A
Above-the-line costs
distribution, 147
international co-productions, 168–169
sample business plan, 235
Academy Awards, see also Oscars
and festivals, 257
filmmaker investment advice, 178
financing advice, 178
as goal, 29
partnerships, 41
producer credits, 165
revenue forecasting, 208
Academy of Motion Picture Arts and Sciences, 266–267
Academy of Television Arts and Sciences
Accounting issues
Cash Flow statement, 211
LLCs, 173
studio distribution, 130
Action/Adventure genre
company pitch, 31
defining, 88
direct-to-DVD, 124
filmmaking goals, 29
market segment, 87
Actor/estate agent investors, 178
Actors, see also Stars
biography brevity, 57
and budget, 56
distribution publicity, 130–131
filmmaker investment advice, 178
financing basics, 165
Adams, Amy, 253
Administrative expense forecasting, 211–213
Advances
distribution deals, 137
financing basics, 167
Adventures in the Screen Trade (Goldman), 68–69
Advertising, see also Prints and Advertising (P& A)
companies as investors, 178
distributor strategies, 139
moderate-speed distribution, 143–144
AFCI, see Association of Film Commissioners
International (AFCI)
AFM, see American Film Market (AFM)
African-American market, 93–94, 95–96
Agents
book attachments, 53
distribution history, 127
foreign sales, 135
motion picture production, 64–65, 72–73
raising money, 3
studio clout, 68
Akeelah and the Bee, 94
Allied Irish Bank, 195
Altered, 175
Amazon's Video on Demand, 229–230
American Film Market (AFM), 109–110, 141, 166
American Jobs Creation Act, 169
Amores Perros, 96
Anchor Bay, 133
Ancillary markets
motion picture production, 226
sample business plan, 225, 227
short films, 258
Ancillary revenues
domestic, 206
forecasting research, 204
foreign, 207
North American box office, 76, 225
sample business plan, 237
Anderson, Wes, 253
Animated films
cash flows, 210
short documentaries, 261
Apollo Cinema, 256
Apple iTunes store, 229–230, 260–261
April Showers, 178
Apted, Michael, 121
Are We Done Yet?, 94
Art films vs. specialty, 89–90
Artisan Entertainment, 73, 132
Artistic crime documentaries, 98–99
Asian investors, 178
Asian markets, 229
Association of Film Commissioners International (AFCI), 170
Attachments
real-life stories, 53
Attorney advice
bank loan financing, 176
company creation, 35
deliverables, 150
development money proposals, 50
Investor Offering, 56
limited partnerships, 172
LLCs, 173
negotiation stances, 12
PPM, 13
real-life story agreements, 53
risk statement, 153
short film deals, 260
state film incentives, 170
Audax Group, 132
Audience, general, see also Market segment;
Target markets
and change of medium, 2
IMAX, 122
mass audience, 63, 218, 221, 226
movies as business, 5
saturation, 92
short films, 251
studio films, 63
theater vs. Internet, 117
U.S. vs. Europe/Asia, 178
Australian investment, 178
B
Bain Capital, 132
Balance Sheet, 212
Bankable stars, 54
Bank Guarantee, 195
Bank loans
advantages/disadvantages, 176–177
European film financing, 195–196
Barclay's Bank, 195
Barnes, Joslyn, 178
Baseline StudioSystems, 205
BBC, 194
Below-the-line costs
international co-production, 168–169
sample business plan, 235
state film incentives, 170
Below-the-line personnel
as attachments, 39
motion picture production, 65
Belushi, Jim, 253
Benchley, Robert, 252
BETASP, 265
“Bicycle” distribution, 144
“Big Six” studios, 63
Biographies
brevity, 57
Black, Karen, 253
Blackberry (RIM), 120
The Blair Witch Project
art vs. speciality, 89
as commercial project, 4
distribution, 132
film matching, 202
success, 73
Blockbuster Video, 116–117, 229–230
Block Party, 101
Bohr, Nils, 115
Bonds, 177
The Bone Collector, 92
Book rights, 52
Books
distributor strategies, 140
motion picture production, 64–65
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan!, 77–78
Borgnine, Ernest, 9
Bottle Rocket, 253
Bowling for Columbine, 100–101
Box office basics, see also Revenue basics
analysis, 62
budget correlation, 5
forecasting, 214
four-walling distribution, 144–145
Jurassic Park effect, 85
“legs,”, 142
as revenue backbone, 129
studio distribution, 130
from tentpole films, 87
tracking firm, 144
Variety's list, 123
Box Office Mojo, 107, 203, 204, 225–226
Bravo, 204
British Screen Finance, 141
Broadband
“keep rate,” 119
as short film market, 260
short film markets, 260
Broadcast distribution
digital film, 80
in Europe, 194
high-definition, 267
TV documentaries, 102
Budget basics
