Judging the merit of an Unpaid Project

Posted on April 26, 2009 in Filmmaking 360 | No Comments

Submitted by IQ Member 8thSamurai.

You’ve decided on a career in film. Congratulations! Now what?

Let me begin by reassuring you, that you can make a living in our profession. The recipe for success is continuous study of your craft, hard work, and making all the right contacts. The idea of instant stardom should fade from your memory; for while it is plausible, it rarely happens. The fact is, in most cases, the ‘first time filmmaker’ that you often read about in the press, are actually seasoned professionals with multiple projects to their credit. The so called, ‘First’ is their first film that received successful accolades. Kevin Smith is a prime example as he wrote three movies and a documentary before ‘Clerks’, not counting the scripts that he never attempted to film.

Fame. This is a terrible reason to choose a career. If this is the main goal, you’re better off running through the main drag of your hometown naked and painted blue. Guaranteed notoriety there. Watch out for people for whom the desire of admiration exceeds desire to finish the project. On one shoot that I walked off, the director showed up three hours late, and proceeded to sing us showtunes for another hour before even setting up the first shot. The first day of this unpaid project lasted fifteen hours, quite a bit over the promised ten. Second day was seventeen, with lousy meals, no craft services, and almost nothing accomplished. Avoid this type like the plague. They are interested in being admired, by anyone, not creating an interesting movie.

Which leads to those unpaid projects. They can be a great way to get set experience, provided anyone on it has a clue. How can you tell? I’ve been at this for a while, and still get fooled in the interview stage sometimes. The proof often doesn’t appear until the first day on set. Here are a few things to look for:

1. Is everyone who’s supposed to be there both on time and doing what they should be?

One or two people running a few minutes late – not great, but it happens. But if everyone is in various stages of late, more than a few minutes, or spends more than about fifteen minutes milling about aimlessly, there might be a problem.

2. How are the crew members treating each other?

Everyone, from the director to the interns, should be treated with respect. Nobody has the right to talk down to anyone else, be abusive or demeaning. Likewise, don’t show up with an attitude. Here’s another true story:

A few months ago, I was hired to gaff two commercials. My Best Boy not only showed up three hours late, but was apparently miffed that she had not gotten my position, and chose to spend her time questioning my expertise and telling the crew that I was doing ‘everything’ wrong rather than pitching in and doing her job. Rather than proving herself, she showed rather well how little she actually knew and alienated the rest of the crew (she also talked down to our marvelous group of P.A.s). Tired of having to do everything myself and being grilled at every turn while there was work to be done, I spoke to one of the directors. She had already complained about me – as both directors were pleased with my work ethic and the results, she was invited to leave the shoot early. I have since become a regular crew member with this particular group.

3. How’s the food?

We’re not talking catered gormet here, though a couple of wily young producers I’ve met have managed such things. The only thing to expect here is a genuine try at available and edible. Watch out for that group with no craft services that wraps after six hours and sends you home without so much as a slice of pizza. No matter how new you may be, you deserve more respect than that.

4. Are you learning anything?

That’s why you’re doing this, after all. Or for a reel piece and a credit. It’s rare to have a shoot where you get absolutely nothing out of it, but you might find one. Since you’re doing these for the experience, not money, don’t feel guilty about walking away from a project that just stinks.

5. Time and honesty.

How much time are you willing to put into the project? Most people just aren’t available for three full time unpaid months, and the producer should understand this. Be clear about how much time you are willing to give, and don’t be afraid to say ‘no’ if something becomes unreasonable. As long as everyone is on the same page at the beginning, this should resolve any future conflicts you may have.

What are real reasons to do film anyway? Because you absolutely can not see yourself doing anything else. Because nailing that shot gets your blood pumping like nothing else. You have stories to tell. You revel in sharing ideas and experiences with a group of people with the same passion.