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To Plan or Not To Plan. “Have camera, will shoot” is how guerilla filmmakers and Dogma 95 followers go about in making film features. Film scenes are shot quickly in real locations without warning, without acquiring permission from the owners of the locations while props are usually taken on whatever things are available on-scene.

That’s all well and good, considering it’s a different, free and cheaper way compared to industry-style filmmaking. The resulting output could appear more real and engaging than anything on mainstream but guerilla filmmaking tactics are not without its challenges or dangers. Most often enough, such tactics can expose the skeleton crew and cast to unpredictable, possibly unsafe situations and the film could end up as something that’s quite below expectations.

Producing an independent film is a collaborative effort that requires more than one person to handle the camera and another to act in front of it. As much as one can afford to, one would want enough control and preparation in order that the cast, crew, the equipment and the film itself are protected from unwanted accidents.

A little planning goes a long way in putting out a film production’s best forward.

Following is a general step-by-step process of how a weekend independent filmmaking group like Sinebuano goes about in planning and preparing for a film production.

I. Pre-production Meetings

In SineBuano, about two or three production meetings are held prior to the actual shooting dates of a film.

The first meeting is when a screenplay or a particular subject is nominated for production. This is an open discussion where members can share comments and ideas for the project. During this time, roles and tasks are offered to the members so that everybody can take part during the overall production.

II. Director/Executive Producer

Usually, this is the most important role to be established during the first pre-production meeting. The Executive Producer is often the person who is the main proponent of the screenplay to be produced. S/he could also be the director though, in any actual Sinebuano production, the cap of director is offered to anyone who has a creative idea during the shoot.

Being the Executive Producer does not necessarily mean that s/he’ll be the one paying for the entire production. Despite some money is required for any film production, the Executive Producer is more like an Event Organizer rather than a Banker. S/he can request the other members to scout for locations, do research, and prepare materials.

Basically, the Executive Producer set things up, remind people of important details and needs, just make the entire thing happen on time. It’s really a big task but it can be handled by more than one person.

III. Location

A well-known adage goes that the success of a business establishment has to depend on “location, location, and location.” That could be also applied the show business of a film production.

The location or setting of a particular scene, especially when it’s a good location, can add the impact of realism. Finding and acquiring the right location is the first hurdle that must be overcome.

If one cannot locate, then one must fabricate. It is possible that any room can be refurnished and rearranged to appear as something else, like an office or a parlor den. One just needs to be resourceful, making the most of what one has.

Permission to shoot at a particular location can be requested in a formal letter with detailed information of what, who, and when the film shoot is going to happen. There is no harm in making a request; the worst that could happen is that the owner would refuse.

Usually, one turns to personal connections like family and friends to help find the location, or at least help in the fabrication of a location.

Whether they be family, a friend or a kind stranger who open their homes or properties for free to the filming, they should be given due acknowledgement and thanks in the film’s credits as major contributors or as producers.

IV. Food, Drinks and Snacks

“A hungry cast and crew make an angry cast and crew makes a bad or no film at all.” This being a collaboration of talents both in front of the camera and behind, a film production’s capital resource is its people.

When the producers are going to shell out money for the production, a large part of the budget goes to making sure that there is nourishment and refreshment available on set during the shooting.

It doesn’t have to be high-end catering since most likely the independent film production would just have a cast and crew of nearly 10 but not more than 20 participants. One could go “cowboy-style” when it comes to food and drinks. It is really important that people should be taken cared of during production. They’re committing their time and energy for free, the very least one can do is feed them for their trouble.

V. Actors

Casting for actors is another hurdle to overcome. For finding good actors willing to be part of an independent feature is rare, finding good actors willing to work for free is extremely rare.

The producers, director and crew could hold a casting call, open for anyone to audition for the roles in the film but through experience it is deemed better to cast someone from one’s own social networks, who may or may not have experience in acting but is enthusiastic enough to learn and commit to the project.

The first thing to be established between actor and director with the producer is a bond of understanding and trust. The director and producers should work with actors in a way that’s not exploitative and offensive to the actor’s individual sensitivities.

Though the director may want to challenge the actors, often it would be a matter of finding common ground between the director’s true cinematic intentions that should be visualized in each scene of the film and how the actors can portray that in whole-hearted awareness and passion for the task.

If one is not up to the challenge, then compromise, collaborate, cooperate to create something that’s cool for everyone. It’s always important for any independent filmmaking outfit to have and maintain a good reputation in working with people.

VI. The Shot List/ The Storyboard

A shot list is a descriptive list of camera angles per scene. It is a list of camera positions the director has visualized best to capture the film’s scenes.

A storyboard is similar to the shot list but it uses illustrations or images displayed in sequence instead of mere words.

Preparing the shot list before hand can aid the crew, particularly the cinematographer, in preparing for each scene. This would save the production more time and energy rather than having to figure out on-the-spot what to shoot during the actual production. Having more time and energy is the breathing space where the cast and crew can complete or “wrap” production early or do more with a particular scene.

It is advisable to use a camera shot list since preparing for a storyboard takes too much time.

VII. The Equipment/Items List

The producers must prepare a complete and comprehensive equipment and items list. This would serve as checklist during the production shoot in order to ensure that everything is required is available on set and nothing gets misplaced or lost. Everything should be ideally accounted for before, during and once the production is done.

The list would include the filmmaking equipment such as the camera, tripod, clapboard, dolly and the DV tapes. It also includes the props, wardrobe and other materials required for the scene, such as masking tape, chalk, cloth and et cetera.

VIII. The Schedule

By the second or third meeting, a tentative schedule should be ready. An independent filmmaking group like SineBuano is composed of people who have priorities both personal and professional, who are only available during the weekend. A schedule should be made that would take these in consideration as well as give ample time for the necessary elements and items for the production to be finalized.

The actual shooting date would often be set on the weekend one or two weeks from the last production meeting once everything’s considered ready and finalized.

The actual shooting time would depend on the director’s requirements. This should be coordinated beforehand with the producers in order to achieve practical feasibility. Time is of the essence so again, one has to work with what one has got, even with limited time.

Planning isn’t everything. One can plan and plan but it’s putting the plan to action is what makes the film. Remember that sometimes things can happen that go against the plan, so one has to adapt, readjust and always make do with what one has got.

Don’t just stick to the plan; leave a little room for some spontaneity to occur. Though it would be very satisfying if things do according to plan, but the real excitement is experiencing some chaos, controlling it on the fly and making it work for the film. A little unpredictability can be fun, and that’s what it should always be about, FUN!

Prepared by DM Judilla. This is part of an ongoing series of articles discussing elements and aspects of independent filmmaking through the personal perspectives and experiences of Sinebuano and its members.