bankable stars, 54
box office-budget relationship, 5
business plan, 33
calculating, 76
comparative films, 201
Executive Summary preparation, 18
Filmtracker 's Baseline, 107
market segment-budget relationship, 87
sample business plan, 215, 235
skill-budget relationship, 38–39
Buena Vista Social Club, 100
Business cards
marketing strategies, 108
starting a business, 35
Business Periodicals Index, 106–107
Business vs. personal goals, 28–29
Business plan, general
development requirements, 7
as discovery process, 18
and entrepreneurs, 8
investor cut, 13
as marketing document, 23
project uniqueness, 11
vs. prospectus, 13
Business plan, sample
approach, 215
cash flow statement, 248t
“The Company” section, 218, 221–223
“Distribution” section, 219–220, 232–234
“The Films” section, 218–219, 223–225
“The Industry” section, 219, 225–230
international theatrical exhibition, 229
Investment Opportunity and Financial High-lights, 220–221
“The Markets” section, 219
motion picture production, 226
Overhead Expenses, 249t
Business plan, sample
Projected Income, 245t, 246t, 247t
Strategic Opportunity, 218
Summary Projected Cash Flow Based on
Moderate Profit Cases, 240t
Summary Projected Income Statement, 239t
theatrical exhibition, 227
Business Strategies, 9, 58, 70–71, 76, 253–254
Buzz
self-marketing, 113
C
Cable channels
distributors, 128
documentary financing, 102
domestic ancillary revenues, 206
domestic rights, 135
industry analysis, 61
TV documentaries, 102
Canada
bilateral treaties, 185
domestic vs. foreign distribution, 134–135
financing example, 196
forecasting information, 203
IMAX, 121
international sales, 76
sample business plan, 235
theatrical revenues, 206
Canadian Documentary Channel, 261
Cannes Film Festival
film markets, 86
independent distribution, 133
presales, 166
securing distribution, 142
short documentaries, 261
Cape Fear, 92
Capitol Films, 133
Carolco, 73
Carroll, Lewis, 17
Cash Flow statement
sample business plan, 237, 248t
Cats and Dogs, 231
CBS, 118
CCP. see Crazed Consultant Productions (sample) business plan
Cell phones
film types, 2
Internet downloads, 118
short-attention-span theater, 118
Chalke, Sarah, 253
Channel Four, 141
Chappelle, Dave, 101
Chapter 11 bankruptcy, 25–26
Chariots of Fire, 10
Chinese market
self-marketing, 114
short films, 268
Christian market
self-marketing strategies, 113–114
The Chronicles of Narnia: Prince Caspian, 64
Cinema and Cultural Industries (IFCIC), 195
CinemaNow, 116–117, 229–230, 268
Cinemax, 262
Cinepix Film Properties, 132
Cinetic Media, 116
Clapp, Gordon, 253
Clearance & Copyright (Donaldson), 264–265
Clerks, 160
Clermont-Ferrand Festival, 252–253
CNC, see National Centre for
Cinematography (CNC)
COE, see Council of Europe (COE)
The Coen Brothers, 5
Cofiloisirs S.A., 195
Comcast Corporation, 63, 257–258, 267
Comedy genre
market segment, 87
popularity, 88
Commerzbank, 195
“The Company” section (business plan)
brevity, 43
company introduction, 32
distribution objectives, 36–37
entertainment experience, 38–40
management and organization, 37–41, 221–223
market identification, 37
personal vs. business goals, 28–29
purpose, 21
Comparative films
budgeting, 97
market segment, 93
sample business plan, 241t, 242t, 244t
Completion guarantors, 177
Computer-generated imaging (CGI), 262–263
Continuity script, 150
Contract issues (short films)
deliverables, 265
Convergence, digital film, 79
Co-productions
basic considerations, 196
European film financing, 184–185, 196
Copyright
Council of Europe (COE), 184–186, 187
Coutts, 195
Cox, 267
Crazed Consultant Productions (sample)
business plan
cash flow statement, 248t
“The Company” section, 218, 221–223
“Distribution” section, 219–220, 232–234
“The Films” section, 218–219, 223–225
“The Industry” section, 219, 225–230
International theatrical exhibition, 229
Investment Opportunity and Financial Highlights, 220–221
“The Markets” section, 219, 230–232
motion picture production, 226
Overhead Expenses, 249t
Projected Income, 245t, 246t, 247t
Strategic Opportunity, 218
Summary Projected Cash Flow Based on
Moderate Profit Cases, 240t
Summary Projected Income Statement, 239t
theatrical exhibition, 227
Critics’ Choice Awards, 143–144
Crowe, Carol, 256
Crumb, 100
Cycles, genre markets, 92
D
Daily Variety, see Variety
Data analysis, forecasting, 205–213
DBS, see Direct broadcast satellite (DBS)
D-cinema, see Digital film trends
