FAQs

That is the #1 question I get (right next to what does C.K. stand for) and is a common misconception. Producers can keep track of the money but it is usually the Executive Producers that put up the money… that and Investors or a Movie Company (if you're very, very lucky). Most of the money for THE SEXY CHEF came from the creators Ian and Tyson Smith who are also the Executive Producers.

Again, this will vary on the size of a production. IMDB.com's glossary has producer defined as:

The chief of a movie production in all matters save the creative efforts of the director. A producer is responsible for raising funding, hiring key personnel, and arranging for distributors.

Obviously, this is a rather broad definition and I do know that many producers help with the creative aspect and not just the business side of things (like Jerry Bruckheimer, Scott Mosier, Lawrence Bender and Robert Evans to name a few). I like to think we're a bridge to both the creative and business side. A producer of an indie movie usually works with the money to get what the production needs for as little as possible and to keep an eye on the big picture, sometimes keeping tight reins.

For our production, I helped a lot getting extras and locations while on set I worked to keep things running smoothly with everyone involved. Basically, it was the job of a Producer, an Assistant Director, a Production Assistant and a few other titles I'm sure. We all had many responsibilities.

Exactly. I gave my input to Ty (Director and Editor) and Ian (Writer and Sound Editor) on cuts and takes in the movie as well as doing a huge helping of the marketing and press. I've also been busy getting The Sexy Chef DVD into stores and on even more screens.

It depends, because basically we're still spending money with DVDs, press materials, posters and the like, but the movie itself is over $10,000. Most of the costs were on the camera and computer equipment, but the rest went to food, props, other film equipment and damages (just a few I swear).

This is the tough part when you don't have a distributor. We're doing everything ourselves so it is a grassroots, or as I like to say, digital-roots campaign. We send out emails, press releases and other types of queries to distributors, rental stores, theaters and the like to see if we can get them interested in carrying/showing our movie.

We've thought about doing that, and for several magazines we want to review us, we just have sent them copies. We asked several people that review movies and book movies and they like a heads up before they are just sent so many packages filled with stuff that they get lost in the shuffle.

Yes. Definitely. The Smith Brothers and I are in pre-production for our next movie right now. Ian has written a strong second draft that we've passed out to several people who's opinion we want. We've also begun contacting cast and crew and have set up a tentative shoot date to begin in late July. This project is still in the early stages but we're very excited to get back behind the camera.

A lot of things will be different since we've learned a lot since our first movie. We've discussed what we want to do with our new movie and we are all in agreement that each project should be bigger and better then the previous one. We're starting off with a slightly bigger crew, more money and higher technical aspirations with both equipment and style. We're very proud of The Sexy Chef but one can always keep improving and honing one's craft, and that is what we'd like to do on the next project.

Well, not really at this time. We're not a production company that has several movies going on at the same time. We do keep an eye out for local productions and talent and I've even assisted several other productions with extras, actors and the like, but that has been the extent. There are several projects we want to work on that we've already got in the pipeline besides our next feature like a music video, a short film and several other potential scripts. We already have too many balls in the air we're juggling as it is. Each project takes a lot of time, energy and work. Maybe down the road we'll be able to look at other projects.

By no means an expert on producing or making films, I don't mind telling people what we've learned in the hopes that you don't make the same mistakes. While there are many subjects to go over and a myriad of books out there to read I will go over a short list of recommendations.

• a) Start off with a short film instead of a feature; and by short I mean one to 10 minutes long. You'll soon see how much work that takes and what you should or shouldn't do for a feature. Of course, if you still want to make a feature, by all means do. It is just good to get a bit broken in at first.
• b) Have a good script. I can't stress that one enough. Unless you're Robert Rodriguez, don't just make short notes and expect to get a good film. Have a tight script with good flow and dialogue before you start shooting and don't be afraid to hear negative input. Just like assholes, everyone has opinions, so listen to what they have to say and pick and choose what would or wouldn't work. While many directors like to do rewrites while filming, I believe that with a good script, you shouldn't have to. Sure, you'll make changes on the fly and you don't have to married to the entirety of the script, but you need to start off with a clear vision.
• c) Use actors for the main characters. This is the one that can kill your film. Sure, we used TONS of friends throughout the production but for the leads, we got actors and that saved us. Not only did they know their lines, they brought professionalism to the production and the characters. Your friends will be great assets but if they have no acting experience and have trouble remembering their lines, how will that come off on the screen? You need believability in the characters for the story to work.
• d) Get a crew that knows what they are doing. Another saving grace for The Sexy Chef was our small but excellent crew who knew what they were doing and made our jobs easier. Do you really want someone trying to light a scene that doesn't know how it will look in the finished product? As with the actors, I'm not saying get Hollywood, Union professionals, just people with experience and passion in their jobs. With both actors and crew that want to be there and know what they are doing, they will show up on time ready and willing to work.
• e) Be prepared to be unprepared. Anything and everything can go wrong on a set or location, so don't lose your cool. The mark of an individual is how they deal with any problems, big or small, not what the problem is or that it didn't kill them. Out of the many things that happened to us while filming were a car wreck, extras and actors not showing up for their scenes (not the leads though), the police showing up, blowing the power for several blocks and two, yes TWO, fires. We didn't loose our cool but dealt with the situation. If we couldn't film that scene, what could we film? No matter how much you prepare, filming will throw you a curve ball and you'll deal with a problem you didn't even know existed.