Industria

13. COCKTAILS 18. GAMBLING CHIPS 24. MONEY

Costume

CASINO WAITRESS OUTFITS Music

CASINO MUZAK IN BACKGROUND Sound

GAMBLING CHIPS LAUGHING, TALKING SLOT MACHINES Security

SECURITY IN CASINO

SWINGERS

Page 5

Breakdown Sheet

Sheet: 5 I/E: INT Set: CASHIER'S WINDOW - CASINO D/N: Night

Scenes: 1 5 Pages: 5 4 / 8

Synopsis: MIKE COLLECTS HIS MONEY; TRENT & MIKE TALK Location: TREASURE ISLAND CASINO

Sequence: Script Day: 3 Script Page: 1 8 - 2 4

In the first edition of this book, this chapter was strictly about scheduling your movie—how to break down your script and arrive at an accurate shooting schedule. All of that information on film scheduling remains, but because we have received a number of questions about scheduling as it relates to the filmmaking process as a whole, we decided that some of those questions should be addressed here.

If you are planning on creating an LLC or LLP for the making of your film, you want to allow enough time before official pre-production to get paperwork in place. There-fore, if pre-production is set to begin July 15, you may want to file the papers for your LLC by June 1. You will then wait to receive a Federal Identification number, within several days which you will need to open your bank account and to begin the signatory process with any guild.

If you are fundraising over a longer period (6 to 24 months) you may want to put the money you raise into an escrow account. An LLC or LLP is costly to maintain (there are minimum yearly taxes) and there is no reason to have it open if you are months away from needing to spend the money you are raising. Many attorneys who work in independent film offer escrow service to their clients for a nominal fee (much less than the annual fees required to have an LLC open).

To really get pre-production rolling, you will need to have your Federal ID number, which is only issued once your LLC has been officially established. Therefore, give yourself at least four to six weeks before official pre-production is to begin, to register your company and get your Federal ID number assigned. This number is required for you to open a bank account or sign Screen Actors Guild (SAG) paperwork. If you start spending money before your bank account is officially open, keep track of expenses and reimburse yourself. This, however, should not be a problem, as long as you have your entity officially created.

How long script development and fundraising will take depends on many factors. Whether you are green-lighting

yourselves (because you have come up with the money needed) or are getting the green light from a mini-major studio or other company, the most important thing is to be confident that your script is in place before you begin shoot-ing. The only way to really know this is to have workshopped and edited your script extensively beforehand.

SCHEDULING YOUR FILM SHOOT

Breaking down your script will allow you to determine how much time you will need at each location, how many weeks or months you will need for filming, and for how many days or weeks to schedule each actor. It will also help you devise an order for filming that makes sense. Once you have determined this order, you will have the shooting schedule. The schedule will be the guideline for your budget.

We refer to scheduling as preliminary at this point because it is the job of the first assistant director (first AD) to arrive at a more formal schedule once the availability of the actors has been determined and locations begin to fall into place. By referring to the preliminary schedule, you will also be able to assess with department heads the costs specific to each department. Department heads will have an idea of when filming will take place at each location, the order in which the scenes will be shot, and when their work must be ready for each scene.

Keep in mind that the shooting schedule is always subject to change, even during filming. However, for the line producer, preliminary scheduling is a necessary step to budgeting a film and is the basis on which you will secure cast, crew, locations, extras, equipment, and so on.

If you will be using Movie Magic Scheduling to schedule your film, the program will automatically translate the information entered into your breakdown sheets into a shooting schedule, a one-line schedule, a strip board, and day-out-of-days sheets for the actors and any other elements you specify. The program will assign all of the elements (characters, props, and so on)

51

5 _SCHEDULING

ID numbers so that you can quickly reference them from any format in which you are working. All of this can be done by hand, but it is far more efficient if you have a computer program.

When scheduling your shoot, sort scenes by loca-tion, interior/exterior, actors, and day/night. Add day breaks or banners where desired so that you are shooting a reasonable number of pages per day. (Movie Magic Scheduling’s Script Breakdown and Scheduling Reference Manual will show you how to add day breaks within the strip board.) When grouping scenes, take into considera-tion both locaconsidera-tion and actor availability. Try to schedule all of an actor’s scenes together. This will work best after you have grouped all locations and are able to determine which actors are needed at each location, and when.

Some actors may be needed for a few scenes only, so you may want to try to schedule those scenes either first or last, depending on the time of day, to avoid keeping actors waiting.

