Inside Track for Independent Filmmakers: Get Your Movie Made, Get Your Movie Seen
Autor Adam Leipzigen Limba Engleză Paperback – 17 iun 2015
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Specificații
ISBN-13: 9781319013189
ISBN-10: 131901318X
Pagini: 256
Dimensiuni: 140 x 210 x 10 mm
Greutate: 0.25 kg
Ediția:Prescurtată
Editura: Bedford/St. Martin's
Colecția Bedford/St. Martin’s
Locul publicării:New York, United States
ISBN-10: 131901318X
Pagini: 256
Dimensiuni: 140 x 210 x 10 mm
Greutate: 0.25 kg
Ediția:Prescurtată
Editura: Bedford/St. Martin's
Colecția Bedford/St. Martin’s
Locul publicării:New York, United States
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Descriere
Inside Track for Independent Filmmakers provides a roadmap to getting your movie made, seen, and distributed. With 11 Inside Tracks and 99 step-by-step tips, Filmmaking expert Adam Leipzig offers insider secrets, step-by-step instructions, and time-saving shortcuts. This concise volume explains exactly what you need to do to get your movie made and find the perfect audience, from casting and pitching to financiers, to making the most of the festival circuit and securing distribution deals.
This essential guide to independent filmmaking addresses the challenges of getting an independent film made and seen head on. With sound advice for every step of the filmmaking process, it simultaneously empowers readers to practice persistence and to become better filmmakers overall.
This essential guide to independent filmmaking addresses the challenges of getting an independent film made and seen head on. With sound advice for every step of the filmmaking process, it simultaneously empowers readers to practice persistence and to become better filmmakers overall.
Cuprins
THE LANDSCAPEDon’t Doubt Your Purpose
A Short and Recent History of Indie Movies in America
Who Will Be the New Miramax?
The Eighth Studio
What Money MeansGET YOUR MOVIE MADE
I. Inside Track: Concept The core of your movie
1. What’s the Big Idea?
2. High Concept
3. The World
4. The Title
5. It’s About a Guy Who . . .
6. Can You Say it All in a Sentence?
7. Log Lines That Worked
8. What Does It Look Like?
9. What’s the Tagline?
10. The Truth Test
11. Make Your Truth Niche-Specific
12. Concepts That Didn’t Work
13. Concepts That WorkedII. Inside Track: Comps Can your movie make money?
14. What’s a Comp?
15. Budget Comps
16. Rating Comps
17. Language Comps
18. Genre Comps
19. Star Power Comps
20. How to Find Comps
21. How Many Comps Do You Need?
22. How Recent Do Comps Need to Be?
23. Now That You Have Your Comps
24. How Financiers Use Comps
25. How Financiers Recover Their Investments
26. How Distributors Use Comps
27. Examples of Comps in ActionIII. Inside Track: Script What’s on screen can only be as good as what’s on the page
28. Why Script Matters
29. How Should Your Script Look?
30. How to Make Your Script Read Well
31. Make It a Page-Turner
32. Keep It Short
33. Top 10 Screenwriter Mistakes
34. Write to Sell to Investors
35. Write for CastingIV. Inside Track: Casting Getting the right actors
36. Why Casting Matters
37. How Do You Get Stars?
38. The Actor Dance
39. The Pile-On Effect
40. The Director Dance
41. Casting Non-Stars
42. Tactical Approaches
43. Cast the Rest of Your Relationships
V. Inside Track: Cost You need to know the numbers
44. Budget Is for Amateurs, Cost Is for Professionals
45. Make the Cost Rational
46. Include Marketing and Distribution Costs
47. Planning and Scouting
48. Incentives, Rebates, and Credits
49. Contingency
50. Costs You Might Not Know About
51. Pre-Selling Expenses
52. Selling Expenses
53. Assume You Will Need to Cover Everything
54. Not All Money Is Equal
55. Crowdfunding Is Double Money
56. Crowdfunding: Be Prepared!
57. Launching and Managing Your Crowdfunding Campaign
58. Crowdfunding Doesn’t End When the Campaign Does
59. What Will You Have to Give Up to Get What You Want?
60. The Myth of Final CutVI. Inside Track: Now You Make Your Movie The moment you’ve been waiting for
61. This Is the Inside Track Where You Make and Finish Your MovieGET YOUR MOVIE SEENVII. Inside Track: Getting into Festivals When Your Movie’s Ready Sundance and beyond
