I am still building my crew for a production that shoots this June. It's my script, and this is the first major production of my own that I'm investing in.
It's a smaller budget, and those who have come on board negotiated a rate they're comfortable with. It's amazing how many people just want to be on board and part of the experience. Some of them are so excited, and it gets me so pumped up!
As you go through the process of choosing your ideal crew, how do you decide who to bring onboard? (Outside of experience.)
What are some red flags you look for? Have you ever brought someone on board and realized they may not be the best fit? If so, how did you handle that early on? And what did they do (or NOT do) that made you realize this?
Interested to hear some pre-production stories...
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May the force be with you. One thing I learned from long ago (and far away) is to make absolutely certain that all your participants play well together in the same sandbox. As you're constructing your team, bring the players together in a social setting - say a beer & pizza 'pre production' meeting. Watch VERY carefully how they interact There is absolutely no room for PITA people on set. Look for control freaks, folks with 'issues' gossips, and the Bucks vying for tactical position/dominance. Learn to be ruthless. It will save you in the end.
I have other observations, but rather than upset the perpetually insulted - I'll keep my mouth shut. All the best to you.
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Congrats on moving forward with your project. My last three years of short films have had mostly the same crew behind the camera. I tend to "collect" people. If we make a film together and we all click, then I keep them around and bring them into my projects on a regular basis.
Casting is where I've had the most problems, but I've solved most of those problems by doing table reads well in advance of the production. However, I also insist that my key crew attend those table reads. Everyone gets to know each other, and during the actual reading, I get to see how well my actors are going to work together. I usually turn my table reads into a barbecue or a pot luck, just so people can socialize and become acquainted with one another. Then, I just observe and make mental notes about what I see.
By the time we actually roll the cameras, I feel very confident I won't have any personality conflicts or other related issues during the shoot. I don't know if this helps any, but it's a process that continues to work well for me.
Best wishes on a successful shoot. If you need an editor or a consulting producer, I'm always open to new projects that aren't my own. I also play well with others, in spite of what I wrote in my bio. Hahahaha.
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All sage advice. Thank you, gentlemen. But my team is coming in from New York City, so it's harder for us to get together.(we have done group Skype sessions that were successful.) I'm based just outside of Syracuse with the other half of the crew.
Today, key players are coming together to scout the locations with the camera, so I can watch interactions there. I realize nothing is perfect, but I certainly want to prevent any problems before they start, too! I already had two let one actor go because he couldn't get his deal memo signed or anything else into the team on time. I sent several reminders, so the rest was on him. But it was a hard thing to do.
Welcome to the world of content creation, I guess. :)
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Congrats! Just get it done, by hook or crook. You’re not gonna know how people interact until you shoot. Personally, I don’t have to be pals with Cast & Crew. The great thing about paying people is you can fire them. Keep it professional.
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I totally agree with Dan MaxXx . I made the mistake once of being pal with some crew members, later those were the ones who brought stress on set. Never again, keep it professional, no matter the budget.
You never know how it is before the shoot. How long are your shoot? If it just for a weekend or a short week, it is easier to bear with the people. If it for a longer period, look for patterns. And you can tell from an early stage about how their work ethics are. Who shows up late, who is talking laud and making a noise, who is quiet, but just do their work well, who is the diva etc.
Have good crafty and catering. It always makes people happy on set!
Set the rules for how you want it to be on your set, and stick with it.
Not sure if anyone already said it, but one piece of advice is to hire the keys and have them hire subordinates they're comfortable with. It creates well-working units for Camera, Lighting, Grip, ProdDesign etc. Not sure how big your crew is, of course. Good luck!
Congrats for taking the big step. There are so many variables in regards to building your team, Such as are you shooting continuously or will you be a weekend warrior. I was a one woman crew for my film because I had enough to worry about coordinating the talent without working worrying if any crew members will or will not show. With that said not knowing the specifics of your production. I would suggest keeping the crew as small as possible. Line up people to take their place if there are any conflicting dates . Get a producer to help you with the production as well. That will help alleviate some of the stress and allow you to focus on other aspects of the production.
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What Timo said is key to having a team that works well together. Forcing an HOD to use people they don't know because you've chosen them or because they're enthusiastic or they'll work cheap creates issues in a department when they can't "walk the walk".