Written by Jeff Hupp

Like many of us, COVID was rough on me and my family. I work in the auto advertising industry and was sent home to work remotely almost immediately. To make matters worse, my ex-employer was struck with a lawsuit, which triggered ads to ‘go dark’ until resolution.


So, what did I do to pass the time? I wrote screenplays, which I hadn’t done since… never. My degree was in TV, Film. and Radio from a small MAC ten university, but admittedly, I had never finished a feature screenplay.

But I was amazed when I began placing in screenwriting competitions. So, what was the next logical step? Try my hand a directing a pandemic screenplay called Band on the Run-- the one I felt closest to.

I could write a ton about making Band on the Run; The sights, the sounds, the smells of a working film production*, but this isn’t the forum. Instead, let’s focus on my top three best practices in the pre, production and post phases.

'Band on the Run' Jeff Hupp

Pre-production:

  1. Screenplay: Just writing one is not enough. Make sure you let someone you trust read it and give notes. I also paid for readers. I did this repeatedly, compared notes, and revised until I had a consensus it was ready for production.
  2. Ask for help: One night during pre-pro, I realized I was over my head and needed some help with the many facets of production. So, I called two of my Detroit ad veteran pals and made them co-directors. They helped me navigate production complexities.
  3. Insurance: Some say you don’t need this. Welp, all I can say is after a mishap with a vehicle and the grip truck, I DID need it, and because I decided to cut corners on coverage, several thousands of dollars were added to the budget to cover a damaged truck. Boo.

Jeff Hupp

Production:

  1. Script Supervisor: Continuity is underrated until you start seeing screwups in the edit. I couldn’t afford one, but thankfully, a person on set who cared enough stepped in. Whew.
  2. Sound: Watch an indie and identify what make it seem like an indie. One of them will always be poor sound. Booms and lav mics are incredibly important for tone and clarity.
  3. Director of Photography: A good one with a style/look can be hard to find, but it’ll make your film stand out amongst the crowed indie space.

Post-Production/Editorial:

  1. Color: Colorists can be expensive, but slapping on a color scheme without a discerning eye can suck the life out of your film. color is a “thing” —hire a professional if you can.
  2. Music: There is way too much affordable needle drop music out there to skimp on music. It sets the tone and can make or break a scene. Use it to your advantage.
  3. Patience: I know you spent a lot of time and money on your indie and want to get it “out there”-- I get it. But the better the final edit is, the better your potential return. Be patient.

It was hard to dwindle down to only top three in each section, and I haven’t even touched on marketing and distribution, but I hope this helps as you prepare to engage in your dream of making your first indie film. So, get out there!

*Partial quote from This is Spinal Tap, 1984.

Jeff Hupp is a former band nerd from the suburbs of Detroit. His first indie feature, Band on the Run, starring Larry Bagby, will be streaming sometime in early ’25. His directorial group, The Powers That Be, includes pals Brian Cusac and Merritt Fritchie, both advertising vets who’ve written ads from Super Bowls to mom-and-pop shops.

Visit www.bandontherunmovie.com to learn more.