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Essential Tips for Cancellations & Postponement in Live Action Production




Imagine this: you are deep into pre-production on your latest project. Talent is booked, the location is locked, you just had your Tech Scout, and all of a sudden you get some news that prevents you from filming. You have no choice but to cancel or postpone the shoot! It's a heart stopping moment, but taking an even-keeled approach with an eye on problem-solving will be the only way forward.


Today we are recapping our latest podcast episode, where we tackle the ever-relevant topic of handling cancellations and postponements in live-action production. In this episode, we're thrilled to have a special guest co-host, Jade Forte, a seasoned freelance producer who shares her invaluable insights and experiences with us.


Postponing or Cancelling your Film Shoot

In the unpredictable world of film production, adaptability is key. Our latest podcast dives into the reality that producers face when a much-anticipated project encounters unexpected delays or cancellations. It's a delicate dance to keep client relationships afloat during these times, and we're here to discuss how to navigate these choppy waters with grace.


Expert Insights: Surviving the Production Battlefield

We're joined by Jade, a formidable head of production, who has seen it all in the industry. She understands that when production plans go awry, a producer's ability to act swiftly and strategically is crucial. Jade's mantra is to come to the table with solutions and maintain transparency with clients about the implications of production changes.


The Producer's Safety Net: AICP Guidelines Explained

Our conversation also covers the critical legal and insurance frameworks that protect producers. We break down the AICP guidelines, which outline the responsibilities and financial implications when a shoot is cancelled. These guidelines are an essential tool for producers to manage the unexpected with confidence.


Keeping Perspective in the World of Film Production

Despite the pressures of the industry, it's important to keep in mind that we're ultimately creating art and telling stories. This perspective helps producers navigate the challenges of film production without losing their cool.


Communication Essentials: Jade's Golden Rule

Jade, our esteemed guest, stresses the importance of effective communication. She advises that solidifying or documenting conversations via a direct email is the best approach, and a touch of kindness can go a long way in establishing a connection.


The Heart of Producers Happy Hour

We wrap up the episode with a heartfelt thank you to our listeners, whose engagement is the driving force behind our podcast. Special thanks to our editor Bren Russell and branding expert Christopher Daniels for their exceptional work.


If you've found value in our discussion, please share it with others. Leave us a review, rate our content, and spread the word. As we continue to explore the intricacies of commercial and film production, we invite you to join us for more insights and stories from the happy hour of production life. Here's to your next successful project!


Read the Transcript!


Sister Christian - Imagine this you're deep into prepping for a project. Everything is meticulously planned, every details in place. You're so proud of yourself. And then Bam! The rug is pulled out from under you because the homeowner has a family emergency and you've lost your location, or the celebrity talent demands or reschedule, or a blizzard looms in the horizon. Whatever. The unthinkable thing has happened. So you face a cancellation or postponement. It can be heart stopping in the moment. So what's your next move? Where do you even begin? Today we're tackling the art of navigating cancellations and postponements, not just from the perspective of production and logistics, because you probably got that down, but also through the crucial lens of client management. How you manage these delicate conversations can make or break the entire situation. Your role is to change potential disorder into effective problem solving. Stick around to the end, as we'll also be breaking down the ICP guidelines for handling these challenges. So grab your drink and buckle up.

 

Lawrence Lewis - You're listening to Producers Happy Hour. I'm Lawrence Lewis.

 

Sister Christian - and I'm Sister Christian.

 

Lawrence Lewis - And we're here to help you unravel the complexities of film and commercial production.

 

Sister Christian - Whether you're a seasoned producer, a production executive, a bitter, or a key part of the production team, we're here to equip you with the insights that I know Lawrence and I wish we had when we started out.

 

Lawrence Lewis - So you can navigate today's production challenges, conquer those demanding clients, and unlock the magic to seamless production.

 

Sister Christian - All with a cocktail, of course. So grab a drink, say goodbye to the gatekeepers, and let's dive into the art of producing.

 

Lawrence Lewis - Sister Christian, I'm really excited about this episode. We have a guest co-host on with us today.

 

Sister Christian - I know I'm so excited.

 

Sister Christian - Because Jade is perfect to weigh in on today's topic. She has been Head of production at three different companies. You and I and her. Like we're all at that 20 year plus mark. She has seen it all as well. Like different reasons or reactions from client or how to handle it.

 

Sister Christian - So she's perfect to weigh in on this.

 

Lawrence Lewis - Jade, how are you? Hi. Welcome. Are you enjoying happy hour with us?

 

Jade Forte - yeah. I mean, that expression is 5:00 somewhere. I'm like, the sun is up. Yeah.

 

Lawrence Lewis - Seriously?

 

Jade Forte - Apparently you. Yeah.

 

Sister Christian - So, what are you drinking today?

 

Jade Forte - The little cocktail that I like to enjoy on a day where I want to be on a beach.

 

Lawrence Lewis - Haha.

 

Jade Forte - Okay, it's about two ounces of fresh squeezed lime juice, two ounces of watermelon water, watermelon juice, whatever you prefer. I like the one. It's a little pulpy, five ounces vodka and a splash of soda water.

