INDEX
Note: N indicates an endnote
actors: blocking 36–7; casting 25, 102, 103, 179, 193–4, 240, 245; character 29; child 140; comedic 47, 49, 251–4; film festival networking 60; freelance directors working with regulars in a television series 92; improvisation by 47, 193–4; production schedules and 36; rehearsals 36–7, 37, 47, 49, 249, 252; the relationship of the cinematographer to the 37, 190; the relationship of the director to the 36–8, 49, 140, 190, 196, 239, 245, 248–9; the relationship of the producers to the 26; the relationship of the production manager to the 36; the relationship of the television director to the actors 99, 101, 103, 251–5; the relationship the of script supervisor to the 24, 25; the responses of to live audiences 251–2; sales agents as a factor in casting 245
advertising see commercials; marketing
agents: film festival circuits as places for meeting 69, 94–5; the influence of film reviews on 65; insurance for films 77; mentors as a source for finding 10; the role of 50, 87–8, 90, 96, 110–11, 134–5, 176–8; sales 15, 145, 150, 161–2, 245; short films as a tool for attracting 6, 61, 69; television 248, 253; see also managers
animation: in documentary films 132; feature films 124; festivals for 63; in transmedia 211, 216
assistant directors: the collaboration of with cinematographers 32, 35; the collaboration of with directors 58–9; Directors Guild of America Assistant Director Training Program 59; first ADs 54–5, 56, 58–9; the freelance nature of employment for 58; on-set (trainee) 55, 56; Peter D. Marshall 59; the qualities of successful 56–9; the responsibilities of 25, 32, 36, 54–7, 189; second ADs 54, 55; television 58, 98; the work of as preparation for becoming a director 57–8, 86
audience: the access of the to films 146–8; the audience experience of a film 14, 17, 60, 167, 170–1, 178, 234; audio as a tool for engaging the 201; the characters as the foundation for audience involvement 199, 205, 226; the demographics and analytics of an as a filmmaking concern 150, 217; distributors as an influence on the 145, 147–8; the film festival 60, 133; filmmaker interactions with the 60, 147; the financial influence of the 212, 217; the global 147–8, 174; immersion 191, 216–17; the influence of reviews on potential 235; interactions and exchanges within an 146–7; the live theater or studio 235, 249–52; the multiple functions of the transmedia, 217–29; the niche 13, 148–9, 150, 217; the online and VOD 13, 146, 147–9, 150, 212–13; the preferred 215, 217; “push” versus “pull” distribution technologies 147–9; the redefinition of in transmedia storytelling 217; response as a measure of a film’s success 113–14, 132–3; the Sheridan College experiment in transmedia 218–19; social media as a means of reaching or creating an 15, 146, 150–1, 214, 218, 219; the target for a film 26, 50, 51, 148–9, 150, 165, 188; the television 145, 217; the test 46, 47, 48; the traditional versus the transmedia 147, 214–17, 219; viewership as the primary currency of the media 212; storytelling to an 214–16, 219, 227; the visual experience of the as a basis for shooting 190, 191, 204; see also distribution and distributors
Australia: Australian Broadcasting Corporation (ABC) 131, 132; Australian Directors Guild 176, 181; Australian Film and Television School (AFTRS) 168; Australian Film Television and Radio School 174; Australian Screen Director’s Association (ASDA) 175; Brisbane International Film Festival 132, 175; documentary filmmaking in 126–33; film directors 155, 168–73, 175, 181; filmmaking costs in 171, 172; government financing for filmmaking in 171; Melbourne Film Festival 22; Screen Australia 170, 171, 176; South Australian Film Corporation (SAFC) 171; Sydney Film Festival 168; television directors 86–7, 174
blocking: as a tool for holding audience interest 191; adjustments to 37, 252; blocking 36–7; the crew members responsible for 32, 54; the pattern of block-light-rehearse-adjust-shoot 36, 37; see also cameras
box office numbers 45, 106, 167, 172–3, 208–9; see also reviews and ratings
branded content 16
budget: as a concern for the assistant director 56; as a concern for the cinematographer 33, 35; as a concern for the director 49, 82, 83–4, 110, 196; as a concern for the producer 82, 83–4, 130; budget limitations 33; budgetary constraints 83–4, 171; budgetary obligations 82; distributor percentage of revenue 161, 162–3; donations of time and assistance as ways to meet a filmmaking 7, 172, 184–5; expenses 16, 82, 130, 161, 162–3; film content and 15, 26, 85, 183; film school financial assistance 16, 68; finding funding for films 19, 130; the for a television show 99; Fractured Atlas webinars on filmmaking budgets 77–8; interest charges by fiscal sponsors 73–4; low-budget films 20–1, 36, 39, 83, 135, 138, 167; micro-budget films 68, 70, 172, 207n19; net proceeds 161; no-budget films 20–1; over-budget problems 7–8, 83; overhead 82; previous projects as an influence on a filmmaking 233–4; profits from a film 50, 72–3, 75; revenue sources to support independent filmmaking 70–1; revenues and income 70–1, 92, 151, 152, 153n11; scheduling as an influence on 49; self-financing an independent film 85, 137, 150–1, 184, 240, 244; Stephen Follows survey statistics 153n11, 172, 207n19; studio movies 42; time as an influence on 48, 83; see also business; funding
