DEBORAHPATZ

FILM
PRODUCTION
MANAGEMENT
101 SECOND EDITION
management and coordination in a digital age
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TABLE OF CONTENTS
INTRODUCTION TO THE SECOND EDITION

INTRODUCTION

I. PROJECT DEVELOPMENT

CHAPTER 1 – GETTING HIRED

You As the Production Manager
You As the Production Coordinator
About the Production Manager & the Production Coordinator

CHAPTER 2 – BEFORE OFFICIAL PREP

From Development to Preproduction

CHAPTER 3 – BUDGETING & BREAKDOWNS

Overall Budgeting Issues
The First Read or Preparing for the First Pass
More Specific Budgeting Issues
Series & Co-Production Budgets
A Few More Overall Budgeting Issues

CHAPTER 4 – YOUR KIT & ONLINE RESOURCES

Your Reference Sources
Your Start-Up Supplies
Your Computer & Office Equipment
Identify & Insure Your Kit

II. PREPRODUCTION

CHAPTER 5 – SETTING UP THE PRODUCTION OFFICE

The Coordinator Sets Up the Physical Production Office
The Manager Sets Up the Financial Backbone to the Office
When Information Is Confidential
Maximizing Email Confidentiality

CHAPTER 6 – HIRING CREW

Who Hires Whom
Regarding Resumes, Cover Letters & the Internet
viii film production management 101 – 2nd edition – deborah patz

Regarding Crew Interviews

Regarding Office Staff & Craft Service
Union & Non-Union Crews
Mentorships & Internships
Firing Staff

CHAPTER 7 – CREW DEPARTMENTS

Office People
Cast & Casting People
Set People – Assistant Directors
Other Set People
Design, Building & Decorating People
Technical People
Hair, Makeup & Wardrobe People
Special Departments People
Postproduction People
Publicity People

CHAPTER 8 – WORK SPACE ORGANIZATION

Electronic vs. Paper Work Spaces
The PM’s Work Space
The PC’s Work Space
Creating a Document Trail

CHAPTER 9 – TELEPHONE ETIQUETTE

Choosing a Telephone System
Reception: The Job

CHAPTER 10 – SETTING UP A FILING SYSTEM

Filing Electronically & Physically
The Production Coordinator’s Files
The Production Manager’s Files

CHAPTER 11 – FORMS, MEMOS, LOGS, CHECKLISTS

Forms & Memos-To-All to Create
The Distribution Table & Other Places for Documentation

CHAPTER 12 – COUNTDOWN TO PRODUCTION

Three Weeks or More before Production
Two Weeks before Production
One Week before Production
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III. PRODUCTION

CHAPTER 13 – THE SHOOT DAY & CALL SHEETS

The Shoot-Day Format
Early Morning
Morning
Morning and/or Afternoon
Lunchtime
Afternoon (including Call Sheets & Location Maps)
Late Afternoon
At Wrap

CHAPTER 14 – DAILY PRODUCTION REPORTS

What Is a Daily Production Report?
Who Generates the DPR?
Who Else Reads the DPR?
How to Read a DPR
Publishing the DPR
The Second-Unit DPR

CHAPTER 15 – COUNTDOWN THROUGH PRODUCTION

First Day of Principal Photography
First Week of Principal Photography
During Production
Toward the End of Principal Photography

IV. MORE MONEY & MANAGEMENT ISSUES

CHAPTER 16 – LOCATION MANAGEMENT

Location Scout vs. Location Manager
Where to Find Locations
What to Look for in a Location
Crew Meetings about Locations
Location Surveys
Preparing for the Shoot
Location Management during the Shoot
Burned Locations

CHAPTER 17 – PRODUCTION INSURANCE

Buying Production Insurance
Comprehensive General Liability & Worker’s Compensation
The Entertainment Package
x film production management 101 – 2nd edition – deborah patz

E & O Insurance (Errors & Omission Insurance)

Corporate Policies
Additional Insureds
Insuring Micro Low-Budget Shoots
Insurance Claims

CHAPTER 18 – COMPLETION BONDS

When You Need (or Might Not Need) a Bond
Who Deals with or Reads a Bond
How Much Paper Makes Up a Bond?
What Is the Strike Price?
Rebate Bonds vs. Regular Bonds
What Happens When the Bond Is Called In
The PM’s Relationship with the Bond
Alternatives to a Bond

