Produced by--: balancing art and business in the movie industry
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Los Angeles
Silman-James Pr.
2005
|
| Ausgabe: | 1. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes index. |
| Beschreibung: | XV, 231 S. |
| ISBN: | 1879505797 |
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| 245 | 1 | 0 | |a Produced by-- |b balancing art and business in the movie industry |c by Paul N. Lazarus III |
| 250 | |a 1. ed. | ||
| 264 | 1 | |a Los Angeles |b Silman-James Pr. |c 2005 | |
| 300 | |a XV, 231 S. | ||
| 336 | |b txt |2 rdacontent | ||
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| 500 | |a Includes index. | ||
| 505 | 8 | |a Acquisition of rights -- Agents -- The studio -- Alternative sources of financing -- Hiring and working with a writer -- Preproduction -- Production -- Collaboration with the director -- Postproduction -- Marketing -- Research -- Motion picture advertising -- Foreign distribution -- Audits and accounting -- The new technologies -- Postscript | |
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| adam_text | Ill
Balancing Art and Business in the Movie Industry
I I LAZARUS
SILMAN-JAMES PRESS LOS ANGELES
PREFACE xiii
I DEVELOPMENT 1
1 ACQUISITION OF RIGHTS 3
A DEFINITION OF RIGHTS 3
MOTION PICTURE MATERIAL 4
ACQUIRING THE RIGHTS 6
NEGOTIATING THE OPTION 9
RENEWAL PERIOD 9
THE OPTION AGREEMENT 10
PURCHASE AGREEMENTS 10
LAWYERS INVOLVEMENT 11
AUTHORS COMPENSATION 12
PROTECTING YOUR RIGHTS 12
MAINTAINING THE PRODUCER S VISION 14
2 AGENTS 16
THE AGENCY 17
SECURING AN AGENT 20
PACKAGING 23
THE FIRM OFFERS ONLY DILEMMA 26
THE WAR BETWEEN AGENTS AND
PERSONAL MANAGERS 28
VII
viiiPRODUCEDBY
3 THE STUDIO 30
STUDIO HISTORY 31
STUDIO HIERARCHY 31
THE PROCESS OF SUBMITTING MATERIAL 35
THE PITCH 36
DEVELOPMENT 38
TURNAROUND 41
PRODUCTION 41
THE STUDIO RELATIONSHIP 43
COLLABORATION: AN
ALTERNATIVE APPROACH 46
4 ALTERNATIVE SOURCES OF FINANCING 48
THE CLIMATE 49
MAKING THE CHOICE: STUDIO
OR INDEPENDENT 49
NON-STUDIO FILMS 52
ALTERNATIVE FINANCING: OPTIONS 53
PRE-BUYS 53
PRIVATE FINANCING 57
SOURCES FOR FINANCING 58
PRINTS AND ADVERTISING FINANCING 60
CO-FINANCING 60
5 HIRING AND WORKING WITH A WRITER 62
HIRING A WRITER 63
WRITERS 64
MEETINGS WITH WRITERS 65
NEGOTIATIONS AND DEALMAKING 66
THE COLLABORATIVE PROCESS 68
FIRST DRAFTS 70
HANDLING DISAGREEMENTS 72
REWRITES 73
CREDITS 74
PRODUCTION 75
CONTENTS ix
II PRODUCTION 77
6 PREPRODUCTION 79
ROLE OF THE PRODUCER 80
THE PRODUCTION MANAGER 80
THE PRODUCTION DESIGNER 82
LOCATIONS 82
TRANSPORTATION AND CONSTRUCTION 83
THE PRODUCTION SECRETARY 83
THE SHOOTING SCHEDULE 83
DAY-OUT-OF-DAYS SCHEDULE 84
THE BUDGET 88
OVERAGES AND CONTINGENCIES 91
THE PRODUCTION MANAGER
AND THE STUDIO 93
THE REST OF THE CREW 94
CASTING 95
ACTORS DEALS 96
SELECTION OF CREW 97
PREPRODUCTION CONSIDERATIONS 99
7 PRODUCTION 100
THE ROLE OF THE PRODUCER 100
MANAGING THE MOVIE 102
THE CREW IN PRODUCTION 106
MANAGING THE BUDGET 108