business: business acumen in filmmaking and television 81–3, 89, 159, 162, 195–6; communication as an important part of the filmmaking 57, 82–4, 187; creativity and 93, 136–7, 142–3, 190; filmmaking as a combination of art form and 8, 42, 45, 50–1, 52, 56, 80; the influence of ratings and critics on the filmmaking 46; networking as an important part of the entertainment 56, 89; Quincy Newell on the filmmaking 79–85; see also budget
calling cards: theatrical productions as 248; the usefulness of short features as 6, 12, 14–16, 102, 164
cameras: the affordability of decent cameras for novices 136, 169; the availability of in filmmaking schools 16; blocking to the camera 37, 252; camera crew responsibilities 37, 197, 200–2, 250–1, 253; the camera department 32, 34–5; camera information as an element of the script notes 25; camera microphones 203; camera movements in dramas versus documentaries 37; cinematographer oversight of all matters related to 32–8; in documentary filmmaking 197, 200–2; framing 36, 37, 38, 191, 214; handheld 178, 201; in interviews 202–5; in live audience environments 249; night-vision 48; placement, angles, and movement 179, 197, 200–5; the presence of when filming human subjects 29–30, 128–9; shooting with multiple 249, 251; shooting with two 37–8, 185; synchronizing 237; see also blocking; cinematographers; lighting; shooting
cinematographers: the collaboration of with first assistant directors 54–5; David Landau 39–40; David Waldman 39; development programs as sources of assistance for 68; the qualities of good 33; the relationship of with the director 32–9, 47, 194; the schedules of in television dramas 97, 251; workshops for at Berlinale Talents 68; see also cameras; lighting
collaboration: the between director and cinematographer 32, 33, 34–5, 38; the between director and producer 82; the between the cinematographer and keys 32; finding collaborators 155, 170, 174; as fundamental for television directors 102–3; as fundamental to the filmmaking process 27, 85, 98, 140, 170, 184, 187; the joy of in a creative undertaking 112; recurring between filmmakers 83, 155, 184, 223–4, 236; in transmedia projects 220
comedy: comedic actors 2, 46, 47; comedic films at film festivals 20, 63; comedic short films 20; directing comedic actors 46, 47, 251; feature films versus shorts 164; improvisational 134, 140; as one in a mix of a filmmaker’s working genres 183, 185, 209; Peter Segal (director) 41–51; Sheldon Epps (director) 247–56; television sitcoms 249, 251, 252, 253–4; writing for 155
commercials: Bill Linsman 187–8, 196; as freelance employment 20, 88, 92, 155, 183, 192, 240; as preparation for feature film directing 58; the process of creating 188–9; short films converted into 92
contracts: the accounting language in 162–3; agent negotiation of 88; the inclusion of a middleman in 163; the negotiation of 82, 92; for the production of television commercials 188–9; publicity obligations as an element of 91; the value of advice from well-informed lawyers 161, 163
creativity: in a collaborative filmmaking process 27, 33–4, 114; in a transmedia storytelling environment 211, 214–16, 219, 220; the act of creation 140, 142–3, 154, 170, 223; branded content as an opportunity for 16; creative environments 54, 57; development programs as environments for creative risk-taking 66; in documentary filmmaking 14, 113, 198; economics, business and 50, 83–4, 130, 190; and the examination of social problems 169–70; fostering individual 190, 193; the importance of stories that satisfy a filmmaker’s 50; in making commercials 188–9; opportunities for in television 102, 103, 141; the pursuit of filmmaking 85, 140, 142, 235–6; the pursuit of with others 112, 114, 174; in the storytelling ability of a director 26–7, 83, 192, 196; the trailer as a medium for displaying 18; the value of for admission to film festivals 20–1
crew: the availability of professional in film development programs 66; crew experience as a prerequisite for some development programs 68; the crew list as an element of the press kit 65; crew networks 87; distribution of script revisions and call sheets to the 55; film festival networking to find potential 60; the for a sitcom 249–51; the for documentary projects 197, 199, 202; the for the production of a commercial 189, 240; freelance directors working with an established television 92, 97–8, 253; the importance of respecting and communicating with members 25, 37, 39, 58–9, 193–4, 253; the oversight of the camera by the cinematographer 33, 35, 36, 38; the relationship of the director to the production 190, 193, 194; the relationship of the first assistant director to the production 54–5; the relationship of the script supervisor to the production 24, 25; see also keys
critics see reviews and ratings
cuts: the director’s 9, 246; the editor’s 252; mentors as a source of assistance for creating 9, 181; rough 131–2, 181, 242; for television episodes 99–100, 101; for test audiences 48, 131
determination see perseverance
development programs: Berlinale Talents (Berlin) 68; Biennale College-Cinema (Venice) 68; Binger Film Lab (Amsterdam) 68, 170, 171; the competition among applicants for 65–6, 171; lists of 67; San Francisco Film Society 65; as sources of assistance for films at various stages 60, 65, 67, 171; the Sundance Institute 66–7, 171; TorinoFilmLab (Turin) 68; Tribeca Film Institute 67
directing: Bill Linsman on directing as a career 187–96; collaborating with the cinematographer 32–9; the importance of accumulating experience 58; the importance of doing rather than intellectualizing 115; the importance of watching and analyzing films 192–3; risk, reward, flexibility, and persistence 154–5