DEG, see Digital Entertainment Group (DEG)
Dentist investors, 178
Denton, James, 253
Dergarabedian, Paul, 144
Deutsche Bank, 195
Development process
genre cycles, 92
independent vs. studio film, 72
production steps, 64–65, 226–227
studio production, 68
Devil in a Blue Dress, 92
DFFF. see German Federal Film Fund (DFFF)
DGA, see Director's Guild of America (DGA)
DIGIBETA, 265
Digital Entertainment Group (DEG), 228–229
Digital remastering (DMR), 121–122
Digital Rights Management, 135–136
Dinosaur, 80
Direct broadcast satellite (DBS), 227–228
Directors
biography brevity, 57
distribution publicity, 130–131
distributor strategies, 139, 140
filmmaker investment advice, 178
financing basics, 165
international co-productions, 168–169
motion picture production, 64–65
short film distribution, 251
Director 's Guild of America (DGA), 121, 266–267
Director 's reels, 108
Direct-to-DVD market, 124–125, 145, 209
Distribution considerations
broadcast, see Broadcast distribution
distribution definition, 128
Internet and investors, 120
revenue and expenses, 209
sample rights contract, 129
Distribution rights
advances, 167
motion picture production, 226
slow distribution, 144
“Distribution” section (business plan)
sample business plan, 219–220, 232–234
Distribution strategies
moderate-speed distribution, 143–144
short films, see Short film distribution
slow-speed distribution, 144–145
studio vs. independent, 146–148, 147t
Distributors, general
company mission statement, 31
completion guarantors, 177
filmmaker investment advice, 178
as financiers, 139
forecasting research, 204
short film quality, 262
Distributor 's Gross
sample business plan, 239t, 241t, 243t, 245t, 246t, 247t
DLJ Merchant Banking Partners, 63
DMR, see Digital remastering (DMR)
Doctor investors, 178
Documentaries
short, 261
target markets, 99
Dogtown and the Z-Boys, 100–101
Domestic ancillary revenue, 206
Domestic distribution
rights presale, 166
sample contract, 129
Domestic rentals
definition, 206
sample business plan, 235, 241t, 243t, 245t, 246t, 247t, 248t
Domestic rights
definition, 135
presales, 166
Donaldson, Michael, 48–49, 264–265
Drama genre
characteristics, 88
defining, 88
forecasting research, 204
market segment, 87
DreamWorks Animation, 70–71, 82, 92–93
DVD market
cash flow statement, 211
distributors, 134
domestic ancillary revenues, 206
domestic rights, 135
forecasting research, 204
industry analysis, 61
and Internet distribution, 116–117
market research, 107
presales, 166
release windows, 77
Scream, 91
short films, 257–258, 265, 268
E
Eberts, Jake, 10
Economic climate
Edison, Thomas Alva, 59–60, 252
E! Entertainment Channel, 203–204
Eight Below, 219
Eisenberg, Joel, 178
El Mariachi, 105
eMarketer, 119
EM Media, 190
EMO Films, 178
Enron: The Smartest Guys in Town, 100–101, 214
Entertainment experience, “Company” section, 38–40
Entrepreneurs, general
business proposal vision, 8
as dreamers, 15
self-knowledge, 26
Environmental films, 31
E& O insurance policy copyright certificate, 150
Equity investors
filmmaker experiences, 178–184
private placement, 13
producer financial knowledge, 123–124
Etheridge, Melissa, 101
EU, see European Union (EU)
European Convention on Cinematographic Production, 184–185, 196–197
European film financing
fictional case study, 196b
European investment, 163, 178, 196
European Investment Bank, 195–196
Exclusive rights, options, 51–52
Executive producer
investor as, 165
as manager, 11
Executive Summary, general
“The Company” section, 21
“The Industry” section, 22
Investment Opportunity and Financial High-lights, 23
“The Markets” section, 22
risk statement, 153
style, 20
Executive Summary, sample
“The Company” section, 218
“Distribution” section, 219–220
“The Industry” section, 219
Investment Opportunity and Financial High-lights, 220–221
“The Markets” section, 219
Strategic Opportunity, 218
Exhibition numbers, 76–82, 227
Exhibitor Relations Co., 144, 203
Exotica, 92
F
Facing the Giants, 73, 94–95, 113–114, 160, 208
Family film genre, 94, 230–231
Fargo, 92
Federal film incentives, 169–170
FFA, see German Federal Film Board (FFA)
Filmboard Berlin-Brandenburg, 190–191
Film credits, financing basics, 165
The Film Entrepreneur, 122–123
FilmFernsehFonds Bavaria, 190–191
Film festivals see also specific festivals
distributor strategies, 142
forecasting reasearch, 204
Film Group, 133
Filmmaker advice
promises to investors, 158