What you are trying to achieve is a clustering of each location (scheduling all of the scenes to be filmed at a given location within the same time frame) and a cluster-ing of the actors who are needed at that location. Some-times this works, and someSome-times it does not. Ideally, you want to avoid having to return to any location after you have wrapped there It is too costly and not always logisti-cally possible to return to a location. On low-budget shows, shooting all scripted scenes for a single location at one time is usually more cost effective than trying to schedule all of an actor’s scenes at one time, but you need to weigh the location’s cost versus the actor’s cost. When actors’ fees outweigh the cost of returning to a location, you should prioritize the actors’ schedules over the location if possible. This is more likely to happen on larger-budget shoots for which the actors are being paid larger fees.

If you will not be returning to any of the locations, actors are often put on hold because they most likely will be needed at other locations. A hold takes place over one or more days when the actor is not required for filming but remains available to you. SAG requires that you pay actors for hold days, even though they are not actually shooting.

Placing an actor on hold prohibits him or her from taking other work that may interfere with your filming schedule.

(SAG rules are discussed in Chapter 7.) Union rules guide your schedule to an extent, even on low-budget independ-ent films. Regardless of whether you have a SAG cast, you should be mindful of SAG rules.

Arrange your schedule so that you give the cast and crew proper turnaround time. For example, do not

schedule a night shoot that you estimate will wrap at 5

A.M. preceding a day shoot for which there is a 10 A.M. call. This would make the turnaround five hours; SAG and union rules require that there be a 12-hour turn-around.

If yours is a SAG film, you will need to provide SAG with a copy of your schedule, a day-out-of-days for the principal cast, and a budget. (See “About the Cast Check-list” in Chapter 7 for more about SAG rules and require-ments.) As you budget, certain schedule changes may become apparent based on cast and location availability and on cost considerations. Remember, you can rearrange the schedule as necessary.

THE STRIP BOARD

Movie Magic Scheduling will translate the information from your breakdown sheets into strips you can group into days. The strips can then be printed out, individualized, and placed into a board called a strip board. You can rearrange and organize each strip within the board in an order that takes into consideration cost, cast, locations, and other important factors. These strips can be produced on a computer or bought at film supply houses (e.g., Enterprise Stationers in Los Angeles) and are usually 14 to 15 inches long. For a feature film, you will need approxi-mately six to eight panels in your board.

You may use colored strips (indicating day or night, interior or exterior scenes) or black-and-white strips, depending on the needs of the film. (Movie Magic Sched-uling has color-coding options for your strip board, enabling you to print out your strips in color if you have a color printer.) Usually, shows with multiple characters, stunts, locations, special effects, voiceovers, extras, and similar elements use strips of different colors to represent the film’s various needs. Swingers is a dialogue-driven piece, and its needs were fairly simple; color-coded strips were not essential.

The headboard, or header, that appears on the strip board contains reference information, such as the film title, the director, the producers, the line producer, the AD, and so on. Fill in the information in the spaces provided. Each character will appear with his or her cor-responding ID number, which you will assign when entering each character into the breakdown sheets. You can assign any other elements an ID number or a letter (for example, M = music) and the element will be refer-enced by its ID number or letter on any strip for which it is relevant. Remember, each strip represents a scene.

Scheduling ^● 53

If there are 103 scenes in the script, there will be 103 strips.

Examine the sample Swingers strip board shown in Figure 5–1. (The sample strip board shows just nine days of shooting and does not reflect the actual order in which Swingers was filmed.) From the top of the first strip, trace the following:

• The breakdown sheet number for each scene is the first number listed. Scene 11, described in the first strip, can be found on sheet 1.

• The page count of each scene is the second number given. Scene 11 is 1/8 of a page.

• The shoot day on which the scene is to be shot is listed third.

• Next, the strip indicates whether the scene is an inte-rior or exteinte-rior scene, and the location and the time of day of the scene are described. If a scene is an exterior night shot, it will ideally be filmed at night. If the scene is an interior night shot, it could be filmed dur-ing the day. This is called filmdur-ing day for night. The scene number is also given in this box.

• Below the location and the scene number, the charac-ters that appear in the scene are listed by ID number.

For instance, on the second strip, for scene 12, ID numbers 1 and 2 are found in the boxes that corre-spond to Mike and Trent on the headboard. There-fore, Mike and Trent are needed in scene 12. Mike is always referenced as ID number 1, and Trent is always ID number 2.

• A brief description of the scene is found at the bottom of each strip for easy reference.

• Day breaks (“End of Day 1”) are found at the end of a clustering of scenes to be shot on a given day. Insert day breaks into your schedule after you have sorted the strips by location, day/night, cast, interior/exterior scenes, and so on. The date on which the scenes will be shot and the total number of pages for that day are also listed in the day break portion of the strip board.

