10 things not to do as a low-budget film director

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1. Save on food
   Budget properly for catering. The more so if your crew is underpaid. The more so, the longer the shoot is.
   Doesn’t cost much more, but does wonders for crew morale.
2. 16 hour days, 5 days a week
   Just because this film is the No.1 priority for you, doesn’t mean it is for everyone else on set. Not only does the crew have a right to a life as well, and not only do they need to be able to work on their next film, but overworking the crew makes you liable for accidents that may - and eventuall will - happen.
   If all these arguments don’t count: My experience is that 6 days with 16 hours are not more productive than 5 days with 10 hours.
3. Concentrate on the money shots
   While nice for marketing and your show-reel, the audience will only sit through your film if it is good in its entity, not just some scenes.
4. Who needs a DP - I can buy a camera instead?
   An experienced cameraman will free you to concentrate on telling the story by giving your actors good instructions. An experienced cameraman will speed up the production by knowing what to shoot, what will work visually, which lenses to use, which stock to use, and many more things that you have never heard of.
5. Constantly tell the crew to “hurry up”
   Get an experienced AD who knows how much time a set up takes. Short of being under fed, a newbie AD running around screaking “as fast as you can” to every crew member s/he comes across, is the most de-motivating thing on set. It works the first few times, after that it has a deasastrous effect. The AD is no longer tanken seriously.
6. Get the cheapest lab
   Many a well-intentioned low budget films have not survived the lab. Get a lab that the DP (remember point 4?) trusts. Get a deal, but don’t say “but in Elbonia I get it for half the price”. Show respect.
7. Rehearse on set
   Give yourself, your script girl and - most importantly - the actors some time to explore the story. Days and weeks spend rehearsing the story before the first frame is exposed, are very well spend. Not only does everyone get a much better understanding of the characters. It also saves you from those extremely embarassing moments on the set, with the full crew waiting, while you realize that a key scene that looked good on paper, just is not working.
8. Break the rules
   There are many rules in film making, and many of them have been broken. Many great film makers constantly break them. But while you are learning, stick to the rules. Use them, let them guide you, give you strength in despair. Leave the breaking to one of your future projects.
   Picasso first learned to paint traditionally. And then, and only then, did he develop his unique style.
9. Edit yourself
   You know the story inside out. That is perfect for a director who gets asked by the actors about motivation and background. But the audience sees the film for the first time. You need fresh eyes, a fresh mind. And someone who knows how to tell your story best. An editor. Your friend. Treat him/her like one, again: show respect. Cut some slack, don’t breathe down her neck, give her some days alone in the dark editing cave.
   Editing is an art, and not a synonym for knowing which buttons to push.
10. Insist on final-cut
    Don’t listen to everybody’s suggestions (you will get many), but do keep an open ear to those you trust. Trust your editor. Give the DP control over the grading. Argue constructively with your financeers.
    Film making is collaboration. Have a humble understanding that you have only begun to learn, and you might find knowledgable people willing to share what they know.