Hello Fellow Filmmakers!
I am in Pre-Production for a short film with a professional level budget and discussions have started if we are doing this as a union film or non-union. I've started asking friends in the industry for their advice, I am only experienced with lower budget, non-union films but agree with my Producers that we wanna make this movie right. Some people advise, because it's such a short shoot 4-5 days, union isn't necessary. Other's say we can use our contacts at agencies to get some good cast......
So anyway, 1. Besides working with IATSE and SAG for crew/cast- what issues/financials do you know of that might pop up that I am not considering? For Example: Accounting Software/Services to pay cast.
2. What advice do you have when making this decision? What experiences have you had?
Thanks!! :)
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I would call your local SAG office to figure out if you can afford the cost of casting union. The real thing about SAG isn't the cost, though, especially if you work out an ULB or deferred agreement. It is about paperwork and safety for the actor. The paperwork can be tricky, but you get a SAG rep for your project and they can walk you through it.
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I have always done features - and shorts - SAG. If you want excellent actors - the Best - you should absolutely do this short SAG. There are different ways such as calling it "New Media," though I wouldn't suggest this way. Or you could pay them the minimum - I believe at ULB shorts it's now $125 a day - or there's even an option for deferred pay. The actors can technically return the money to invest in the project itself (this is a legal loophole) and there are so many ways. If you want to have a chat, I'd be happy to offer some advice. THIS is why I keep telling young filmmakers to hire an experienced producer who can help with these issues, the SAG paperwork, booking free-to-cheap locations, helping with a cast (potentially a name cast - yes name actors WILL do shorts these days), including talented unknowns, film festivals and even potential distribution or content aggregators. As I said in response to a post recently, do it right now, as "you will never get this time back." Do yourself a favor: Don't get to post with a cast you don't like, recognize and a short - or feature - that didn't come out as you'd hoped. And, do your homework. Check me out on IMDb - the actors I've worked with, Awards won, my projects themselves, distribution, track record and then decide if you'd like to take my advice. You CAN DO THIS! If you want any help or more advice, don't hesitate to reach out. GOD BLESS and STAY FRESH! ;) ;) ;)
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SAG is great when you can do it. Yes, more options on actors is a good, no - GREAT - thing... But it's also great not getting blocked from showing your film. This is much more of an issues with a feature rather than a short. But just be careful that you don't get locked into a corner by their rules. It's usually at the very far end when it comes to distribution that you can run into issues. - if going SAG, definitely check out the new-media contracts which can be more favorable than the low-budget contracts.
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IATSE doesn't have "tier zero" rates as the legend wishes, but their lowest scale is reasonable...Especially with SAG - your budget is smaller as you have to deposit a portion of actors compensation with them... and pay them everything before you get that back. And currently, there is huge disarray in SAG-AFTRA following Weinstein shakeups... we have been waiting for 6 months now to get our deposit back on a feature completed in December, and have not heard from them on a short completed in March... Most people don't understand the real issue with SAG-AFTRA is that after signing with them, they effectively have control over your picture and must be consulted before and during any distribution or profit making enterprise. It's a surprise for many indie filmmakers who find out they now have a permanent co-owner...
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This is a helpful thread! Thanks for sharing your experiences!
Good feedback on this thread. Not much to offer other than if the story is fucking great, nobody will give a shit who’s in it. That’s the truth! I wish you all the best.
All really valuable information. Thanks everyone!
You mean, until you seek distribution, right, Ryan? I assure you, a distributor will ALWAYS ask, "Who's in it?" If you want to get your movie in theaters it always helps to have name actors in it and recognizable faces for the poster. Heck, if you want to get your movie in film festivals it helps. Of course, there are exceptions, such as Kevin Smith's Clerks, but they are few and far between. Even television actors and character actors, as well as up-and-comers that you know have been cast in bigger projects will help your film grow and find distribution.
Sam, I fundamentally disagree. AND, I will prove it with the next feature film I make. The thought process of “you have to have a name” are old, dated and not innovating. I understand that we have been conditioned to believe this to be true, but it’s not. Even your example of Kevin Smith still rings true today. Nothing has changed except the public’s perception. If the STORY is incredible, nobody gives a fuck who it is they’re watching. Did you see “The Florida Project”? An entire movie based around “no-name” kids living around a motel in Florida. Or Sean’s first movie, “Tangerine”?? Great story-telling has become a rare and lost art in my industry. Studios have put BLINDERS on most audience-goers AND third-party arbitrage sales agents and bullshit distributors who have been making MILLIONS off of your exact reasoning. Sorry for the rant, I truly wish everyone the best and am just chiming I’m on this platform in the hopes one of you will fucking listen.