Script: How many episodes would you say I should have on lock down prior to casting / shooting? Some people said just worry about the pilot. Others say at
least three, and I'm starting to lean towards that idea. People won't want to wait around for a month for an episode of a series that just started.
]Casting: This IS a no-budget production, obviously implying that you will not get paid, only in experience, credits, or reels. From what I've read and seen on here this is where a lot of people struggle since no one is getting paid there's no real dependability on the people you end up casting. Any tips on how to avoid flaky people aside from being upfront and direct about communicating the fact that you will not get paid. Unless it works out in the event which I hope it will.
Legal: On that note, can you get someone to sign a contract (indentured servitude?) that somewhat binds them to the project or would it be more so for a release forum allowing me to use the footage? I'm guessing I'll need a quick sit down w/ an Entertainment Attorney.
Locations: I'll be filming in Houston in two locations, one which will be my house (check). The second would be at a bar, any tips on who to approach and how? Obviously chain establishments would be out of the question, so I'd be aiming at Mom & Pop owners (wish my Mom & Pop owned a bar) who are closed on Sundays/just not that busy on Sundays? And since they'd be the owners you don't have to deal w/ any Film Commission or anything right? That's just for public domain? How do you guys get around shooting in public places I found this from the Houston Film Commission: that aggregate amount of a million dollars scares me
*Those weren't put in any particular order, feel free to put them in order if you want
. All tips are greatly appreciated. (Equipment is already good to go, so I left that out)
Congrats on your new project! It's always exciting at this point of the process.
Script: PaulGriffith said it, the more the better! Especially since it's for a show/series and not a movie. Shows thrive off of people becoming invested and attached to the characters and story. In a way, even though one episode might be only 22 mins... collectively you can take the audience on a much longer journey than a one script movie. If you do start with just three, make them the best you can so they can see that not just the first episode is great- the other episodes are good as well. Similar quality. Of course the pilot has to make an impact, but just be prepared in case they ask you if you have other episodes to follow up afterwards. By letting them know you have more episodes scripted out, it shows how serious you are and can really impress them. They may ask how long you envision it taking to create each episode. So be prepared. People in the biz know that you can have a great series, but if the momentum drops, you can lose a lot of viewers.
Casting: It's tough because sometimes you think you've found the best person for the job during auditions.... then in production it's like they're a completely different person! Can you use somebody you're familiar with, worked with before? Someone you truly get along with?
Ask about their availability for the dates you intend to shoot. If they are getting paid-work around that time (and end up really needed on the same days as your shoot,) they may flake out. It's the worst but I've seen it happen. Asking about their availability is important. Ask them about their availability and whether or not they can make it for these certain dates. See how they respond. At auditions, if they seem kind of shaky about those dates and go from being all about your project to suddenly saying something like, "Oooo... umm... yeahh I might be busy with rehearsals for this big production around then BUT I think it could work out perfectly with your shoot's schedule
" then you have some sort of way to gauge whether or not they will / can show up for your shoot dates. But who knows perhaps you could take a chance and the schedules do work out perfectly and the episodes are exactly like you want. It could turn out to be something big and with more budget you can pay them.
(Also try to aim locally. If they happen to be from 10-20 mins away, all the better. I've had shoots where the amount of days we could work with the talent was limited because they lived so far away (brilliant performances too :\ just so dang far away.) It's sometimes like a different game when it's not a paid gig. Pay is really a helpful incentive when it comes to an actor sticking to their word. When there's pay there's often binding agreements. But hey if they're really a professional or serious about their work, they will honor their word. I know the worry, no one wants to make a show where they have to replace the main character because the actor playing him flaked out.)
Locations: Haha first time seeing the million dollars on the certificate of insurance scared me too! That's usually just if something goes wrong or if property is destroyed. They want to know that you'll cover the costs if something like that does happen.
About getting your bar location, follow your own advice! You got it. When coming to chain restaurants or bars, it's a trip. And while the manager may all the willing want to help you out, he/she will often tell you that they need to clear with a rep of their company first.
Non-chain bars is the way to go. Go to as many as you can. You will find a yes. Finding a bar or restaurant type setting is relatively easy. Just mention that you loved the way it looked and some qualities that gave you the idea to film there. You can tell them that you'll mention the bar's name and location (also site if they have one) in the credits. My friend who gets restaurant and bar locations all the time, usually ends up getting to film there when the bar is usually closed (also means someone working for the bar has to be their to be there as well.) They tend to be cool with it if you mention that when filming, you don't plan to disturb any customers. If you have a friend that really knows the bar owner personally, that's a huge help as well.. as they can do the warm-up for you.
I wanted a huge art studio for one of my films. My friend had a close friend that worked at a big studio. So my friend asked him as a sort of primer. Then eventually he put us all on the phone, I pitched the idea again to the person that worked at the studio (mind you this person was already "warmed-up" to the notion via my friend,) and everything went smoothly. The guy working at the studio told his boss and he loved the idea. Just putting him in the credits as Special Thanks was enough for him.
So a good "pitch" mixed with any connections or incentives can help. It may take a few tries, but I have no doubt that you can get a bar to film at.