 

Sister Christian - That's my kind of drink girl.

 

Lawrence Lewis - Is there. Do you have a name for this? Is this your own invention?

 

Jade Forte - It's my own invention. It's what I, you know, had in the fridge one day when it was hot and I was like, oh, this is delicious. You can't taste any of the alcohol in it. It's a.

 

Lawrence Lewis - Winner.

 

Sister Christian - Laurence, what are you drinking?

 

Lawrence Lewis - You know, I like to tie it to the theme of the show cancellations and postponements. I was like, what? What kind of drink brings that to mind? And I thought about airplanes always cancelling and postponing. So I have a paper plane. It's a it's a shaken drink, but it's served up neat in a chilled glass, three quarter ounces of bourbon, three quarter ounces of Aperol, three quarter ounces of amaro, which I'm on an amaro kick right now, and three quarter ounces of lemon juice. And it is delicious. Sister, what about you?

 

Sister Christian - I'll get to this in a minute, but I had a, a friend and colleague passed away, and so I'm doing, because we both, embrace our white trash roots. I'm going to have a Long Island iced tea today by cutwater.

 

Lawrence Lewis - Oh, nice. Well. Cheers, everybody.

 

Sister Christian - Cheers, everyone.

 

Jade Forte - Cheers!

 

Sister Christian - I definitely want to dive into today's topic because I have a lot to say.

 

Sister Christian - Like, so fucking much to say. But first we have a request. You all must know that this podcast and our learning courses and the free resources take a lot of time, energy, focus and a bit of money to put together for you. And it's a lot to juggle when we are still working producers. Believe me, I wish I did not have to work anymore. So if you're within range of the sound of my gorgeous voice, please pick up your phone, go to whatever app you're listening to this episode on, and give us a five star rating and a two sentence review. Just a quick one like, oh my god, they're great. I listen all the time.

 

Lawrence Lewis - Yeah, it literally will take you 10s it doesn't have to be long. Just let us know what you're getting from the show and why you think it's a worthwhile listen.

 

Sister Christian - And your review does a couple of important things. One, it lets us know that you're enjoying what we're doing, and it inspires us to keep making the episodes and the learning courses for you because we know we love them.

 

Sister Christian - We want to make sure that you're loving them. Secondly, it lets the algorithms know that people like this podcast, and then it'll recommend other people to the podcast who are looking for the same community. That you were looking for us.

 

Lawrence Lewis - Do it right now. Grab your phone, give us a bunch of stars and let people know that this show is worthwhile.

 

Sister Christian - So, I'm just going to start briefly to say that I learned that Morgan Spurlock passed away today, and I know I he's a director. He got pretty famous by eating a bunch of, you know, McDonald's food and then, like, what it did to his body. Right. So Oscar nominated some people's experiences with him was problematic. Mine was not. I'm not negating anybody else's experience. I'm just wanted to share a couple of fun stories that, of my experience with him, because it really kind of hit me hard today. He's only 53. I know his cancer and cancer is a bitch. So again, like, it just it really is affecting me.

 

Sister Christian - Lawrence, you've probably heard before me say that. Oh, yeah. Then we had agency client meal the night before the shoot at Hooters.

 

Sister Christian - Yeah, in.

 

Sister Christian - Fresno. So that was a more. That was the Morgan Spurlock job. Like when I, when I walked into his offices to meet him, walk in, get into his office, we shake hands, you know, and I was just like, we both look at each other. And I noticed somewhere in his office something that said West Virginia, that I'm like, oh, shit, my mom's from West Virginia. And he was like, where? And we started talking. I was like, oh fuck, we're probably white for white trash cousins. So after that, we just were like in simpatico. Like we could exchange a look and I knew what he was thinking and talking about. One of the very few directors that I, I did not have to change my style or mask around. We were we knew how each other had grown up.

 

Sister Christian - And what the roots where we came from. And he's smart ass. I'm a smart ass. Like, yeah. So we just had this great connection that I enjoyed working with him. I did not do any documentaries with him. I would only produce when he would do paid commercials type stuff. Right. And so I was definitely that liaison between how you have to handle a client in Video Village versus on your own project, where you can do whatever the fuck you want. He was a definitely a do whatever the fuck you want kind.

 

Sister Christian - Of director.

 

Lawrence Lewis - Right? I can.

 

Sister Christian - Imagine.

 

Sister Christian - And that for me was so much fun because I, I'm a do whatever the fuck you want kind of producer. So he will be missed for sure. Oh.

 

Lawrence Lewis - Well, cheers to him.

 

Sister Christian - You cheers to him.

 

Lawrence Lewis - Now let's move on to the topic at hand cancellations and postponements. We've all been through it. All three of us in this room have been through it. And it's it can be it can be a bit of a scramble, right? There's a lot of emotions involved.

 

Lawrence Lewis - There's a lot of ego involved. There's a lot of finger pointing and blame involved, but there's a lot of things that have to get done immediately when the situation presents itself. So where do you begin? And I know you too. Within the past year or so, you've been through it. I think maybe two years ago I went through it. What do you do? Where do you.

 

Sister Christian - Start? I think that.

