All You Need to Know about the Movie and TV Business: A Guide to Opening the Healing Channels Between Mind and Nature
Autor Gail Resniken Limba Engleză Paperback – 5 feb 1996
* A breakdown of job descriptions, from casting directors and key grips to stunt coordinators and film editors
* What kinds of deals actors, directors, writers, and producers make when they start out and when they hit the top
* How to protect and sell your creative work
* How movie deals are put together at studios and by independents
* The nuts and bolts of a boilerplate contract
* The notorious and mysterious world of profit participations, with a detailed explanation of why there's never any profit "net profit" deals
The entertainment industry can be an exciting, challenging landscape to negotiate. Having some valuable insight into how to make the most of your career in the movie or TV business can put you on the surest path to success.
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Specificații
ISBN-13: 9780684800646
ISBN-10: 0684800640
Pagini: 336
Dimensiuni: 141 x 215 x 22 mm
Greutate: 0.3 kg
Ediția:Original
Editura: Touchstone Books
ISBN-10: 0684800640
Pagini: 336
Dimensiuni: 141 x 215 x 22 mm
Greutate: 0.3 kg
Ediția:Original
Editura: Touchstone Books
Notă biografică
Gail Resnik specialized in copyright and film and television production in her ten years of Paramount Pictures, where she handled business and legal affairs on Entertainment Tonight and served as senior production attorney on major motion pictures. She currently resides in Seattle, where she acts as a consultant on entertainment and multimedia law.
Descriere
Whether one is pursuing the dream of acting, directing, or writing, or is interested in a career as a studio executive, agent, cinematographer, makeup artist, stuntman, or camera operator, Resnik and Trost present realistic assessments of career opportunities, offer savvy insights into how to play the Hollywood game, and explore in detail the legal ins and outs of the business.
Cuprins
CONTENTS
Preface
Introduction -- What It Takes to Work in the Movie and TV Business
Section One
WHAT YOU'LL NEED BEFORE YOU START
Chapter 1
Be Prepared
Training and Experience
Talent
Courage
Patience
Common Sense
A Good Work Ethic
A Little Help from Your Friends
Required Reading before You Come to Town
Section Two
THE PLAYERS
Chapter 2
The People Above The Line
Above the Line vs. Below the Line
Producers
Optioning a Screenplay
Selling Projects to a Studio
Script Breakdowns
Directors
Actors
John's Acting Resume
Writers
Chapter 3
The People Below The Line
Casting Directors
Production Assistant
First and Second Assistant Director and Second Unit Director
Director of Photography
Camera Operator, First and Second Assistant Cameramen
Gaffer and Best Boy
Key Grip
Production Sound Mixer
Production Designer
Set Decorator and Property Master
Lead Person and Swing Gang
Makeup Artist and Hair Stylist
Wardrobe
Stunt Coordinator
Script Supervisor
Production Accountant
Stand-ins and Extras
Matte Painter
Production Illustrator
Visual Effects People
A Note about Animation
Film Editors
Post-Production Sound
Composers, Orchestrators, and Musicians
Technical Advisers and Researchers
Studio Employees
A Few Words about Reality Shows
Chapter 4
The People Who Do Business
Agents
Agents vs. Managers
Managers
Business Managers
Lawyers
Studio Executives
Section Three
GETTING STARTED
Chapter 5
First Steps
Getting Settled
Financial Considerations
Read the Trades
Letting Them Know You're in Town
Do I Have Tape or Film of My Work?
What about Student Films?
Stand-Up Comedy
Industrials and Educational Films
The Porn Industry
Sex and Money Scams
Avoiding Scams
Special Considerations for Actors
Pathways for Directors
Pathways for Producers
Pathways for Agents
Pathways for Lawyers
Pathways for Technical People
Chapter 6
Getting Trained
Acting Teachers and Coaches
Apprenticeships and Internships
Film Schools
Extension Courses and Seminars
Chapter 7
The People Who Represent You
Agents
Getting the Agent to Work for You
Managers
Power of Attorney
Attorneys
Three Good Reasons to Meet with an Attorney
Chapter 8
The People Who Promote You
Photographers
Publicists and Press Agents
When Should You Add a Publicist to Your Team?
