Jesus was a carpenter. Not a director.

Almost every time an ad agency hires me for the first time, something strange happens. They ask -- sheepishly -- if I might find it within my heart to spare a couple of minutes helping out with post-production.

Huh?

What makes this strange is that the way I get hired is by telling the ad agency people how I imagine their commercial turning out. I sell them on my "vision", which is actually a big enough subject for its own blog, but for today's purposes let's just say it's the way I promise the commercial is going to look and sound.

The thing is, how a commercial looks and sounds is determined to a huge degree by post-production. That's where you do the editing, color correction, audio mixing, music composing, title treatments, and special effects.

A director who doesn't get involved in post is like a carpenter you hire to build cabinets for your kitchen, only to have him leave you a pile of lumber you have to cut, stain, and assemble yourself. They're doing half the work and expecting all of the credit.

I don't work that way. But a lot of directors do. And I think it explains a couple of things:

1) Why post-production budgets are increasing while production budgets are decreasing;

2) Why American advertising is generally pretty crappy; and

3) Why some agencies think a director deserves to make less than minimum wage. (See my last blog if you don't know what I'm talking about.)

What is a director worth these days?

I was just offered $1,000 to shoot a one-day job.

That might sound like a decent amount, but it's not, and I'm not just saying that because I think I deserve to be expensive.

In order to shoot for one day, I generally have to prep for two weeks. Casting. Location scouting. Designing sets. Selecting props. Rehearsing. Fitting wardrobe. Hiring crew. Preparing with the crew. Tech scouting. Designing my shots. Scheduling the shoot day. Drawing shooting boards. Meeting with the agency. Meeting with the agency's client.

I also do at the very least a first cut of the spot. Which usually requires at least three days to load, review, and cut the footage.

Let's call it thirteen days.

Some days are fairly light. But others can be quite long. A day spent casting can easily last 14 hours. A shooting day is always more. If the days average out to ten hours apiece (which they don't, not when you work as hard as I do), I figure I was just offered the opportunity to work for less than $7.69/hour.

Minimum wage in California is $8.00 an hour. In Oregon, where I live, it's $8.40. The ad agency making the offer seemed a bit put out when I pointed this out.

Someday, Aspiring Filmmaker, you're going to be offered an "opportunity". The lesson for today is to recognize it for what it is.

Am I saying not to take any job that pays less than minimum wage? Absolutely not. Even with my years of experience, you can easily get me to work for free. All you need is a really great concept and a client who appreciates the value of what they're getting.

But there is a line –– an invisible line that I've decided I'm never going to cross: if you're going to pay me, you're going to have to pay me more than I'd make at Wal-Mart.