 

Sister Christian - The very first thing you do is you isolate the issue. So let's just call it the day before the shoot. And the homeowner either has a God forbid, a death in the family or caught Covid back in the day, whatever it was. But the call times are just about to go out.

 

Sister Christian - Oh, God, to.

 

Sister Christian - Send everybody to this place. So the very first thing you do is you isolate the situation. Okay. Is this a full loss where we're not going to be able to film tomorrow, or can we get the backup house? and so simultaneously, you're working on this with your locations department or whatever the, the, the initial problem is while your partner, you're producing partner or your PM is handling the, the costs of what's about to happen.

 

Lawrence Lewis - Yeah. Can you still shoot today is is or tomorrow or whenever the plan was.

 

Sister Christian - The cheapest solution is to shoot that day.

 

Lawrence Lewis - It's too late to stay on track. Yeah, there's always costs involved. If you're going to push, there's no way around it. You know, when we start talking about client management, that's a big part of the question is the money. So I think getting a handle on the money, like what does this mean to us in terms of the schedule and in terms of money? And do we have the people to put together the team if we have to change the shoot day?

 

Jade Forte - I mean, it helps if you have, let's say, two locations, a two day shoot, then maybe you are able to switch from day one to day two. Great. Not an issue. Not a problem. It's just a few logistical things. But if you have one location and one shoot day, it really depends on how big the scope of the job. It's 15 people.

 

Jade Forte - Great. You can pivot and work with that a lot easier than if you have 85 background and 100 crew members and animals and all of these other components in it. Then and when it comes to costs and discussing with people about money, I think sometimes a lot of people seem to forget that the words on the paper don't care what side of the bed you woke up this morning. You need to make a decision. This is how much it's going to cost. I hate to say it, but no one gives a fuck about how you feel. It sucks, but we have to actually deliver something today, or we're going to figure out a day in which we can do it.

 

Lawrence Lewis - It always seems to me that these decisions need to be made fairly quickly, because the longer you wait, the more it's gonna cost, and people really don't like being pushed into a corner to make these hard decisions. But that's the only way to keep it going, right, Christian?

 

Sister Christian - Well, so my favourite term in this instance is fully committed.

 

Sister Christian - Oh yeah, it is.

 

Sister Christian - The it's even two days before the shoot. I know that there's in the and we'll get to this later. The ICB guidelines where a lot of unions say if you cancel by 2 p.m. the day before. Yeah. Bullshit. Okay. If you want to put on a shoot these days, you have to book people and tell them that they're on a job or you're going to lose good people. So I like to use the term fully committed because it just it takes the emotion out of what's happened. Like, I could blow up and say, I'm sorry, everyone's booked. What the fuck are you talking about? Of course we need to pay them just like no. If you're cancelling, you know, a day or two before the shoot. Costs have been fully committed. So if you want to immediately tell somebody how much it's going to cost to push a day or two, just push a day or two, not a week, you know, just push, push to the next day.

 

Sister Christian - It is going to cost them the amount that the job originally did to shoot, plus a little bit more. It's like literally the entire costs are fully committed. You might be able to save on equipment, maybe, but when it comes to crew and personnel, all costs are fully committed.

 

Lawrence Lewis -  Right? I mean, yeah.

 

Sister Christian - I mean, that's.

 

Sister Christian - A good non-emotional way of saying.

 

Sister Christian - It because the.

 

Sister Christian - Emotions fly in this, for instance, last, I mean, like, it is very hard to call up an agency producer or a client representative to say this has happened. and we're pivoting as fast as we can. These are your three options. It's just hard because people immediate reactions are, did we just lose $200,000?

 

Lawrence Lewis  - Right. Yeah.

 

Sister Christian - The answer is yes.

 

Sister Christian - I mean, that's the answer is yes.

 

Lawrence Lewis - The answer is yes. And that sucks. But sometimes things happen okay. So isolate the problem. Right. That's the first thing two you said here are your three options. So that's like what is the what are the solutions.

 

Lawrence Lewis - Right. What are the what are the and and giving options of the solutions are, you know, are a really smart thing to do. Right. Because that way people don't feel like they're backed into a corner.

 

Sister Christian - Yeah. And I would say Jade, when you were ahead of production and then this was presented to you, what was your like? What what's your rundown of how to present this type of information?

 

Jade Forte - It depends. There are a lot of other factors that come into play. If let's say it's an act of God. So let's say we're supposed to shoot at the beach. The giant whale, you know, exploded at 2:00 in the morning. And we have to explain to the client that I understand that the coastline is so big, but we only have these logistical things in place here. So the best option for you would to be we don't shoot the ocean, we shoot buildings instead. Here's an option here. Or we can revisit this in a week once the carcass has been removed from the beach.

 

Jade Forte - Or we can try using a different location, which may delay us one day. Or we could try to delay our call time and put like you give them as many options as you can that you know you can execute. Don't promise anything that is not doable or is going to cost more money. When you give people more than one option or sometimes more than three, it lets them really contemplate what's going to be the best financial decision for us to make, and how is this going to affect our timeline with like, you have to go through post when your delivery is all of these other factors that come into play