The Film Mercury (1926-27)

Page Sixteen THE FILM MERCURY, FRIDAY, AUGUST 5, 1927 Hollywood, Calif. More Suggestions for Economy Editorial Note: The Willat family seeming to be full of ideas for cutting film costs, we are printing this week some suggestions from Irvin Willat, well known director. Mr. Willat is a director who has had practical experience in every branch of picture making — having come up through the ranks — photographer, cutter, producer, etc. By Irvin Willat Hurrying through pictures is not the solution of excessive costs. Get a dollar’s worth for a dollar spent and put as few as possible on the cutting room floor, is more sound. To ofler a few suggestions is the purpose of this article. PREPARE STORIES EARLY AND OBTAIN ACCURATE ESTIMATES One of the greatest troubles, and seemingly the most difficult to remedy, is getting the production department ahead on stories. It is possible to be three, five or even six months ahead with finished or almost finished treatment of stories. At present, many stories are started in production without being fully prepared. Changes are made and overtime is necessary in trying to catch up with the company. When a final synopsis-treatment of the story is written, there should be sufficient time to approximate the cost by sending the synopsis into the estimating department. This would allow the producing organization a chance to use their judgment as to whether the story is worth the cost or not, before the picture is scheduled. If an attempt to estimate the picture is made after the picture starts, and it is found that the picture is going to cost more than they intended, it only occasions confusion, and ofttimes loss of money in the end, in trying to adjust the story and save money. Also, more importance should be given to choosing the man who estimates stories. It is one of the most important offices in the studio, and one not appreciated. A mere estimate of a story's cost means nothing. An accurate estimate means everything. For a director or an assistant to attempt an estimate is usually a poor guess. Costs at different studios, for the same thing, vary greatly. The man who is best fitted for estimating is one who has detailed costs on all productions being made at a studio, and is familiar with them. A director makes four or six pictures a year, and knows little of the individual charges, while the estimator watches the cost on, say, fifty pictures a year. The answer is obvious. A director can, however, if honest with the estimate, be of great assistance. He can foresee possible delays, possible short cuts, etc., which would help materially in compiling an accurate estimate. OUTLINE AN ALL-YEAR SHOOTING SCHEDULE Every year we have a lull in picture making during the summer, when the receipts at the box office are low. But at this time the conditions for picture making are good. In the winter, when we have the rainy season, we are usually busiest. It does seem that today an organization should be able to plan so that it can keep a certain number of companies operating the year round, with no rush season and no slack season. There will be times, of course, when this is not possible, but those should be the exceptions. OVERTIME DOES NOT PAY The general experience of working a company overtime, at night, has not been profitable, unless, of course, it is necessary for an effect. It may look good on the report sheet, but not on the expense account. It is only necessary to put in a full day’s honest work, without a great amount of overtime. You will notice that when a company works at night they slow down the next day. And the average, less the overtime, is about the same. (To be continued)