Tip #46: Actor's own wardrobe where possible

By Dan Parkes and Itsuka Yamasaki

There is no underestimating the importance wardrobe can have on a production, as clothes can speak volumes about a person, their personality, particular mood or character arc. But it can also be very costly if you have every member of cast being measured and fitted out in their own particular costume which may change several times during the course of the film.

Our answer was to provide wardrobe only when the actors were unable. For example, our main character John is a restaurant chef, so we purchased appropriate wardrobe including a chef's top and apron. Also, in the flashback scenes, the characters of Wayne and Andy required specific 1980s footwear and jeans, which we bought for the actors (photograph above left). Ben Rohde, who was advising us on the accuracy of the flashback scenes, also delved into his own wardrobe and found appropriate clothing from what he remembered from his experiences.

Above: Actor Brian Capron discusses his wardrobe

with production designer/producer
Sinead Ferguson and director Dan Parkes

In the case of the rest of the cast they were dressed in clothes that were readily available to them. Before rehearsals we asked them to bring along a selection of clothes they thought would be suitable for the character with some suggestions if necessary. Then at the rehearsal we would ask them to try on different clothes and take photographs and make decisions on what we think worked best, thinking about the characters state of mind and general production design issues (such as clashes with the background).

Above: Actor Andrew Elias posing in his

wardrobe during rehearsals.

In most cases we could make decisions at the rehearsal of what will work and make notes regarding this and then include a 'must-bring' on the actor's call sheet. But also some decisions were made during filming and this emphasised the need to photograph the actor in what they were wearing so as to ensure continuity matches throughout the film.

Tip #44: Use everyday props

By Itsuka Yamasaki (Producer)

Ambleton Delight is mostly contemporary so it is no surprise us recommending choosing a contemporary setting when it comes to thinking about costume and props!

1. Keep the story as contemporary as possible.
Obviously, if the budget is limited it's a lot easier to make it a modern story rather than a period drama.

2. Use what's available
In almost every case we were using real "live" locations and so used the props that were already there, such as working restaurants and kitchens. It is amazing how much this can bring to the production design.

3. Research
All of us in the production team, especially Sinéad who worked as the production designer, spent a lot of time researching to make the props and costumes as convincing as possible.

4. Ask for advise for accuracy
Our film did involve flashbacks taking place in 80's London and none of us in the production team were familiar with this setting. So we asked Ben Rhode, one of the writers who lived during this time period in London to help us to make wardrobe and props look as authentic as possible. Also on the very first day of principal photography, Ed, one of the restaurant managers helped me to present 'Ambleton Delight' in a realistic and good looking way as a restaurant would (refer to photo above left).

5. Be creative
There is a flashback scene where a person is carried on a stretcher in a hospital and a doctor and nurses are looking into the patient. First I thought, "At least a couple of uniforms and white gown, oh and we've got to hire a stretcher... how much is it going to be?" But Dan came up with this idea in which we only used white shirts, a mask and a borrowed supermarket trolley. We didn't have to spend any extra money!

6. Be organised
Ensure all important props are clearly marked in the script (production software such as Celtx can do this for you) and in the shooting schedule, so you don't have to hunt around for it on set! Then keep an inventory of props and a photographic record of how they were used on set in case of later continuity issues.

Above: Without-a-doubt the heaviest prop -the restaurant piano,
here being painfully gutted by Dan and Kieron

VIDEO BLOG: Episode 3

How to get free and natural looking wardrobe for your cast, secure and liaise with good locations and the importance of rehearsing key scenes and communicating via detailed call sheets using free production software.

All this and more, including rehearsal footage and an interview with a restaurant manager about how to approach business owners when location scouting, in 'How to Make a Next-to-Nothing Budget Feature Film' exclusively on YouTube..