CHAPTER 19 – PETTY CASH & PURCHASE ORDERS

Petty Cash
Checks
Direct Checks
Purchase Orders
Check Requisitions
A Word about Credit Cards

CHAPTER 20 – CASH FLOWS

Creating a Cash Flow
Co-Production Cash Flows
Amortization & Pattern Budget Cash Flows
Micro-Budget Cash Flows

CHAPTER 21 – INTERIM FINANCING

Who Are Interim Lenders?
How Lenders Finance Your Production
How an Interim Loan Works or How Much Can I Borrow?
What Paperwork Makes Up an Interim Loan
Inter-party Agreement
Add the Lender to the Bond & Insurance
Minimizing the Interim Loan Amount

CHAPTER 22 – OFFICIAL & PM-ONLY COST REPORTS

The Official Cost Report
Preparing the Cost Report
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Co-Production Cost Reports

Series (Amort & Pattern) Cost Reports
The PM-Only Cost Report
Managing Cash Flow through Production
Dealing with Overages & Savings
About Specific Cost Reports

V. MORE CONTRACTING ISSUES

CHAPTER 23 – DEAL MEMOS & LONG FORMS

Crew Deal Memos
The Start Pack
Corporations vs. Employees
Long Form Agreements
Handling Signed Deal Memos

CHAPTER 24 – CAST CONTRACTS & IMMIGRATION

Auditions
Cast Contracts
Immigration & Traveling Stars
ADR Sessions & Contracts

CHAPTER 25 – SUPPLIER AGREEMENTS

Supplier Letters of Agreement

CHAPTER 26 – THE SPECIAL DEPARTMENTS

Previs – 3D or 2D Previsualization
Finding the Supplier for Special Shots
SPFX – Special Effects
Postvis
CGI – Computer-Animated Effects
Motion Control
Blue Screen or Green Screen
Working with Animals
Stunts
Working with Children
Other Special Departments

VI. MORE PRODUCTION & COORDINATION ISSUES

CHAPTER 27 – SCRIPT FORMAT & REVISIONS

The Production Manager & Script Revisions
xii film production management 101 – 2nd edition – deborah patz

The Production Coordinator & Script Revisions

Formatting the Early Drafts
Title Pages
Feature Film Script Format
Comedy Script Format
Script Revisions

CHAPTER 28 – PRODUCTION SCHEDULING

Preproduction Schedule
Production Schedule
Production Board (Strip Board or the Board)
Reading the Schedule
A.D. Breakdown Pages
One-Line Schedule
Shooting Schedule
Second Unit
Scheduling for Low-Budget Productions
Specialty Breakdown Memos

CHAPTER 29 – CREDITS
Screen Credit Design
The Preview Drafts
The Early Drafts
The Final Drafts

CHAPTER 30 – DOCUMENTATION DISTRIBUTION

Reducing Paper Usage
Tracking System
Starter Distribution Lists
The Joy of Documentation Distribution Lists
The Production Report & All Its Backup Documentation

VII. ONGOING SPECIAL ISSUES

CHAPTER 31 – PUBLICITY & THE AUDIENCE

Unit Publicity vs. Marketing
Unit Publicity’s Schedule & Main Unit’s Schedule
Typical Unit Publicity Elements
When Confidentiality is the Publicity Plan
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CHAPTER 32 – COURIER & CUSTOMS

Couriers (Local & International)
The Customs Broker
Digital Viewing Copies Crossing Borders
Wardrobe Crossing Borders
Film Equipment Crossing Borders & Carnets
Film Stock Crossing Borders
Other Items Crossing Borders
Hand Carrying Items across Borders

CHAPTER 33 – SCRIPT, MUSIC, & OTHER LEGAL CLEARANCES

The Script Clearance Report
E & O Insurance
How Script Clearance Reports Work
Using Actual Names
Copyright, Trademark, & Public Domain
Creative Commons Licenses
Music Clearances
Photographic Clearances
Other Clearances
Moral Rights
Title Searches
Product Placement

VIII. POSTPRODUCTION

CHAPTER 34 – WRAP & WRAP PARTY

The Production Manager Wraps
The Production Coordinator Wraps
The Wrap Party

CHAPTER 35 – POSTPRODUCTION
The Uniqueness of Postproduction
The Stages of Postproduction
The Postproduction Work Flow
Vaults & Storage
Delivery
Air Dates & Release Dates & Festivals
xiv film production management 101 – 2nd edition – deborah patz

