ABSTRACT
Over the next several chapters, we’ll be focusing on prep activities that are traditionally considered part of the producer’s “domain”: scheduling, budgeting, and dealing with vendors, unions, states, and contracts. While they’re presented in a linear order, in fact they form a nonlinear, circular process that you’ll go back and forth through every day. Every time you adjust the schedule, you’ll have to adjust the budget. If this pushes the budget up significantly enough, you may have to renegotiate with a vendor or change your equipment order to bring it back down. If you’re signing up with SAG because one of your “must-have” actors is a member, you’ll have to revisit the budget again to add in the fringes. This may in turn mean you have to trim a day from your already too-tight schedule. And so on.That’s why I put “Thinking Strategically” (Chapter 11) squarely in the middle – because at times, you’ll have to step back from this activity and make sure it’s all serving the good of the film as a whole. A typical breakdown sheet, filled out. https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9780203588949/9d94de66-12ca-43b6-a651-073518b2fe74/content/fig9_1_B.tif" xmlns:xlink="https://www.w3.org/1999/xlink"/>
