The Art of Film Scheduling

Believe it or not, scheduling a film production is an art form. If you haven't schedule a film shoot before, you'll soon realize how valuable 24 hours can be when it comes to making a movie by the end of this blogspot. Why am I writing this blogspot? Mainly, I work with directors, cinematographers, and a bunch of creative directors in ways where I must balance their needs on one shoulder, and the logistics of production on the other. This article not only helps the creatives and/or above the line personnels understand what all goes into scheduling, but it also helps me recite my strengths and weakness in text form.

Alec Cassidy on set of Forte with DP, Nate Drew 2 Photo by Nolan DuBois © 2024

In the Beginning, There Was a Script

Imagine building a house without a blueprint. When I hear a director or a producer say "we'll just play it by ear" in the development/pre-pro meeting, I tend to curl up into a ball because I get flashbacks of all set horrors without a well developed and structured script. Personally, I halt pre-production until I have a confirmation from my writers and fellow producers on the script. Although this may be nearly impossible in the large scale industry, it is possible as an independent filmmaker.

Okay, you got a script. Now what? Unless you're the AD as well, hire the AD now! The sooner you hire an AD, the more immerse they will be with your plans for production. Aside from other pre-production tasks, here the most 3 important factors (that you can control) that I've always consider in scheduling:

1. Location: where are you going to shoot? How long does it take to get there? When will the location owners allow you to shoot?

2. Cast: What is their availability? Can you negotiate with them or their agents? How much are you willing to give them?

3. Budget: Can you afford what this script is calling for? What is the best way to produce and schedule to keep the project as budget friendly as possible? 

There are also things you can't control such as emergency events like family death in a crew member's family, sudden budget cut, and of course, the weather. 

If It Can Happen, It Will

Because you can't control weather, it is by far the biggest enemy for scheduling. Don't trust the forecast as much as you trust your instincts. If it has been raining for three days straight and it says partly sunny tomorrow, they're bloody lying to you. A trick in the industry is to always schedule exterior scenes first. Knock out all ext. scenes to the best of your ability and then go inside to shoot the rest. 

Be sure, as the producer, to pay attention of the 1/8th rule. Even if they say it takes fifteen minutes to shoot, spare the set-up times, moving times, and any other issues that may occur. I've schedule a shoot where I provided my crew with an hour set up time for simple coverage and yet, we were over two hours because the G&E team didn't have the proper equipments and gear to work with.

Alongside with sparing time for conflict, spare solutions as well. Never go on set without a solution for any problems, so I've learned. If the G&E team was provided with inadequate gear, drop your producer/AD belt and be extra hands for the team. If your department arrives an hour late to set, delegate and try to find things that can help with production. I tell my crew that the goal on set is to keep that camera rolling at all times.

Emily Wickham as continuity on the set of Forte Photo by Lucas Cobb © 2024

How Is It Art?

A lot of painters and filmmakers alike hide meaning in their works. Only the most sophisticated and well rounded audience will get the minute nuances and meaning of the art form. Scheduling is the same exact thing, although, more technical. As the AD, you tend to hide time for the crew to do their jobs. You write down 15-20 minute set ups but you know that they're able to go for an hour with no interference within the day. Nothing is more rewarding than seeing the smile on your director's face when you say "Yes, you have time to do your cool shot idea.". 

Don't consider it fooling your crew, but it is almost like running a daycare in a way. If you tell the kiddos there are more snacks in the back room, they're gonna want to take advantage of it. Instead of lying to them, tell the crew that it is appropriate to have this shot up in a half an hour but if you need more time, I have some to spare. This way, you give the crew a time reference without the do-or-die pressure.

Remember: You're Only Human

What really surprises me is that when something goes wrong with the schedule, it is always the producer/AD's fault. To an extent, it is true. However, we tend to forget that these positions are being executed by humans. Not gods, not deity, but only humans. If you ever feel overwhelmed and pressured, try your best to keep a clear mind. No one said it is an easy job, but the reward is immensely great.

Adam Snook