CHAPTER 36 – AUDIT
Must You Always Audit?
The Various Reviews of an Audit
The Documentation Needed for an Audit
Other Documentation That May Be Needed

CLOSING NOTES

IX. APPENDIX

GLOSSARY

SAMPLE FORMS
Development to Production Budget Sample #1
Development to Production Budget Sample #2
Blank Budget Top Sheet #1
Blank Budget Top Sheet #2
Blank Budget Top Sheet #3
Budget Breakdown Sample #1 “The Lists”
Budget Breakdown Sample #2 “The Spreadsheet”
Detail Page of a Budget
Checklist of Questions/Notes for Budget Creation (2 pages)
Time Sheet
Accident Report Form
Walkie-Talkie Sign-Out Form
Cell Phone Sign-Out Form
Keys & Security Cards Sign-Out Form
Equipment Rental Log
Courier Log
Long Distance Log
Copier Paper Count
Development Cost Report
Crew List (2 pages)
Cast List
Contact List (2 pages)
Call Sheet Sample #1
Call Sheet Sample #2 (2 pages)
Production Report Form #1 (blank)
Production Report Form #2 (blank) (2 pages)
Location Release Form
Location Letter
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Petty Cash Report

Purchase Order (P.O.) Sample
Purchase Order (P.O.) (Blank)
P.O. Log
Check Requisition
Cash Flow Sample (Detail)
Cash Flow Sample (Summary Page)
Cost Report Sample (Top Sheet)
PM-Only Cost Report #1 (Spreadsheet from Accounting)
PM-Only Cost Report #2 (Spreadsheet Made by PM)
PM-Only Cost Report #3 (Budget Form)
PM-Only Cost Report #4 (Pencil Copy)
Deal Memorandum (Especially for Non-Union Crew)
Extras Release Form
Performer’s Change of Date Form
Letter of Agreement (Catering)
Feature Film Title Page
TV Series Title Page
Drama Script Pages (2 pages)
Comedy Script Page
Sample Strip Board
A.D. Breakdown Page
A.D. Breakdown Page (blank)
One-Line Schedule
Shooting Schedule
Credits Style #1 (4 pages)
Credits Style #2 (3 pages)
Document Distribution Binder - Tracking Form
Document Distribution Binder - Tracking Form (Blank)
Wall Envelope Distribution - Tracking Form
Wall Envelope Distribution - Tracking Form (Blank)
Wrap Party Checklist & Budget Form (2 pages)

INDEX

ABOUT DEBORAH PATZ

 1

PROJECT DEVELOPMENT I
Hire the right people and let them do their jobs.
2 film production management 101 – 2nd edition – deborah patz

INTERVIEW NOVICES

Going for my first interview to become a Production Coordinator, I was very nervous.
I had jotted down in tiny writing on a cue card all the questions I could muster about the
show and my prospective role in production. What I didn’t know at the time was that I was
being interviewed by a relatively new Production Manager.
He asked me a few general questions. I sputtered out a few answers. Silences
and uncomfortable moments crept into the interview. Now and then I referred to my cue
card and asked a question myself. The Production Manager was intrigued by the card in
my hand. He leaned forward to get a glimpse of its contents, then said: “You seem more
prepared for this than I am. Why don’t you take over the interview?”
I realized then that he was as nervous as I was about this whole interview. So I
blatantly referred to my cue card and continued with my questions, jotting down answers
as we discussed the different topics. Soon conversation was lively, direct, and informative.
He leaned back in comfort and we lost track of time chatting about film, the project, and
the workings of a production office.
By the next day I was working in that office. But it occurred to me that the only
question I didn’t ask him at the time was: Did I get the job?
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GETTING HIRED 1
Before thinking about working as a Production Manager or
Coordinator, you first think about getting hired as one. You have
exhausted your network of contacts and their contacts and have
finally made it to an interview for just that job. Your C.V. is short,
to the point, and shows off your experience and education related to
this particular job. If it is your first job interview as a PM or a PC,
you have worked hard to get here and you are pretty sure you can
do the job. You just need the chance to prove yourself. You are trying
your best to show how relevant your experience is, how professional
you are, and basically emanate all your best working qualities. But
what are “they” looking for from you?

