CATERING

I don't remember if it was Napoleon who said that an army marches on its stomach, but it should be emphasized that a well-fed crew is a happy crew!
No matter how low your budget, even if you have no budget, you've got to provide something for breakfast. Bagels and cream cheese, tea and coffee have to be on the set first thing in the morning; otherwise your DP and the First Assistant will drive to the local donut store and buy everyone donuts and coffee! So you're laughing, "It happened to him!"

But you don't take it seriously, right? You say, "Great, let the DP buy the donuts and coffee every morning for all I care!" But, it's not that simple. Then they take one hour to enjoy the coffee and donuts! You wanna wait that long to get started every day?

On my first feature film, the first one I financed and shot, I used to never schedule a production day unless I had $20 for food. I managed to complete that picture without a budget! If you have a budget, wonderful, hire a catering company which provides a package deal. A package deal should be negotiated with a certain number of cast and crew in mind, the number of meals per day, etc. There are some great catering companies and some horrible ones. It all depends on what your people like. Some people are vegetarians, some eat only kosher food, some like Chinese food, some Mexican, some are happy to eat pizza every day, but nobody wants chicken every day! So don't make an advertising deal with a new fast food chicken company. One of my friends did and he told me, "Vic, we ate so much chicken, we almost turned into chickens!"

One way to save money on food is to break for the day at 6 PM. If you work past 6 PM, you've got to provide another meal. This may be necessary sometimes, especially if you have some night scenes to shoot. Although you should schedule your night scenes together and have a late call (start work late in the evening,) in which case you'll still have the same number of meals even if you shoot eight or ten hours into the night and early morning.

Whatever you do, don't shoot more than twelve hours per day! With very rare exceptions, you'll make a lousy movie. First of all, I've never heard anyone tell me that they finished such a movie! The story always goes something like this, "We shot for seventy-two hours without sleep, we worked until we were about to drop -- it was a great experience, it was sort of fun ...." Nobody ever told me what the movie was called. I usually hear such stories when I'm interviewing crew and somebody wants to impress me about how hard they'll work. You can imagine the quality of work when people are overworked like that! The money you save on catering is enough to buy a few extra weeks of production time!

On some productions I've had the pleasant experience when we had a cook on the production. Also if you buy your food and cook it on the set, not only you save money but you also create a family atmosphere. It's very conducive to getting good performances from everyone on certain types of productions that are shot on locations, such as westerns or outdoor pictures.

Table of Contents

Part I.
The Screenplay.
Story Construction.
Script Formats.
Story-Boarding.

Part II.
Pre-Production.
Script Breakdown.

Budgeting.
Financing.
Casting.
Crew Selection.
Production Manager.
Cinematographer.
Operator/ Focus Puller/Loader/Slate.
Sound Recordist.
Boom.
Continuity Person.
Art Director.
Costume Designer.
Gaffer.
Key Grip.
Prop Person.
Make-Up & Hair.
Production Assistant.
Editor.
Equipment.
Studio & Location Scouting.
Lab Procedures.
Catering.
Insurance.

Part III.
Production.
Producer.
Director.
Hierarchy of Command.
Setting Up the First Shot. 
Procedure for Shooting a Scene. 
Language of Film. 
Long Shot. 
Medium Shot. 
Close-up. 
Aesthetics. 
Coverage.
Sticking to Schedule. 
Sticking to Budget. 
Directing Actors. 
Controlling Technicals. 
Special Effects. 
Special Processes and Genres. 
Finishing Principle Photography. 
Pick-Ups. 

Part IV.
Post-Production. 
Editing. 

Dialogue Cutting. 
Cutting Action. 
Techniques. 
Artistic Considerations. 
Equipment. 
The Editor. 
Editing Music. 
Sound Effects Editing.
ADR & Dubbing. 
The Mix. 
Negative Cutting. 
Printing the Film. 
The Answer Print. 
Release Prints. 

Part V.
Distribution. 
Finding a Distributor. 
Majors' Distribution. 
Mini-Majors. 
Independent Distributors. 
Distributing Your Own Film. 
The Foreign Market. 
Domestic Distribution. 
Festivals. 
Four-Walling. 
Video, TV & Ancillary Markets. 
Building Your Library of Films. 
Business Options. 
Corporations. 
Limited Partnerships. 
Public Offerings. 
Conclusions.