical department. If this is the case make sure to have a power generator on hand. Other things you should know are where the electrical box is in the home/location in case a circuit is tripped or blown (this happens frequently) and know where all the 20amp services are separated (in order to avoid tripping breakers throughout filming). Having a qualified gaffer on hand with help this out…

ELEMENT#5: Sound - This is the single most important element to choosing a good location. The biggest problem facing all indie film productions (or rather all film productions filming on location) to on location sound and its limitations. There are many outside forces that can destroy the sound recording on an indie production from being near an airport to construction to sounds of nature impeding in the sound recording. These problems can sometimes force scenes to be ADR’ed in post. This is not a problem if you are planning on doing this anyways but it can be a huge problem if this was not foreseeable…

Read the full article with Kevin’s personal experiences

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The Cabin in the Woods (2011)

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The Last Exorcism Part II trailer: watch online now

The Last Exorcism Part II has unveiled a full trailer, which reveals that the sequel won’t follow the found-footage format of the original…

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6 Things I’m Doing to Write My Best Screenplay Ever This Year (And You Can Too!)

by Christopher Boone

1. Schedule Writing Time Every Day

Writers write. I would argue that all filmmakers should write, too. If you want to make your own movies, you should write. Don’t think you’re a good writer? You should write. Do you know what my best subject was in school growing up? Math. You know what my second best subject was growing up? Science. You know what I liked more than anything else in the world growing up? Movies. Then I decided I wanted to make movies. You know what I realized I had to learn how to do to make movies? Write…

2. Set Deadlines

I’m not a professional screenwriter, but you already knew that, so I have to set my own deadlines. I don’t enter a bunch of contests because I don’t think many of them are worth the entry fee, but for the select few on my list, they serve as good deadlines. At this point, if I have a script worth submitting, I only submit to the Nicholl Fellowships, the Sundance Institute Screenwriting Lab, the Austin Film Festival Screenwriting Competition, and the BlueCat Screenwriting Competition. I submit to the first three because of their reputation in the industry and because I believe they can help my career aspirations. I have submitted to BlueCat because I find their notes on my screenplays helpful and the entry fee quite reasonable for the service. Other than those, I save my money because in reality, contests rarely launch careers…

3. Write in My Head

Okay, this may sound stupid, but writing in my head, away from the screen or pen and paper, is probably where I do most of my writing. I tend to circle around and around an idea, shooting down unoriginal stories or scenes when I’m walking my dog or taking a shower. If I’m truly inspired, I’m not worried about losing an idea I write in my head because if it’s good, it will stick. If I’m not sure if the idea is good or not and I’m afraid I might lose it, I’ve always got Notes on my iPhone in my pocket. When I sit down to write an outline or note cards, the writing flows much faster based on how much writing I’ve done in my head.

4. Rewrite, Rewrite, Rewrite

Before I open up Final Draft to write the first draft of a screenplay, I have already written in my head, created detailed character bios, made note cards for scene ideas, arranged the note cards by story beats, inserted or condensed note cards, fleshed out the note cards as outlines, and usually written a long-form treatment without dialogue. I’ve toyed with eliminating the long-form treatment altogether, but I’ve found that writing out the story in treatment form illuminates gaps in the connective tissue of my story that note cards and outlines by their very nature disguise…

5. The Script is Never Finished, So I Need to Know When to Move On

One of my weaknesses is I tend to work linearly on projects. I’d like to think I can multitask, but in reality, I find myself working on one project until it is done. This year, I plan to get better about this by scheduling my time more rigorously so I give myself enough time to accomplish stages of each project. With screenwriting, however, knowing when a script is finished can seem impossible because of the fact that a script is never finished. The script will always change, right into production and even post-production. So, instead of knowing when a script is finished, I’m working on knowing when it is time to move on. By this, I don’t mean abandoning a screenplay, but rather knowing when to move to the next stage – looking for feedback, sending out to producers and managers, submitting to fellowships, looking for financing, etc., etc.

6. I Need to Set the Bar High Because the Competition is Fierce and the Odds Are Against Me

To get my screenwriting noticed last year, I set the goal of becoming a Nicholl Fellowship finalist. I believed anything less than that meant that my script wouldn’t get noticed. Obviously, I missed that goal. So, what does being a Nicholl Fellowship semifinalist mean?…

Anybody can write 100 pages in screenplay format. If I want my screenwriting to get noticed, I have to write better than the current working and award-winning professionals. Otherwise, why should anyone want to read my script?

Read the full article

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