There are a few BIG mistakes that first time filmmakers make when they are making their first film. There are a number of reasons (some very valid) that are behind these mistakes.
1. Casting your friends

This is only a good idea if you are friends with Brad Pitt (or any BIG star), or your friends are professional actors. Most of the time, however, your friends aren’t actors, and it shows.

Why people do this?

Friends are cheap. They don’t need a trailer. It’s convenient. All of these are good reasons but not really good enough. You can get a SAG (Screen Actor’s Guild) Signatore Contract and cast professional actors under union jurisdiction. On the low budget contract you pay them $100 per day for 12 hours. The movie I did this Summer was under this contract and here is a list of some of our actors:

• Paul Rodriguez Jr. - One of the world’s biggest pro skateboarders (has a Nike shoe named after him)
• Trevor Wright - has done a lot of TV roles)
• Emily Rios - Star of this summers indy hit: Quinceañera
• Richard Edson - Has 80 credits on the IMDB. He was the guy who steals the car in Feris Bueller’’s Day Off.
• Cody McMains - Lots of TV and Feature Credits
• Perrey Reeves - Lot’s of TV and Movie credits. Currently playing “Mrs. Ari” in Entourage
• Paul Rodriguez - Actor/Comedian with a ton of credits.

Well you get my point. A lot of working actors just want to work. The budget on this film was under $150,000. Seems like a lot but not if you are shooting in LA.

How do I get Professional Actors?

No matter where you live, you can find good actors. Not in LA or New York? Go to you your local theater company or college theater department. Above all else, get “real actors”.

2. Hiring your friends

See number 1. Find professional crew. No matter where you live you can find people with more knowlege and experience than you have. Get good people and listen to them, they will make your life much easier. You can’t do it all yourself (unless you are Robert Rodriguez, and you aren’t Robert Rodriguez, yet).

Who should I get first?

1. Cinematographer (DP) - This could very well be your most important decision. Even a proofessional photographer who understands, exposure and composition (and hopefullly lighting) is a better choice that your friend Joe “cause he has a camera”.
2. Assistant Director - (yep, that’s me) A good AD can make things run very smoooth. A great AD will make life wonderful. Talk about shouldering burden. An AD will schedule your movie, assist you with the budget, help you get your shots set up for you, keep you on schedule and a lot more.
3. Script Supervisor - The Script Supervisor will keep track of what you shoot, watch continuity (you really don’t want a red tie in one shot and a blue one in another), and also help you stage a scene.

One of the most important things to keep track of while shooting is screen direction. The 3 above crew members should all help you keep track of this. (I will talk about screen direction in a later post).

How do I find these people?

Every state and almost every reqion and/or county or town has a Film Commission or Film laison offfice. Find them and make friends with them. They could become the best friends you have. Beyond crew help, they can also help you find locations, which brring me to. . .

3. Location, Location, Location

Why settle with your backyard when therre might be a number of great locations in your town. Don’t be scared to ask someone permission to shoot on their property. The answer is always no until you ask. Most of the time (except for LA & New York) you can get them for free.

You are a filmmaker, a creative force, a visionary, so look beyond yourself and your 4 walls.

For some great filmmaking resources, go to AssistantDirectors.com

Getting your first job in the film industry can seem a daunting task. But I have put together a few tips so you can get that first job on that big feature.

Who you know

The film industry really is all about who you know. Most film industry jobs come via referral, not by your resume. If you have friends working in the “biz”, stay in touch with them and ask them to help you get that first job. If you have friends who have friends working in the film industry, meet them, get to know them. See a pattern emerging here? You never know where that referral or job offer can come from.

My first job came from the husband of a friend of my sisters. My sister arranged that I house sit for them while he was doing a feature film in New York. After that, I stayed in touch and he hired me for my first job: Julia Roberts driver on “Pretty Woman”.

That job led me to a job as an Assistant Location Manager on “Pump Up the Volume”, where I met the Assistant Director who hired me on “Pacific Heights”, “The Doors”, “Point Break”, got me started doing Commercials and was directly responsible for giving me my start as as AD (Assistant Director).

Work for Free (Internships)

Nobody likes to work for free, or do they? I have done several jobs for no pay. Why? At first it was a way to meet new people, get into new networking circles. Now, I do it as a kind of payback for all the help I received on my way up.

Working for free can help open doors to bigger and better things. The more experience you have, the more Producers & Production Managers and AD’s are likely to give you a shot. Working for free is certainly an opportunity to learn, but for me, I think that it is an opportunity to shine. When you take that free job, work your ass off. Outwork the other PA’s (I always did), pay attention, think ahead. If it looks like it might rain, take the initiative and get a pop up (or other rain cover) built. Get it?

