Reddit reviews The Complete Film Production Handbook, Fourth Edition (American Film Market Presents)

I thought I read somewhere that those two gentlemen were hired as "background performers".

Essentially a background performer's duties include the normal actions, gestures, and facial expressions of the person they are portraying, and what directions may be assigned to them from the director.

Though as soon as a background performer is giving ONE SINGLE LINE of dialogue, they become a Day Performer, which is an entirely different pay rate.

Essentially Jim Carrey was just trolling them, trying to get them to say something even though they were hired as silent bg actors.

And if anyone is curious about scenes, let's say in a mall, where people in the bg are having conversations that are somewhat audible (can sort of be considered as walla), those people are called Omnies.

Source: The Complete Film Production Handbook - pg 264

There are all sorts of contracts. If you're looking for contracts for film productions, I would highly recommend purchasing this book: The Complete Film Production Handbook. It has a companion website with a passcode to access a ridiculous amount of forms, contracts, etc. 134 of them to be exact. Well worth the $50 or $45 for the Kindle version. I wish I discovered it earlier!

These might help, especially the first one:

• What I Really Want To Do On A Set In Hollywood
  
  
• Film Production Management 101
  
  
• The Guerilla Film Makers Handbook
  
  
• The Complete Film Production Handbook
  
  From my own personal experience:
  
  First Assistant Director
  
  
• The directors right hand, the producers left
  
  
• Breaks the script down into what is needed, props, cast, etc
  
  
• Creates the schedule from the broken down script
  
  
• Hires the 2nd AD, 2nd 2nd AD and 3rd AD if neccesary (I've only worked on sets that had a 1st and 2nd, I did work on one TV Show that had a 2nd 2nd but they were more a field producer)
  
  
• Calls for the 2nd AD to bring the talent to the set when they are needed
  
  
• Tells the rest of the crew the planned shot after the director has blocked it
  
  
• Is responsible for keeping the production on time and moving, any overtime is on their shoulders (well, them and the production manager)
  
  
• Oversee's what the 2nd AD is doing
  
  
• Quiets the set down, lets everyone know when the director is going for a take
  
  
• Calls out the rolls (Roll camera, roll sound), sometimes repeats Action from the director, and calls cut after him (but louder).. you need to be loud to be an AD
  
  
• Makes sure the director got everything he had planned, every setup and shot
  
  
• Checks to make sure the director is happy after a take, if he is he calls "Moving on" and begins motion to move everyone to the next shot. Releasing the actors to their trailers, calling the DP into a meeting with the director to plan the next shot. It's like a huddle, everyone comes in, makes a plan, breaks and then it is the AD who is responsible for making sure everything happens.. and happens quickly.
  
  2nd AD:
  
  
• Makes call sheets
  
  
• Calls talent and crew for updated call times
  
  
• Uses PA's to pass out call sheets
  
  
• Shuttles the talent from their dressing room/trailers to the set and back as needed
  
  
• Typically in charge of the set PA's
  
  Plus there's a lot of paperwork involved, filling out time sheets, crew sheets for payroll, daily breakdowns, etc.
  
  [http://en.wikipedia.org/wiki/Assistant_director](This wiki page) has a lot of good information on what the entire assistant directing team does. As well as the book that ou mentioned "The Film Director's Team" is also very valid.
  
  The hierarchy on set, if something goes wrong, is something like this:
  
  
• Producer > Production Manager (sometimes called UPM) > 1st AD and Production Coordinator > 2nd AD and Assistant Production Coordinator > PAs
  
  If you've been a non-union AD on four films, you are probably in pretty good shape. It also sounds like you might have enough days to apply to be a 2nd AD in the union, you may not need to go through the DGA Trainee program.
  
  You need 400 days worked non-union (with proof (call sheets) and pay (pay stubs) as a 1st AD to get in. Or if you have 400 days between working as a 1st AD, 2nd AD or UPM, you can apply to be a 2nd AD.
  
  Also, check out Sheli The AD on Twitter, send her a tweet and she should respond. She's really responsive and helpful and just an all around good person.
  