62. Do Festivals Matter?
63. Some Festivals Are More Than Festivals
64. How You Get into a FestivalVIII. Inside Track: Selling at Festivals Can you make a deal here?
65. Leap into Action
66. Get Your Materials Ready
67. Get Your Rep
68. Get Some Early Press
69. But Don’t Let People See It Yet
70. Reach Out to Your Preferred Distributors
71. Get Them to the Screening
72. Get the Press There
73. Follow ThroughIX. Inside Track: Selling Everywhere Else for Theatrical Distribution More places to make deals
74. Most Sales Happen This Way
75. Get a Representative If You Can
76. If You Can’t Get a Representative . . .
77. You Have to See It with an Audience First
78. If You Can’t Get a Distributor to an Audience Screening
79. Should You Show a Distributor an Unfinished Film?
80. What to Show Potential Distributors
81. Know How Much You NeedX. Inside Track: Selling for Non-Theatrical Distribution The screens that make the most money
82. What’s Non-Theatrical?
83. Why Are You Doing This?
84. Aggregators
85. Materials
86. Direct Submissions
87. Know Your Windows
88. Deliver to Their SpecsXI. Inside Track: Free Range Distribution The new frontier
89. What Are Free Range Distribution Platforms, and How Do They Work?
90. You Can Keep Your Rights
91. What Rights Are There?
92. Know Your Rights
93. Integrate Everything
94. Marketing Is Your Job
95. Four-Walling
96. What to Look for in a Free Range Distribution Platform
97. What You’ll Need
98. What’s Been Working
99. What’s Next for Free Range Distribution?
ESSENTIAL RESOURCESDistribution Platforms Where You Sell or License Your Rights
Free Range Distribution Platforms
Directory of Sales Agents
Best Information Sources
Your Attitude Is Your Greatest Resource
The Academy Award Speech I Hope You Make One Day
INDEX
A Short and Recent History of Indie Movies in America
Who Will Be the New Miramax?
The Eighth Studio
What Money MeansGET YOUR MOVIE MADE
I. Inside Track: Concept The core of your movie
1. What’s the Big Idea?
2. High Concept
3. The World
4. The Title
5. It’s About a Guy Who . . .
6. Can You Say it All in a Sentence?
7. Log Lines That Worked
8. What Does It Look Like?
9. What’s the Tagline?
10. The Truth Test
11. Make Your Truth Niche-Specific
12. Concepts That Didn’t Work
13. Concepts That WorkedII. Inside Track: Comps Can your movie make money?
14. What’s a Comp?
15. Budget Comps
16. Rating Comps
17. Language Comps
18. Genre Comps
19. Star Power Comps
20. How to Find Comps
21. How Many Comps Do You Need?
22. How Recent Do Comps Need to Be?
23. Now That You Have Your Comps
24. How Financiers Use Comps
25. How Financiers Recover Their Investments
26. How Distributors Use Comps
27. Examples of Comps in ActionIII. Inside Track: Script What’s on screen can only be as good as what’s on the page
28. Why Script Matters
29. How Should Your Script Look?
30. How to Make Your Script Read Well
31. Make It a Page-Turner
32. Keep It Short
33. Top 10 Screenwriter Mistakes
34. Write to Sell to Investors
35. Write for CastingIV. Inside Track: Casting Getting the right actors
36. Why Casting Matters
37. How Do You Get Stars?
38. The Actor Dance
39. The Pile-On Effect
40. The Director Dance
41. Casting Non-Stars
42. Tactical Approaches
43. Cast the Rest of Your Relationships
V. Inside Track: Cost You need to know the numbers
44. Budget Is for Amateurs, Cost Is for Professionals
45. Make the Cost Rational
46. Include Marketing and Distribution Costs
47. Planning and Scouting
48. Incentives, Rebates, and Credits
49. Contingency
50. Costs You Might Not Know About
51. Pre-Selling Expenses
52. Selling Expenses
53. Assume You Will Need to Cover Everything
54. Not All Money Is Equal
55. Crowdfunding Is Double Money
56. Crowdfunding: Be Prepared!
57. Launching and Managing Your Crowdfunding Campaign
58. Crowdfunding Doesn’t End When the Campaign Does
59. What Will You Have to Give Up to Get What You Want?
60. The Myth of Final CutVI. Inside Track: Now You Make Your Movie The moment you’ve been waiting for
61. This Is the Inside Track Where You Make and Finish Your MovieGET YOUR MOVIE SEENVII. Inside Track: Getting into Festivals When Your Movie’s Ready Sundance and beyond
