What Do You Look For In New Hires?

[Modern Day Myth Prod. LLC]

One of my friends a few years ago had to fire his entire crew and put together a new crew overnight. Amazingly, he was able to pull it off.

Certainly, there are personalities we have on set who clash with the wrong people and either quit or get fired.

I try my best to get self-motivated people who are team players and talented. But, as hard as I try, somehow there are always some solo artists.

I just boldfaced what I look for with new hires.

When you are hiring new cast and crew people, what do you look for?

Going through the ringer again for even a pickup shoot, I have to ask is it worth all the headaches and trouble?

 

[ItDonnedOnMe]

There are a lot of people who are team players and talented. Many of them are also very, very self-motivated. But there's a huge difference between being self-motivated, and motivated to work hard on your project. Nobody that you bring in from the outside will ever be as motivated to work on your project as you are, in fact most will be far less so.

That's why you pay people to work on a crew - it gives them the motivation to devote a significant chunk of their time, effort and energy to a project which is otherwise not theirs. When you can't pay them, or you can't pay them enough, then you're going to have a hard time finding people who will put in the effort to get your project done.

The alternative is to find a group of people who are all self-motivated and work together to create a project that belongs to all members of the group - then self motivation will drive all of their work on the project. Everyone has to be willing to put a good deal of ego aside for that to work though, which isn't easy - so if you want to be the writer/director/producer of a specific project you came up with it's not going to work.

 

[Modern Day Myth Prod. LLC]

All good points.

People who work in small indie productions should realize that they have much more job responsibilities with either very little or no pay with no rewards all too often too.

It's a rocky road to rise above the turbelance. Anyone who thinks they will be pampered like working in a studio production needs a good reality check.

It's about paying dues starting out until something someone is in becomes a hit where a distributor wants to take an interest in them.

 

[Modern Day Myth Prod. LLC]

It's also a bad business model to keep making productions when your production costs are greater than your income and the project goes over budget.

I'm sure some small producers have quietly disappeared from too much financial damage.

 

[Modern Day Myth Prod. LLC]

For my own production I'm working on, most of the cast is coming back for the reshoot.

One actress told me she was in 3 productions last year and mine was by far the best she was in. So, count her in for the reshoot.

Another actress said that she is amazed at how the edited footage is looking from clips I showed the cast to pasify them. There was chaos on the set where 2 people got fired. But, the clips look great with the effects.

I've gotta say. That made my day.

But still, the road ahead is rocky.

 

[ItDonnedOnMe]

People who work in small indie productions should realize that they have much more job responsibilities with either very little or no pay with no rewards all too often too.

Sure, and what you're describing is work ethic - that's something you should be looking for in people you hire. If you pay me to do a job, I'll do whatever it takes, within reason, to get that job done. Not everyone is that way, and it's a valuable characteristic in your crew members.

But you have to realize that also runs up against real life. If you are paying someone less for their time than they could be making elsewhere during the same time period, or not paying at all, then you're essentially asking them to contribute financially to your project. You have to ask yourself what it is about your project that would make it worth someone contributing to it like that. That may be experience, for people who are just starting out and have none, but for anyone who's already reasonably skilled the question becomes why would they contribute their time and skills to your project rather than just working on their own? Why would you expect someone to take on a heavy job responsibility with little or no pay or rewards?

It's also a bad business model to keep making productions when your production costs are greater than your income and the project goes over budget.

You're right, continually spending more than you're making on productions is not a business model - it's a hobby. That's fine though, many people spend a lot of money on their hobbies. If your goal is to do it as a business though you should have a solid business plan in place before you start - one that includes contingency money which is in line with revenue projections.

 

[GuerrillaAngel]

#1) Showing up for work, on time.

 

[Modern Day Myth Prod. LLC]

I also read into a cover letter.

When I see a crew person who makes themselves flexible for both medium ans small budget productions, and you can tell by what they are offering for the compensation being offered, that tells me they are interested in making a good film for the love of film.

I had an interesting discussion yesterday with someone about DPs in my area. He said where I'm located, there are so many DPs, they are figuratively falling out of trees. How do I decide a DP?

I look for DPs who are DPs and avoid all-in-one wonders. All-in-one wonders are know-it-alls. They think they are experts in everything, which they are not. I also look at the shooting style and experience in what I need shot. With all of the DPs falling out of trees, very few are right for what I'm making.

The same can be said for stunt coordinators. They all know martial arts. NONE in NY know science fiction action. That's why I'm bringing in my friend from the studios of Hollywood for IC3. My friend is an expert in the action we are making.

You have to recognize these things when you set out to hire people.

 

[trueindie]

There are a lot of people who are team players and talented. Many of them are also very, very self-motivated. But there's a huge difference between being self-motivated, and motivated to work hard on your project. Nobody that you bring in from the outside will ever be as motivated to work on your project as you are, in fact most will be far less so.

That's why you pay people to work on a crew - it gives them the motivation to devote a significant chunk of their time, effort and energy to a project which is otherwise not theirs. When you can't pay them, or you can't pay them enough, then you're going to have a hard time finding people who will put in the effort to get your project done.

The alternative is to find a group of people who are all self-motivated and work together to create a project that belongs to all members of the group - then self motivation will drive all of their work on the project. Everyone has to be willing to put a good deal of ego aside for that to work though, which isn't easy - so if you want to be the writer/director/producer of a specific project you came up with it's not going to work.

and both thumbs up.

I shoot a lot without paying people. I also make them sign things that say the production belongs to me and not to them. So why do they keep coming back. I'd like to think it's my debonaire good looks and my charming personality. But I'm a fat guy that gets irritable on set. So why do they keep coming back?

I treat them nicely after the work is done. I feed them properly. Whatever they want (except beer). Yes, it's a bad business model to keep spending more on productions than you make. But it's a bad business model for the crew as well to donate their time and not get anything out of it.

Also, I've noticed that they like it when I actually 'finish' what we worked on. Most filmmakers shoot things, and then the footage sits on their computers. I try to finish the project as quickly as I can. Most people involved in the projects write back to tell me how much they liked this or that. And so when I send out the next email, if they have time, they respond positively.

Sure the crew should 'realize' that they have to get above the turbulence. But I have to convince them somehow that they will get above the turbulence by working with me. There are 10,000 other people like me telling them that they need to get above the turbulence. Which one should they go for? Either one has to meet their professional expectations, or one has to pay them.

Good luck with your shoot.
Best,
Aveek

 

[directorik]

When you are hiring new cast and crew people, what do you look for?

I can't be so picky - I rarely pay a persons day rate so I am forced to
work with whoever will work for the pay I offer. Then I motivate them
to do their best work by treating them with respect. It isn't what do
I look for - it's how I treat those willing to work for me.

I have never had to fire anyone - ever. Respecting others goes a long
way in my business.

 

[Modern Day Myth Prod. LLC]

Perks is another thing cast and crew like. Everyone felt like a studio person for a day last year where we used the same greenscreen sound stage studio that Jerry Seinfeld uses in NYC with studio-like facilities, a makeup and dressing room, and a kitchen all on the same floor. I even broke the bank for very expensive food from a topnotch catering service.