director of photography (DP) see cinematographers
directors: Bill Linsman (television commercials) 187–9; female 4–11, 12–17, 117–25, 126–33, 175–82, 222–7, 238–46; freelance television 92; Gillian Armstrong 175–82; guidelines for aspiring 190–4; Isabel Coixet 238–46; Jeremy Podeswa 94–103; Ken Wardrop (documentary shorts) 13, 14–20; Michael Apted (documentaries) 107–16; Peter Segal 41–51; Phil Sheerin (documentary shorts) 13, 15–20; Phoebe Hart (documentaries) 126–33; the relationship of to producers 68, 83, 89, 160, 174, 192, 226; Sharmeen Obaid-Chinoy (documentaries) 117–25; Sheldon Epps (television sitcoms) 247–54; short film 12–17, 19; Susanne Bier 222–7; Timothy A. Powell (documentaries) 197–206; writer-directors 12–17, 19, 61, 68, 79–80, 134, 228
distribution and distributors: audiences and 146, 147–9, 151, 165; the case of Papadopoulos and Sons 146, 150–2; changes in the environment for film 147–9; consortiums for film 145; digital 164, 165; dishonesty among 160–2, 163; for documentary films 26, 27, 67, 130; film festivals and film 164, 165; Film Independent assistance for 67; the film marketplace 82, 163–4; film rights ownership by distributors 72, 145, 158–61; film tracking by major 147; FOX 159–60; HBO 26; Hulu 148; Independent Filmmaker Project (IPF) assistance for 67; for independent films 145–6, 148–9, 150–2, 157, 168; the influence of critical reviews on film 234–5; interest charges by 162–3; the Internet as an influence on 84–5, 146–9, 169; the Irish Film Board 16–17; iTunes 148, 163, 212; legal specialists for film 163; the marginalizing influence of for independent filmmakers 145; media and viewing spaces 146; middlemen hired by distributors 163; as the most profitable sector of the film industry 145; MUBI 48, 147, 149; net proceeds from films to 161; Netflix 147, 148, 151, 212; niche filmmakers and audiences 148; the of independent films 60; photographs for film 91; piracy 235; pitching television shows 90; the power of major 145; producer-director collaboration for 82; research on film 147–8; the role of film festivals 60; sales agents 161; self-distribution 150–2; the service theatrical deal 151; for short films 164; subcinema 153n5; The Film Collaborative (TFC) assistance for 157–8, 163–5; as transmission through a pipeline 145, 146; workshops and development programs to assist in film 67; YouTube 148; see also audience; marketing
documentary filmmaking: audio concerns 203, 204–5; autobiographical 126–33; cameras and shooting 200–5; the capacity of to influence feature film directing 113; the character or protagonist as the focus of a film 198–200; Chiemi Karasawa (producer) 22–31; controversial topics as subject matter for 117–19, 121–4, 130, 169–70, 172; development programs as sources of assistance for 67–8; film festivals 63; funding for 17–18, 70–2, 118–19; the importance of listening to people 115; the insider perspective 118; the International Documentary Association 108; interviewing subjects 129, 131–2, 199–200, 202–5; Michael Apted (director) 107–16; the multiple viewpoints for approaching a film 193; narrative 198–9, 205; Phoebe Hart (director) 126–33; physical dangers and risks 200, 202; the practical and technical concerns for conducting interviews for 202–5; the practical elements of 27–8, 28–31; the problem of exposing private lives 128–9, 131, 132; Sharmeen Obaid-Chinoy (director) 117–25; the storytelling qualities of documentary films 124; for television 198; Timothy A. Powell (director) 197–206; the transition from news work to 107, 109, 116; the Up series 107–8, 110, 113; the variation in the roles of directors 197–8
drama: camera placement and blocking for dramatic films 37–8; crime 222; dramatic literature 254; independent films 164, 185; as one in a mix of a filmmaker’s working genres 51, 58, 88, 251; science fiction 228–9, 231–5; soap operas 90, 109, 121; television 91, 97, 222; thrillers 168, 170–1, 177
editors and editing: the collaboration between film directors and editors 132, 198, 242, 246, 252; the collaboration between television directors and editors 99–101, 103; commissioning editors 89, 91, 130, 131; development programs for film 68; the editorial time for documentaries 27; the editor’s assembly 47; the editor’s cut 252; film editing as preparation for becoming a director 86, 102; producer supervision of edits 27; script notes for 24, 25
education: Australian Film and Television School (AFTRS) 168; Biennale College-Cinema 64, 67, 68; Dún Laoghaire Institute of Art, Design and Technology (IADT) (Ireland) 16; Elizabeth Allen Rosenbaum on film school 5–6; experience as 24, 43, 115, 169–70; film school and documentary filmmaking 198; film school and professional networking 162, 164; film school and television directing 102; film schools versus film labs 173; Independent Filmmaker Project (IFP) 67; independent filmmaking and 167; International Association of Film and Television Schools (CILECT) 221; internships 23–4, 42–3, 56, 115, 173; National Film and Television School (United Kingdom) 16; New York University (Tisch School) 65, 167, 168, 169; programs available at The Film Collaborative 156, 158; research on the globalization of screen 174; self-84, 168, 169; Stephen Follows on film 207n16; Sundance Screenwriter’s Lab and Director’s Lab 65–6; Tribeca Film Institute All Access Program 67; University of California, Los Angeles (UCLA) 167; University of North Carolina School of the Arts (Winston Salem, NC) 183; University of Southern California (USC) 5–6, 41–3, 167; the value of film school 174, 206n2, 223, 244; workshops 57, 66–8, 92, 102, 176, 181
