International photographer (Jan-Dec 1934)

Twelve The INTERNATIONAL PHOTOGRAPHER October, 1934 Estimating the Cost of a Motion Picture Production The Work Sheet O much interest was shown in my article in last month's magazine, regarding production expense, that our editor has prevailed upon me to give full particulars of "estimating the cost of a production." It is not fair to the producers to give the cost of pictures already made, but in place of this information I can show exactly where the money goes and if you are contemplating production with your own money, you will at least know before you start how much money to have on hand, before you spend all of it and then find out you didn't have half enough. This will save you embarrassment and perhaps serious difficulties. It is surprising to look back over the long list of aspiring producers who have tried to make pictures but have been only partly successful or a complete failure. Some of these should have been able to realize the chances they took when they laid down their cash or that of somebody else. In the first place a producer generally decides to screen a story written by someone else, directed by, photographed by, edited by, and sold by people he scarcely knows. The modern miracle is to take a thought and produce this thought in two dimensions (psychologically three dimensions) on a screen before your eyes, preserving all the life, emotion and entertainment that the thought generates. All people are not blessed with the power of visualization and the patience required to perform this miracle ; many are called, but few are chosen. On the other hand I have seen a fair story made into fine entertainment, just because the producer was wise in selecting the right people to do the work and supplied sufficient funds to carry everything through to a satisfactory finish. If a re-take or added scene will benefit the production, certainly it should be made. However, deliberately overshooting a production is wasted time and money. I know one director who covers a sequence in long shots, then in medium shots, then in close-ups and then in inserts. This runs up the film and laboratory expense, and if he would just stop and realize "no matter how many shots he takes of a certain action, he can use only one of them, or at least a certain part of each one." The usual script runs 300 to 400 script scenes, some of which are master scenes and need to be broken up with two or three shots. A 21 -day schedule production will average 20 script scenes and 10 or more added scenes each day, with the customary two or more takes on each scene. The proper procedure in making an estimate of a production is, first, to break down the script into its many parts, itemizing the characters, what sets they work in, wardrobe they wear, working props they should have and whether it is a day or night sequence. The best way to keep track of this is by making a production schedule on a large sheet of cardboard, marked off in squares, with the set names across the top of the sheet and the actors' names down the left side of the sheet; a small cross in the square where the actor works keeps an accurate record. Wardrobe changes can be numbered and just the number marked down keeps track of this item. By this production schedule you can group your sets and actors in the most economical way. Keeping in mind to use your expensive players and expensive crowds, these shots should be made in the shortest possible time. Close shots and inserts can be made later. If your story has many exterior scenes, it is wise to have an interior cover set always ready in case of inclement weather. If you have exteriors and interiors to do on the same day, do your exteriors first, then if the hour becomes late before your day's work is over, your lights will carry you through without delay. If this procedure is reversed you can readily see how your afternoon sunlight might leave you without the day's work being completed, thereby causing the company to come back the next day. Some of the items I have listed on the work sheet can be grouped together under a single heading, yet if they were not segregated something would be overlooked and the estimate would be short, which is a serious matter when the budget is closely figured. Some of these items can be further itemized, such as set construction and unless the estimator understands construction, he had better consult some art director before giving final figures. The same is true of the camera and the electrical departments. In large studios each department is furnished with a copy of the script and estimates are made by the department head. These figures are later checked and totaled by the production office. Contract and special process refers to Williams or Dunning or other process, which are protected by rigid patents. There are some items listed that might not be used very often, but if the reader is making a series of pictures he is sure to need reminding about them. It will be seen, therefore, that the greatest service a work sheet can be is to remind one about no end of little things which probably would be forgotten in the rush of work. WORK SHEET Office rental. Office equipment rental. Office lighting. Office heating and cooling. Office telephone rental and tolls. Office telephone and stenographic salaries. Office accounting salaries. Office supplies. Office transportation. Office meals. Office miscellaneous expense. Studio rental. Production supervisor salary. Story cost. Continuity writer salaries. Please mention The International Photographer when corresponding with advertisers.