PDF DOWNLOAD Film Production Management The Ultimate Guide to Film and Television Production Management (Michael Wiese Productions) (Michael. Film Production Management and Patz' previous “Surviving Production” were quickly adopted as “the” essential road map to the business and logistics of . Film Production Management and Patz' previous Surviving Production were quickly adopted as “the” essential road map to the business and logistics of.
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PDF Sample of Film Production Management nd edition - Free download as PDF File .pdf), Text File .txt) or read online for free. Sample PDF of Film. Course Outline - Production Management & Coordination Page 1. FILM PRODUCTION MANAGEMENT Management and Coordination in a. Film Production Management and Coordination Multi-day workshop for the PEI Screenwriter's Boot Camp by Deborah S. Patz. This hands-on.
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What Is the Strike Price? Rebate Bonds vs. Sample download Order P. Blank P. Breakdown Page A. Going for my first interview to become a Production Coordinator, I was very nervous. I had jotted down in tiny writing on a cue card all the questions I could muster about the show and my prospective role in production. He asked me a few general questions. I sputtered out a few answers. Silences and uncomfortable moments crept into the interview. Now and then I referred to my cue card and asked a question myself.
The Production Manager was intrigued by the card in my hand. He leaned forward to get a glimpse of its contents, then said: So I blatantly referred to my cue card and continued with my questions, jotting down answers as we discussed the different topics.
Soon conversation was lively, direct, and informative.
He leaned back in comfort and we lost track of time chatting about film, the project, and the workings of a production office. By the next day I was working in that office. Did I get the job? You have exhausted your network of contacts and their contacts and have finally made it to an interview for just that job.
Your C. If it is your first job interview as a PM or a PC, you have worked hard to get here and you are pretty sure you can do the job.
You just need the chance to prove yourself. You are trying your best to show how relevant your experience is, how professional you are, and basically emanate all your best working qualities. You have an idea of what the film is about. You may know some of the key people involved, the overall size of the budget, and when and how long the shoot is planned. You need to know more. The first stop for your research should be online.
Research the Producer, Director, and any other key members of the team that you know about. How professional are their presentations? Do you want to be associated with these people in your career?
You may also have the opportunity to read the script prior to attending the interview. Take the chance if you can. You better love it — or something about it — now. You may also have the chance to read the budget prior to attending the interview. Take this opportunity if you can. You are going to be hired to keep to this budget.
You want to know it inside and out as soon as possible. Read the script first, then make notes and questions about the budget while reading the budget. How were these decisions made? You are going to be hired to follow up on these key decisions during production. Can you do it? Call industry people you know and trust to find out what they know about these Producers or this production company.
You are checking their references. You want this job to be a good fit for both you and them. Remember, when checking references, you want information closest to the source. People who have heard rumors, rather than having had direct experience working with those you are checking on, can give you dangerously misleading information. Also remember that personality clashes can give you biased feedback, too.
Just store up the reference information you collect, go to the interview, and make a decision for yourself. It is your career, after all, and your prospective employer is calling your references right now, too. You will have questions to ask the Producer s about the production.
Use a small note pad, or index cards you can refer to. Bring a pen or a pencil so you can jot down answers or names you collect. You are not being hired to memorize. Reference material is okay. A scripted book of notes would be excessive. Also bring another copy of your C.
The Producers should already have a copy, but it may only be an illegible scan or fax, or they may forget to bring it. Be prepared. It depends on the people, their style and situation… and where they can find a private space away from telephones to talk with you. You will be interviewed by the Line Producer, the Producer, the Executive or VP in charge of production, or perhaps a combination of them all. It will depend on the situation.
Ease in with chitchat.
Chitchat is an opportunity to find out something personal about the people you may be working with. You can use chitchat as your opportunity to show off your attitude toward life and work and how you balance the two. Who Are the Producers? There are always a number of Producers on a production.
They can be: Find the complete list of who is on board the production and how involved they are. Some may have worked on the initial assembling of the development package; you may never see them during the course of production. Some Producers work in-house at a production company, while others are freelance and hired, just like you.
