Feature Film Timeline

[cameronchapman]

I'm currently wrapping up development for a feature I'm hoping to film next November (2012). I've got a list of things I need to do for pre-production, etc. but I'm trying to figure out a timeline for what needs to be done when.

I've looked online, and I can't find much for detailed timelines (most just say things like "pre-production: 4-12 weeks, production: 3 weeks, post-production: 3 months" or something equally as vague). I'm particularly interested in pre-production timelines, but a timeline of the overall process would be great, too. I'm thinking I might set up a Gantt chart to help me make sure everything gets done when it should.

I realize that it's next to impossible for anyone to say how long things should/could take, so why doesn't everyone who's done a feature give an estimated timeline for how they did things? Include things like genre and any special considerations you had, as well as any delays that might affect the timeline. This could be a really valuable resource for anyone who's trying to figure out how to plan their feature (or any other big, long-term film project), since it's potentially a very different animal than filming a 10-15 minute short with volunteer cast and crew.

 

[SinEater]

It can vary widely depending on the project. I've been helping a friend on a no-budget horror feature... we're into the third year currently on that project, and shooting still isn't finished. I've also been on a crew that shot a feature in 18 days. I was a fill-in audio recordist for a few days on a feature film last year; that project seems to have died in post.

 

[directorik]

This could be a really valuable resource for anyone who's trying to figure out how to plan their feature

It could be if there was an average.

The vague numbers you already mentioned are quite accurate. I
typically have a 6 to 12 week preproduction period - depending on
what is needed. A three week (18 days) shoot is fine for many
projects. Some take more. I've shot features in 6 days. My current
project is 24 days over 4 weeks. And 12 weeks for preproduction
because of the effects that need to be designed and built. 3 months
for post is really tight but can be done putting in 60 hour weeks. I've
done it in 1 month. I prefer 5 if I can afford it.

Of course if it's a non paying project those numbers (except for the
shoot days) can be extended for a long time. I have spent 9 months
on preproduction and 2 years on post when no one is on the payroll
and I'm working on my own free time.

So I'd say:

6 week preproduction
3 weeks production
12 weeks post production

is a good, general standard to consider.

 

[cameronchapman]

It could be if there was an average.

The vague numbers you already mentioned are quite accurate. I
typically have a 6 to 12 week preproduction period - depending on
what is needed. A three week (18 days) shoot is fine for many
projects. Some take more. I've shot features in 6 days. My current
project is 24 days over 4 weeks. And 12 weeks for preproduction
because of the effects that need to be designed and built. 3 months
for post is really tight but can be done putting in 60 hour weeks. I've
done it in 1 month. I prefer 5 if I can afford it.

Of course if it's a non paying project those numbers (except for the
shoot days) can be extended for a long time. I have spent 9 months
on preproduction and 2 years on post when no one is on the payroll
and I'm working on my own free time.

So I'd say:

6 week preproduction
3 weeks production
12 weeks post production

is a good, general standard to consider.

I'm more interested in the breakdown for what you're doing in those time periods, and when you're doing certain things, rather than the overall length of time for each (sorry if I didn't express that properly in the original post). What I was thinking was that someone could look at it and see that, "oh, so these four comedies spent x amount of time on each of these things, so that gives me a ballpark figure for my own timeline."

I guess personally I'm just trying to figure out things like when I should be starting to get in touch with potential talent (especially "name" talent), looking for a DP, etc. I'm aiming for November because I need to shoot after the leaves have gone from the trees, and I don't want to shoot in the middle of winter when it's -20ºF out, so if I miss windows for certain things, it could delay production for a year, or force me to film during the spring (which would be less-than-optimal considering how unpredictable spring weather is where I'd be filming).

 

[SinEater]

If you're looking for name talent, you might already be too late to shoot in November. If they are in demand, they often have projects lined up in advance.

 

[directorik]

I'm more interested in the breakdown for what you're doing in those time periods, and when you're doing certain things, rather than the overall length of time for each (sorry if I didn't express that properly in the original post). What I was thinking was that someone could look at it and see that, "oh, so these four comedies spent x amount of time on each of these things, so that gives me a ballpark figure for my own timeline."

I could help you with specifics.