YOU AS THE PRODUCTION MANAGER

BEFORE THE INTERVIEW
You have probably already had a telephone interview. You have
an idea of what the film is about. You may know some of the key
people involved, the overall size of the budget, and when and how
long the shoot is planned. You need to know more.
The first stop for your research should be online. Surf the
company’s website and read up on it prior to the interview. Surf
the websites of the company’s previous productions. Research the
Producer, Director, and any other key members of the team that you
know about. How professional are their presentations? Do you want
to be associated with these people in your career?
You may also have the opportunity to read the script prior
to attending the interview. Take the chance if you can. As PM, or
as PC, you will be selling how wonderful the script is to many
4 film production management 101 – 2nd edition – deborah patz

other people and companies along the production process. You better love it — or
something about it — now.
You may also have the chance to read the budget prior to attending the
interview. Take this opportunity if you can. You are going to be hired to keep to
this budget. You want to know it inside and out as soon as possible. Read the script
first, then make notes and questions about the budget while reading the budget.
How were these decisions made? You are going to be hired to follow up on these
key decisions during production. Can you do it?
Call industry people you know and trust to find out what they know about
these Producers or this production company. You are checking their references.
You want this job to be a good fit for both you and them. Remember, when
checking references, you want information closest to the source. People who
have heard rumors, rather than having had direct experience working with those
you are checking on, can give you dangerously misleading information. Also
remember that personality clashes can give you biased feedback, too. Just store up
the reference information you collect, go to the interview, and make a decision for
yourself. It is your career, after all, and your prospective employer is calling your
references right now, too.

WHAT TO BRING TO THE INTERVIEW

Take notes during your research. You will have questions to ask the
Producer(s) about the production. Prepare now so you don’t end up leaving the
interview saying to yourself, “If only I’d asked…”. Use a small note pad, or index
cards you can refer to. Bring a pen or a pencil so you can jot down answers or
names you collect. You are not being hired to memorize. Reference material is
okay. A scripted book of notes would be excessive.
Also bring another copy of your C.V. The Producers should already have a
copy, but it may only be an illegible scan or fax, or they may forget to bring it.
Be prepared.

AT THE INTERVIEW
The interview could be in a production office, a head office, or even in a
restaurant. It depends on the people, their style and situation… and where they
can find a private space away from telephones to talk with you. You will be
interviewed by the Line Producer, the Producer, the Executive or VP in charge of
production, or perhaps a combination of them all. It will depend on the situation.
Ease in with chitchat. Chitchat is an opportunity to find out something
personal about the people you may be working with. You can use chitchat as your
opportunity to show off your attitude toward life and work and how you balance
the two.
 GETTING HIRED 5

Who Are the Producers?

There are always a number of Producers on a production. They can be:
Executive Producers, Co-Producers, Producer, Associate Producers, Line Producers,
Creative Producers, etc. Find the complete list of who is on board the production
and how involved they are. Some may have worked on the initial assembling of the
development package; you may never see them during the course of production.
Some may be very “hands-on,” showing up daily on set, and attending all
meetings. Some Producers work in-house at a production company, while others
are freelance and hired, just like you. Include all the Producers’ names in your
notes. You can research these new names later on at home. Confirm to whom
you, as a PM, will be reporting. You should be reporting to the Line Producer or
Producer, who will in turn report to the Executives. You will not have time to
report to several people. Determine if there is a clear chain of command in place.

WHAT “THEY” ARE LOOKING FOR

The job of the Production Manager is a hugely responsible position. The
Producers have been raising money for years to make this production. They have
expended a lot of effort developing this project to where it is today. You, as a PM,
are being hired to spend the money they have assembled in a superbly short time
frame to move this project from script to screen. You better be able to spend the
money wisely — on time and on budget. Although you will learn something on
every job you do, a Producer is not looking to, and should not, train you as a PM.
A Producer wants you for your expertise and professionalism. The company is
going to put a lot of trust in you and the team you hire. How wisely do you spend
the budget? How well do you track the money as it is being spent? How fast and
how accurately do you create cost reports? Can you handle the stress of it all?

