Rivera estella diane_1.5wk1project

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The Film Industry Project Diane Rivera Estella Introduc:on to Digital Cinematography 01.11.2015

Transcript of Rivera estella diane_1.5wk1project

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The  Film  Industry  Project  Diane  Rivera  Estella  

Introduc:on  to  Digital  Cinematography  01.11.2015  

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Introduc:on-­‐  The  Producer’s  Business  Handbook  

•  This  book  is  a  well  explained  guide  for  producers,  in  which  all  the  components,  trends  and  elements  of  what  is  to  be  a  successful  producer  are  men:oned  in  full  detail.  

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Chapter  1:  How  the  Mo/on  Picture  Func/ons  

•  Each  category  is  successful  because  they  have  a  perspec:ve  of  how  the  whole  industry  operates  and  keeping  that  in  mind  they  are  con:nuously  improving  their  posi:on  inside  of  it.    

10  Mo/on  Picture  Industry  Par/cipants  with  whom  the  producer  have  interrela/onships    •  Audience  •  Distributors  •  Producers  •  Retailers  and  licensed  media  •  Interna:onal  territories  •  Financing  par:cipants  •  Distributor  subcontractors  •  Produc:on  talent  and  

subcontractors  •  Ancillary  media  and  licensees  •  Major  consumer  brands  

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Chapter  2:  U.S.  Theatrical  Distributors  The  Studio  Distributors:  The  Majors  They  are  well  evolved  self  contained  en::es.  United  States  is  the  country  where  the  people  spent  more  money  going  to  the  movies  than  any  other  country  in  the  world.  Three  tradi/onal  rela/onship  categories  engage  with  independent  producers:  •  In-­‐  house  studio  produc:on    •  Nega:ve  pickup  •  Distribu:on  agreement    Major  studio  distributors  are  the  greatest  advocates  of  independent  producers.      

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Chapter  3:  Interna/onal  Territories  There  are  eight  big  film  markets  that  their  audiences  spend  more  on  mo/on  picture  entertainment  than  any  other  territories.  Those  are:    •  United  States  •  Japan  •  United  Kingdom  •  France  •  Germany  •  Spain    •  Australia  •  Italy  

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Chapter  4:  Internet  Marke/ng  and  DIY  Distribu/on  The  internet  has  revolu/onized  the  marke/ng,  distribu/on  and  consump/on  of  film  entertainment.  Some  of  the  op/ons  for  distribu/on  are:  •  Digi/zed  Content  •  Social  Media  Marke/ng  •  Mul/plaOorm  Marke/ng    These  op:ons  are  beneficial  for  the  producers  and  many  advantages  can  be  taken  by  u:lizing  those  strategies    

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Chapter  5:  Ancillary  Windows,  Rights,  and  Products  There  are  four  major  ancillary  windows:  •  Home  entertainment  •  Premium  cable  •  Network  television  •  Cable/Syndicated  television  

Producers  rely  on  ancillary  earnings  they  rarely  forecast  profits  from  the  theatrical  distribu/on  of  their  pictures.  

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Chapter  6:  Mo/on  Picture  Financing  A  group  of  banks  specialized  in  financing  Films  is  dedicated  to  give  the  opportunity  to  whom  shine  between  many  others  presen/ng  their  pitch  ideas.  Those  banks  evaluate  their  customers  using  different  criteria,  a  different  way  to  evaluate  not  using  the  conven/onal  process.    

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Chapter  7:  Produc/on  Incen/ves  Produc/on  incen/ves  are  a  key  of  almost  any  film  produc/on  made  in  the  U.S.  Governmental  support  have  become  an  important  feature  in  film  produc/on.  Government  bring  incen/ves  in  order  to  collaborate  to  the  economy  growth.    

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Chapter  8:  Comple/on  Guarantors  The  Comple:on  Guarantor  ensures  that  the  mo:on  film  is  going  to  be  completed  on  :me.  

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Chapter  9:  AZorneys,  Nego/a/ons,  and  Entertainment  Law  This  group  brings  legal  services  to  the  entertainment  industry.  The  aXorney  is  involved  in  most  aspects  of  a  producer’s  work.  

