This book is about the practical realities of the film market today and how to make a film while minimizing financial risk. Film is a risky investment and securing that investment is a huge challenge. The best way to get investors is to do everything possible to make the film without losing money.
This book is about the practical realities of the film market today and how to make a film while minimizing financial risk. Film is a risky investment and securing that investment is a huge challenge. The best way to get investors is to do everything possible to make the film without losing money.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Daniel Harlow, a Departmental Scholar from UCLA, founded a technology consulting firm in 1993 which grew to 300 employees in six offices around the country. After selling his company, Harlow attended the Independent Film Producer Program at UCLA. He is currently the founder and CEO of a new hi-tech startup, Bunker 15 Films, with the mission to help indie films find their audience through Smart Publicity and Promotional programs. Harlow believes, with good technology and good planning, filmmakers can sustain financially rewarding careers.
Inhaltsangabe
Introduction PART 1 One small problem 1 A surprising discovery 2 The journey begins PART 2 The obstacles 3 The culture of secrecy 4 Fear and loathing: commercial is a dirty word? 5 This stuff is complicated 6 Falling revenues: falling demand for indies 7 The downside of festival culture 8 Trends in film journalism PART 3 How films make money 9 Rubber, meet road 10 The players 11 Monetization 12 How much to DIY 13 Promotion and publicity - who's selling this thing, anyway? PART 4 Making profitable films 14 Sell the sizzle 15 Development: crafting a commercial success 16 Genre 17 Rising above genre 18 More film elements 19 Drafting 20 Casting 21 Producers and producing 22 Financials 23 Raising money the traditional way - beg 24 Before you start begging 25 Reducing the risk when presales don't work 26 Press - the gift that keeps on giving Conclusion Top ten lessons Appendix: case studies, interviews and producer profiles Case study: micro- budget filmmaking - Marcus Mizelle Interview with legendary film school teacher Dov Simens Case studies: niche moviemaking - Tom Malloy Case studies: low-risk, low-budget sci fi - Jeffrey Giles Case study: making 70 films with Daniel Zirilli of PopArt Film Factory
Introduction PART 1 One small problem 1 A surprising discovery 2 The journey begins PART 2 The obstacles 3 The culture of secrecy 4 Fear and loathing: commercial is a dirty word? 5 This stuff is complicated 6 Falling revenues: falling demand for indies 7 The downside of festival culture 8 Trends in film journalism PART 3 How films make money 9 Rubber, meet road 10 The players 11 Monetization 12 How much to DIY 13 Promotion and publicity - who's selling this thing, anyway? PART 4 Making profitable films 14 Sell the sizzle 15 Development: crafting a commercial success 16 Genre 17 Rising above genre 18 More film elements 19 Drafting 20 Casting 21 Producers and producing 22 Financials 23 Raising money the traditional way - beg 24 Before you start begging 25 Reducing the risk when presales don't work 26 Press - the gift that keeps on giving Conclusion Top ten lessons Appendix: case studies, interviews and producer profiles Case study: micro- budget filmmaking - Marcus Mizelle Interview with legendary film school teacher Dov Simens Case studies: niche moviemaking - Tom Malloy Case studies: low-risk, low-budget sci fi - Jeffrey Giles Case study: making 70 films with Daniel Zirilli of PopArt Film Factory
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