You can research these new names later on at home. Confirm to whom you, as a PM, will be reporting. You should be reporting to the Line Producer or Producer, who will in turn report to the Executives. You will not have time to report to several people. Determine if there is a clear chain of command in place.
The Producers have been raising money for years to make this production. They have expended a lot of effort developing this project to where it is today. You, as a PM, are being hired to spend the money they have assembled in a superbly short time frame to move this project from script to screen. You better be able to spend the money wisely — on time and on budget. Although you will learn something on every job you do, a Producer is not looking to, and should not, train you as a PM.
A Producer wants you for your expertise and professionalism. The company is going to put a lot of trust in you and the team you hire. How wisely do you spend the budget? How well do you track the money as it is being spent? How fast and how accurately do you create cost reports?
Can you handle the stress of it all? Know Your Expertise Now, of course, no two productions are identical. Just because you production-managed one show does not mean you can manage any production. Some projects are on a much larger scale than others. Some involve several countries. Some involve shooting with kids, animals, and special effects. Some are shot in HD or other digital format, 3D, or on film.
Do you have experience in production with any of these specialties? Is your background experience compatible with this budget, this script, and this company? Maybe you were working on a production, but not as the Production Manager, and you were the one who negotiated all the rights for the pre-recorded music — and this production is all about music. You may know more about music clearances than the Producers, so they will need your expertise.
You must understand what you can do. Then you can demonstrate how useful your experience is to this production. What Is the Vision? The Producer wants to hire people who are all moving in the same direction, making the same film. Take time to discuss the vision of the final film and the budgetary choices already made in the development budget. If the Producer at the interview has created the current production budget, this is fortunate for you.
Bring out your budget questions and start asking. Where does the Producer want the money to be spent? Is the shot with 1, extras integral to the story, or can it be cheated with extras, or moved to another location with no extras at all? Now is the time to gather a sense of what has to stay in the story and what is expendable. This responsibility will be yours.
You will need to balance both abilities; if the Producer you are about to work with prefers one more than the other, be prepared to make the right choice to work most effectively. Are you an organizer or do you need an organizer to make it through the day?
Know yourself. You will be working in close quarters with the Producer and the Line Producer. Be prepared to determine if your work styles are compatible. Difficult Decisions Have you ever fired someone? Have you dealt with difficult people or bruised egos?
How do you inspire people? Are you confident enough to advise the Producer or Line Producer how to cut costs? Have you ever analyzed a situation and decided that, for the best of the project, someone key needs to be fired? Can you make these difficult decisions? Look into your career history. What have been your most difficult decisions? Share these. The Producer needs someone who can make such decisions.
The Producer also needs someone who can deal with widely varied issues both delicately and confidentially. Who Do You Know? The Producer or production company may have preferred suppliers they already use. They may have names of people they want in key roles or suggest to be in key roles.
Others will be looking to you to bring your contacts and crews. Your experience with crews will grow over time, but you should know some reliable crew already. How do these people work? How do they work together? Do they have your respect? You have to inspire them to think of creative alternatives. If preproduction is fast approaching, it will be good for you to have these people on standby already. You may be starting tomorrow. The fit has to work both ways.
Here are some things to consider and to ask yourself during the interview to ensure a good fit. Your questions and participation in the interview will generate further questions and discussions from the Producer, and show the Producer how involved you will be on the production. You will win some trust and assurance with the questions you choose to ask. Notice if the Producer evades some of your questions or is open about the answers.
This interview will set the tone for your working relationship. Have the Producer s tell you about the film. Find out both the creative and the financial aspects of the production. Find out the development history of the project.
Now is a perfect opportunity for the Producers to show their excitement about the project and sell it to you. If you are to become the PM, you will have to sell the project over and over again to many others. Find out what magic the Producers see in the project. Is the Budget Locked? With all the variables that happen during the course of production, you will never be exact about each line item, but from working on show after show, you will have a better sense each time where money is actually spent instead of just budgeted to be spent.
This pass at the budget will also help you become intimately familiar with each budget line and what it is intended to download. Ask yourself: Can I hire the crew I need on these wages? Can I rent the equipment I need with this budget? Is Anything Spent Already? Sometimes a Producer will have pre-allocated costs to contingency. Find out immediately if such is the case.