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Chapter  10:  Talent,  Agents,  and  Agencies  Great  mo:on  pictures  are  created  by  a  team  of  ar:sts  who  contribute  with  their  talent  to  the  crea:on  of  a  masterpiece.  Agents  and  agencies  are  the  intermediaries  between  the  producer  and  the  talent.  The  rela:onship  between  the  producer  and  the  ar:st  is  s:ll  personal.  

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Chapter  11:  Development,  Produc/on,  and  Producing  Company  Structures  The  purpose  of  company  structure  is  to  do  the  following:    •  Provide  the  business  en:ty  with  a  

legal  iden:ty  recognized  by  the  government.  

•  Establish  an  independent,  tangible,  tradable,  business  presence  with  the  capacity  to  increase  in  value.  

•  Deliver  company  owners  increased  business/trading  capaci:es,  legal  protec:on,  and  expanded  taxa:on  op:ons.    

   

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Chapter  12:  Development  Financing  Development  Funding  Sources:  •  The  produc:on  company  •  A  studio  •  Private  investors  •  Co-­‐produc:on  rela:onships  •  Government  agencies  

Producers  needs  to  plan  their  film  in  every  aspect  of  it  an  this  is  in  order  to  keep  advancing  in  a  confident  and  steady  pace.  This  development  need  to  con/nue  through  the  produc/on  and  distribu/on.  

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Chapter  13:  The  Team  Internal  and  external  players  who  are  advisory  and  opera:ng  teams  of  the  produc:on  and  development  opera:ons.      Advisory  Team  •  Entertainment  Bank  Execu:ve    •  Entertainment  AXorney  •  PR/Adver:sing  Execu:ve  •  Distribu:on  or  Interna:onal  Sales  

Execu:ve  •  Physical  Produc:on  Specialist  •  Comple:on  Bond  Exacu:ve  •  Entertainment  Accountant    Producer    •  Development  VP  •  Global  Sales  VP  •  PR/Adver:sing  VP  •  Business  Affairs  VP  •  Finance  VP  

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Chapter  14:  Produc/on  Company  Opera/on  “As  dexterity  increases,  so  does  confidence.  As  this  occurs,  one  has  a  natural  tendency,  especially  under  pressure(and  producers  operates  under  extreme  condi:ons),  to  cut  opera:ng  corners  and  increase  corners  opera:ng  speed”.      

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Chapter  15:  The  Producer’s  Business  All  the  areas  that  are  components  of  a  film  process  are  supervised  by  the  producer.  Those  areas  are:    •  Mul:ple  Picture  Management  •  Time  and  budget  economies  •  Distributor  Rela:onships  •  Agents  •  Banks  and  comple:on  guarantors  •  Sales  Events  •  Establishing  the  produc:on  company  

presence  •  Sustaining  business,  ar:s:c,  and  

personal  objec:ve  balance  •  Managing  library  pictures  •  Theatrical  Re-­‐release  •  Advancing  team  vitality  and  allegiance  •  Chapter  Postscript  

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Chapter  16:  Reports,  Data,  and  Producer’s  Principles  Producer  Success  Principles  •  Story.  Producing  a  quality  story  •  Target  audiences  •  Balance  •  Talent  •  Global  distribu:on  •  Development  •  Financing  •  Entertainment  Law  •  Produc:on  Company  Team  •  Living  a  full  life  

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Resources-­‐  I  do  not  claim  ownership  of  any  images  in  this  presenta:on  

•  No  service  tax  for  film  industry.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://chennaionline.com/movies/cine-­‐buzz/20134301044343/No-­‐service-­‐tax-­‐for-­‐film-­‐industry.col  

•  7  Unrealis:c  Expecta:ons  of  Film  Industry  Jobs.  (2011,  July  8).  Retrieved  January  11,  2015,  from  hXp://www.theblackandblue.com/2011/07/08/film-­‐career-­‐expecta:ons/  

•  GCAA.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://gcaa.org/members-­‐area/members/associate/mo:on-­‐industries-­‐inc/  

•  The  Film  And  Entertainment  Industry:  Reel  In  The  Profits.  (2013,  October  14).  Retrieved  January  11,  2015,  from  hXp://www.bidnessetc.com/20818-­‐film-­‐entertainment-­‐industry-­‐reel-­‐profits/  

•  Oscars  telecast  audience  revised  up,  highest  in  14  years.  (2014,  March  4).  Retrieved  January  11,  2015,  from  hXp://www.themalaymailonline.com/showbiz/ar:cle/oscars-­‐telecast-­‐audience-­‐revised-­‐up-­‐highest-­‐in-­‐14-­‐years  