Personal Trainers
Chapter 9
Unions
What Unions Are Involved in the Entertainment Industry?
Associations
What Do the Unions Have to Do with My Early Career?
Getting Your Union Card, That Elusive Catch-22
The Union Card Shuffle
Working Non-Union
Financial Core
Section Four
YOUR FIRST REAL JOB
What Is a Real Job?
Chapter 10
Contractual Issues
The Difference Between Movie and Television Contracts
Basic Motion Picture Deals
TV Deals
Compensation for Your First Real Job
Payment
Scale for Actors
Why Actors Love Commercials
Scale for Directors and Writers
Scale for Below-the-Line People
Non-Union Compensation
Residuals
Credit
Is There Anything Else I Can Get This Time Around?
Chapter 11
When Will I Work Again?
What Happens Between the First and the Next Real Job
Surviving the Hard Times
Section Five
YOUR FIRST BIG BREAK
Chapter 12
What Are the Breaks?
Chapter 13
Exploiting the Break
Who Should Make My Deal and Negotiate My Contract?
Should I Change My Agent or Manager?
Major Deal Points for the First Big Break
Compensation
Credit
A Credit Primer
Shared Writing Credit
Multiple Picture and Episode Deals
Why A Seven-Year Rule?
Most Favored Nations
Multiple Pictures with Preemptions
Hiatus
Should I Incorporate?
Why Do They Call It a Loanout?
Chapter 14
Avoid Being Exploited
Location Fever
Don't Get Caught Paying Double
The Ego Problem
What Price Fame?
"Please Take Off Your Clothes"
Sexual Harassment
The Production-in-Progress Scam
Sex, Race, Sexual Orientation, and Age Discrimination
Affirmative Action
Section Six
PROTECTING AND SELLING YOUR CREATIVE WORKS
Chapter 15
The Value of Creative Ideas
Who Needs to Protect Their Creative Work?
Don't I Own All the Work I Create?
The Basic Protections
Copyright Protection
Registration
What If You Think Your Work Was Stolen?
A Few Rules of Thumb about Life-Story Rights
Contract
Work for Hire
Writers Guild Registration
Your Agents and Representatives
Selling Your Rights and Getting Them Back
Should You Give Someone a Free Option?
Section Seven
WHEN YOU'VE BECOME A WORKING PROFESSIONAL
Chapter 16
Top-Level Contract Issues
Do I Really Need to Know All This Stuff?
Chapter 17
Now That You've Got the Power to Negotiate
Why do Deals Fall Through?
Money Issues
Profit Participation
History of Movie Profit Participation
The Hierarchy of Participation Deals
Net Profits
Summary of How Profits are Calculated
Deferments (Accrued before Actual Breakeven)
Breakeven
Merchandising
Tips for Negotiating Your Profit Participation
Credit/Name and Likeness
Sample Credit Provisions
Perquisites
Approval Power
Real Power
Chapter 18
So What Is in That Boilerplate?
Rights and Moral Rights
A (Very) Short Primer on Moral Rights
Screen and Advertising Credit
Representation
Transportation and Living Expenses
Suspensions, Strikes, and Other Force Majeure Events
Tips on Suspensions
Morals Clauses and Other Restrictions
Other Gobbledygook
Chapter 19
Breaking the Contract
Choosing to Break the Contract
Getting Fired
Section Eight
THE RULES OF THE GAME
Chapter 20
Motion Picture Production
Studio Pictures
Negative Costs
Negative Pickups
Completion Bonds
Article 20
Independent Productions
Want Someone to Finance Your Film?
Marketing and Exhibition
Blind Bidding
Chapter 21
Television Production
That Highway in the Sky
Broadcast Television
Cable Television
Syndication
Financial Syndication Rules
Who Produces Television?
Chapter 22
The Marketplace
Festivals and Markets
NATPE/NAB
Affiliate Meetings
Epilogue -- Final Thoughts
Appendix -- Suggested Reading List