episodes: assistant directors for television 98; the cinematographer’s work on individual 97; the director’s work on individual 97, 99–101, 253; the editor’s work on individual 99–101; freelance directing of television 11; the ideas of series creators (showrunners) as an influence on individual 11, 90, 96, 101; the influence of live audiences on shooting 250; serialization into as an approach for transmedia 216–17; writers as producers for individual television 98; see also series
film festivals: applications and submissions to 61–2, 63, 165; the awards and publicity available for films through 60; Berlin Film Festival 22, 68; Brisbane International Film Festival 132, 175; Cannes Film Festival 61, 64, 94, 138, 157, 172–3, 228; Cinequest (Silicon Valley) 67; development programs associated with 66–8; Edinburgh International Film Festival 22; Fantasia International 63; festival circuits 26, 27, 60–1, 64–5, 69, 133, 164; festival websites 63; film school funding for submissions to 16; the funding bases of 62; Galway Film Fleadh 13; Hamburg Short Film Festival 21; IndieCork Film Festival 15; lists of 64, 69; low-budget films at 20–1; Melbourne Film Festival 22; the minimal requirements for presenting potential films at 62; New Orleans Film Festival 61; as opportunities for generating interest from production companies 65, 69; as opportunities for the purchase of winners by entertainment corporations 25, 61, 158, 160, 167, 171; as opportunities for purchase of winners by online entertainment providers 149; passes for participants 64; postcard distribution at 64–5; premiere screenings 63; San Francisco festivals 67, 149; short films 13, 20, 61, 69, 168, 169; as sites for audience interaction and feedback for filmmakers 60, 218, 219; as sites for networking and community-building 19, 27, 57, 60–1, 64, 89, 162; as sites for screening, selling, and distributing independent films 60; as sites for showcasing storytelling skills 61, 69; Sitges Film Festival (fantasy and horror films)(Spain) 63; specialty 15, 20, 63; Sundance Film Festival 19–20, 61, 63–4, 159, 162, 167; SXSW (South by Southwest) 12, 19–21, 103; Sydney Film Festival 168; Telluride Film Festival 64; The Film Collaborative (TFC) blogs concerning 165; Toronto After Dark 63; Toronto International Film Festival 64, 94, 206n8; travel and accommodations for winners or participants in 64; Tribeca Film Festival 22, 30, 149; Venice Biennale 64, 68, 228–9; the “world premiere” concept 63
Film Independent 67
film releases 63
freelance work: as a source of supplemental income 110, 130; television directing 87, 88, 91, 92
friends: competition among filmmaking 45, 137; filmmaking with 20, 136, 140, 172, 183, 236–7; friendships formed through film and television projects 30, 43, 44; friendships formed through mentoring 43, 88, 124; making friends as making opportunity 20, 174; networks of film industry 25, 41, 44, 135, 240, 248; as sources of feedback for filmmakers 90, 178, 231–2, 241–2; as sources of moral support for filmmakers 135, 137, 236, 240
funding: the advantages and disadvantages of outside 17–19; angel investors 172–3, 174; branded content and 16; crowdfunding 75, 171, 174, 207n16, 217, 219; development programs as sources of 65–6, 68; Dianne Debicella (Fractured Atlas) on securing 70–8; for documentary films 17–18; donation versus investment 74–5; donors under United States IRA Code Section 501 (c)(3) 70–4; film festivals and 62, 64; film schools as sources for student film 16; filmmaking with limited 172; financial cushions 195, 208, 233; foundations and nonprofits as sources of 70, 74; friends and family as sources of 8, 10; government agencies as sources of 14, 16–18, 171, 172, 226–7, 230; hybrid fundraising 72–3; the importance of finding supporters 17; the influence of film type on potential sources of 26–7; license fees as triggers for 130; the search for 118, 171; self-financing 85, 137, 150–1, 184, 240, 244; short features as tools for acquiring 15, 69; for short films 17; studio 155; trailers as tools for acquiring 17; transmedia projects and 219; see also budget; investors
Germany: Berlin Film Festival 22, 64, 68, 238, 242, 243; Berlinale Talents 68; feature films and television in 229; German Expressionism 170–1
HBO: documentary films on 22, 25–6; showrunners 97; specials on 41, 42, 44, 46; subscriptions and viewership 212; the transition from local television to 44; writer-producers for 98
Hollywood 112–13, 115–16, 141, 145–6, 148, 172, 217; see also Los Angeles
ideas: collaboration as a means of developing 224, 230; for commercials 188–9; from crew and others during filmmaking 34, 35, 36, 194; defending one’s 148, 192, 246; the development of 213, 215, 224, 230–1; the exploration of through transmedia 215; pitching 44–5, 90; the quality of as an important influence on a film 13–14, 19, 26–7, 124, 170, 192, 224; sources of filmmaking 14, 20; storyboarding as a tool for examining and envisioning 179, 191
improvisation: comedy 47, 134, 140; in filmmaking 185, 186, 193–4, 237
