i hate grants
i hate writing grant applications.
does anyone enjoy this?
did you like my thing?
are my artistic goals good enough?
do I have a good purpose?
do you like my carer trajectory?
is my art too safe or too risky?
The SAG Short Film Agreement is now the Short Project Agreement.
As of August 1, 2018, the SAG Short Film Agreement and the Low Budget New Media Agreement have been deprecated. Short films are now covered by the Short Project Agreement and they still have to have a budget under $50k, have a runtime under 40 minutes, and be filmed in the U.S.
This week has been a whirlwind of last-minute prop pick-ups, phone calls, meetings, waiting to hear back from rental houses and friends about what we can use and how much it will cost. Yesterday I spent the afternoon finalizing the shot list and our approach with the cinematographer, Zoe.
And of course, Costco:
We spent $406 on crafty and supplies and hopefully that lasts the whole two weeks. Most people understand that working on a micro-budget indie film means that they’re not going to get paid a lot and I am dearly grateful for their contributions. But you have to feed them! I try to get healthier options but the producer reminded me that some people like to eat gluten and sugar.
We got to the coffee section at Costco and were severely disappointed. I’ve never had Kirkland-brand coffee1 but I’m incredibly skeptical.
I found reviews online and it’s well-reviewed on Amazon but I started reading the reviews and they were all people saying “I used to drink Maxwell House and switched to Kirkland and it’s just as good!!!” So, no. Besides, I believe that even if Kirkland coffee was just as good as, I don’t know, Metric, it wouldn’t matter. The branding does affect the flavor.
But it doesn’t matter because we lucked out — the producer, Josh, emailed all of the local Chicago roasters and one of them finally got back to us — Metropolis is donating a 5lb bag to the production! That’s some seriously good coffee and I’m really overjoyed.
Part of making a movie, in my mind, is about the culture you create on set. Little things like having good coffee ready for people in the morning, they go a long way. Movie making is hard work. It’s really hard. But it’s not some crazy ritual of suffering — it’s a lot of fucking fun, or at least should be. Yeah, there are a lot of down times and yes, there are painful compromises at every turn (when you don’t have money), but there’s a real joy to working incredibly hard with a tight group of 10-15 people for two weeks straight. But, you better have some good coffee.
One compromise we made was not having a full-time makeup person on set, which led me to my first purchase of makeup, a jar of Laura Mercier translucent powder. The makeup person recommended it. Basically, you need to keep the actors’ faces from looking shiny on camera and this creates a matte look on their faces.
I was re-reading my dog-eared pages in Werner Herzog’s book and he said that he likes to carry a small makeup kit with him whenever he directs so that he can touch up an actor before a take if he feels like the actor needs a little more time to get ready, not unlike a baseball umpire dusting off the plate as a courtesy to a catcher after taking a foul ball to the body.
Besides saving money, going the DIY route with makeup saves time.
We’re taking the approach that if this film succeeds, it will succeed on story, performance, and interesting visual storytelling. It will not succeed because of breathtaking-ly beautiful imagery, incredibly meticulous set design, or high production value. Not that we don’t want it to look good. And I think we are going to deliver some truly striking images, but my goal is to move the audience with emotion, not abstract beauty.
My living room has been transformed into a holding pen for all of our props, crafty, and some lighting and grip equipment.
OK, I gotta make some last-minute rewrites and then load all that stuff into my car and drop it off at the location. We’re setting up the location house today and tomorrow, and maybe even stealing a few establishing or non-talent shots, then a table read tomorrow afternoon, and hopefully a few free hours to do my laundry and cook some food for the week.
Bang on, as my English friend says.
And thank you to all the people who have offered material and emotional support, lent us gear, gave us honest feedback and good advice, encouraged us, and said “yes” when others said “no.”
the Costco store brand ↩
We’re working with Compass Casting for… casting. Auditions start and (with luck) finish next week. Two of the big three are close to complete. We’re still talking to DPs, which is the last of the big three things that you need to make a movie. Or that we need at least. I’m breathing a little bit easier now.