Do not wait until you are hired before you find out that contingency money in your budget is already spoken for and will not be there for emergencies. What Cost Reporting Is Needed? Usually you generate a cost report either bi-weekly or monthly during preproduction, weekly during production, and monthly during postproduction. How soon in the next week does the Producer expect to see a completed cost report?
What will your production office be audited on after the end of production? Ask yourself if you and your accounting team can generate cost reports this soon. Remember that cost reporting is all geared toward the final audit. Plan for the end of the process from the beginning. Is your office going to audit all the costs of production or just the local costs of production? What is the Schedule? Find out what the production schedule is. How flexible is the delivery date? Does the Producer think the schedule is tight already?
Have you shot films this fast before? How fast does the director shoot? Discuss the possibilities and ask yourself if you can bring the project in on time under these circumstances and with these people. More About the Vision You have already discussed the vision of the film with the Producer. Get a sense if you can, prior to your first days on the job, whether or not the Director and the Producer have the same vision.
Is the Director known for wide-sweeping, expensive vista shots, yet the Producer is planning an intimate, close, personal story? How do the Director and the Producer communicate? This interview will set the tone for your working relationship. Have the Producer s tell you about the film.
Find out both the creative and the financial aspects of the production. Find out the development history of the project. Now is a perfect opportunity for the Producers to show their excitement about the project and sell it to you.
If you are to become the PM, you will have to sell the project over and over again to many others. Find out what magic the Producers see in the project.
Is the Budget Locked? Hopefully, you will have the opportunity as PM to take a final pass at the budget before locking it, adding your budgeting expertise to it, bringing the estimates per line as close to reality 8 film production management — 2nd edition — deborah patz as possible.
With all the variables that happen during the course of production, you will never be exact about each line item, but from working on show after show, you will have a better sense each time where money is actually spent instead of just budgeted to be spent.
This pass at the budget will also help you become intimately familiar with each budget line and what it is intended to purchase. Ask yourself: Can I hire the crew I need on these wages? Can I rent the equipment I need with this budget? Is Anything Spent Already? Sometimes a Producer will have pre-allocated costs to contingency. Find out immediately if such is the case. Do not wait until you are hired before you find out that contingency money in your budget is already spoken for and will not be there for emergencies.
What Cost Reporting Is Needed? Usually you generate a cost report either bi-weekly or monthly during preproduction, weekly during production, and monthly during postproduction.
How soon in the next week does the Producer expect to see a completed cost report? What will your production office be audited on after the end of production? Ask yourself if you and your accounting team can generate cost reports this soon.
Remember that cost reporting is all geared toward the final audit. Plan for the end of the process from the beginning. Is your office going to audit all the costs of production or just the local costs of production? What is the Schedule? Find out what the production schedule is. How flexible is the delivery date? Does the Producer think the schedule is tight already?
Have you shot films this fast before? How fast does the director shoot? Discuss the possibilities and ask yourself if you can bring the project in on time under these circumstances and with these people. More About the Vision You have already discussed the vision of the film with the Producer.
Get a sense if you can, prior to your first days on the job, whether or not the Director and the Producer have the same vision. Is the Director known for wide-sweeping, expensive vista shots, yet the Producer is planning an intimate, close, personal story? How do the Director and the Producer communicate?
Are they making the same film? Any sense you form about their communication abilities will provide you a foreshadowing of how difficult or seamless the production will be. Biggest Challenges of the Shoot Find out from the Producer what she expects to be the biggest challenge s of the shoot. Will there be prototype equipment in use with no back-up plan for when the equipment breaks down? Are there multi-country logistics to be navigated? Does the Star Performer have limited availability to schedule the shoot around?
Who Is the Team? You have already found out about the list of Producers attached to the project. Who else is on board? Find out how involved you are expected to be when it comes to hiring the key crew. Ask yourself if you know of qualified people to fill these roles.
Is the Office Ready? Find out if the Producer has a production office or a studio already, or if you are expected to find them. More than likely, finding a production office will be your first task. Find out if the Producer has preferred suppliers. Is there a computer graphics company already on board? If they have quoted on CGI computer graphic imagery costs for the early draft budget created during development, there will be such a company on board already.