independent filmmaking: 501(c)(3) charitable organizations for funding 70–4; American Independent Cinema: An Introduction 256n7; in Australia 130–1; Berlinale Talents (Berlin) programs for 67, 68; Binger Filmlab (Amsterdam) programs for 67, 68, 170, 171; Boaz Yakin 134–44; the case of Papadopoulos and Sons (2012) 146, 150–2; controversial topics as subject matter for 169–70, 172; corporate acquisition of small production houses 167; the costs and benefits of 167–8, 206n1; the demands and requirements for 173–4; development programs for 66–7, 171; distribution and exhibition 145–9, 151–2, 157; the early years of 167, 173; employment and 20; film festivals 15, 60, 162; Film Independent programs for 67; film school and 169, 173, 206nn2–3; funding for 70–2, 171–2; the independent film movement 167–74; the Independent Filmmaker Project programs for 67; IndieCork Film Festival 15, 20–1; the Internet 146–9, 151; Jennifer Kent 168, 170–2, 206–7nn9-17; Ken Kwek 168, 169–70, 172, 206n8, 206nn5-6; networking for successful 70, 150–1, 162; opportunities for 101–2; piracy 149; rights, intellectual property, and copyright 149–50; self-financing 138, 139, 244, 246; Sundance programs for 66, 67, 171; television series connections to 95–6, 102; The Film Collaborative (TFC) support programs for 157–66
Internet: the as a tool for film distribution 146, 149, 150–1; the as an agent of change in film distribution 147–8; the audience of the 146, 149; blogs and tweets 147, 150–1, 164, 165, 195, 218; the conflict between copyright and common rights provoked by the 149; the “consultative” and “conversational” models of film watching 147; file sharing and viewing communities 146–7; the growth of niche markets through the 148–9; interaction between audience and filmmakers on the 146; Jaman 149; MUBI 48, 147, 149; peer-to-peer technologies 149; streaming and video on demand (VOD) 147, 148, 151; see also technology
internships: the qualities sought in interns 42, 56, 115; the role of an intern 23–4; at television stations 43
intersexuality: Androgen Insensitivity Syndrome (AIS) 126; population statistics 126
interviews: as elements of documentary filmmaking 129, 131–2, 199–200, 202–5; as elements of publicity for television programs 91; an experience of Peter Segal 44–5; interview bites 202; the multiplicity of required to get some positions 44, 45; the practical and technical concerns for conducting 202–5; preparation for internship 42, 109; for the selection of assistant directors 58; for the selection of cinematographers 33
investors: actor reputations as a means of attracting large 26, 29; angel 174; the film ownership rights of 72; filmmakers as 80; the influence of on films 168, 213; pitches to 90; producer obligations to 160; the return on investment for 50, 71, 74, 160; short films as calling cards for attracting 14; see also funding
keys: the cinematographer 35; the key first assistant 34; the key gaffer 36, 39; the key grip 32, 34, 35, 36; key second assistant director 55; the production 34, 68; see also crew
lighting: adjustments to 38; as the basis for film scheduling 36–7; blocking and 37; camera placement and 37; the drawback of shooting at cross-angles 37; film crew members whose work involves 32; the gaffer (chief lighting technician) 32, 35, 36, 39, 194; the grip 32, 34, 35–6; the key light 203, 204; as the responsibility of the cinematographer 33, 194, 249; shadow (fill) sides 204; techniques 37, 203, 236; see also cameras; cinematographers
marketing: by a filmmaker 64–5, 85, 89, 162, 163–5; ancillary markets 152; branded content 16; the case of Papadopoulos and Sons 150–2; development labs as a source of assistance for film 67; Facebook as a tool for 151; the Internet and social media as tools for 149, 150, 151, 167, 213; legal advice 163; the “long tail” 148, 151, 153nn8-9; the mass market as an influence on filmmaking 50, 82, 148; niche markets for independent films 148, 149, 151; nonprofit organizations as a source of assistance for film 158; the of production company services 195–6; the of transmedia narratives 211, 219; postcard distribution at film festivals 64–5; the press kit as a tool for 65; “push” and “pull” technologies for 147–9; reviews as a financial influence on the for films 48; the simultaneous promotion of multiple independent films 152; strategies used by distribution consortiums 145, 146, 167, 217; target audiences 217; television commercials 188–9; television “promos” 87; The Film Collaborative (TFC) assistance 157–66; see also distribution and distributors
mentors: development programs as places for finding 65–8, 171; internships as a means of finding 80; the reciprocal nature of mentoring relationships 80–1, 88–9; relationships with 10, 88–9, 124, 132; shadowing 42, 80, 82, 170; as sources of practical knowledge 9, 80, 88, 90
narrative filmmaking: adaptations 180; characters versus story in 198–9; development programs for 67–8; funding for 72; the importance of approach in 15; narrative shorts 155; transmedia narratives and 211, 216
Netherlands, The see Binger Filmlab (Amsterdam)
networking: events 60, 89, 90, 162, 164–5; social sites and blogs online 146, 147, 150
news: the transition from television news to documentary filmmaking 107, 109, 116; on writing for Web-viewing audiences 212–13
nonprofit organizations: Fractured Atlas 70; The Film Collaborative (TFC) 157–66; the United States IRS tax code status of 71, 104n8
passion: as a work ethic 33, 52, 88, 102, 180, 183, 185, 190; in an individual for a subject or issue 191, 219; in an individual for filmmaking 108, 152; and the craft of storytelling 21, 90; the frustration of in an individual 143, 154; the importance of to a filmmaking project 6–7, 168, 189, 240