SHOOTING SCHEDULE AND ONE-LINE SCHEDULE

Figures 5–2 and 5–3 show the shooting schedule and the one-line schedule that correspond to the nine-day strip board shown in Figure 5–1. The schedules and the day-out-of-days sheets will help you to budget the costs of the film accurately. For the purposes of this book, we will be scheduling and budgeting for a SAG cast and operating within SAG parameters.

Examine the Swingers shooting schedule (see Figure 5–2). The schedule is broken down into shoot days, and the scenes to be shot each day are listed. The scenes appear in the order in which they will be shot, and the scene lengths are combined so that the total number of pages to be shot on a given day is listed. For example, the total number of pages to be shot on shoot day 2 is 6 5/8 pages.

This is the combined total length of scenes 14 and 16.

When possible, try to order scenes sequentially that are to be shot at the same location.

A brief description of each scene is included in the shooting schedule so that you can quickly identify the scenes to be shot without having to refer to the script. The actors required for a particular scene can be easily deter-mined from their ID number, and the AD will be able to determine appropriate call times for both actors and crew to avoid costly and unnecessary overtime and to give them a proper turnaround.

Examine shoot day 7. Scenes 65 and 35 are both inte-rior scenes at the Hollywood Hills Diner. Scene 65, how-ever, is an interior day shot, and scene 35 is an interior night shot. Because the director wanted to film scene 65 at a booth in the diner by a window, daylight was required, and due to our minimal lighting package and small crew, we could not shoot night for day, which is often done to accommodate both the schedule and the budget. We sched-uled scene 65 to be shot first in the late afternoon while it was still daylight, and scene 35 was scheduled for later, when it was dark outside. We kept a couple of factors in mind when scheduling shoot day 7: we estimated the amount of time required to set up for and shoot scene 65 while it was still daylight out, and we set our call time as close as possible to when it would become dark outside while still allowing enough time to film scene 65 so that we could give our cast and crew a proper turnaround and avoid overtime.

On Swingers, we scheduled several scenes to be shot each day, and we were able to shoot approximately six to eight script pages per day because Swingers is a dialogue-driven piece. For instance, the opening shot of the film requires only two principal cast members, Mike and Rob (shoot day 8, scene 2). They have a one-on-one conversa-tion at a booth in the Hollywood Hills Diner. Although the scene is two pages long, it was shot fairly quickly and on the same day as all of the other diner scenes.

Although dialogue scenes typically do not take as long to film as action scenes, do not underestimate the time needed for these scenes. Give the director and the actors the time they need to get the scene right and to feel comfortable with the performance. The number of

::

Director:

No.12345678Y MAN9CIGAR10(5)1112WAITRESS13141516BABY17181920UTIFUL GIRLS2122232425AITRESS26

Extras:

y:

DETAIL INSERT OF TRENT'S CAR PULLING INTO CASINO DRIVEWAY TRENT & MIKE EXIT CAR AT VALET STAND,

TOSS VALET KEYS, ENTER CASINO MIKE & TRENT WALK AND TALK DOWN THE

CASINO HALLWAY

MIKE COLLECTS HIS MONEY; TRENT & MIKE TALK

111

EXT - CASINO DRIVEWAY - Night Scs. 11

EXT - CASINO DRIVEWAY - Night Scs. 12

INT - CASINO HALLWAY - Night Scs. 13

INT - CASHIER'S WINDOW - CASINO - Nig Scs. 15

2222

8

22

MIKE & TRENT AT THE BLACKJACK TABLE

TRENT & MIKE ORDER FOOD; TALK ABOUT GIRLS; ARRANGE TO MEET GIRLS

— End Of Day 1 – 9/5/95 — 6 2/8 pgs.

11 INT - CASINO BLACKJACK Scs. 14

INT - COFFEE SHOP - CASINO - Night Scs. 16

2

77

1213141516

1923

E:1E:4E:4E:2E:1 3

MIKE & ROB WALK DOWN ALLEY TO BAR ENTRANCE

MIKE & ROB ORDER DRINKS AND MEET UP WITH CHARLES AT HOLLYWOOD CLUB MIKE & TRENT MEET CHRISTY & HER FRIEND

LISA AT LOUNGE

— End Of Day 2 – 9/6/95 — 6 5/8 pgs.