Get Personal

Sometimes just showing up is enough. Roger Pugliese, the UPM (Unit Production Manager) who hired me on “Pretty Woman” got his first job, literally, by just showing up. He was a cab driver in New York, and one day he drove past a set and asked who working on the movie. They told him Faye Dunaway was starring. . . He, being a HUGE Faye Dunaway fan, parked his cab, and talked his way into a free PA job, which turned into a paying job. . .

Often times a personal visit may earn you a job. If you’re there, and the othes aren’t, you’re in!

Keeping your First Job

Hours on a movie set can be long and arduous, with a lot of hard work thrown in. If your call time is 5:00am, be there at 4:45am. Showing up early and eager to work leaves a lasting impression. Every job is an opportunity to network and advance. Keep a good, positive attitude, work hard and be on time! This will get you hired again and again. Failing any one of these will insure that neither I, nor anyone else will want to hire you again.

You will start at the bottom but that’s where you learn the most. Keep your eyes open. Pay attention. Everyone in the film industry was once the one who got coffee for everyone else. Remember (I know I repeat myself) every film is a networking opportunity. Look for any and every job you can do that will get you on set. Once you’ve started working and making contacts you can quickly earn your way up the ladder into the position that you really want.

I have been getting a lot of questions about film school vs starting one’s career.

So here’s my opinion, for what it’s worth. In school you will never get the real story on how the big boys (and girls) make movies. Period. What you will get is a lot of stepping stone information. You will learn all the basics and with the amazing growth of technology you will learn a lot about post production and post production software. Most schools have courses teaching Final Cut and Avid editing platforms. You will also get an opportunity to learn Photoshop, After Effects (and scores of other post production enhancing softwares. Me, I edited my Super 8 films by hand with a splicer & tape. . . You will lean a lot of visual concepts. You will also get some basic production skills. In some programs you will get to work on pretty big productions (relative to a school project). Some schools even have film industry pros teaching. In fact, my mentor, who hired me for my first job, now teaches at USC Film School. (Roger Pugliese was the Unit Production Manager on Pretty Woman, my first job).

Here’s what else you will get: You will learn the ability to learn. Almost every job recruiter will tell you that this is the real reason the seek college grads. They want to know that you have the ability to learn new systems. This will really benefit you when you finish school and jump into the world of production. You will be forced to constantly learn and adapt to new systems.

Beyond that you learn a lot with the general education you receive.

What you don’t really learn is how a big show (Feature Film, Commercial, or Music Video) really works, from pre production through post. This will only be learned by being involved and working on professional projects.

Here’s the great part about working in an entry level position (like a Production Assistant), you get the opportunity to see what everybody’s role is on set. You will have get the chance (in most cases) to jump in and help most departments, seeing first hand what they do and how they do it.

So if you can’t wait to get a job on that big movie, do it. Just stay in school. Work during you breaks. Most big cities in the US get a big “Hollywood” production through during the course of the year. If not your town, find out where and get yourself hired. Even working for free can have it’’s benefits. Maybe you can get credit, or if you kick ass and work hard maybe you’ll get paid too. We had 3 free interns on the low budget feature that I worked on this summer and they all ultimately got paid. Check with your local film commission or permit office, in fact, make friends with them, as they can become your best friend. Why? They will usually be the first to know if a show is coming your way and might even be able to help you get on board.

So bottom line: Stay in (or go to) school. You can always get your first job in the “Biz” but you will NEVER go back to school.

I'd like to put down a contribution from Mr Suresh in the "Orkut community" on Digital Filmmaking. The topic of discussion was - Digital Filmmaking is the future. I liked what Mr Suresh contributed and here I am putting it down for you to read:

"Hi, saw this interesting discussion and wanted to contribute. Just worked on HD for a full length feature film in Malayalam - Abraham&Lincoln - released on 22nd, reportedly running to packed houses still. It was shot on HD and HDV (progressive frame) and then reverse telecined onto film. Atleast 50% of the so-called seasoned experts failed to realize that it was shot on HDV, which I feel is a big big victory. Progressive frame is great, interlaced though is yet to catch up. The movie is also a first in HD in cinemascope.

Qube and UFO are there too for projection, which further brings down the overall film production budget. The clarity is also superior to film (as reverse telecined) as one level of generation loss is avoided totally.

HDV Progressive IS THE FUTURE."

If professionals couldn't recognise the difference between digital and film - then ye low budget indiers have a bright future for sure!