  Good luck, and if you are still non-union in the future drop (and based in LA) me an email to [email protected]. A good AD is hard to find, I've been with way too many bad ones.

There's a few books on the market, such as https://www.amazon.com/Complete-Production-Handbook-American-Presents/dp/024081150X/ and https://www.amazon.com/Film-Production-Management-Bastian-Cleve/dp/0415788773/

Yes, I like this one

https://www.amazon.com/Producing-Games-Business-Budgets-Creativity/dp/0240810708/ref=sr_1_1?s=books&ie=UTF8&qid=1492055858&sr=1-1&keywords=producing+games

And I also thought this book on film production is interesting

https://www.amazon.com/Complete-Production-Handbook-American-Presents/dp/024081150X/ref=sr_1_1?ie=UTF8&qid=1492055829&sr=8-1&keywords=film+production

Basically I had to read these because I had never worked in a game company before, nor on a film set, and it would probably take years before getting to the level where you are actually producing something in either environment. Both are handy to just kind of see also the order that stuff is developed in. It's tempting to just start programming when you have an idea and run with it, but as I found from the first project I worked on with multiple people, there are certain points you get to in game development where stuff solidifies, and isn't so changeable anymore. Without proper planning, your game will solidify into something you don't like. This is where I think a lot of projects are dropped, or the person just restarts and tries again (again w/o thinking about the project all that much, just programming away), which is the same thing as dropping a project, really

Based on everything you said so far, I have zero interest in your film or book. I don't mean any disrespect, I'm just giving you my honest opinion as a filmmaker. I'm glad you enjoyed writing your book and commend you for finishing it and releasing it, but to self praise yourself by calling it better than The Exorcist is really unprofessional and egotistical and was the main thing that put me off. We don't know who you are, so you gotta pitch your story to us to sell it. That means not being vague. Give us the details. Tell us the plot twists. Make us certain you're onto something worthwhile.

Second, you don't want to go the CGI route, really. Unless you've got unlimited resources and money, you and your audience will likely never be impressed. From my perspective, seeing that CGI is one of your main concerns on an exorcism film gives me the impression that you have in mind another overdone special effects movie I've already seen before. Try to stick with practical effects and remember that less is more. What we don't see is scarier than what we do see.

Finally, I'm concerned that you may be in well over your head, if you are as I assume, alone in this venture and asking what you need to make a movie. If you don't have any knowledge of how movies are made, you'll be in for a shock on how much money, people, red tape, and resources will be involved in making a film worthy of distribution. And you have to have something amazing to get a distrubution deal. Only Hollywood gets to make shitty films. I believe you might be better off rewriting your book into a screenplay format or contracting someone to do it for you and then finding a good indie producer to pitch it to. And for gods sake man get a media lawyer. You'll need one no matter what. They'll need to comb over your script for possible legal issues before you even begin planning to film. That's just the surface there, but this book:

http://www.amazon.com/Complete-Production-Handbook-American-Presents/dp/024081150X

Might get you the rest of the way in terms of learning the business side is filmmaking. The basics before you even think about rolling camera.

I'm not trying to shut you down at all. I'm working on a one man experimental project myself. I'm just hoping to save you from getting into something over your head. Good luck!

Try this.

I own this book and will say that it's the most comprehensive source in terms of what goes into production, including templates and checklists for various departments. It won't teach you everything, as there's really no substitute for on set experience, but it covers all the bases you'll need covered and then some.

Read this book

Tips to save money are:

1. less locations the best
   
   
2. Small amount of actors
   
   
3. No stunts or explosions
   
   
4. Copyright free music or if you have a musician friend ask for help
   
   
5. Search for the best for your money when it comes to camera and grip/electric rental. You can find great daily rates by searching companies or craigslist to seek out a camera to rent.
   
   Remember that film making is a job so try to raise enough money to pay for skilled labor. You can get interns such as PAs but treat them with up most respect because they are working just as hard as the skilled people for little or no pay. Don't ever assume that people are wanting to work for you because they share you passion and vision.