Tips For Writing a Low-Budget Screenplay

In Hollywood, every word has a price:

EXT. ROME – DAY

The Huns invade Rome.

Some people would say that this scene is only an eighth of a page, “We’ll finish it off in the morning.” In actuality, it would probably require weeks or months of shooting. In terms of production, this is a nightmare strip on your production board. For this one-eighth of a page (scripts are always measured in eighths), you would spend millions of dollars and months of work in construction, extras, stunts, visual effects, location shooting, transportation, crew and more.

Let’s consider some writing guidelines for modest budget indie feature, cable or TV films between $2 and 7 million, where there are more opportunities for a sale. The film unions have tiered rates for actors, crew and drivers in these budget ranges. Furthermore, a producer on a modest budget film may let you actually come to set – or direct. Another plus.

A Unit Production Manager (UPM) breaks down your script into Element Categories: Cast, Extras, Stunts, Vehicles, Costumes, Props, Animals, Set Dressing, Special Effects, Special Equipment, Addl Labor, Locations, Visual Effects, etc.,

Each Scene Element goes into a database like Movie Magic Scheduling. A low budget schedule is between 18 and 30 days. In very general terms, these Elements, plus crew labor, post-production and legal/bond fees, become the total budget.

With our Modest Budget Writers Thinking Cap, let’s put out some guidelines. You may want to avoid an ABC film. Not the television network, but Animals-Boats-Children.

•Period piece films are expensive for costume, set dressing, transpo and location – write for the present.

•Cast. Keep your one-line actors to a minimum. Children – costly if too many or too young. They need Social Workers and have limited time on set. Teenagers can work longer days. At sixteen, they might be Emancipated Minors. Less restrictions, less money.

•Extras. Pick your battles – key events like soccer games, locations like malls, crowded public beaches – require lots of extras. Make sure that the scene is worth it – and that you can shoot it one day. Ideally you call the extras in after lunch, work 5 hours and then release. And if you plan well, have the foreground extras switch with the background extras, take off their jackets and let down their hair. A whole new set of extras. But pick two locations right next to each to overlap these calls.

•Animals. Frequently the Hero. Avoid a Zoo, but maybe a dog named ‘Skip’. Dogs can be trained. Monkeys can be trained. Cats can’t be herded. Exotic animals require more money and time.

•Vehicles. Avoid too many 1930 Ferraris and the like. Maybe one, or two. A good gauge: Can you rent the cars? Airplanes and Boats take time and money. If it’s far enough away, use a Replicar.

•Costume. Present day. Uniforms for firefighters, police, soldiers, etc., are available but can be expensive The best bet? Low budget costumers go to garage sales and vintage clothing stores.

•Props. What the actors pick up and use. Machine guns require special licenses and use up bullets at $1 per shot. Keep your low budget actioner to pistols, rifles, shotguns and an occasional machine gun. Even better if you’re using Digital SFX to lay in the gunfire and smoke.

•SFX. Explosions, rain, breakaway glass, bonfires, all the fun stuff you did with your chemistry set as a kid. Requires prep and skill. Effects should support your plot. A unique explosion, rain or bonfire can work for mood and stunning visuals. Plan. And again, consider digital SFX.

•Locations. USC campus costs $7,000 a day. Your fraternity film might have five days on campus but the rest at a cheaper house. Some government buildings are budget friendly – and even free. But beware of Site supervisor costs. Ask before you write.

•Visual Effects. The shot on the Golden Gate might work with a green screen and a matte for a composite. Is it a critical plot point? Don’t just pick visual effects to shock the audience. It generally won’t work. The is pretty high with “Armageddon”, “The Matrix” and other high budget films. It should be a story with VFX, not VFX and no story. We’ve seen plenty of those in Hollywood. As the saying goes, “They had $100 million dollars and couldn’t buy a script!”

These are general guidelines. A budget of $2 million is very different than a ‘low budget’ of $10 million. With good planning and a tight story, you might be able to shoot a modest period piece, or have more explosion and visual effects. Each movie is unique and so is the budget. But my experience is that the imagination usually outpaces a budget realistic for the story – and the talent that it will attract.

If you’re a low budget filmmaker, lack of money compels more creativity. Write lean and mean, rather than use shock and scope. The theaters are cluttered with films that just throw money at the screen – but don’t have good stories.

“Kingdom of Heaven,” “The Island,” “Stealth” and other films didn’t work despite their major effects and high budgets.

Sit around the campfire and tell your story.