Filmmaker distribution strategies
deliverables, 150
studio vs. independent, 146–148, 147t
Film market guidelines, 108–113
Film noir, 92
Film rentals
cash flow statement, 211
definition, 232
and distribution fees, 130
forecasting, 166
“The Films” section (business plan)
business development speed, 58
providing facts, 47
real-life stories, 53
Filmstiftung North-Rhine-Westphalia, 190–191
Filmtracker 's Baseline, 107
Financial plan
for one film, 213
revenue projection, 208
sample, 235
skills, 200
Financing basics
advances, 167
big payoffs, 166
clarity of plan, 159
completion guarantors, 177
entrepreneur investors, 160–161
European co-productions, 184–185
federal film incentives, 169–170
filmmaker promises, 158
foreign investors, 163
friends and family, 160
international co-production, 168–169
investor payback, 175
overview, 155
special interest investors, 162–163
state film incentives, 170
Finders, 3
First Look Studios, 133
First Run, 133
Flickerfest Short Film Bureau, 257
Foley, Jack, 96
Forbes 400, 160
Forecasting
for one film, 213
revenue projection, 208
skills, 200
Foreign ancillary revenue, 207
Foreign distribution structures
France, 195
rights presale, 166
United Kingdom, 194
Foreign investment advice
from filmmakers, 178
financing basics, 163
Foreign rights
co-productions, 184
and domestic distributors, 135
presales, 166
Four-walling distribution, 144–145
Four Weddings and a Funeral, 73
Fox Movietone, 252
Fox Searchlight, 69–70, 71–72, 96, 133, 137–138
Fox/Walden Media, 133
France
banking, 195
bilateral treaties, 185
distribution, 195
film banking markets, 195
financing example, 196
Free-for-view, 267
Freeman, Jim, 121
Free television
domestic ancillary revenues, 206
industry segment, 61
revenues, 204
French public subsidies, 189–190, 191–193
Frida, 96
Friedman, Rob, 1
“Friends and family” investors, 160, 178, 255
Friendster, 114
Fundraising basics, 164
The Fundraising Houseparty, 164
G
Gap Financing, 195
Gap lending, 178
Gay and Lesbian films
budgets, 97
General partner, in LPs, 172
The General's Daughter, 92
Genre, general see also specific genres
distributor strategies, 140
and independent film, 5
moderate budgets, 97
sample business plan, 241t, 242t, 243t, 244t
George Lucas in Love, 253
German Federal Film Board (FFA), 188–189
German Federal Film Fund (DFFF), 188–189, 197
Germany
banking, 195
bilateral treaties, 185
film banking markets, 195
Giant Screen Cinema Association, 123–124
Gibs, Jon, 114
“Global TV Price Spread” (Variety), 204
Glover, Danny, 178
Goals
company formation, 27
Gods and Monsters, 90
“The Going Rate” (The Hollywood Reporter), 204
Good Machine, 70
cell phone downloads, 118
cell phone providers, 120
YouTube purchase, 118
Gore, Al, 101
Government film agency investors, 178
Grants
The Great Train Robbery, 59–60
Green, Harry, 9
“Greenlight,” definition, 65
Gross Income
dollar tracking, 74t
sample business plan, 235–236, 245t, 246t, 247t
Gross profit (loss)
sample business plan, 239t, 241t, 243t
Guggenheim, David, 101
Guilds
short film distribution, 265–267
H
Halloween series, 91
Hard Rock Hotel and Casion, 71–72
Harry Potter books, 49
The Haunting in Connecticut, 91
Haxan Films, 175
HBO Latin, 263
HD, see High-definition (HD)
Hedge funds, 64
Hedren, Tippi, 253
High School Musical series, 93
Hispanic/Latino market, 93–94, 95–96
Hollywood, place vs. attitude, 7
The Hollywood Distributors Directory, 135
The Hollywood Reporter
film sales list, 204
as information source, 203
as resource, 104
Home Shopping Network, 9
Home video
financing advances, 167
release strategies, 233
theatrical exhibition impact, 77
Hoop Dreams, 100
Hoover, 9
Horror genre
characteristics, 88
cycles, 92
direct-to-DVD, 124
history, 91
market segment, 87
Hostel series, 91
Hotelier investors, 178
Hot Fuzz, 225
Howard, Ron, 64
How She Move, 93
Hudson, Oliver, 253
Hulu, 118
Hungarian public subsidies, 193
HypoVereinsBank, 195
I
IDP Distribution, 133
IFC, see Independent Film Channel (IFC)
IFCIC, see Cinema and Cultural Industries (IFCIC)
IFTA, see Independent Film and Television
Alliance (IFTA)
The Ilya Salkind Company, 109–110
IMDB, see Internet Movie Database (IMDB)
I'm Trying to Break Your Heart, 100–101
An Inconvenient Truth, 101
Independent distribution
film quantity and quality, 132–134
Independent film, general
distributor power, 128
Internet and investors, 120
Oscar nominations, 70
production/exhibition numbers, 76–82
