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All You Need to Know about the Movie and TV Business: A Guide to Opening the Healing Channels Between Mind and Nature

Autor Gail Resnik
en Limba Engleză Paperback – 5 feb 1996
From getting the necessary training and understanding the intricate responsibilities of everyone behind or in front of the camera to getting your first break and avoiding career-specific pitfalls, "All You Need to Know About the Movie and TV Business" leads you topic by topic through
* 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

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