pitches: practicing 90; programs to assist in the development of 68; as stressful situations 9, 44–5; for television shows 90; in the workflow of motion pictures 213
postproduction: as a point where expensive, difficult problems emerge 190; development lab assistance for documentaries in 67; director involvement in film 89; editing 48; fiscal sponsorship for films in 72; freelance television directors and 87; houses 61; interviews that become problematic in 205; mentorship for directors with first films in 67; the process of 214; for television commercials 189
preproduction: assistant director responsibilities during 54; director-cinematographer collaboration during 32, 35–6; the elements and phases of 189; fiscal sponsorship for 72; freelance television directors and 87
producers: as a source of practical filmmaking knowledge 6, 9, 23, 24, 79; broadcast 188–9; Chiemi Karasawa (documentaries) 22–31; development programs to assist aspiring 68–9; for documentary films 27–31, 197–8, 200; executive for television 188; the influence of negative reviews on 233–4, 243; line producers 35, 49; producer-directors and producer-director teams 68, 132, 213–14; producer-directors for television 247; producer fees 130; the producer’s film cut 101; the producer’s film notes 101; Producers Guild of America 211, 256n2; production companies launched and run by individuals 22, 93, 195–6; Quincy Newell 79–85; the relationship of to directors 68, 83, 89, 160, 174, 192, 226; the responsibilities and influence of on film projects 82, 90–1, 95–7, 100, 130–1, 150, 160; the role of in acquiring and distributing properties 145, 150, 161, 168, 172, 178, 233–4; as sources of employment 56, 58, 79, 87–9, 91, 241–2; television writer-producers 98; for transmedia projects 218–19
production: assistant directors 54–5; the block-light-rehearse-adjust-shoot pattern of film 36–7; development programs as sources of assistance for film 65–8; director-cinematographer collaboration during film 32, 36–7; fiscal sponsorship for film 72; freelance television directors 87, 92; government funding for film 17; the importance of being able to work with people during film 25; the importance of individual flexibility during 23, 171; production offices 55, 97; production reports 7, 23, 24, 55; production values 20–1, 186; scheduling and scheduling software 36; script supervising as practical education in film 24; shadowing as a means of learning about film 80; stripboards 36; television 87, 89, 91, 92
production companies: development programs and access to 66; employment at 87; launching individually owned companies 22, 93, 195–6; the production of commercials by 188–9; what production companies look for 61, 65–6
projects: choice and decisions in selecting 90; the development of transmedia projects for specific kinds of end users 219; development programs as tools for facilitating 60, 65–8, 171; earlier as the bases for later feature films 65; fiscal sponsorship as proof of legitimacy for 73; funding for 70–8, 83–4, 130, 131–2, 171; the importance of faith in pursuing 19, 126, 128, 174; the importance of having at some level of development for film festival presentation 65, 69; the importance of having multiple at different stages of development 23, 50, 178, 181; the importance of having multiple, simultaneous 18, 65, 69, 91–2, 137, 208–9, 213–14; the importance of personality compatibilities and enthusiasm for 42, 189, 191, 193, 245; the importance of using time productively between 91–2, 211; individual pursuit of film 20, 84–5, 136, 169, 173; large-budget 19; legal services and insurance for 76; pitching 90; press kits for presentation of 65; the producer’s role in selecting and promoting 26–7, 82–3, 213–14; the role of the cinematographer 33; statistical analytics as a basis for the promotion or rejection of 217; television 90–3, 217; the traditional film industry progression of 213–14; transmedia 217–20
rehearsal: as a tool for analyzing the success of a scene 49; comedic actors and 47; in the production sequence of block-light-rehearse-adjust-shoot 36, 37; for productions having a live audience 252; for scenes 37; for sitcoms 249; theatrical plays versus sitcoms 249; see also scenes
reviews and ratings: bad or negative film 46, 208, 235, 242–3; as elements of film marketing 151; good press 65, 132, 243; Metacritic ratings 171; Rotten Tomato ratings 46, 171; see also box office numbers
rights: the acquisition and ownership of film rights by distributors 72, 158–61; classes of film property 161; copyrights versus common rights 149; home video 158; intellectual 149; the licensing of 158; middlemen and 163; the of protagonists in documentary films 129; screening 149; the splitting and selling of 158–9; story rights 51; technological change as a driver of the values of 161; television 158
scenes: additional 131–2, 252; the assistant director’s responsibilities for 36, 54–5; blocking for the camera 37, 54; the cinematographer’s primary responsibilities for 36–8; development programs as environments for working on 66–7; the director’s primary responsibilities for 37–8, 191, 193, 200–1; the director’s understanding and management of 39, 47, 49, 96, 99–100; for documentaries 200–1; the editor’s understanding of 99–100; pivotal, emotional, and controversial 129, 130–1; preproduction work on 36, 179; in production 36–7, 54; screenwriting 230–1; shooting 201, 251, 252; stripboard information about 36; storyboarding 179; transitions between 191; see also rehearsal; script