The most stressful time is when all three of those are complete unknowns and you’re talking to people but you can never really talk to them because you don’t know that you’ll have one of the other things in place, which means you can’t really be sure of your dates. I prefer to work linearly. It’s easier for me to hunker down and work through something. It’s very unnerving to work on three things that are all uncertain and all rely on each other.
I think that after the first time, it will be easier and I will be confident. My first short film felt like this, only 10x worse.
Tonight I’m going to see Hinds at Lincoln Hall with some friends so I can check out and relax a bit until it starts again tomorrow.
The movie takes place almost entirely in a single home, so getting the right house is important. It’s so much easier finding one location instead of 30 or 40 (like insanely easier), but it’s still a bit difficult to find a house that we can use for two weeks with our limited budget.
We’ve been mostly talking to people on AirBnB and they’ve been much more amenable to letting us use their houses, because they’re already letting people stay in them. Finding a homeowner willing to vacate his or her house for two weeks is almost impossible on our budget. An apartment would’ve been much easier.
That has set us further afield than Chicago, where rental rates are lower. On the one hand, this is more difficult because it means it takes an entire day to scout a single location and there are logistical challenges with production. Will the cast and crew be willing to go away for two weeks? And if we go outside the city, we need a second house to lodge the cast and crew.1
We’re treating it a bit like going away to summer camp. Yes, you’re working all day, but in the evenings you are sharing meals and drinks in the warm summer air, outside of the city and away from your day-to-day life. For some that will be too inconvenient, but for the people that join us, we’re hoping to create an unforgettable experience and forge friendships for life.
A conversation with friends on a summer evening is better than going home to Netflix.
And I really want the making of this film to be a special experience. It’s a low-budget affair and in a perfect world, it serves as a calling card for myself and the others involved, furthering our careers. Maybe on the next one, it’s a little easier to raise money…
But beyond that — beyond making a good film (which is nearly impossible) — I want it to be a fun, joyful experience. Something that people look back on and remember fondly. The best possible outcome is a good film and great memories, with the people we bring together forming bonds for life.
Appleton is a small city in northern Wisconsin, about 190 miles north of Chicago and 100 miles north of Milwaukee. About 70,000 people live there. The main street is thriving with shops, cafes, and a performing arts center. Away from the main drag are streets with colorful houses and big front porches. People don’t lock their doors there and the air is crisp and fresh.
We visited an occult bookstore with an in-house psychic and the book selection was wonderfully eccentric. Where else can you find a book on bird magic?
OK well I just found it on Amazon, but you get the point. And hey, it’s actually well-reviewed there, with 4.2 out of 5 stars, although one person did have this to say:
Sigh. As usual, a magical book with no balanced perspective on masculine/feminine energies. I really do not like metaphysical books that claim to be about balance and harmony while ignoring half of the energetic balance of nature. I was excited to get this book from both a naturalist and Pagan perspective but if a book gets such a crucial thing wrong, it makes the whole book suspect that to me
We’re aiming for a combined total of about 11-14 people, depending on the day, which is a very small production. ↩
Had a few drinks while we talked about casting which had me just exhausted, so I woke up in a bit of a haze this morning and had to run out to meet some old friends for breakfast at my friend’s new apartment. He’s going to Barcelona next week for 10 weeks and the thought of that, I envy it.
The film has a weight and sometimes I wish I could toss off that weight and go to Barcelona and forget about it. But of course, I wouldn’t forget about it and how would I live with myself after such a cowardly decision?
These are good friends and we can only get together about once every two months, because of our busy schedules. I always feel energized after talking to them and I think about how much better life would be if we all lived within a few blocks of our best friends and could get together without planning.
After breakfast I emailed for about 4 hours, following up on yet more leads for a possible location (we’re looking for a single family home in Chicago or within a 3-hour drive) and putting together a table read for Wednesday to see how it plays on its feet.
I went to Fedex Office (formerly Fedex Kinko’s, formerly Kinko’s)1 to print out eight copies of the script.