•  Fox,  K.  (n.d.).  Signg  PreXy.  Retrieved  January  11,  2015,  from  hXp://www.theguardian.com/film/2009/jun/21/great-­‐movie-­‐venues-­‐worldwide  

•  PHOTOS:  Remember,  remember  the  Fiih  of  November  |  9news.com.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://archive.9news.com/news/ar:cle/363029/328/PHOTOS-­‐Remember-­‐remember-­‐the-­‐Fiih-­‐of-­‐November  

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Images  References-­‐  I  do  not  claim  ownership  of  any  images  in  this  presenta:on.  

•  Cinema  Public  Films  :  From  distribu:on  of  films  aimed  at  young  audiences  to  educa:on  based  on  the  moving  image.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://www.europa-­‐cinemas.org/en/News/Highlights/Cinema-­‐Public-­‐Films-­‐From-­‐distribu:on-­‐of-­‐films-­‐aimed-­‐at-­‐young-­‐audiences-­‐to-­‐educa:on-­‐based-­‐on-­‐the-­‐moving-­‐image  

•  Film  Middle  East  Now.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://www.middleastnow.it/now/en/middle-­‐east-­‐now-­‐award-­‐winner-­‐the-­‐iranian-­‐movie-­‐facing-­‐mirrors-­‐2/  

•  Is  there  an  audience  lei  for  independent  film  in  Spain?  (n.d.).  Retrieved  January  11,  2015,  from  hXp://elpais.com/elpais/2013/04/23/inenglish/1366722094_003838.html  

•  Cinema  fascina:on.  (2014,  August  30).  Retrieved  January  11,  2015,  from  hXps://digitaldisclosure.wordpress.com/2014/08/31/cinema-­‐fasnica:on/  

•  Wim  Wenders  Meets  the  Audience  during  the  9th  Rome  Film  Fes:val  on...  News  Photo  457485416.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://www.geXyimages.co.uk/detail/news-­‐photo/wim-­‐wenders-­‐meets-­‐the-­‐audience-­‐during-­‐the-­‐9th-­‐rome-­‐film-­‐news-­‐photo/457485416  

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Image  References-­‐  I  do  not  claim  ownership  of  any  images  in  this  presenta:on.  

•  Film  Marke:ng  &  Distribu:on  Company  |  Los  Angeles.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://www.novuscontent.la  

•  DeMers,  J.  (n.d.).  The  Top  10  Benefits  Of  Social  Media  Marke:ng.  Retrieved  January  11,  2015,  from  hXp://www.forbes.com/fdc/welcome_mjx.shtml  

•  POV  Blog.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://www.pbs.org/pov/blog/2013/12/for-­‐filmmakers-­‐diy-­‐digital-­‐distribu:on-­‐plaporms/#.VLHscorF_uU  

•  ROI  Insight:  "What's  in  the  Box"  Office  of  Gone  Girl  Director  David  Fincher's  Films?  ‹  SSN  Insider.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://www.ssninsider.com/roi-­‐insight-­‐whats-­‐in-­‐the-­‐box-­‐office-­‐of-­‐gone-­‐girl-­‐director-­‐david-­‐finchers-­‐films/  

•  Oregon  Film  Responds:  Without  Incen:ves,  Say  Goodbye  to  Film  Produc:on  in  Oregon.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://www.portlandmercury.com/BlogtownPDX/archives/2011/02/10/oregon-­‐film-­‐responds-­‐we-­‐need-­‐incen:ves-­‐or-­‐say-­‐goodbye-­‐to-­‐film-­‐produc:on-­‐in-­‐oregon  

•  Agency.  (n.d.).  Retrieved  January  11,  2015,  from  hXp://filmescape.com/category/agency  •  1  Execu:ve  Summary.  (2007,  June  8).  Retrieved  January  11,  2015,  from  

hXp://www.strategyanaly:cs.com/reports/vg5d52vcWt/single.htm  •  Rou:nes  and  Rituals.  (n.d.).  Retrieved  January  11,  2015,  from  

hXp://www.peterfuda.com/wp-­‐content/uploads/2014/07/Embed-­‐Rou:nes-­‐and-­‐Rituals.jpg