We’ve had a number of excited people questioning what, where, when and how with regards to the next feature film ‘STILL LIFE’. So here’s a brief summary of how it’s going to go down; we hope it might be of use for first-time filmmakers to see what steps we take month-to-moth before a big project, but also give a clearer idea of our intentions over the next year or so. Let’s begin.
MAY
First draft – it is now complete. You’ve taken a kernel of an idea and turned it into something more. It’s messy, but that’s the point. You have to start somewhere.
Script editing – send it out to people you trust for notes. You can’t polish up a turd alone.
Announce – this has always been an important part of the journey. Saying it’s going to happen makes you accountable. Even if there are delays, you’re setting things in motion now.
JUNE-AUGUST
Rewrites – the fun bit, and where most of the actual work takes place during the writing process.
Moodboard – develop a strong look for the film based on previous films, photographs, colour palette charts. This will be useful for the DoP, production designer and costume to start forming independent ideas when the time comes.
SEPTEMBER
Lead Character Packs – a full biography, lookbook, playlist and links to references for actors in leading roles. Also a good way to plug up any missing gaps that can help influence parts of the final tweaks to the script.
Final draft – that’s the first hard bit done. Pat on the back. Consider a break? Nah.
Now the fun starts…
OCTOBER
Pre-production begins!
Location – an early search for our two most important locations where the majority of the film will take place. We try to start this as early as possible to form a clear idea for setting and if our goal of making the film at all is possible.
Supporting Character packs – similar to lead character packs. Something to get the actors inspired about their roles.
NOVEMBER
Casting – we have some people in mind for key roles but will be putting out casting calls once the final draft is complete and we know exactly what we’re looking for.
Script Breakdown – isolating all the key props, characters, locations, etc. to split to different departments.
Budget – assuming all the money comes together, how much is getting spent where? For this feature we know we want to spend a large portion on production design and costume, so this will have an effect on how much is available elsewhere.
Location scout – visiting the key location options in person to see if they’re appropriate, safe and available. We’ve been caught out here before.
DECEMBER
Crew – early reach out for key crew members – DoP, sound, production design, etc. Usually our same collaborators, but sometimes they’re fully booked way ahead so we look for alternatives early on if needed.
Auditions – for all remaining roles. We tend to do an open casting call and have always had overwhelming responses.
Props list – once there’s a list of all the key props, get that out to the prop guru(s).
Lead actors confirmed – self-explanatory this one. Start writing those contracts up ready to shake hands.
JANUARY
Casting smaller roles – the ensemble for this one is quite far-reaching so this may take some time. For a film that spans a few decades, this will require some work.
Rough schedule – can’t form a plan without seeing who can do what and when.
Locations locked – confirmation from our two key locations and getting contracts signed ahead of a summer shoot.
Script tweaks – I’ll be tweaking lines of dialogue or interactions all the way up to day one of the shoot. So long as there’s no location or time of day changes, this doesn’t effect pre-production.
FEBRUARY
Cast & crew confirmed – everyone you need to get started is locked in and ready to get to work.
Watchlists – for cast and crew, generate some inspiration based on previous greats.
Early character work – not to be confused with rehearsals, we like to get actors in character outside of scripted scenes and dialogue before this process.
Shot list – this takes quite a bit of time, visualising in an early form, shots and sequences for the entire feature.
Props progress – check in with props to see how we’re looking.
MARCH
Rehearsals – key scenes in particular. The value of as much rehearsal time as possible has become evident over the years.
Revisions – any adjustments to budget and schedule months ahead of the shoot, now there’s a clearer picture.
Costume – chat regarding costume changes over in-film time for key characters. Lead character styles.
Production design – same as above but with regards to the space and design of locations.
Final budget locked – these things cost a lot. Can’t make it happen if without a budget.
APRIL
Rehearsals – smaller scenes, a lot more time with supporting cast.
Storyboard – start of another slow process.
Costumes – beg, steal and borrow less prominent costumes throughout the film.
Test shoot – landing the look of the film for interiors and exteriors. It’s best to know you can do what you hope to before getting on set. Perfect time to test lenses, lighting, grade, mood, and so on. Also a great chance to get actors in front of the camera and comfortable ahead of the shoot.
MAY
Rehearsals – ongoing. At this mid-point stage it’s a good opportunity to trial some improv and try different approaches with a bit more freedom.
Storyboards – final boards complete and discussed with DoP.
Make-up tests – as we’re ageing some of the cast, this is something we want to test early on.
Lighting plans – working with the DoP to decide on position of lights and staging ahead of shooting saves a great deal of time on the day.
Plan Bs – it’s all well and good planning for the perfect shoot. but that just doesn’t exist. Consider bad weather days, running out of light on exterior shoots, if someone gets sick, and so on.
JUNE
Last rehearsals – smoothing off any rough edges.
Call sheets – day to day plans so all cast and crew know when they are needed and where.
Final checks – all the props, costumes arrived? Everyone on board with what is expected? Everything locked and confirmed to go ahead?
Rest – another important one. Remember to take at least a couple of days to physically rest.
JULY
Production – the best bit!