11 EXT - ALLEYWAY BEHIND BAR - Night Scs. 33

INT - HOLLYWOOD CLUB - BAR - Night Scs. 34

INT - LANDLUBBER LOUNGE - Scs. 17

3

6

E:1E:1

MIKE PLAYING MESSAGES FOR EX'S CALL;

TRENT TELLS MIKE IT'S VEGAS MIKE CALLING NIKKI, LEAVING PATHETIC

MESSAGES

— End Of Day 3 – 9/7/95 — 7 2/8 pgs.

11 INT - MIKE'S APARTMENT LIVING R Scs. 3

INT - MIKE'S APARTMENT LIVING R Scs. 52

2 1

6

818

E:1 5

Figure 5–1 Swingers strip board (days 1 through 9)

MIKE WAKES; MICHELLE AND LORRAINE CALL

MIKE LOOKING AT LORRAINE'S CARD

MIKE LOOKS TERRIBLE; ROB COMES TO CHEER HIM UP

— End Of Day 4 – 9/8/95 — 7 4/8 pgs.

INT - MIKE'S BEDROOM - Mor Scs. 64

INT - MIKE'S APARTMENT LIVING R Scs. 63

INT - MIKE'S APARTMENT LIVING R Scs. 54

3

MIKE TELLS TRENT HE’S OVER MICHELLE;

GIRL WITH BABY

RESERVOIR DOGS 360-DEGREE TABLE SHOT OF THE SWINGERS

ROB & MIKE TALK

TRENT ON TOP OF TABLE

— End Of Day 7 – 9/13/95 — 4 3/8 pgs.

1111

INT - DINER TABLE - Day Scs. 65

INT - HOLLYWOOD HILLS DINER - R Scs. 35

INT - DINER TABLE IN WINDO Scs. 2

INT - DINER TABLE - Night Scs. 52

217

20 45 3 2334

E:2E:2E:2E:1E:1E:1E:1

SUE, TRENT, & MIKE PLAY VIDEO GAMES AT SUE'S

TRENT & SUE TORMENT MIKE WITH DELIVERY MAN

MIKE PAYING DELIVERY MAN; SUE & TRENT GIVE HIM A HARD TIME

SUE & TRENT & BALD GUY CREW PLAY VIDEO GAMES; MIKE SHOWS UP

— End Of Day 5 – 9/11/95 — 7 6/8 pgs.

111

INT - SUE’S LIVING ROOM - Night Scs. 30

INT - SUE’S LIVING ROOM - Night Scs. 31

INT - SUE’S DOORWAY - Night Scs. 32

INT - SUE’S LIVING ROOM - Night Scs. 56

24

9911 444 222

— End Of Day 6 – 9/12/95 — 5 6/8 pgs.

THE SWINGERS ENTER THE PARTY;

EVERYTHING STOPS THE SWINGERS FIX THEMSELVES

DRINKS

TRENT & SUE ARE SCOUTING THE LADIES

ROB & MIKE ARE SCOUTING TWO BEAUTIFUL GIRLS; THEY GO TO SPEAK WITH THEM

— End Of Day 8 – 9/14/95 — 4 4/8 pgs.

111

INT - CHATEAU MARMONT B Scs. 38

INT - BAR AREA OF PARTY - Night Scs. 39

INT - LIVING ROOM OF PARTY - Night Scs. 40

Figure 5–1 Swingers strip board (days 1 through 9) (continued )

TRENT & SUE PRETEND NOT TO LOOK AT GROUP OF GIRLS; TALK ABOUT GIRLS

TRENT TALKING WITH GIRL WITH CIGAR;

REST OF SWINGERS LOOKING ON

INT - LIVING ROOM - PARTY - Night Scs. 42

INT - LIVING ROOM - PARTY - Night Scs. 43, 44, 45 ALL CONTINUOUS

— End Of Day 9 – 9/15/95 — 7 5/8 pgs.

112233445

1010

E:1E:1

Figure 5–1 Swingers strip board (days 1 through 9) (continued)

Scheduling ^● 57

Scene #12 EXT - CASINO DRIVEWAY - Night 2/8 Pgs.

TRENT & MIKE EXIT CAR AT VALET STAND, TOSS VALET KEYS, ENTER CASINO

Cast Members Props Vehicles

1. MIKE 15. DICE ON VALVE CAP TRENT’S CAR

2. TRENT 20. KEYS

22. VALET Costume

Extras BUFFED SHOES

1. BACKGROUND GAMBLERS CUFF LINKS

POCKET CHAIN VALET UNIFORM ZOOT SUITS

Scene #13 INT - CASINO HALLWAY - Night

MIKE & TRENT WALK AND TALK DOWN THE CASINO HALLWAY

Cast Members Props

Cast Members Props

In document Los residentes en el extranjero (página 31-38)