Know Your Expertise

Now, of course, no two productions are identical. Just because you
production-managed one show does not mean you can manage any production.
Some projects are on a much larger scale than others. Some involve several countries.
Some involve shooting with kids, animals, and special effects. Some are shot in
HD or other digital format, 3D, or on film. Some specialize in doing everything
for “food and favors,” while others can pay some of the crew overscale. Do you
have experience in production with any of these specialties? Is your background
experience compatible with this budget, this script, and this company? Maybe
you were working on a production, but not as the Production Manager, and you
were the one who negotiated all the rights for the pre-recorded music — and
this production is all about music. Though not PM-experience specifically, your
6 film production management 101 – 2nd edition – deborah patz

knowledge may be superbly relevant to this particular production. You may know
more about music clearances than the Producers, so they will need your expertise.
You must understand what you can do. Then you can demonstrate how useful
your experience is to this production.

What Is the Vision?

The Producer wants to hire people who are all moving in the same direction,
making the same film. Take time to discuss the vision of the final film and the
budgetary choices already made in the development budget. If the Producer at
the interview has created the current production budget, this is fortunate for you.
Bring out your budget questions and start asking. Where does the Producer want
the money to be spent? Is the shot with 1,000 extras integral to the story, or can
it be cheated with 100 extras, or moved to another location with no extras at all?
Now is the time to gather a sense of what has to stay in the story and what is
expendable. While asking the questions, ask yourself if you can make this “vision”
for this budget. This responsibility will be yours.

Know Your Style

Are you a “paper person” who loves to analyze numbers and report them?
Or are you a “people person” who prefers to be on set, physically overseeing
production and discussing and observing the status? You will need to balance both
abilities; if the Producer you are about to work with prefers one more than the
other, be prepared to make the right choice to work most effectively. Also know
if you prefer to rule a set in almost military efficiency, or if you prefer a quiet
approach to earning the crew’s respect. Are you an organizer or do you need an
organizer to make it through the day? Know yourself. You will be working in
close quarters with the Producer and the Line Producer. Be prepared to determine
if your work styles are compatible.

Difficult Decisions
Have you ever fired someone? Have you dealt with difficult people or
bruised egos? How do you inspire people? Are you confident enough to advise the
Producer or Line Producer how to cut costs? Have you ever analyzed a situation
and decided that, for the best of the project, someone key needs to be fired? Can
you make these difficult decisions? Look into your career history. What have been
your most difficult decisions? Share these. The Producer needs someone who can
make such decisions. The Producer also needs someone who can deal with widely
varied issues both delicately and confidentially.
 GETTING HIRED 7

Who Do You Know?

The Producer or production company may have preferred suppliers they
already use. They may have names of people they want in key roles or suggest to be
in key roles. Others will be looking to you to bring your contacts and crews. Your
experience with crews will grow over time, but you should know some reliable
crew already. How do these people work? How do they work together? Do they
have your respect? A Producer needs a PM who has the crew’s respect. As PM, you
will often be the “no” person, informing the crew that they cannot have or rent
something because of budgetary restrictions. You have to inspire them to think
of creative alternatives. Do you have an office team of a Production Coordinator,
Assistant Production Coordinator, and Office Production Assistant (Office P.A.)
ready to go? If preproduction is fast approaching, it will be good for you to have
these people on standby already. You may be starting tomorrow.

WHAT YOU ARE LOOKING FOR

You are part of this interview, too. The fit has to work both ways. Here
are some things to consider and to ask yourself during the interview to ensure a
good fit. Your questions and participation in the interview will generate further
questions and discussions from the Producer, and show the Producer how involved
you will be on the production. You will win some trust and assurance with the
questions you choose to ask. Notice if the Producer evades some of your questions
or is open about the answers. This interview will set the tone for your working
relationship.

What’s the Film About?

Have the Producer(s) tell you about the film. Find out both the creative and
the financial aspects of the production. Find out the development history of the
project. Now is a perfect opportunity for the Producers to show their excitement
about the project and sell it to you. If you are to become the PM, you will have
to sell the project over and over again to many others. Find out what magic the
Producers see in the project.

Is the Budget Locked?

