Below the Line Budget – Part One – The Art of the Deal

All aspects of producing a film require making deals. This article will deal with how to come to agreements with vendors and crew while preparing your below the line budget.

An essential element of putting this part of the budget together involves having target numbers, and knowing how you are going to stay close to them. It also involves separating constants from variables.

It is always important to remember that while you are attempting to save money, you are going to need most of the things that a big budget movie will need. You will need camera equipment, lighting equipment, film stock, expendables, wardrobe, props, and set dressing. Some of these you have more control over than others.

Oh, and one more thing. You’ll need crew.

I am going to address here the independent film that is dealing with a non-union crew, so that minimum rates are not set by the union. Since you are going to have to pay the crew, you must determine how much to pay them.

Why pay the crew? Don’t you read all the time about how films are made with everyone working for free?

Yes. You do read about those films. It does happen. What you don’t read about is how the majority of those films never get finished, either because the crew quits, or they are so inept they mess things up. What you don’t read is that many of those films are not good enough to be sold. As Stan once said, “First, you have to make the movie”.

How much you offer the crew is a function of how much your budget is, and where you live. I shoot mostly in New York, and I know the minimum my regular crew will accept. That number may be different in your town.

Once I’ve determined what I can pay, then I set up a favored nations pay scale. All “firsts” get paid the same, all “seconds” and all “thirds” as well. Exceptions are made for people who are bringing on equipment. I also make exception for the Director of Photography and the Sound Recordist, as it has come to be understood that they are part of the artistic team much as the director. However, I pay the Gaffer the same as the Key Grip, the Best Boys the same, etc, as well as the 1st AC, 2nd AC, etc.

By doing this, I defer the question of “how much is this person worth.” I can tell you that all of my regular crew people are worth more than they are getting paid. The issue for me, then, is fairness. This will be the issue with vendors as well.

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