REPORTING MECHANISMS: THE CALL SHEET AND
THE DAILY PRODUCTION REPORT 112
PRODUCTION POLITICS 113
8 COLLABORATION WITH THE DIRECTOR 121
SELECTION OF A DIRECTOR 122
COLLABORATION IN PREPRODUCTION 123
CREWING AND CASTING 124
OTHER PREPRODUCTION
RESPONSIBILITIES 125
BUDGET 126
PRODUCTION 126
PRODUCEDHY
DAILIES 127
CAST ANXIETIES 127
STUDIO POLITICS 128
POSTPRODUCTION 129
DISAGREEMENTS 129
RELATIONSHIPS 130
9 POSTPRODUCTION 132
THE FUNCTIONS OF POSTPRODUCTION 132
THE POSTPRODUCTION BUDGET 133
THE POSTPRODUCTION SCHEDULE:
TIME VERSUS MONEY 134
THE POSTPRODUCTION PROCESS 135
THE FILM EDITOR 135
DAILIES 136
THE EDITING ROOM 136
EDITOR S CUT 137
DIRECTOR S CUT 137
CREATIVE DISAGREEMENTS 138
MUSIC AND SOUND EFFECTS 139
LOOPING 140
MUSIC SESSIONS 141
SOUND EFFECTS 141
THE DUB OR MIX 142
SPECIAL EFFECTS 144
THE COMPOSITE PRINT 144
THE ROLE OF THE PRODUCER 145
III MARKETING 147
10 MARKETING 149
THE WORLD OF DISTRIBUTION 149
MARKETING STRATEGIES AND
THE PRODUCER 151
THE PRODUCER S REP 152
THE BLOCKBUSTER FILM 153
THE UNDERDOG FILM 153
THE MIDDLE GROUND PICTURE 154
CONTENTS
LIGHTNING IN A BOTTLE 155
MARKETING STRATEGIES—THE EXECUTIVE 156
IMPLEMENTING STRATEGIES: THE PRODUCER
AND THE MARKETING EXECUTIVE 158
THE INTERNET 159
11 RESEARCH 160
THE PURPOSE OF RESEARCH 161
THE HISTORY OF MOVIE RESEARCH 161
MOTION PICTURES AS PRODUCT 162
CONCEPT TESTING 162
SNEAK PREVIEWS AND PREVIEW CARDS 163
RELIABILITY 165
THE COMPETITION 167
THE ROLE OF THE PRODUCER 167
MPAA RESEARCH 169
THE CONSUMER TODAY: A SELECTIVE
MOVIEGOER 170
THE STUDIO AND MARKETING RESEARCH 171
12 MOTION PICTURE ADVERTISING 172
THREE INTERESTED PARTIES 173
STUDIO ADVERTISING 174
EARLY ADVERTISING AND PUBLICITY 175
SELECTING A SERVICE ORGANIZATION 176
THE PRODUCER S INPUT 177
THE ADVERTISING CAMPAIGN 178
THE ROLE OF THE PRODUCER 181
13 FOREIGN DISTRIBUTION 182
GUARANTEES 183
CROSS-COLLATERALIZATION VERSUS
TERRITORIAL SALES 183
FOREIGN SALES REPRESENTATIVES 185
DOMESTIC VERSUS FOREIGN SUCCESS 187
FOREIGN AUDIENCES 188
SHOWMANSHIP 190
xiiPRODUCEDBY
14 AUDITS AND ACCOUNTING 192
THE ACCOUNTANT S POINT OF VIEW 194
CONTRACT NEGOTIATIONS 195
SUBJECTIVE JUDGMENTS 196
AUDITS 197
THE AUDITOR AND THE STUDIO 200
SETTLEMENT STRATEGIES 200
LITIGATION 201
THE BUCHWALD CASE 202
THE SHAPE OF THINGS TO COME 203
IV NEW TECHNOLOGIES 205
15 THE NEW TECHNOLOGIES 207
16 POSTSCRIPT 213
INDEX 223
|
| adam_txt |
Ill
Balancing Art and Business in the Movie Industry
I I LAZARUS
SILMAN-JAMES PRESS LOS ANGELES
PREFACE xiii
I DEVELOPMENT 1
1 ACQUISITION OF RIGHTS 3
A DEFINITION OF RIGHTS 3
MOTION PICTURE MATERIAL 4
ACQUIRING THE RIGHTS 6
NEGOTIATING THE OPTION 9
RENEWAL PERIOD 9
THE OPTION AGREEMENT 10
PURCHASE AGREEMENTS 10
LAWYERS' INVOLVEMENT 11
AUTHORS' COMPENSATION 12
PROTECTING YOUR RIGHTS 12
MAINTAINING THE PRODUCER'S VISION 14
2 AGENTS 16
THE AGENCY 17
SECURING AN AGENT 20
PACKAGING 23
THE FIRM OFFERS ONLY DILEMMA 26
THE WAR BETWEEN AGENTS AND
PERSONAL MANAGERS 28
VII
viiiPRODUCEDBY
3 THE STUDIO 30
STUDIO HISTORY 31
STUDIO HIERARCHY 31