vs. studio film, 68
Independent Film Channel (IFC)
forecasting reasearch, 203–204
motion picture production, 73
niche groups, 96
short film markets, 259
Independent Film and Television Alliance (IFTA), 69, 76, 135
Independent Moving Pictures Company of America, 59–60
Independent producers vs. conglomerates, 26
Indican, 133
“The Industry” section (business plan)
independents dollar tracking, 73–75, 74t
independents pros and cons, 75–76
industry history, 59
motion picture production, studios, 63–65
production and exhibition, 76–82
production investment trends, 78–79
purpose, 22
In-house studio marketing, 65–66
Innovation Film Group, 133
In perpetuity, 167
Inspirational films, 94, 162–163
Interim Finance, 195
Internal Revenue Service (IRS), 172, 173
International co-productions
advantages/disadvantages, 168–169
European film financing, 184–185
government requirements, 168–169
Internet
direct-to-DVD marketing, 124–125
short-attention-span theater, 118–120
Internet Movie Database (IMDB)
horror genre, 88
as information resource, 203
market research, 107
TV documentaries, 102
Interstitials, 262
Investment Opportunity and Financial High-lights, 23, 220–221
Investors, general, see also Equity investors “art” investors, 161–162
company mission statement, 31
cut of project, 13
development money vs. planned projects, 50
distribution plans, 22–23, 150–151
distribution strategies, 147
environmental films, 31
and Executive Summary, 19
financing information, 177–178
LLC/LP payback schedules, 175
LPs, 172
MGM consortium, 63
providing facts, 47
as risk takers, 8
types, 159
Iris, 163
Irish public subsidies, 193–194
IRS, see Internal Revenue Service (IRS)
It Came from Outer Space, 81–82
iTunes store (Apple), 229–230, 260–261
J
Jaglom, Henry, 5
Japanese investments, 163
Japanese markets, 260
Jarmusch, Jim, 5
Juno, 21–22, 90, 143–144, 166, 219
Jurassic Park, 85
K
Kendrick, Alex, 160
Kendrick, Stephen, 160
Kessler, Hal “Corky,” 169
Kidd, Bronwyn, 257
The Kid Stays in the Picture, 100–101
Kipling, Rudyard, 85
K-19: The Widowmaker, 163
Knowing, 201
L
L.A. Confidential, 92
Lahti, Christine, 253
Large Format Cinema Association, 123–124
Large-format films
“Legs,” 142
Lieberman In Love, 253
Limited Liability Company (LLC)
business plan negotiations, 12
definition, 35
entrepreneur investors, 161
filmmaker investment advice, 178
investor payback, 175
ownership, 13
risk statement, 153
Limited partner investors, 172, 174–175
Limited Partnership (LP)
advantages/disadvantages, 172–173
business plan negotiations, 12
entrepreneur investors, 161
investor payback, 175
ownership, 13
risk statement, 153
Linde, David, 127
Lionsgate Films
distribution, 134
distributors, 132
as genre definer, 90
Internet distribution, 116–117
specialty market, 96
3D films, 82
Lipsky, Mark, 251
Little Miss Sunshine, 90, 137–138
Live Entertainment, 132
LLC, see Limited Liability Company (LLC)
Location releases, 264
The Lord of the Rings trilogy, 42, 60–61, 71–72, 85, 202
Lost Highway, 92
Louverture Films, 178
LP. see Limited Partnership (LP)
Lucas, George, 80
M
MacGillivray, Greg, 121
MacGillivray Freeman Company, 121, 123–124
Magic 4 Morons, 9
Magnet Releasing, 133
Magnolia Distribution, 160–161
Magnolia Pictures, 133
Majestic World Entertainment, 109–110
Majors
definition, 63
independent distribution, 131–132
negative pickup, 171
sample business plan, 226
Management team, 21, 30, 37–41, 221–223
March of the Penguins, 94, 95, 113–114, 214
Marketing strategy
filmmaker expert advice, 109–113
networking, 106
support materials, 108
Market research
Internet and libraries, 106–107
networking, 106
Market segment, see also Target markets
cycles, 92
“The Markets” section (business plan)
basic considerations, 85
cycles, 92
filmmaker expert advice, 109–113
Internet distribution, 116–121
Internet and investors, 120–121
large-format film finances, 122–124
marketing support materials, 108
networking, 106
purpose, 22
short-attention-span theater, 118–120
Mass audiences, 63, 218, 221, 226
Matsushita Electric Industrial Co., 62
MCA Inc., 62
McTier, Karen, 124
MEDIA 2007 program, 186
The Media-Wise Family (Baehr), 94–95
M& E tracks, 150
Metro-Goldwyn-Mayer (MGM), 63, 69–70, 116–117, 226
MGM, see Metro-Goldwyn-Mayer (MGM)
Michael Winslow Live, 9
Mille, Jean Charles, 258
Miller, Wentworth, 253
Mini-budget, financing, 9
Mini-Majors, 171
Mission statement, 30
