Today's technologies and economic models won't settle for a conventional approach to filmmaking. The Strategic Producer: On the Art and Craft of Making Your First Feature combines history, technology, aesthetics, data, decision-making strategies, and time-tested methods into a powerful new approach to producing. An ideal text for aspiring filmmakers, The Strategic Producer orients the reader's mind-set towards self-empowerment by sharing essential and timeless techniques producers need to get the job done while also embracing the constantly evolving production landscape.
Today's technologies and economic models won't settle for a conventional approach to filmmaking. The Strategic Producer: On the Art and Craft of Making Your First Feature combines history, technology, aesthetics, data, decision-making strategies, and time-tested methods into a powerful new approach to producing. An ideal text for aspiring filmmakers, The Strategic Producer orients the reader's mind-set towards self-empowerment by sharing essential and timeless techniques producers need to get the job done while also embracing the constantly evolving production landscape.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Federico Muchnik has been making films for 30 years. He studied film at NYU's Tisch School of the Arts and worked as a producer for PBS. He has also produced content for Disneyland, ABC Television, and HBO. He played the lead role in The Golden Boat, directed by Raul Ruiz, shown at Sundance, New York, and Toronto and distributed by Strand Releasing. He co-wrote and co-edited Secret Courage, a documentary about the Jewish resistance movement during World War 2. He has made many fiction-based long form series for the educational markets and filmed numerous projects throughout North America, Europe, and Latin America. He has taught filmmaking at Boston University, Emerson College, and in New York and Los Angeles. Most recently, he produced and directed the feature length This Killing Business distributed by Filmbox Arthouse in Europe and shown at numerous festivals in the U.S. More at his production company site www.mightyvisual.com and his film blog http://filmadvisor.blogspot.com.
Inhaltsangabe
PART 1 : BACK STORY Chapter 1: History Chapter 2: Story 2.1: The Artistic Impulse 2.2: Why Stories 2.3: Oral to Visual Storytelling Chapter 3: Working the Material 3.1: Suspension of Disbelief 3.2: Character 3.3: Suspense, surprise, and mystery 3.4: Originality Chapter 4: Writing the Script 4.1: Elements and Structure of the Script 4.2: Style PART 2 : GETTING TO WORK Chapter 5: Development SIDEBAR: Interview with Piotr Reisch, Producer Chapter 6: Money 6.1: The Producer - Investor Relationship 6.2: What do investors want? 6.3: The Business Entity 6.4: Investor Sources 6.5: Your Money 6.6: No Budget Filmmaking and the Compilation Film Chapter 7: Preproduction SIDEBAR: Interview with Brian Falk, Producer 7.1: The Casting Session 7.2: Location Scouting 7.3: Shooting On A Soundstage 7.4: Hiring People SIDEBAR: Interview with Michael Bowes, Producer 7.5: Budget 7.6: Scheduling Chapter 8: Production 8.1: Camera Setups & Block/Light/Shoot 8.2: Directing Actors 8.3: Working with the Crew 8.4: Meals & Breaks 8.5: Common Problems 8.6: End of Production Chapter 9: Post-production 9.1: Workflow and Story Structure SIDEBAR: Interview with Anne McCabe, A.C.E., Editor 9.2: Test Screenings and Finishing the Film 9.3: Deliverables Chapter 10: The Marketplace(s). History, Deal Structures, Distribution, Exhibition, & Film Festivals 10.1: What Distributors Want 10.2: Deal Structures SIDEBAR: Interview with Francois Yon, distributor 10.3: Film Festivals SIDEBAR: Interview with Larry Jackson, producer's rep. 10.4: The Larger Distribution Landscape 10.5: In Closing APPENDIX: THE BUSINESS PLAN
PART 1 : BACK STORY Chapter 1: History Chapter 2: Story 2.1: The Artistic Impulse 2.2: Why Stories 2.3: Oral to Visual Storytelling Chapter 3: Working the Material 3.1: Suspension of Disbelief 3.2: Character 3.3: Suspense, surprise, and mystery 3.4: Originality Chapter 4: Writing the Script 4.1: Elements and Structure of the Script 4.2: Style PART 2 : GETTING TO WORK Chapter 5: Development SIDEBAR: Interview with Piotr Reisch, Producer Chapter 6: Money 6.1: The Producer - Investor Relationship 6.2: What do investors want? 6.3: The Business Entity 6.4: Investor Sources 6.5: Your Money 6.6: No Budget Filmmaking and the Compilation Film Chapter 7: Preproduction SIDEBAR: Interview with Brian Falk, Producer 7.1: The Casting Session 7.2: Location Scouting 7.3: Shooting On A Soundstage 7.4: Hiring People SIDEBAR: Interview with Michael Bowes, Producer 7.5: Budget 7.6: Scheduling Chapter 8: Production 8.1: Camera Setups & Block/Light/Shoot 8.2: Directing Actors 8.3: Working with the Crew 8.4: Meals & Breaks 8.5: Common Problems 8.6: End of Production Chapter 9: Post-production 9.1: Workflow and Story Structure SIDEBAR: Interview with Anne McCabe, A.C.E., Editor 9.2: Test Screenings and Finishing the Film 9.3: Deliverables Chapter 10: The Marketplace(s). History, Deal Structures, Distribution, Exhibition, & Film Festivals 10.1: What Distributors Want 10.2: Deal Structures SIDEBAR: Interview with Francois Yon, distributor 10.3: Film Festivals SIDEBAR: Interview with Larry Jackson, producer's rep. 10.4: The Larger Distribution Landscape 10.5: In Closing APPENDIX: THE BUSINESS PLAN
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