THE PROCESS OF SUBMITTING MATERIAL 35
THE PITCH 36
DEVELOPMENT 38
TURNAROUND 41
PRODUCTION 41
THE STUDIO RELATIONSHIP 43
COLLABORATION: AN
ALTERNATIVE APPROACH 46
4 ALTERNATIVE SOURCES OF FINANCING 48
THE CLIMATE 49
MAKING THE CHOICE: STUDIO
OR INDEPENDENT 49
NON-STUDIO FILMS 52
ALTERNATIVE FINANCING: OPTIONS 53
PRE-BUYS 53
PRIVATE FINANCING 57
SOURCES FOR FINANCING 58
PRINTS AND ADVERTISING FINANCING 60
CO-FINANCING 60
5 HIRING AND WORKING WITH A WRITER 62
HIRING A WRITER 63
WRITERS 64
MEETINGS WITH WRITERS 65
NEGOTIATIONS AND DEALMAKING 66
THE COLLABORATIVE PROCESS 68
FIRST DRAFTS 70
HANDLING DISAGREEMENTS 72
REWRITES 73
CREDITS 74
PRODUCTION 75
CONTENTS ix
II PRODUCTION 77
6 PREPRODUCTION 79
ROLE OF THE PRODUCER 80
THE PRODUCTION MANAGER 80
THE PRODUCTION DESIGNER 82
LOCATIONS 82
TRANSPORTATION AND CONSTRUCTION 83
THE PRODUCTION SECRETARY 83
THE SHOOTING SCHEDULE 83
DAY-OUT-OF-DAYS SCHEDULE 84
THE BUDGET 88
OVERAGES AND CONTINGENCIES 91
THE PRODUCTION MANAGER
AND THE STUDIO 93
THE REST OF THE CREW 94
CASTING 95
ACTORS' DEALS 96
SELECTION OF CREW 97
PREPRODUCTION CONSIDERATIONS 99
7 PRODUCTION 100
THE ROLE OF THE PRODUCER 100
MANAGING THE MOVIE 102
THE CREW IN PRODUCTION 106
MANAGING THE BUDGET 108
REPORTING MECHANISMS: THE CALL SHEET AND
THE DAILY PRODUCTION REPORT 112
PRODUCTION POLITICS 113
8 COLLABORATION WITH THE DIRECTOR 121
SELECTION OF A DIRECTOR 122
COLLABORATION IN PREPRODUCTION 123
CREWING AND CASTING 124
OTHER PREPRODUCTION
RESPONSIBILITIES 125
BUDGET 126
PRODUCTION 126
PRODUCEDHY
DAILIES 127
CAST ANXIETIES 127
STUDIO POLITICS 128
POSTPRODUCTION 129
DISAGREEMENTS 129
RELATIONSHIPS 130
9 POSTPRODUCTION 132
THE FUNCTIONS OF POSTPRODUCTION 132
THE POSTPRODUCTION BUDGET 133
THE POSTPRODUCTION SCHEDULE:
TIME VERSUS MONEY 134
THE POSTPRODUCTION PROCESS 135
THE FILM EDITOR 135
DAILIES 136
THE EDITING ROOM 136
EDITOR'S CUT 137
DIRECTOR'S CUT 137
CREATIVE DISAGREEMENTS 138
MUSIC AND SOUND EFFECTS 139
LOOPING 140
MUSIC SESSIONS 141
SOUND EFFECTS 141
THE DUB OR MIX 142
SPECIAL EFFECTS 144
THE COMPOSITE PRINT 144
THE ROLE OF THE PRODUCER 145
III MARKETING 147
10 MARKETING 149
THE WORLD OF DISTRIBUTION 149
MARKETING STRATEGIES AND
THE PRODUCER 151
THE PRODUCER'S REP 152
THE BLOCKBUSTER FILM 153
THE UNDERDOG FILM 153
THE MIDDLE GROUND PICTURE 154
CONTENTS
LIGHTNING IN A BOTTLE 155
MARKETING STRATEGIES—THE EXECUTIVE 156
IMPLEMENTING STRATEGIES: THE PRODUCER
AND THE MARKETING EXECUTIVE 158
THE INTERNET 159
11 RESEARCH 160
THE PURPOSE OF RESEARCH 161
THE HISTORY OF MOVIE RESEARCH 161
MOTION PICTURES AS PRODUCT 162
CONCEPT TESTING 162
SNEAK PREVIEWS AND PREVIEW CARDS 163
RELIABILITY 165
THE COMPETITION 167
THE ROLE OF THE PRODUCER 167
MPAA RESEARCH 169
THE CONSUMER TODAY: A SELECTIVE
MOVIEGOER 170
THE STUDIO AND MARKETING RESEARCH 171
12 MOTION PICTURE ADVERTISING 172
THREE INTERESTED PARTIES 173
STUDIO ADVERTISING 174
EARLY ADVERTISING AND PUBLICITY 175
SELECTING A SERVICE ORGANIZATION 176
THE PRODUCER'S INPUT 177
THE ADVERTISING CAMPAIGN 178