The print job was messed up so I had to wait for 15 minutes while new copies were printed.
The very nice man who helped me filled the time with his thoughts on Avengers Infinity War, about which he had many detailed opinions and I tried to smile and nod along because I haven’t seen it.
Then I picked up snacks and drinks for the reading, put air in my car tires for another road trip tomorrow (this time to Appleton, WI), replaced the frayed wiper blade, and emailed invites to actors for the table read.
I love road trips.
What a bad name for a store, Kinko’s. ↩
The columns update automatically as you adjust crew rates and how many days they are needed.
The numbers are not meant to be exact — a lot of it depends on what your production needs are, how many days you shoot, and how many favors you can call in. It’s definitely possible to make a short film for less than $10k. You can do it for under $100 actually, but if you’re doing that, then you don’t need a spreadsheet to keep track of the budget.
And knowing what I know now, I probably wouldn’t make a $10k short film. There’s no market for short films and I would rather put that money towards a feature film. If you’re going to raise $10k, why not raise $25k? If I’m going to do a short now, it’s going to be in the $500 – $3,000 range.
Click here to open the budget spreadsheet. To edit it, you have to save a copy to your own Google Drive.
2 actors (optional)
Someone to hold the camera and press the record button.
Someone to hold a microphone (might be the same person that’s holding the camera and now pressing two record buttons).
A location that is free.
A 2-page script (optional).
Feed people when you’re done.
It’s not fun. I don’t hate it but it is not fun. What I don’t like about casting and hiring and finding locations and arranging all the resources to be on a certain day is this: it’s asynchronous. It’s a big spreadsheet with a lot of pending items. You can’t brute force it. You can’t spend 12 hours straight just knocking it out.
You have to wait for people to get back to you with someone’s email and then they do and you email that person and then you have to wait to hear back from them and they say “no, sorry, we don’t want you to film in our bar” and then you have to find another one.
It’s loose ends all over the place. Interlocking pieces that depend on other pieces, and endless if/else’s branching out in the rows and columns. It makes me slightly insane.
But there’s a date set, an immovable date slowly creeping toward you. Having gone through it a few times now, I know that on that date, everything will be there. Maybe not the way I hoped, but everything we need will be there.
The only thing that keeps me up at night is rain.
The possibility that it will rain on June 10 and that not everyone will be available for the rain date of June 11. Or that the Gods just decide that it will rain all that weekend and I have to decide if we’re going to make a mess in the mud and put everyone through a rainy production (if that’s even possible?) and scramble for tents at the last minute, or if we have to call the whole thing off and re-schedule.
On the bright side, it gets better. Going through this with The Deadline was crushing. There wasn’t a day from January 1 to March 22, 2016 when I didn’t feel like it was all going to fall apart at any moment. Now, it’s not so bad. It’s stressful, but I know that it will work out. If an actor drops out at the last minute, I’ll find another one. If the DP falls ill the morning of, I’ll figure something out.
You plan as best you can and then when shit goes sideways, you just take a deep breath and say “ok, what are our options?” It’s a kind of zen-like clarity that I actually enjoy in way. Once you’ve decided completely that you will make this thing happen, the setbacks don’t seem to matter. There’s no time to care or be angry.
The ship is moving and there’s no stopping it. When the ship springs a leak, do you jump overboard? No, you get a bucket and start bailing out the water. When your first mate mutinies, do you curse his lack of loyalty? No, you push him overboard and promote someone else. OK maybe this analogy is getting out of hand.
Anyway, it’s not life or death. It’s just comedy or art or whatever you want to call it. Once I’m done with this fucking spreadsheet, it will all be fun again.
NB: this post was written before SAG created the Short Project Agreement in August 2018. The Short Project Agreement replaces the old Short Film Agreement. You can read about the differences here.
This post is based on my personal experience dealing with SAG-AFTRA’s Chicago local. Most of the information I got from attending a seminar for producers, run by Kathy Byrne, Director of TV/Theatrical here in Chicago, and from actually going through the process while making The Deadline.