Mobile entertainment revenues, 119
MobiTV, 120
The Moguls: Hollywood's Merchants of Myth (Zierold), 63
Monando Film Distribution, 109–110
Monster's Ball, 90
Monterrey Pictures Entertainment, 109–110
Moore, Michael, 88–89, 100–101
Moran, Josie, 253
Motion Picture Association of America (MPAA), 76
filmmaker deliverables, 150
market demographics, 93
script titles, 49
Motion picture production
independent investors, 64
postproduction, 65
preproduction, 65
principal photography, 65
sample business plan, 226
studio picture, 64
The Motorcycle Diaries, 96
Movielink, 116–117, 229–230, 268
Moving Midway, 178
MTV Mobile, 120
Music Box Films, 133
Muybridge, Eadweard, 59
My Big Fat Greek Wedding, 73, 161–162, 202, 206
My Bloody Valentine 3-D, 82
Myers, Peter, 142
My Indecision Is Final: The Rise and Fall of Goldcrest Films, 10
MySpace, 114
N
Napoleon Dynamite, 137–138, 158, 166, 202, 208, 219
Natexis Coficiné S.A., 195
The National Academy of Television Arts and Sciences Daytime Emmy Awards, 118–119
National Association of Theater Owners (NATO), 93, 94, 230–231
National Centre for Cinematography (CNC), 189–190
National Film Office (NFO), 193
National Geographic Cinema Venture, 121
Native American theme, 143
NATO, see National Association of Theater Owners (NATO)
Near video on demand (NVOD), 227–228
Negative costs
financing basics, 160
forecasting, 207
motion picture production, 65
Negative pickup
advantages/disadvantages, 171
Negotiation strategies, 12–14, 23
Netflix, 117
Net Producer/Investor Income, 236
Net profit (loss)
independent films, 74
revenue and expenses, 210
studio distribution, 130
studio vs. independent films, 148
Networking, 106
New Cinema Fund, 188
New Line Cinema, 42, 69–70, 71–72, 73, 133
Newman, Robert, 105
New media technology
download sales, 120
rights licensing, 234
short films, 268
Newreels, 252
News Corp., 226
News of the Day, 252
New Yorker Films, 133
NFO, see National Film Office (NFO)
Niche markets
business plan development, 11
documentaries, 98
and film budget, 97
studio involvement, 148
Nightmare on Elm Street, 42, 73
Nippon Film Development, 141
No-budget films, 73, 93–94, 120–121, 144
No Country for Old Men, 225
NoHo Films International, 178
Nonexclusive rights, short films, 260
Northern Ireland Film & Television Commission, 190
Not-for-profit grants, 102–103
NTSC format, 265
NVOD, see Near video on demand (NVOD)
O
Objectives and goals, 27
Oh, Sandra, 253
One-film plan
Income Statement, 209
page length, 11
summary tables, 215
One Missed Call, 88
One-reelers, 252
Opening weekend, 142
Open Water, 88
The Operating Agreement (LLC), 175
Options, see also Rights
real-life stories, 53
Oscars, see also Academy Awards
film credits list, 165
and independent productions, 69–70
sample business plan, 219, 225
short documentaries, 261
short films, 253, 256, 266–267
Oscilloscope Laboratories, 160–161
Oscilloscope Pictures, 133
Overhead Expenses
sample business plan, 238, 249t
studio distribution, 130
Owens, Tim, 178
P
P& A. see Prints and Advertising (P& A)
PAL, 150
Palm Pictures, 133
Palm Pre, 120
Pal Plus, 263
The Pamplin Film Company, 7, 175
Paradigm, definition, 2
Paramount, 63, 69–70, 116–117, 252
Paramount Classics, 69–70, 133
Paramount Pictures, 226
Paramount Vantage, 69–70, 71–72, 133
Participant Productions, 76
The Passion of the Christ, 94, 113–114
Pathé, Charles, 252
Payne, Patricia, 178
PayPal, 118
Pay-per-view (PPV)
distributors, 128
domestic ancillary revenues, 206
short films, 267
Peach Arch Entertainment, 133
Pergasus Entertainment Group, 133
Perry, Tyler, 94
Personal goals
vs. company purpose, 31
PFE, see Polygram Filmed Entertainment (PFE)
The Pianist, 94
Platform release, 143, 233–234
Pohlad, Bill, 76, 133, 160–161
Points, 165
Political films
as special interest, 162
Polygram Filmed Entertainment (PFE), 69–70
Postproduction process
budget problems, 55
French tax incentives, 192–193
function, 65
production steps, 64–65, 226–227
studio system, 68
PPM, see Private placement (PPM)
PPV, see Pay-per-view (PPV)
Prebuy, 166
Premiere Fund, 188
Premium channels
domestic ancillary revenues, 206
as major film outlets, 227–228
TV documentaries, 102
Premium Films, 258
PREPARATORY ACTION funding, 186–187
Preproduction process
independent films, 72
motion pictures, 65
production steps, 64–65, 226–227
Presales
advances, 167
advantages/disadvantages, 167–168
distributor strategies, 141
Press kits, 108