Find out low “locked” the budget is. At a certain stage, the Producer has to
“lock” the budget for the financiers and begin cost reporting to the locked budget,
showing the overages and savings on a line-by-line basis. Hopefully, you will have
the opportunity as PM to take a final pass at the budget before locking it, adding
your budgeting expertise to it, bringing the estimates per line as close to reality
8 film production management 101 – 2nd edition – deborah patz

as possible. With all the variables that happen during the course of production,
you will never be exact about each line item, but from working on show after
show, you will have a better sense each time where money is actually spent instead
of just budgeted to be spent. This pass at the budget will also help you become
intimately familiar with each budget line and what it is intended to purchase. Ask
yourself: Can I hire the crew I need on these wages? Can I rent the equipment I
need with this budget?

Is Anything Spent Already?

Sometimes a Producer will have pre-allocated costs to contingency. Find out
immediately if such is the case. Do not wait until you are hired before you find
out that contingency money in your budget is already spoken for and will not be
there for emergencies.

What Cost Reporting Is Needed?

Usually you generate a cost report either bi-weekly or monthly during
preproduction, weekly during production, and monthly during postproduction.
If you are working on an international co-production, are you reporting on all
the costs of production, or just this country’s costs, leaving the other costs for the
other country’s accounting people? How soon in the next week does the Producer
expect to see a completed cost report? What will your production office be audited
on after the end of production? Ask yourself if you and your accounting team can
generate cost reports this soon. Remember that cost reporting is all geared toward
the final audit. Plan for the end of the process from the beginning. Is your office
going to audit all the costs of production or just the local costs of production?

What is the Schedule?

Find out what the production schedule is. How flexible is the delivery date?
Does the Producer think the schedule is tight already? Have you shot films this fast
before? How fast does the director shoot? Discuss the possibilities and ask yourself
if you can bring the project in on time under these circumstances and with these
people.

More About the Vision

You have already discussed the vision of the film with the Producer. Get a
sense if you can, prior to your first days on the job, whether or not the Director
and the Producer have the same vision. Is the Director known for wide-sweeping,
expensive vista shots, yet the Producer is planning an intimate, close, personal
story? How do the Director and the Producer communicate? How long have they
 GETTING HIRED 9

been working together? Are they making the same film? Any sense you form
about their communication abilities will provide you a foreshadowing of how
difficult or seamless the production will be.

Biggest Challenges of the Shoot

Find out from the Producer what she expects to be the biggest challenge(s)
of the shoot. Will there be prototype equipment in use with no back-up plan
for when the equipment breaks down? Are there multi-country logistics to be
navigated? Does the Star Performer have limited availability to schedule the
shoot around? Even though you will read the script and discover other potential
challenges or expensive elements for the road ahead, it is good to seek out clues
from the Producer’s point of view of this particular production’s challenges.

Who Is the Team?

You have already found out about the list of Producers attached to the
project. Who else is on board? Find out how involved you are expected to be
when it comes to hiring the key crew. Ask yourself if you know of qualified people
to fill these roles.

Is the Office Ready?

Find out if the Producer has a production office or a studio already, or if you
are expected to find them. More than likely, finding a production office will be
your first task.

Any Preferred Suppliers?

Find out if the Producer has preferred suppliers. Is there a computer graphics
company already on board? If they have quoted on CGI (computer graphic
imagery) costs for the early draft budget created during development, there will
be such a company on board already. If the Producer has a track record, he will
likely already have a post facility of preference, and an insurance company. Find
out and note these names. It will be time to introduce yourself soon, should the
job be yours.

What Do You Get Out of the Film? (PC-PM)

Finally, ask yourself what do you get out of this production should it be
offered and you take the job? Do you like the project and the people? Are you
comfortable with the pay and committed number of weeks and are you confident
10 film production management 101 – 2nd edition – deborah patz

that you can do the work? Maybe you are being offered this job for less pay than
you would rather earn. In that case, evaluate how this show will further your
career. Will you be working with someone with whom you want to develop a
career contact? Will you be working in a medium with which you have little
experience? Does this job fit nicely into your calendar to fill in the space before the
high production season begins? Are you particularly passionate about this script
or this story? On super-low-budget productions, remember that you have to be
getting something out of the production, too. You are about to work extremely
long and hard hours, face difficult decisions, and defy all sorts of odds to bring the
production in on time and on budget, allowing the creative vision to be realized.
Whatever you are paid, you have to be totally dedicated to the project. If you do
your job badly, you will hurt your career. You have to find the passion to do it well.
Ask yourself: Am I passionate about this project?

