From A Producer To A Global Superstar-Chapter 254: Pre production

With the casting finally completed, Dayo made a detailed list of everything that still needed to be done. At the top of that list was pre-production meetings.

This was the stage where everything moved from ideas to execution where the key people behind the film gathered to discuss budget allocation, scheduling, locations, logistics, and how the entire production would realistically be carried out.

The meeting was held inside DM Agency, which had been temporarily designated as the production’s operational base.

Inside the spacious conference room, a large round table occupied the center. Dayo sat at the head of the table, his posture relaxed but attentive. He was dressed in a blue top, a pair of headphones resting loosely around his neck, a silver chain visible against the fabric, and a fitted cotton trouser that gave him a clean, professional look without trying too hard.

Seated to his left was Jang-Wook, serving as the assistant director. His tablet was already open, stylus in hand, ready to take notes. Around the table sat the rest of the core production crew the producer, line producer, cinematographer, production designer, location manager, stunt coordinator, sound director, and several department heads.

Dayo glanced around the table and smiled before speaking.

"Good morning, everyone. I want to thank you all for being here. Despite all the hurdles we faced during casting, we’re officially on the right track."

A round of applause followed, filled with genuine enthusiasm. Everyone in the room knew how difficult it had been to assemble the cast under the pressure they were facing.

"Now," Dayo continued, "let’s talk about the main reason we’re here today budget and timeline."

The mood in the room shifted immediately. Backs straightened. Tablets and notebooks were adjusted.

Dayo nodded toward the producer.

The producer stood, gave a slight bow, and spoke calmly. "As the director mentioned, we are on track. We’ve reviewed the preliminary numbers, and everything is within a workable range."

He tapped the screen connected to the projector, and a spreadsheet appeared on the wall.

While the producer spoke, it was clear that this wasn’t just about numbers. This meeting would determine how ambitious the project could realistically be.

The original Train to Busan had been made on a budget of roughly 8.5 million dollars in 2016. But that was years ago. Technology had advanced. Expectations were higher. Safety regulations were stricter. And this production aimed to meet modern global standards.

Dayo leaned forward slightly, resting his elbows on the table.

he said. "With current production standards, effects, logistics, and international distribution expectations, we’re realistically looking at a budget between 10 and 15 million dollars."

No one reacted with surprise. Most of them had already anticipated it.

The line producer spoke next. "After reviewing our projected costs, a 12 million dollar budget would be optimal. It gives us flexibility without unnecessary excess."

From an objective standpoint, this number made sense. It allowed room for quality production without overextending resources a critical balance for a project under scrutiny.

Not that Dayo didn’t have the money to squander but he had an advantage he had watched the movie so all that was there to visualize was already in his mind.

The cinematographer raised a hand. "From a visual standpoint, we’ll need adequate allocation for camera rigs, lighting, and post-production grading. This isn’t a small-scale film. The audience expects scale."

That expectation alone justified a significant portion of the budget. A film like this couldn’t afford to look cheap.

The production designer followed. "Set construction and practical locations will require careful balance. We can’t rely entirely on CGI. Physical environments will make everything feel real."

This was a strategic choice. Overusing CGI often broke immersion. Practical sets, even if limited, anchored the film in reality.

Dayo listened carefully, occasionally nodding.

From the outside, it might have looked like a normal meeting. But what was happening was far more important. Every decision here would be the foundation of the production the movie so it was best to plan now.

The location manager spoke next. "We’ve shortlisted several controlled locations for train interiors, station sets, and exterior city shots. Some will be studio builds. Others will require permits and scheduling during off-hours."

Shooting on real locations introduced risk weather, public interference, delays but it also added authenticity.

Dayo actually made a lot of changes here which suprise the production team one of them was there were scenes where they could make use of some effect but Dayo strictly refuse most while allowing some this was one of the reasons the budget was a bit more.

Jang-Wook added quietly, "We’ll need contingency days built into the schedule."

That single sentence carried weight. Contingency days were expensive, but without them, one delay could derail everything.

The producer adjusted the spreadsheet again.

"The budget breakdown currently looks like this," he said, pointing to the screen.

"Production design and set construction — 20%.

Cast and crew salaries — 25%.

Equipment and technical resources — 15%.

Post-production — 20%.

Logistics, insurance, and contingency — 20%."

The numbers weren’t random. Each percentage was carefully assigned to match each section.

The stunt coordinator cleared his throat. "Safety will need priority. Crowd scenes, movement in confined spaces none of that can be rushed."

That comment subtly reminded everyone that shortcuts weren’t an option.

After all with all the fight with the big five agencies who was to say there wouldn’t be any anonymous call about safety issues.

Dayo finally spoke again. "Nothing we’re doing here is worth risking lives or compromising quality. If something needs adjustment, we adjust it."

There was quiet agreement around the table.

From a broader perspective, this meeting wasn’t about spending money it was about spending it wisely.

Dayo was someone that when it came to spending he was "akagum" a Nigeria term for very strict spender.

The sound director chimed in. "Audio design will be critical. Environmental sound, tension buildup, silence all of it needs proper planning from the start."

Sound was something that even Dayo himself wouldn’t allow to be misplaced he was a producer and a musician after all so he knew the Important of a good sound for a movie.

The discussion shifted naturally toward timeline.

The assistant producer spoke. "Pre-production will take eight weeks. That includes rehearsals, location prep, set builds, and technical tests."

Eight weeks wasn’t rushed, it was well though the reason for this was Dayo knew how the final edit would come out so arrangement all reduced the time.

"Principal photography will take approximately ten weeks," the line producer added. "With a six-week post-production window." 𝕗𝐫𝐞𝕖𝕨𝐞𝗯𝚗𝕠𝘃𝐞𝚕.𝐜𝗼𝚖

Dayo nodded. "That works."

He knew everything could be done in less but he wanted to let it follow the normal route.

From an outsider’s view, it might have seemed fast. But efficiency was part of the strategy.

Jang-Wook glanced at Dayo before speaking. "We’ll also need regular department check-ins. Weekly updates. No surprises We all know thay we have a huge target on our back eh."

That line earn laughter from the crew and reduced the tension this made Dayo smile this was why he needed an experjse director like Jang-Wook.

The meeting continued with smaller details transport arrangements, accommodation for cast, rehearsal schedules, legal clearances, insurance policies.

Each department gave brief input. Nothing dramatic.

What stood out was how aligned everyone was.

When the discussion finally wound down, Dayo looked around the table once more.

"This project will attract attention," he said calmly. "Not all of it will be positive After all looking at how we started it shouldn’t be a suprise but if we stick to the plan, communicate clearly, and do our jobs properly, we’ll be fine."

No grand speeches.

Just clarity and simple words

The producer closed his tablet. "We’ll circulate the finalized budget and timeline by end of day."

"Good," Dayo replied. "Once that’s done, we move forward."

The meeting ended on a steady, confident note.

As the crew stood and began gathering their things, there was a shared understanding in the room.

The film wasn’t just an idea anymore.

It was officially in motion.