Principal photography
budget problems, 55
motion picture production, 65, 226
Principal purpose
definition, 32
example, 221
Prints and Advertising (P& A)
filmmaker investment advice, 178
independent films, 74
market research, 107
motion picture production, 65
sample business plan, 235, 237
short films, 265
Private placement (PPM)
advantages, 172
filmmaker investment advice, 178
Producers, general
biography brevity, 57
completion guarantors, 177
distribution publicity, 130–131
distributor deals, 128–129, 136, 232
distributor strategies, 139, 140–141
European film financing, 184
feature film experience, 54
independent film production, 75–76
international co-productions, 168–169
locating investors, 164
P& A money, 138
short film distribution, 251
state film incentives, 170
Production costs. see also Budget basics
repaying, 150
sample business plan, 235
Production managers
budget creation, 98
Production money
availability, 91
cash flow statement, 210
and distribution company, 137
investor repayment, 50
Production process. see also Motion picture production
studio vs. independent, 72
tax incentives, 192
Production team, 30, 35, 37, 39, 156
Projected Income
sample business plan, 235, 245t, 246t, 247t
Promotion
distributor strategies, 139
short films as, 254
Providence Equity Partners, 63
Publicity
self-distribution, 145
studio distribution, 130–131, 147–148
Public limited partnerships, 172
Public subsidies
EURIMAGES, 187
European film financing example, 197
Hungary, 193
PREPARATORY ACTION/MEDIA MUNDUS, 186–187
Puerto Rico market, 76, 134–135, 170, 203, 206–207
Q
The Quiet American, 163
Quigg, Jerry, 26
R
Rachel Getting Married, 88
Rainbow Media, 73
Rambo films, 73
Real estate developer investors, 178
Real-life story attachments, 53
Real Women Have Curves, 90, 96
Reeves, Bernie, 178
Regal CineMedia Corp, 259
Release strategy example, 233–234
Releasing costs, 235
Reliance Big Entertainment, 70–71
“Rent-a-distributor,”, 138
Research In Motion Blackberry, 120
Revenue basics
box office backbone, 129
cash flow statement, 210
domestic ancillary, 206
Filmtracker 's Baseline, 107
foreign ancillary, 207
independent dollar tracking, 73–75, 74t
international co-productions, 168
studio dollar tracking, 65–68, 66t
Revenue cap, 167
Revenues and Expenses, 209–210
Rice, T C, 254
Richland, Gordon and Company, 132
Rights, see also Options
books, 52
distribution, see Distribution rights
presales, 166
sample business plan, 223
Risk factors
distributors, 137
guarantors, 177
Risk statement, 153
River Road Entertainment, 76, 133, 160–161
RKO-Pathé, 252
Roadside Attractions, 133
Rockefeller, John D, 28
Rocky Mountain Pictures, 133
Rodriguez, Robert, 105
Roger and Me, 100
Rogers Cable, 267
Rollout strategies, 143
Romance genre
defining, 88
market segment, 87
Romantic comedy budgets, 97
Roosevelt, Franklin Delano, 140
The Royal Tenenbaums, 253
Rushmore, 253
Russell, David, 251
S
SAG. see Screen Actors Guild (SAG)
Saleman, Michael Norman, 173–174
The Samuel Goldwyn Company, 69–70, 146
Satellite presales, 166
Saturation distribution strategy, 143
Sci-fi genre
Scream, 91
Screen Actors Guild (SAG), 265–266
Screen International, 104
Screenplays. see also Scripts
Screen Yorkshire, 190
Scripts. see also Screenplays
and budget, 56
continuity script, 150
control, 75
German development money, 188–189
motion picture production, 64–65
and negative pickups, 171
title, 48
S. Darko: A Donnie Darko Tale, 124
Seagal, Steven, 124
SEC. see Security Exchange Commission (SEC)
Security Exchange Commission (SEC), 172–173
Seger, Linda, 48
Self-distribution, 145–146, 150
Self-knowledge importance, 26–29
Self-marketing, 113–114, 117–118, 146
Senator Distribution U.S, 133
Sequencing distribution strategies, 143
Short-attention-span theater, 118–120
Short documentaries, 261
Short film distribution
festivals, 257
overview, 251
Short film markets
advertainments/advertorials, 258–259
Short films
deliverables, 265
as feature promo, 254
for filmmaking experience, 254
Showtime, 262
Sicko, 101
Sidney Kimmel Entertainment, 160–161
The Sisterhood of the Traveling Pants 2, 88
Slumdog Millionaire, 166, 208, 225
Smith, Kevin, 160
Smith, Pete, 252
Social networking sites
self-marketing, 114
Soft monies, 178
The Soldier's Wife, 141
Sole proprietorship, definition, 35
Sony Classics, 69–70, 71–72, 90, 133
Sony Corporation of America, 63, 116–117, 260–261
Sony Pictures Entertainment, 63, 226