What I don't think is realistic is to think that because four productions
did things one way, it would be beneficial to YOUR project. Too many
variables need to be taken into account.

Perfect example right here:

I guess personally I'm just trying to figure out things like when I should be starting to get in touch with potential talent (especially "name" talent), looking for a DP, etc.

Let's touch on these two. Very different for different productions.

If you have the money in an escrow account your time line for approaching
name talent will be very different than if you do not. If you have a firm start
date the time line for getting in touch with DP's will be different than if your
start date is flexable. No two or four other projects timelines would be of much
help. I suspect that's why there isn't an on line database for this.

I'm aiming for November because I need to shoot after the leaves have gone from the trees, and I don't want to shoot in the middle of winter when it's -20ºF out, so if I miss windows for certain things, it could delay production for a year, or force me to film during the spring (which would be less-than-optimal considering how unpredictable spring weather is where I'd be filming).

Hypothetically:

You must star no later than November 6 of this year. You have the money for
talent in an escrow account. You start today. You hire a casting director who will
send out the notices to agents and find out what name actors are available to
shoot for three weeks beginning in 10 weeks. On September 26 you start renting
your production office on a week-to-week basis and put out you ad for office PA's
and a UPM. On October 10 you put out your ads for department heads.

Of course those timelines would be very different depending on where your production
base is and where the shoot will be and how much your budget is.

 

[cameronchapman]

If you're looking for name talent, you might already be too late to shoot in November. If they are in demand, they often have projects lined up in advance.

Hypothetically:

You must star no later than November 6 of this year. You have the money for
talent in an escrow account. You start today. You hire a casting director who will
send out the notices to agents and find out what name actors are available to
shoot for three weeks beginning in 10 weeks. On September 26 you start renting
your production office on a week-to-week basis and put out you ad for office PA's
and a UPM. On October 10 you put out your ads for department heads.

Of course those timelines would be very different depending on where your production
base is and where the shoot will be and how much your budget is.

Sorry, I meant November of next year. So in other words, I've got plenty of time. Which is good to hear.

 

[directorik]

Sorry, I meant November of next year. So in other words, I've got plenty of time. Which is good to hear.

You did say 2012 - my scenario was hypothetical. If you do not
have the money now and need name talent you are quickly running
out of time.

In my hypothetical you would be stuck with who is available - not
who you want. If you have name talent in mind for your shoot only
14 months away and need them for specific days you may already
be too late. Many actors are booked over a year in advance.

Which is kind of my point. What other producers did in the past will
not really help your project. To many variables.

is this project a fully funded, paying job or are you pulling favors and
not paying upfront? That, too, will change the timeline.

 

[SinEater]

Sorry, I meant November of next year. So in other words, I've got plenty of time. Which is good to hear.

Sorry, I misread your post.

 

[cameronchapman]

is this project a fully funded, paying job or are you pulling favors and
not paying upfront? That, too, will change the timeline.

At the moment, there's no funding. I'm hoping I can get at least one name actor to sign on with a letter of intent, which I can then leverage to get funding to pay everyone. I can call in favors for 80% of what I need as far as location, props, etc., so the big expenses are going to be cast and crew (which can be kept to a minimum), and some rentals for equipment.

The script was written with costs in mind, so the big budget items are going to be people-related. And honestly, I'd rather spend more money paying my cast and crew and keeping them happy than on expensive locations/props/stunts/effects/etc. Rentals for equipment will depend, of course, on whether the crew I can hire has their own equipment.

And in the meantime I'll also be working on a short this fall and a web series this winter, which will serve as my "film school."

 

[directorik]

At the moment, there's no funding. I'm hoping I can get at least one name actor to sign on with a letter of intent, which I can then leverage to get funding to pay everyone.

In that case you will not be shooting Nov. 2012. At least not with
"name" talent. You know my intent here - I am not being mean or
pessimistic. But what you want to do just does not happen.

Since you will be using the actor to get financing, they become a
primary partner in the production. Without them, you can't get
the money. So you aren't actually making an acting offer, you are
asking for their help in financing. You are asking an actor to put
their name and reputation on the line to finance YOUR project.
Harder still, you will be asking the actors agent to allow their client
to put their name and reputation on the line. Imagine what happens
if, through no fault of theirs, you cannot raise the money even with
their name attached.