schedules: as a concern for assistant directors 32, 36, 54, 56, 58; as a concern for cinematographers 33, 36; as a concern for directors 36, 49, 58; as a concern for production managers 36; budgeting and 56, 213; editing 99; the importance of adhering to 36, 49; logistics 36; preliminary for creating film budgets 56; production scheduling software 36; shooting 32, 36, 54; television 86, 251
screenwriters and screenwriting: Binger Filmlab (Amsterdam) program for 68; Boaz Yakin 134–44; collaboration between 140; directing and 169, 211; documentary 198–200; Film Independent labs for 67; Jaco Van Dormael 228–37; rejection as an inevitable experience for 53; revisions 213, 214; Sundance Screenwriter’s Lab and Director’s Lab 65, 66, 95; for television 86, 141; TorinoFilmLab (TFL) (Italy) Script & Pitch 68; the variety among 33; see also writing
script: as a calling card at film festivals 65; the absence of a in documentary filmmaking 17–18; as the basis for the shot list and shooting schedule 36, 54, 56; as the basis for tone meetings for television shows 96; character arcs, conflicts, and emotional subtext in a 33, 226, 228–9; the cinematographer’s analysis of the 33; as the creative point of origin for a project 82, 165–6, 213, 233; development programs for working on 66–7, 171; the director’s review of the before shooting 36; the distribution of script revisions 55; the for a commercial 188; the importance of the 15, 19, 165–6; interpretation of the as a responsibility of the director 99; knowledge of the before an employment interview 44–5, 58, 90; script breakdowns 36, 54, 56; script notes 24, 25; script reviews and revisions 55, 214, 231, 234, 241; scriptwriting 134–5, 138–9, 141, 168, 170, 199, 229–34; storyboarding a 179; television scripts 86, 90, 96, 97, 99, 141; the visualization of script moments 35, 231, 233; writing for shorts versus feature films 230; see also scenes
script supervising: the responsibilities of 24–5; script notes 24, 25; as training for film and television directing 22, 24, 25, 102; as training for film producing 24
series: the adaption of screenplays into television 141; Amazon network 185; branded content 16; cancellations as a product of marketing analytics 217; cinematographers for television 97; director specialization as an option in television 92; directors for television 92, 94; editors for television 100–1; films commissioned for television 61; HBO 22; Internet 16, 58; sitcoms 247; as sources of experience and income for filmmakers 58, 183; television animated 216; television documentary 205–6; television dramas and miniseries 88, 90, 220, 222; Verizon90 network 4; see also episodes; television
shooting: beautiful shots 236; behind-the-scenes shots for press kits 65; for biographical and autobiographical documentaries 28–30; blocking for individual shots 32, 37; cinematic style 201; development programs that present opportunities for 66; director-editor collaborations in assembling television shots 99–100, 252; for documentaries 37, 110, 113–14, 132, 172, 197, 200–1; focus marks for individual shots 38; Hearts of Darkness documentary on the shooting of Apocalypse Now 194; the importance of being prepared for 165–6; the importance of flexibility during 186, 193–4; the importance of learning from mistakes 192; interviews 204–5; lighting for individual shots 32, 38; the pattern of block-light-rehearse-adjust-shoot 36, 37; in the presence of a live audience 249–50; the responsibilities of the assistant directors during 54, 55; the responsibilities of the cinematographer during 32, 34–8; the responsibilities of the director in a production 36, 193; the responsibilities of the editor after 132; the responsibilities of the producer during 27; the responsibilities of the script supervisor during 24; as the second writing of a film 234; shooting without a script 237; the shot list 36, 38; the shot schedule 32, 36, 54, 82; shot types and coverage needed for edits 38, 47, 201–2; shots as tools for holding viewer interest 191; shots as tools for underscoring the theme of a film 179, 180, 201; storyboarding as a tool for visualization before 179–80; for television commercials 187, 188–9; for television series 1, 97–100, 249–52; time estimates for individual 32; transitions between shots 191; the use of multiple cameras for 32, 251; as the visual telling of a story 201–2; the use of two cameras for 37; see also cameras
short films: adaptations as bases for 14; Aspen Shortsfest 69; as the bases for commercials 92; as calling cards 6, 12, 14–16, 17, 102, 164; controversial topics as subject matter for 169; development programs 68; the distribution of 164; economic survival for makers of 18–20, 52, 229; the expansion of into feature films 169; film festival circuit screenings of 61, 65, 69; film festival submissions and acceptances of 63, 64, 164–5; film school versus self-made 169, 236; funding for 7–8, 16–18, 70, 171; Hamburg Short Film Festival 21; the importance of a powerful story idea for 14; IndieCork Film Festival 15, 20–1; making multiple 14–16, 60, 229; narrative shorts and commercials 155; niche audiences for 13; as the starting place for most filmmakers 18–19, 60, 61, 65, 168; the subject matter for 6, 14, 169, 180, 193; as tools for acquiring funding 15; as tools for showcasing one’s talents 3, 5–6, 61, 65, 69, 168–9; trailers for 18; the transition from making shorts to feature films 167, 169, 230; transmedia and 211; versus features as a first film 16; writing shorts versus feature films 230