If the Producer has a track record, he will likely already have a post facility of preference, and an insurance company. Find out and note these names. It will be time to introduce yourself soon, should the job be yours. PC-PM Finally, ask yourself what do you get out of this production should it be offered and you take the job?
Do you like the project and the people?
Are you comfortable with the pay and committed number of weeks and are you confident 10 film production management — 2nd edition — deborah patz that you can do the work? Maybe you are being offered this job for less pay than you would rather earn. In that case, evaluate how this show will further your career. Will you be working with someone with whom you want to develop a career contact? Will you be working in a medium with which you have little experience?
Does this job fit nicely into your calendar to fill in the space before the high production season begins? Are you particularly passionate about this script or this story? On super-low-budget productions, remember that you have to be getting something out of the production, too.
You are about to work extremely long and hard hours, face difficult decisions, and defy all sorts of odds to bring the production in on time and on budget, allowing the creative vision to be realized.
Whatever you are paid, you have to be totally dedicated to the project. If you do your job badly, you will hurt your career. You have to find the passion to do it well.
Ask yourself: Am I passionate about this project? Think About It There is no need to accept a job on the spot if you are offered the position.
It is more likely you will want to sleep on the decision. You are making a career choice. It is a big decision. Take the night before answering. Once hired, you will be changing seats and first hiring a Production Coordinator to be your right hand during production. This person will put the office together and keep it all running for you. You need an organizer. Have a look over the coordinator interview questions below, and assemble the answers from the Producer before you are faced with these questions yourself.
You will be answering them over and over again with all crew interviews. Searching the Internet is the first step to source information about companies and people. Bring a pen, paper, and cue cards into the interview.
Assemble some questions on them. As a Production Coordinator, you are being hired to organize not to memorize. This is your opportunity to be organized in the interview. On the job you will be walking around with pen and paper anyway, so make this practice your habit now.
The Coordinator and the Manager need to develop an easy communication and working relationship. Here are some questions to start the conversation rolling. Do not be afraid, however, of interview tangents. If these questions spark further conversation and further questions, that is okay.
The Coordinator and the Manager will be spending a lot of time together, so you are expected to be able to communicate well. The only warning about interview tangents is to be aware of any time restrictions. Too much chat can warn the Manager that more conversation than work will be done during the shoot.
This will be the first question the crew will ask of you. Some films schedule their workweek to include shooting on Saturdays, Sundays, and holidays to take advantage of reduced traffic or greater location availability. If you will be dealing with a 6-day workweek, consider and adjust your fee accordingly.
The film will be budgeted to shoot a certain minimum number of hours per day. Is it planned to be a 9-hour day or hour day? Some Production Managers insist that the office be open at least 30 minutes prior to call time until 30 minutes after wrap, with prep and wrap days being a minimum of a. Some Production Managers will leave the office-opening schedule up to the Coordinator. On night shoots, some Production Managers prefer to have the office open both business hours a.
If this is the case, you will need extra office crew to make it happen. Discuss this now. What is budgeted? Will there be a lot of extras, locations, special effects, music clearances?
The Production Manager may ask what you mean by this question, which is designed to help you determine how complex your job is going to be. This question will determine how much you will need to deal with travel agents and immigration. Who is the Film For? Another question the crew will have for you right away — in order to find out who is broadcasting the show or which distributor is handling the feature.
Who Are the Producers? How Many Are There? How Involved Are They? Executives from many different companies and countries can be listed as the Producers for a film. Since the titles are not standard for describing the duties of each position, you need to find out how each Producer is involved and in what order often a political decision to put them on the crew list. As subtext, you will also learn how big a job your documentation distribution to the various companies will be, and you may form an estimate of how long head office decisions take by determining how active each of the various Producers intends to be.
For legal and accounting purposes, film companies set up separate incorporated companies for each production. You need to know this name to conduct any business, from making letterhead to setting up accounts and contracts. Where Are the Production Offices? How Set Up Are They? Some offices are simply empty rooms that you have to furnish from scratch. This question will determine how busy you will be in your first few days.
What Kind Is it? Often the Production Coordinator comes to a production with a computer. If so, what technical requirements and personnel are necessary to connect the required people and locations?