You have to remember, any actor worth having attached to your
script is already getting a stack of scripts from producers and
studios. And you need to understand where you are on the ladder of
offers.

First on the list are offers at or above their "quote". A
guaranteed paycheck.

Second on the list are scripts from studios and producers for less
than their quote - but these are also firm offers (money is
attached, they get paid when they say "yes"). These are projects
like CRASH - where the script may be more important than the money
- but there is still money (and often a high profile writer,
producer, director or other actor) attached.

Third in line are pet projects. The star has a pet project they
will take to the studio or producers with no money attached, but
it's a story they really love.

Fourth in line are scripts from friends or friends of friends. No
money attached, but at least brought to them by someone known to
them personally.

Eventually we go all the way down to some total stranger with a
script and no money. Imagine the odds of the actor choosing that
script instead of any of the others.

 

[SinEater]

In that case you will not be shooting Nov. 2012. At least not with
"name" talent. You know my intent here - I am not being mean or
pessimistic. But what you want to do just does not happen.

Since you will be using the actor to get financing, they become a
primary partner in the production. Without them, you can't get
the money. So you aren't actually making an acting offer, you are
asking for their help in financing. You are asking an actor to put
their name and reputation on the line to finance YOUR project.
Harder still, you will be asking the actors agent to allow their client
to put their name and reputation on the line. Imagine what happens
if, through no fault of theirs, you cannot raise the money even with
their name attached.

You have to remember, any actor worth having attached to your
script is already getting a stack of scripts from producers and
studios. And you need to understand where you are on the ladder of
offers.

First on the list are offers at or above their "quote". A
guaranteed paycheck.

Second on the list are scripts from studios and producers for less
than their quote - but these are also firm offers (money is
attached, they get paid when they say "yes"). These are projects
like CRASH - where the script may be more important than the money
- but there is still money (and often a high profile writer,
producer, director or other actor) attached.

Third in line are pet projects. The star has a pet project they
will take to the studio or producers with no money attached, but
it's a story they really love.

Fourth in line are scripts from friends or friends of friends. No
money attached, but at least brought to them by someone known to
them personally.

Eventually we go all the way down to some total stranger with a
script and no money. Imagine the odds of the actor choosing that
script instead of any of the others.

Haha, you just traveled back in time to find this post.

 

[cameronchapman]

In that case you will not be shooting Nov. 2012. At least not with
"name" talent. You know my intent here - I am not being mean or
pessimistic. But what you want to do just does not happen.

Since you will be using the actor to get financing, they become a
primary partner in the production. Without them, you can't get
the money. So you aren't actually making an acting offer, you are
asking for their help in financing. You are asking an actor to put
their name and reputation on the line to finance YOUR project.
Harder still, you will be asking the actors agent to allow their client
to put their name and reputation on the line. Imagine what happens
if, through no fault of theirs, you cannot raise the money even with
their name attached.

You have to remember, any actor worth having attached to your
script is already getting a stack of scripts from producers and
studios. And you need to understand where you are on the ladder of
offers.

First on the list are offers at or above their "quote". A
guaranteed paycheck.

Second on the list are scripts from studios and producers for less
than their quote - but these are also firm offers (money is
attached, they get paid when they say "yes"). These are projects
like CRASH - where the script may be more important than the money
- but there is still money (and often a high profile writer,
producer, director or other actor) attached.

Third in line are pet projects. The star has a pet project they
will take to the studio or producers with no money attached, but
it's a story they really love.

Fourth in line are scripts from friends or friends of friends. No
money attached, but at least brought to them by someone known to
them personally.

Eventually we go all the way down to some total stranger with a
script and no money. Imagine the odds of the actor choosing that
script instead of any of the others.

Good points. I guess I'll be rearranging the order of things a bit, then, and try to raise at least enough money to be able to guarantee at least a certain minimum payment to the actors I'm looking to get. So it still puts me low on the scale, but higher than I would be otherwise. And I'll have to hope that my script is stellar enough to make them want to do the project, even though the pay is less than what they normally get.

See, this is why I love this forum. I get reality checks whenever I need them!