showrunners (television show creators) 11, 89–90, 95–8, 101, 109, 252
storytelling: in the context of branded content 16; the importance of having a distinct voice and vision 10, 27; the inherent nature of for humans 214, 215, 256n5; physical environment as an element of 223; the qualities of documentary films 124, 199–200; short films as tools for showcasing abilities 61; Star Wars as an example of transmedia 216; technology as an impetus for innovative 102, 147, 209–10, 214, 219; The Future of Storytelling study by Latitude 215; The Storytelling Animal: How Stories Make Us Human 215, 256n5; the theater as a training site for 254; traditional 213, 214; transmedia 214–16, 220, 256n3; visual skills 61
stripboards 36
studios: film distribution by 147–8, 151; film, television, and online 4, 161, 163; net proceeds 161; the power of 115–16, 142, 167, 172, 246
style see tone and style
Sundance: Sundance Directors Lab 62, 65, 66; Sundance Film Festival 19–20, 22, 61, 63–4, 159, 162, 167; Sundance Institute 66, 67, 104n6, 171; Sundance Screenwriters Lab 65, 66, 95
Talent Project Market 68
technology: as an enhancement of filmmaker access to audiences 149; analytics and demographics 217; the availability of hardware and software for novices 20, 85, 136, 169; digital 32, 65, 146, 163, 173; digital cameras 169; digital distribution 13, 151, 164; digital downloading 145, 147, 159; Distripedia 164; DVD 146, 151, 161, 163; the influence of new on film distribution 146–9, 161; the influence of on changes in the film industry 173, 211, 214–15; the influence of on the media 212–13; “push” versus “pull” technologies 147; streaming and VOD 147, 148, 149, 151, 159, 212; transmedia 211, 214–16, 220; see also Internet
television: analytics as an influence on projects 217; assistant directors 54; Colin Schumacher (director; Thailand) 90; creators (showrunners) 11, 89–90, 95–8, 101, 109, 252; directing film versus 11, 101–3, 141; directors 86, 87–90, 99–100, 102, 248–54; documentaries 198, 205; dramas 91, 97, 173, 222, 251; film distribution to 146–7; freelance directors 87, 88, 92–3; live audiences 249, 251–2; local 42, 44, 116; Marc Munden (director; United Kingdom) 88–90; mentors 88–9; Peter Segal (director) 41–51; pilots 4, 92, 96, 103, 141; positions leading to directing in 86–7, 102; schedules and slots in 86–7, 91; Sheldon Epps (director) 247–54; sitcoms 248–51; streaming shows 212; tone meetings 96; traditional technology and viewing 212, 214, 217; transmedia and 211–12, 216; web 147; see also series
theater: as an influence on filmmaking 177, 178, 214, 249; directing for television versus 249, 253–4; directing in the 248–50, 253; the director-actor relationship in 249; films shot on theater stages 235; the live audience as an influence on production 250–2; live versus sitcoms 249, 251; movie theaters 212, 213; musicals 247; off-Broadway 247, 248; Pasadena Playhouse 247–8, 250; Sheldon Epps (director) 247–54; The Production Company 247, 248; theater companies 247, 248
themes: film festival 63; the functions of theme 215; the influence of on all aspects of a film project 214; the influence of on all elements of a transmedia story 215–16, 218–19; the recurrence of in a body of work 11, 232; the search for ideas and 211; storyboarding 179–80; visual 179
tone and style: as an element of directing identity 92, 185; for documentaries 27, 201; the influence of transmedia on story 216; story-appropriateness 33; for television series 11, 18, 87, 96
transmedia: audience functions in 217–20; the combination of with traditional filmmaking 219–20; as defined by the Producers Guild of America 211; ILMxLAB 216; the influence of on long-form storytelling 216; Latitude 215; the rapidly changing character of 214; the Star Wars example of storytelling through 216–17; storytelling 209–10, 211, 214–16, 256nn3-8; technology and 220; The Future of Storytelling study 215
Tribeca festivals and development programs 22, 30, 64, 67, 149
tweets see blogs
United Kingdom: Edinburgh International Film Festival 64; film and television in the 13, 16, 88–9, 91, 107–11; National Film and Television School 16
women: Androgen Insensitivity syndromes (AIS, PAIS, and CAIS) 126–7; documentary filmmakers 117–25, 121, 126–33; female directors 4–11, 12–17, 117–25, 126–33, 175–82, 222–7, 238–46; female filmmakers 121, 206n2; the representation of in films 178, 226; women’s issues as filmmaking topics 63, 117, 123, 176, 227
workshops: as a means of staying in touch 56–7; Biennale College–Cinema 68; Binger Film Lab (Amsterdam) 68; directing 66; Film Independent for documentary filmmakers 67; Screen Australia 176; screenwriting 66, 67; Sundance Screenwriter’s Lab and Director’s Lab 65–6; for television directors 92, 102; TorinoFilmLab (TFL) 68; Tribeca Film Institute All Access Program 67
writing: as a complement to directing 169, 197, 199, 230; co-writing 140, 141, 185, 230; creative 169; and documentary filmmaking 118, 197, 199; educational programs for 169; humor and 251; image descriptions versus spoken lines 231; for online services 212; presenting partial versus finished drafts 233; rewriting 232, 234, 250; script 230–1; self-financing for 233; shorts versus feature films 230; soliciting opinions for drafts 231; tricks 231; see also screenwriters and screenwriting