Most film directors have decided to keep the budget of films and production costs away. The heavy grilling must be left to the accountants – but put it on the table:
The filmmaker is the management of a big money-making machine. The filmmaker's job is to present the script – time and budget. Serving a team of filmmaker (Line Producer, Unit Production Manager, AD Team, Production Accounting, etc.) Allows the filmmaker to do this.
Filmmakers understand their business to understand the basic features of the finished movie making without being able to fully standby, operate a grinder or concentrate on a steadicam. In the same spirit, the filmmaker needs to understand the fundamentals of the budget and the extremely important Weekly cost report. Every creative decision involves money. Only in a good sense can one learn to put creative ideas into cost.
Experienced Directors are familiar with the weekly cost report. If you do not know it yet, I'd like to introduce you to it:
The weekly cost report informs all producers, studio executives and funders of their costs and how these costs resemble the Approved Budget. If you can not refute or defend the proposals who have read the financial "Reporting Card" (ie, those who keep the wallet), the ability to manage your career is significantly weakened.
Find the level of comfort where you can at least know what to ask at the budget stage and understand how to clean a discount in another area with cost savings. Learn how to shape the general idea of cost-free trading to understand your vision and earn money on the Studio Guides.
Picture of the following scenario:
You are an independent filmmaker's filmmaker. You picked up the outdoor people invited in the script and saw the newspapers; but you know there's a better shot in the outside world in Oklahoma, which is a perfect hook for opening the film.
You know you can win manufacturers on a creative plane. But you also know that most producers are shaken by the task of throwing this bomb on the Financiers / Bonding Company, which you have to tap into closely monitored cash funds. (Oh, I told you we're going to Okl …)
1. How do you solve these costs?
2nd What is the right approach to cost reduction?
3rd How can you protect these cost cuts?
It will always be a challenge to present this option – but it's a very challenging challenge if you know how to translate your ideas into cost-cutting through Walk The Talk.
The filmmaker is really reviewing his opinion that the Oklahoma shooting would be the perfect opening for the film. What kind of answer do you find what you get? It is most likely that, in my experience,
Film Production / Bonding Company Rep – That's $ 150,000 over budget. I'll talk … and anyone, – (it's safe to go).
Walk Through Conversation
Alternative: Film Director
– The cost of photography 1 day out of the world you will not need full staff in Oklahoma. I called the Film Commission here (see the internet links of my website for all the film clubs and the most important trade unions) and assured me that there are many local people available to work in a very fair proportion.
– In my estimation, I have to say about one-third of my estimate, tell me $ 75,000 to give us a little more than we absolutely need. I can be here in New York for the next five days. (Note: you need to add a copy of my e-book to find out how I came to $ 75,000 – see Figure 17.2, Table 3)
– You see, I've been trying the next five days with the experienced lecturers, and there is no way that you can not finish with scenes scheduled for 10 hours a day instead of the budget planned for 13 hours a day. And as you all know, the last 2 hours in New York will cost $ 10,000 a day (see Figure 15.1 in my book).
Alternative Solution: Bonding Company Representative – Oh. The accountant should prepare the cost schedule and check them. (This is the financier's latest job – he's heading to the accountant to confirm the estimates.)
He gets the drift. Simply apply cost-cutting technology in the same technical way as focus points, scenarios, crane recordings, and so on. Use. "Managing money"; money does not control.
Some executives have created a knot through a collision with a colleague "making their creative ideas conceptually transferred through the budget" process. But this process is too often spoiled by the "blue suit" and the money guys and all that money is curious about , etc. This is often based on erroneous information and makes a predetermined decision Take my word If you, as a filmmaker, are familiar with the language of the film making process, you will stir up the proverbial stream
You as a filmmaker, the best way to get hold of the banners of wallets is to find out how to get involved in the budget approval process, and then reimburse your expenses to see your vision under your gun.) You might think that this is management, only money is in control 
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