Equipos de protección individual

I know filmmakers who sent a general request to their entire e-mail list. In order to do this you’ll need to find a fiscal sponsor whose not-for-profit status would qualify your project. There are some great ones like IFP and Women Make Movies (both in New York City)—go online and do some research.

The request was simple: Please contribute to my short film. They posted a synopsis of the script, who was producing, who they’d cast (with photos!) and what their intention was (e.g., “I want to capture the universal terror we all feel leaving a voice- mail message”). They created their own financing community and they held strong to the Big Belief.

Make it easy for people to contribute, set up an online ac- count (like PayPal), add a “Donate Now” button to your Web site, and watch the dollars flow. There are also several not-for- profit organizations that can act as a fiscal sponsor for your project that you may qualify for depending on your script and the size of your budget. A fiscal sponsor essentially funnels cash donations, which is a win-win situation. The donor receives a tax deduction, you receive much-needed funds, and the fiscal sponsor receives a small percentage (generally around 3–8%) for their hard work. Please go on my Web site, www .robertamunroe .com, for more information.

And, finally, remember: Filmmaking has to be one of the most expensive creative mediums ever. Whether you shoot digi- tally or on film, be honorable with other people’s money. They are really investing in your career, in you—they will not get back the money they invest in your short film. Take care of their in- vestment, make a great short, and maybe they’ll be even more generous when you move on to features.

5

Crewing Up

Once you have a producer who’s there to oversee the production of your film, you move on to the other key players. As I noted earlier, many times producers will have people they often work with who fill the various roles below the line crew. Hiring these people is a little tricky, because they are often beholden to the producer and not you. The producer works on many films and is able to gainfully employ them throughout the year. You, on the other hand, are only going to be working on one project at a time. Be aware of this fact when discussing your creative vision with key crew members and make sure your producer is backing you up on your vision.

Something else filmmakers rarely think about are group dy-

namics. When it comes to a film set you have to factor this in. I

know, you’re thinking, “What is she talking about?! I’m just making a movie!” But you’re still making that movie with human

beings. I reached out to Agape practitioner Monica Guevara,

who not only holds a PhD in corporate psychology, but group dynamics are her life’s passion. Whenever I have to go to a meet-

ing where there will be more than three people I call her, give her each person’s stats, and she gives me an outline of how to handle my stuff within the group. Monica is also a huge movie fan who came on board not to just donate but also to staff our craft service table during the Dani and Alice shoot. She was happy to share her thoughts around the group dynamics on a film set:

“Remember everyone has their perspective and their his- tory, so their reality may be quite different from yours— there are many stories going on at the same time. Your job is to be as clear about yours so they can help you—without in- validating their uniqueness. Always show how people’s uniqueness is valuable and helpful in creating something. That is why they are in those jobs to begin with. Also re- member that a group has a personality of its own which is why each film crew has a different feel. Try to figure out what kind of personality that group has. You are a leader as well as a director. You are counted on for a respectful vision and direction (literally).

“And, know that EVERY group goes through a period of ‘jelling,’ so don’t freak out if things get rocky. People need to learn each other, let off steam as they’re learning—just make sure their direction continues to be forward and positive. Use your other key crew [producers are usually good in this role] to deal with problems if you need to. Keep your vision clear. Know what is yours, theirs, and yours together. Some things are really none of your business and don’t have to be tolerated or dealt with on the set. OWN your stuff. You will stand out as a great director and you will keep people from sabotaging you and giving you a bad reputation. Take time to work things out with others if you need to—that time you take may very well save you even more time down the road.”

WHO NOT TO MAKE A MOVE WITHOUT