Awesome sets start with producers

Change in the industry starts with pre-production and the tone and temperature set by producers

Sep 18, 2024

∙ Paid

“I don’t understand why I get pinned all the time”, but I never book, an actress said to me on set this weekend. “I talked to another actress who books all the time and coaches other actors and she said it wasn’t my acting, but I just need to get one booking so they keep booking me. Why can’t they just take a chance?”

Bouncing between producer and actor on a drama is not easy, but on a comedy, if I know my shit, it’s a little easier to have conversations and shoot the shit between takes and scenes, so I put my producer hat back on to respond, “As a producer, I would much rather hire the person I know is going to deliver and be an absolute delight on set, than to hire someone new who might be a nightmare.”

I know that sucks to hear as an actor, because we want people to give us a chance, and while every producer has a different order of priorities, a fun and safe set is my top. Dealing with nightmare divas is at the bottom of my list of “things I love on set” or even in a show for that matter. As an actor, I say this with love, but I think sometimes actors are lead to believe that they should be the center of more than they should. Yes, we have to fight for fair wages and a better system of auditioning, and to be treated well on set and have necessary protections for intimate scenes and AI, but we are one piece of a massive puzzle. We can either make the puzzle better, or be the reason why a puzzle is never finished depending on our attitudes. I have been a less than favorable human on some theatre contracts, and have now learned what a nightmare some of those days were for producers or directors.

I think every actor should produce at least once, not for the typical reasons used, though I agree with, “You have to just make your own shit.” Every actor should produce at least once, to have respect and understanding for all of the work that goes into pre-production, production, and post-production and how many hours everyone is putting in before the actor is standing in front of a camera. It sometimes can feel like people do not care about us, or become insecure about performances when the director asks to do another take, but when you are standing on the other side of the camera and realize the director asked for another take because the focus-puller did not nail having you in focus as the camera was panning, you realize not everything is YOU. The crew comes at least an hour early before you do and stays at least an hour later. The producer(s) may stay up with DIT until every piece of footage is safely on multiple drives.

This past weekend, I was in production for another short film, as a lead actor and one of the producers. This was our biggest feat yet for a short, with a cast and crew of over 50 people. Since we had a fairly well-oiled machine with crew knowing what their role was, the chain of communication, and having more people, I was able to take a breath as a producer, and spend time getting to know crew and actors.

When we started pre-production in July and brought on our director, we all sat down in a pub overlooking the water in the Okanagan, and established what was important to us on set. With this being my 6th film I have produced, and 14 years of running a children’s entertainment company, I have learned what is the most important thing to me: and that is the process being fun and enjoyable. Life is short, and if we cannot ENJOY life in each part, I do not want to be a part of it or spend my time on it.

For two hours, we established how we would communicate and treat each other with respect in all decision-making, solve problems, and honesty. We all agreed that we did not want to burn anyone in the process, and that each person we brought into the set, whether it was cast or crew, had to treat one another with the same respect. Every fun and enjoyable set starts from the top. Producers set the tone and temperature of each production. If the producers are fighting, it is known and trickles down to each department to the energy on set. We were not immune from problems, but handled each issue that came our way with dignity, respect, and open communication.

I do not share this to pat ourselves on the back in any way, but to hopefully inspire each producer (actor, director, department head, etc) that is possibly reading this to prioritize making an amazing set, because change in the industry starts with us. When a cast or crew member steps onto a set that they feel welcome, valued, and human, they want to continue working with that group rather than other sets they know they will dread.

Our two shoot days were two of the most fun and honestly chill, despite having lots of stunts, I have ever been on, and I witnessed every crew member problem-solve with dignity and grace to one another.