THE ROLE OF THE PRODUCER 181
13 FOREIGN DISTRIBUTION 182
GUARANTEES 183
CROSS-COLLATERALIZATION VERSUS
TERRITORIAL SALES 183
FOREIGN SALES REPRESENTATIVES 185
DOMESTIC VERSUS FOREIGN SUCCESS 187
FOREIGN AUDIENCES 188
SHOWMANSHIP 190
xiiPRODUCEDBY
14 AUDITS AND ACCOUNTING 192
THE ACCOUNTANT'S POINT OF VIEW 194
CONTRACT NEGOTIATIONS 195
SUBJECTIVE JUDGMENTS 196
AUDITS 197
THE AUDITOR AND THE STUDIO 200
SETTLEMENT STRATEGIES 200
LITIGATION 201
THE BUCHWALD CASE 202
THE SHAPE OF THINGS TO COME 203
IV NEW TECHNOLOGIES 205
15 THE NEW TECHNOLOGIES 207
16 POSTSCRIPT 213
INDEX 223 |
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| spelling | Lazarus, Paul N. Verfasser aut Produced by-- balancing art and business in the movie industry by Paul N. Lazarus III 1. ed. Los Angeles Silman-James Pr. 2005 XV, 231 S. txt rdacontent n rdamedia nc rdacarrier Includes index. Acquisition of rights -- Agents -- The studio -- Alternative sources of financing -- Hiring and working with a writer -- Preproduction -- Production -- Collaboration with the director -- Postproduction -- Marketing -- Research -- Motion picture advertising -- Foreign distribution -- Audits and accounting -- The new technologies -- Postscript Film Motion pictures Production and direction HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014171436&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Lazarus, Paul N. Produced by-- balancing art and business in the movie industry Acquisition of rights -- Agents -- The studio -- Alternative sources of financing -- Hiring and working with a writer -- Preproduction -- Production -- Collaboration with the director -- Postproduction -- Marketing -- Research -- Motion picture advertising -- Foreign distribution -- Audits and accounting -- The new technologies -- Postscript Film Motion pictures Production and direction |
| title | Produced by-- balancing art and business in the movie industry |
| title_auth | Produced by-- balancing art and business in the movie industry |
| title_exact_search | Produced by-- balancing art and business in the movie industry |
| title_exact_search_txtP | Produced by-- balancing art and business in the movie industry |
| title_full | Produced by-- balancing art and business in the movie industry by Paul N. Lazarus III |
| title_fullStr | Produced by-- balancing art and business in the movie industry by Paul N. Lazarus III |
| title_full_unstemmed | Produced by-- balancing art and business in the movie industry by Paul N. Lazarus III |
| title_short | Produced by-- |
| title_sort | produced by balancing art and business in the movie industry |
| title_sub | balancing art and business in the movie industry |
| topic | Film Motion pictures Production and direction |
| topic_facet | Film Motion pictures Production and direction |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014171436&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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