This week, in Part 2 of our filmmaker Q & A series, we catch up with producer/assistant director/actress Cassie Laing.
Mrs. Laing and her husband, Chason Laing, have been the team behind faith-based, independent TV series including Breakers, The Network and Wyatt’s Fort.
She gave us some great perspectives with our “Top 5 Questions” for independent, faith-based filmmakers:
1). How important is a good script when it comes to making independent films?
I would argue that a good script is the most important part of filmmaking. Even amazing actors cannot make up for a bad script.
Good dialogue is necessary. No dialogue is also important - if you can, show me don’t tell me.
Anyone involved in writing or selecting a script must understand story structure. Only a person who understands it can occasionally break the rules. So don’t be a maverick and throw it out.
2). Do most filmmakers need to also have a “day job” when starting out? How long does it take to make a living from full-time filmmaking? Is it a financially risky endeavor?
In my opinion, best-case scenario for a young filmmaker with plenty of flexibility in their lifestyle and schedule would be to start getting jobs on set.
So day job, yes. But even better if it is in the field. Even if you’re just getting coffee, experience on set can give you connections and insight into the industry.
If you just jump into independent film trying to make it as a director, etc, it can take a long time for it to become profitable. For many, it is better to work your way up before going out on your own.
3). What are a few ways filmmakers can enhance their reputation in the industry? Enter festivals? Win some awards? Volunteer to work on a lot of films? Get an agent?
Festivals and awards primarily serve the purpose of making connections. These connections can be made in other ways, such as working in the industry.
The greatest thing about festivals and awards for independent filmmakers would be either securing distribution for the finished project or being able to use the project as a proof/resume to get work on a another project or possibly even funding for your next project.
There are many festivals and many awards. If you expect to have a distributor or commissioner knocking on your door after an award you will probably be disappointed.
You can solicit distribution companies, so your best option for a finished product can be researching distribution options to find the “right fit” and send screeners if they like your concept.
Agents can be helpful securing work for people who are looking for work-for-hire options which can be a great place to start and build a reputation.
4). What are a few of the key steps one would take to eventually end up working on the set of a big-budget film?
Work hard and be humble. That could be doing bigger jobs on small sets and doing them very well.
Or it could mean doing tiny jobs on bigger sets and being willing to work the hardest.
Make yourself invaluable. Anticipate what needs to happen next, and be ready for it without being pushy or overstepping bounds.
Experience and rave reviews/connections will be the primary way to get on a big set.
5). Outside of directing films, what are some of the other film production roles that are in high demand? How about post-production/editing? Any idea what kind of income one could expect in those roles?
Everyone wants to direct, it is a glamorous and powerful position. It is also arguably the most stressful.
There are many jobs on set where you can make a living — that being said the wage for any of these jobs, director included, can also be $0.
Almost all production jobs (including all but the biggest name directors) will not include any back end percentages (net points, etc). So be ready to work for what is offered or walk away.
If you are interested in camera work, start in electrical and learn everything working toward Assistant Camera (AC) or Director of Photography (DP). Same with any department.
I think some of the most underrated jobs are in post-production. Everyone needs CGI/VFX. If you can work at a company that handles post-production for big films, that can look really good on a resume even if you are trying to get work on set - like VFX supervision etc.
Main takeaway: knowing one aspect thoroughly can translate to being a key player on set.
Pick something and do it really well.
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Wow, some great answers and good advice to aspiring filmmakers. Thank you again, Mrs. Laing!
We’ll have more answers to our Top 5 Questions with another great faith-based filmmaker…so be sure to check back soon!