A few tangible tips for producers to help create more positive, safe-sets:

Start pre-production earlier than you think - A smooth day on set comes from thorough and thoughtful pre-production.
DISCUSS AND AGREE UPON BUDGET! I can’t tell you how many fights come from this alone. What will you do if something comes over budget? How will you decide what is more important to put money towards? What surprises could come? How will you split any outside expenses? Festival fees?
Understand your insurance requirements and get the ball rolling on insurance much sooner than you think. If you are working with unions, make sure you have their requirements sooner rather than later.
Use some of pre-production to talk through potential problems or conflict that could arise on set and how to handle as a team
Meet weekly for pre-production and keep detailed notes of each person’s responsibility and follow-up.
In pre-production, talk about goals for the film. Is it festivals? Is it to have a local screening? Where do we see this going? What does each producer and director hope this will do for their career? You don’t have to have a 100 step plan, but at least starting the conversation helps fix the issue of the director’s plan is to only go to Sundance, and a producer just wanted another IMDB credit. It helps align everyone to start thinking and motivating past the film days.
Location scouting is better sooner than later to finish shot lists and gear lists ASAP, as well as figuring out washrooms, parking, crafty, space to chill, etc
Finish your gear list at least 5 days before so you can finalize insurance coverage for the shoot. Most insurance companies will not let you manually add COIs and typically they must be done M-F during business hours.
Rehearsal with your actors, or at least a zoom talking through intention, script, read-through etc, will save time the day of.
Sound makes or breaks your film. Make sure you have a great sound person, and check in on set during the first few shots to make sure things sound good.
Discuss any and all intimacy with your actors to make sure you are fully comfortable, and give them the floor to express signals if they are feeling uncomfortable
Plan for a dedicated nurse and/or at least someone with CPR/AED for stunts
A dedicated crafty person that stays on set to handle set-up, tear down, and trash is helpful, or at least a PA
In your top of day meeting with actors and crew, a director or first AD establishing “If I ask for another take, it was a technical issue unless I give you an acting note” will go a long way for actors not getting in their heads. You can also remind them, “Ok let’s do another for focus pull” so they know it was not for an acting reason
Schedule your day so that there is an ease and relaxation, not a sprint to fit everything in. This eases attitudes and tensions immensely. It gives space for actors and crew to get to know new people and have conversations which create new, stronger relationships for the future. This is important. We are humans. We are meant to connect, not just be workhorses.
Your first AD is one of your most important leadership positions and can also make or break the set. Establish expectations of communication and the first AD is both looking out and acting as the liaison between cast/department heads and the director and producers.
Give people 12 hours between call times.
People are much happier fed. Avoid heavy foods like pizza. Get allergies & dietary restrictions enough in advance that your crafts person doesn’t buy $100 in peanuts to find out there’s a peanut allergy.
Sustainability - This one always gets thrown out the wayside with cutlery and plastic water bottles. At the top of pre-production, I want to make sure to prioritize sustainability from costuming to crafty.
A dedicated DIT person on set can save your life
Make sure you finish the damn film, especially if people volunteered their time! The odds of getting an actor to come back to your set when they did not even get footage from the last one is close to none, especially if it’s ULB or volunteer.
Send thank you emails to cast and crew as soon as possible when you wrap. It goes a long way to make people feel appreciated.
A quick meeting/celebration post-production can go a long way, at least with producers and director.
Have a meeting the week after production to discuss what went well, what didn’t and what you hope to change for the future.
Plan to meet weekly or bi-weekly for post-production to continue to discuss goals and progress on post. This can move to monthly or phase out once post is complete.
Have at least one test screening and discuss.
After festivals and screenings, discuss audience response. The film is never truly locked until everyone says it is. I think it’s important to be open and receptive to changes until it lives on a platform.

Earlier this year, I went to a producing panel at the Gender Equity in Media Film Festival for a female producers panel with LEGENDARY producers. They dropped a lot of gems, but the biggest I took to heart, is that each producer does a short film with the director before they ever commit to a feature. A short film is a quicker fling than the marriage of a feature film that will last years.

Some other highlights:

Who would you spend 8 hours in an airport with once your flight is delayed for the 5th time?
Call and get references on people who have worked in the thick with them for accurate information on how they handle conflicts.
If there are red flags at the beginning, do not ignore them. Address them. Trust your gut when it is time to move on.

Yesterday, I read this in “You Never Have Enough Time or Money”:

Daniel Myrick (Season of the Witch, July 19, 1999)

“We’re all friends first, filmmakers second. That’s a very secure feeling when you’re working with a group of people that are like family to you, that you implicitly trust and you never have to worry about them screwing you over. It’s just a matter of keeping all the egos under control and not taking any of this crap seriously, you know what I’m saying? You can’t. It’s just a film.”

You never have enough time or money, but what you do with that time and how you spend it counts!

What are your favorite producing tips? Please share below!

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