Think About It
There is no need to accept a job on the spot if you are offered the position.
Thank the Producer or the line Producer for his or her* time, and leave the interview
to at least have a cup of coffee and evaluate what you have just learned. It is more
likely you will want to sleep on the decision. You are making a career choice. It is
a big decision. Take the night before answering.
Once hired, you will be changing seats and first hiring a Production
Coordinator to be your right hand during production. This person will put the
office together and keep it all running for you. You need an organizer. Have a
look over the coordinator interview questions below, and assemble the answers
from the Producer before you are faced with these questions yourself. You will be
answering them over and over again with all crew interviews.

YOU AS THE PRODUCTION COORDINATOR

BEFORE THE INTERVIEW
As a Production Coordinator, just like the PM, do your research prior to
the interview. Searching the Internet is the first step to source information about
companies and people.
Bring a pen, paper, and cue cards into the interview. Assemble some questions
on them. As a Production Coordinator, you are being hired to organize not to
memorize. This is your opportunity to be organized in the interview. On the job
you will be walking around with pen and paper anyway, so make this practice
your habit now.
*
This is the last time you will read “his or her;” from this point on, I will use one or the
other pronoun and assume you understand that at any single time, either sex could apply.
 GETTING HIRED 11

THE INTERVIEW
Relax and enjoy, if you can. The Coordinator and the Manager need to
develop an easy communication and working relationship. Here are some questions
to start the conversation rolling. Do not be afraid, however, of interview tangents.
If these questions spark further conversation and further questions, that is okay.
The Coordinator and the Manager will be spending a lot of time together, so you
are expected to be able to communicate well. The only warning about interview
tangents is to be aware of any time restrictions. Too much chat can warn the
Manager that more conversation than work will be done during the shoot.

What Are the Shooting Start and End Dates?

This will be the first question the crew will ask of you.

Do You Expect to Have Weekend Shoots or 6-Day Work Weeks?

Some films schedule their workweek to include shooting on Saturdays,
Sundays, and holidays to take advantage of reduced traffic or greater location
availability. If you will be dealing with a 6-day workweek, consider and adjust
your fee accordingly.

Do You Expect to Have Long Shooting Days?

The film will be budgeted to shoot a certain minimum number of hours per
day. Is it planned to be a 9-hour day or 12-hour day? Note that lunch hour is not
included in describing the day’s length, so a 9-hour day plus lunch is actually 10
hours long.

How Do You Like the Office Run?

Some Production Managers insist that the office be open at least 30 minutes
prior to call time until 30 minutes after wrap, with prep and wrap days being a
minimum of 9:00 a.m. to 6:00 p.m. Some Production Managers will leave the
office-opening schedule up to the Coordinator.

Will the Film Have “Day Shoots” and/or “Night Shoots”?

On night shoots, some Production Managers prefer to have the office open
both business hours (9:00 a.m. to 6:00 p.m.) and set hours (all night long). If this
is the case, you will need extra office crew to make it happen. Discuss this now.
What is budgeted?
12 film production management 101 – 2nd edition – deborah patz

How Elaborate Is the Shoot?

Will there be a lot of extras, locations, special effects, music clearances? The
Production Manager may ask what you mean by this question, which is designed
to help you determine how complex your job is going to be.

Will There Be Any Performers or Crew from Out of Town?

This question will determine how much you will need to deal with travel
agents and immigration.

Who is the Film For?

Another question the crew will have for you right away — in order to find
out who is broadcasting the show or which distributor is handling the feature.

Who Are the Producers? How Many Are There? How Involved Are They?
Executives from many different companies and countries can be listed as the
Producers for a film. There can be Executive Producers, Supervising Producers,
Associate Producers, Creative Producers, Producers, Co-Producers, Line Producers,
or any other “Producer” title newly invented. Since the titles are not standard for
describing the duties of each position, you need to find out how each Producer
is involved and in what order (often a political decision) to put them on the crew
list. As subtext, you will also learn how big a job your documentation distribution
to the various companies will be, and you may form an estimate of how long head
office decisions take by determining how active each of the various Producers
intends to be.

What Is the Company Name for this Film Production?

For legal and accounting purposes, film companies set up separate incorporated
companies for each production. You need to know this name to conduct any
business, from making letterhead to setting up accounts and contracts.