62. Do Festivals Matter?
63. Some Festivals Are More Than Festivals
64. How You Get into a FestivalVIII. Inside Track: Selling at Festivals Can you make a deal here?
65. Leap into Action
66. Get Your Materials Ready
67. Get Your Rep
68. Get Some Early Press
69. But Don’t Let People See It Yet
70. Reach Out to Your Preferred Distributors
71. Get Them to the Screening
72. Get the Press There
73. Follow ThroughIX. Inside Track: Selling Everywhere Else for Theatrical Distribution More places to make deals
74. Most Sales Happen This Way
75. Get a Representative If You Can
76. If You Can’t Get a Representative . . .
77. You Have to See It with an Audience First
78. If You Can’t Get a Distributor to an Audience Screening
79. Should You Show a Distributor an Unfinished Film?
80. What to Show Potential Distributors
81. Know How Much You NeedX. Inside Track: Selling for Non-Theatrical Distribution The screens that make the most money
82. What’s Non-Theatrical?
83. Why Are You Doing This?
84. Aggregators
85. Materials
86. Direct Submissions
87. Know Your Windows
88. Deliver to Their SpecsXI. Inside Track: Free Range Distribution The new frontier
89. What Are Free Range Distribution Platforms, and How Do They Work?
90. You Can Keep Your Rights
91. What Rights Are There?
92. Know Your Rights
93. Integrate Everything
94. Marketing Is Your Job
95. Four-Walling
96. What to Look for in a Free Range Distribution Platform
97. What You’ll Need
98. What’s Been Working
99. What’s Next for Free Range Distribution?
ESSENTIAL RESOURCESDistribution Platforms Where You Sell or License Your Rights
Free Range Distribution Platforms
Directory of Sales Agents
Best Information Sources
Your Attitude Is Your Greatest Resource
The Academy Award Speech I Hope You Make One Day
INDEX
Recenzii
'Full of insider information you won't find anywhere else. An absolutely essential reference manual.' Gale Ann Hurd, producer, The Walking Dead, The Terminator movies, The Abyss
'Adam Leipzig's book provides the advice and mentorship and business savvy that creatives need to succeed in the independent film business.' Ricahrd Florida, author, The Rise of the Creative Class
'If you're planning to make a movie, this book is essential - it will only take a day to read, and it will shave years off your learning curve.' Graham Taylor, William Morris Endeavour Global
'A veritable goldmine of practical information... Leipgig passes on a wealth of insider information that will be of use to pretty much anyone of any skill level.' Rob Clymo, Editor, Digital Filmmaker magazine
'Adam Leipzig's book provides the advice and mentorship and business savvy that creatives need to succeed in the independent film business.' Ricahrd Florida, author, The Rise of the Creative Class
'If you're planning to make a movie, this book is essential - it will only take a day to read, and it will shave years off your learning curve.' Graham Taylor, William Morris Endeavour Global
'A veritable goldmine of practical information... Leipgig passes on a wealth of insider information that will be of use to pretty much anyone of any skill level.' Rob Clymo, Editor, Digital Filmmaker magazine
Notă biografică
Adam Leipzig is the CEO of Entertainment Media Partners, which provides informed guidance for independent media companies, financiers, and producers. Adam teaches at Chapman University's Dodge College of Film and Media Arts and has overseen more than 25 movies as producer, executive, or distributor, including March of the Penguins; Dead Poets Society; Titus; Honey, I Shrunk the Kids; Amreeka; and The Story of the Weeping Camel.
Caracteristici
Addresses the challenges of getting an independent film made and seen—the biggest obstacle for young filmmakers—head on
99 effective, easy-to-apply insider tips offer advice for every step of the filmmaking process, simultaneously empowering readers to practice persistence and become better movie makers overall. Coverage areas include script development, casting, selling at festivals, selling for non-theatrical distribution, Free Range Distribution, and much more
Full of insider information from the author, who has many years experience in film including as past president of National Geographic Films and a former senior executive at Disney
99 effective, easy-to-apply insider tips offer advice for every step of the filmmaking process, simultaneously empowering readers to practice persistence and become better movie makers overall. Coverage areas include script development, casting, selling at festivals, selling for non-theatrical distribution, Free Range Distribution, and much more
Full of insider information from the author, who has many years experience in film including as past president of National Geographic Films and a former senior executive at Disney