This may sound like a stupid question (and probably is) but would it be best to scout filming locations before or after the screenplay is written? I hate to write a scene into a movie then find that there is no logical place to shoot it.
Should I scout locals first, or after I write the screenplay?
- Thread starter nobudgetfilmmaker
- Start date
I most often write to a location I know I can get. There is
nothing more frustrating than writing in an essential location
that you simply cant get.
nothing more frustrating than writing in an essential location
that you simply cant get.
Actually, you should set your film in locations you know you can get for free easily the moment you sit down to write. No need to torture yourself -- finishing the script itself will be a huge task in itself.
After the script is done you can take advantage of cooler locations that presents itself. If they don't you'll have an ease of mind that you hold a script that is immediately filmable without scouting for locations.
Good luck.
After the script is done you can take advantage of cooler locations that presents itself. If they don't you'll have an ease of mind that you hold a script that is immediately filmable without scouting for locations.
Good luck.
I usually have an idea of locations that I will be able to use. But when I write, I'm usually writing with the intention of producing the film myself, low budget. But when I'm writing for another production company I'll put whatever the hell I want into the script. They've got a few million dollars budget for the film, and as a writer it's not my responsibility to scout their locations 
Not only write just for locations you're pretty sure you can get (inside "a home", the forest, a beach, a field, maybe an abandoned house or business, service areas behind a store or strip mall, along the railroad track, etc.) but also for actors, props, and effects.
Occasionally around here you'll see someone asking how to make a convincing... house fire, inexpensive authentic samurai battle armor, swirly time portal, cast of thousands, find a good actress that'll get naked for free on camera (you can usually get only one of those at a time, rarely two), blow up a car... but not really, a super funny character, etc.
Consider what your "resources" are when you're writing as director/producer.
Not just your locations. (Don't write a scene that takes place in the oval office, beneath the Eiffel Tower, or even sitting down in McDonalds).
But also consider your talent resources. (Don't write about fembots from Uranus doinking Hercules when all you have to use is your sister and the skinny kid next door. Please. Don't).
Consider your budget when you craft a story. (Short story takes place in thirty-eight FREEE outdoor locations around the United States! H3ll. Even twelve FREEE outdoor locations within your county is gonna make for an awfully expensive short).
Consider your props. ("The fembot from Uranus throws the flat screen television into the front windshield of the minivan". Umm... yeah. That's gonna cost).
Consider your software assets and effect capabilities. (Don't worry about it! IT CAN BE DONE WITH AFTER EFFECTS! Umm... probably not for any sensible amount of hours).
Write as a director/producer for the resources you have.
GL.
Occasionally around here you'll see someone asking how to make a convincing... house fire, inexpensive authentic samurai battle armor, swirly time portal, cast of thousands, find a good actress that'll get naked for free on camera (you can usually get only one of those at a time, rarely two), blow up a car... but not really, a super funny character, etc.
Consider what your "resources" are when you're writing as director/producer.
Not just your locations. (Don't write a scene that takes place in the oval office, beneath the Eiffel Tower, or even sitting down in McDonalds).
But also consider your talent resources. (Don't write about fembots from Uranus doinking Hercules when all you have to use is your sister and the skinny kid next door. Please. Don't).
Consider your budget when you craft a story. (Short story takes place in thirty-eight FREEE outdoor locations around the United States! H3ll. Even twelve FREEE outdoor locations within your county is gonna make for an awfully expensive short).
Consider your props. ("The fembot from Uranus throws the flat screen television into the front windshield of the minivan". Umm... yeah. That's gonna cost).
Consider your software assets and effect capabilities. (Don't worry about it! IT CAN BE DONE WITH AFTER EFFECTS! Umm... probably not for any sensible amount of hours).
Write as a director/producer for the resources you have.
GL.
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I agree with NathanH!
You don't want to write give huge importance to a location you know will be difficult to get. Make it so the story isn't so reliant on the exact location. That way if it gets picked up, they can find places similar to the location described in the screenplay, and still make it work through the characters and story. For example, if you write the screenplay so that the sequence of events rely on taking place on Hollywood Boulevard or the Statue of Liberty, it might be hard to get picked up. Just anything so you're not tied down by a particular location.
You don't want to write give huge importance to a location you know will be difficult to get. Make it so the story isn't so reliant on the exact location. That way if it gets picked up, they can find places similar to the location described in the screenplay, and still make it work through the characters and story. For example, if you write the screenplay so that the sequence of events rely on taking place on Hollywood Boulevard or the Statue of Liberty, it might be hard to get picked up. Just anything so you're not tied down by a particular location.
My personal take is: just write... once you change hats from writer to producer, then you start making phone calls. I've gotten some epic locations for free just by picking up the phone. Never start a script thinking "I can only get X" or worse yet, "I could NEVER get Y". Worry about that after the fact when your writing... that can all be altered in the script later or faked on set.
Since I come from no budget and TV I never have the luxury to just
write what I want or feel. I envy those of you who can just write
what you feel with no thoughts of how you will make the movie.
On the other hand, I really enjoy the challenge. You see a
location and you must come up with a story that fits. I really
like rayw’s list - that’s pretty much the way I write.
write what I want or feel. I envy those of you who can just write
what you feel with no thoughts of how you will make the movie.
On the other hand, I really enjoy the challenge. You see a
location and you must come up with a story that fits. I really
like rayw’s list - that’s pretty much the way I write.