Where Are the Production Offices? How Set Up Are They?

Some offices are simply empty rooms that you have to furnish from scratch.
Others are fully furnished right down to telephone systems and copier/scanners.
This question will determine how busy you will be in your first few days.

Do You Have a Computer System Already? What Kind Is it?

Often the Production Coordinator comes to a production with a computer.
If you do, negotiate a kit-rental fee and find out if your system or training is
compatible with the company’s. Is there a VPN (Virtual Private Network) or FTP
 GETTING HIRED 13

site linking the production and post teams with the post facility and/or head
office? If so, what technical requirements and personnel are necessary to connect
the required people and locations?

Do You Have Corporate Accounts Already Established?

Some companies prefer that you use their head-office courier, photocopier,
office stationery accounts, etc., whereas others encourage you to bring in your own
contacts.

What Production Documentation is Required? Any Preferred Forms?

These questions are merely confirmation that the Production Manager wants
completed production reports, call sheets, production schedules, and so on. Though
redundant, the queries should spark further discussion about any existing forms the
company prefers to use, digitization expectations of completed documents, and who,
between the Assistant Directors and you, will be responsible for certain records. You
will also learn how easy it is to talk to the Production Manager and how much the
PM will rely on you for the correct documentation on the show.

How Much of the Crew has been Hired?

Here is where your pen and paper prove useful. Write down all names and
positions the Production Manager mentions. Also note the status of each person.
Often names will be chosen for the various positions, but not yet confirmed. Be
aware of who may come on board, but never publish any unconfirmed information
on a crew list. This is your opportunity to show how you deal with confidential
information.

How Many Staff Will Be in the Office?

Find out how much the budget allows for Assistant Coordinators,
Receptionist, and Office P.A.s. Also find out if you will be hiring the Assistants,
or if they will be appointed for you. Some Assistant roles may be already hired or
promised by Producers, Managers, or Executives prior to your arrival.

How Soon Do You Want the Production Coordinator to Start?

This start date will be a budgetary concern for the Production Manager. Be
prepared if the date is tomorrow.

What Is the Budget for the Production Coordinator?

This is the dance of the numbers. You ask the Production Manager how
much is in the budget, the Production Manager asks you how much you expect
14 film production management 101 – 2nd edition – deborah patz

to make. If the coordinator job is union, the dance can be short, as you can look
up the scale rate to start; but if the job is non-union, the price range is enormous.
If you intend to jump in with the first number, consider the scale and the budget
of the film together with your research from other coordinators to determine a
starting price. Remember to negotiate your computer and equipment kit rental
separately.
You may not be able to have all the answers to your questions right away.
That is okay. You can leave some of the questions for the first day of the job. As
mentioned in the Production Manager section, you as the Production Coordinator
do not have to decide to take the job at the interview. The Production Manager
may be interviewing other candidates and will want to make a decision later. You
are welcome to think about the possible job overnight, too. Later, review your cue
cards and notes. Do you want to be involved with and be a part of this job? It will
be a huge commitment. Long, hard hours. Think about it seriously. Sleep on it.
Then follow up with the Production Manager the next day.

ABOUT THE PRODUCTION MANAGER & THE PRODUCTION COORDINATOR

The Production Manager oversees everything the Production Coordinator
does. This process may seem slow at first, but as the PM and the PC develop
a relationship of trust, the Coordinator can be given room to initiate more
duties unsupervised. The production office is a very busy place, and everything
eventually makes it past the Coordinator’s desk. A Production Coordinator should
never forget to inform the Production Manager of what is happening. The PM
needs to know as much as the PC does about all that is going on in the making of
the film. At its best, the PM and the PC will become friends and trust each other
with secrets that will help both in excelling at their jobs. At its worst, the PM and
the PC will neither inform nor help each other, and the production will stumble
along with great problems as everyone finds out crucial information after the fact.
Communication is a two-way street, so start off your side as best you can. Work
at it. Invest in it.
Congratulations! You made it to the end of the interview as a Production
Manager or a Production Coordinator! You have been hired! Celebrate. Take
yourself out for dinner and a movie. After today, you are going to give an awful
lot of your time and effort to the production. The real adventure is about to
begin. You are about to turn an empty set of rooms into a running, thriving film
production office. Armed with all the answers you acquired during the interview,
you are ready for the adventure.