Sound, releases, 264
Sources and Uses of Funds, 212
Southern Documentary Fund, 178
Spain, Jay, 178
Spanish banking, 195
Special-interest groups
distributor strategies, 139
release strategies, 143
viral marketing, 113
Specialty vs. art films, 89–90
Specialty divisions
as studio brands, 26
Spielberg, Steven, 70–71, 85–86
The Spirit of Christmas, 253
Standing in the Shadows of Motown, 100–101
Stanford, Leland, 59
Stars, see also Actors
bankable, 54
biography brevity, 57
distributor strategies, 141
financing basics, 165
Star Wars: Episode I& ndash;The Phantom Menance, 80
State film incentives, 170
Statement of Revenue and Expenses, 209–210
Still photographs
filmmaker deliverables, 150
releases, 265
Stoltz, Eric, 253
Story
distributor strategies, 140
motion picture production, 64–65
selling projects, 235
synopsis, 48
Strategic Opportunity
Executive Summary example, 21–23
sample business plan, 218
Strategy Analytics’ Multiplay Market Dynamics, 119
Street Kings, 92
Studio distribution
vs. independent, 146–148, 147t
Studios
classic “studio” picture, 64
Internet and investors, 120
market demographics, 93
speciality divisions, 26
Subscription broadband
“keep rate,”, 119
as short film market, 260
Summary Projected Cash Flow
Based on Moderate Profit Cases, 236, 240t
Summary Projected Income Statement, 235, 239t
Sundance Channel
forecasting reasearch, 203–204
short documentaries, 261
Sundance Film Festival
distribution rights, 135, 137–138
financing promises, 158
independent distribution, 132–133
networking, 106
securing distribution, 142
short documentaries, 261
short films, 252–253, 257, 268
slow-speed distribution, 144
Superbad, 93
Super gap lending, 178
Synopsis, see Plot synopsis
T
Tables & graphs vs. words, 82–83
Target markets, see also Market segment
defining, 22
documentaries, 99
profile, 87
short films, 263
Tax-Incentive Financing, 195
Tax incentives
filmmaker advice, 178
Hungary, 193
investment trends, 78
United Kingdom, 192
Tax Rebate for International Production (T.R.I.P.), 193
Teenage Mutant Ninja Turtles, 42
Teen film market, 93
Television
federal film incentive, 169
future trends, 79
interstitials, 262
news story history, 252
short film markets, 256
and studio dynasties, 63
Television documentaries, 99, 102–103
Television station investors, 178
Television syndication
advances, 167
domestic ancillary revenue, 206
release strategies, 233
“Television without Frontiers,”, 195
Texas Pacific Group, 63
Theatrical exhibition
sample business plan, 227
Theatrical rentals
definition, 206
dollar tracking, 74t
They Can Kill You But They Can't Eat You (Steel),68–69
THINKFilm, 133
35mm format
filmmaker deliverables, 150
transfer budget, 201
3ality Digital Entertainment, 121
3D Entertainment, 121
Thriller genre
cycles, 92
defining, 88
market segment, 87
Time Warner, Inc, 63, 226, 257–258, 267
Titanic, 85
Toronto Film Festival, 142
Tortilla Soup, 96
Total cost forecasting, 207
Total revenue, 207
Trade paper research, 104
Tribeca Film Festival, 257
Trimark Pictures, 132
T.R.I.P., see Tax Rebate for International Production (T.R.I.P.)
Twentieth Century Fox
film release methods, 142
independent divisions, 69–70, 133
motion picture production, 226
studio dynasties, 63
Twitter, 114
U
The Underneath, 92
United Kingdom
banking, 195
bilateral treaties, 185
distribution, 194
public subsidies, 190
tax incentives, 192
web site resources, 104
United Kingdom Film Council, 187–188
Unit production managers (UPMS)
budget creation, 98
state film incentives, 170
Universal Pictures, 2, 62, 252
Universal Studios
history, 62
studio dynasties, 63
UPMS, see Unit production managers (UPMS)
The Usual Suspects, 92
V
Van Damme, Jean Claude, 124
Variety
box office dollars, 123
feature film price list, 204
forecasting research, 203
VHS format, 74–75, 91, 228–229
Video Business, 125
Video-on-demand (VOD)
market research, 107
presales, 166
sample business plan, 228
short films, 267
Videotape, as deliverable, 150
Vidmark, 132
Vivendi, 62
W
Wade, April, 178
The Walt Disney Company
distribution publicity, 130–131
family films, 94
Hulu, 118
independent film production, 69–70
motion picture production, 226
studio dynasties, 63
and The Weinstein Company, 73
Warner Bros.
independent divisions, 69–70, 133
motion picture production, 226
studio dynasties, 63
Warner Independent Pictures, 69–70, 71–72, 133
Warshawski, Morrie, 102–103, 164
The Weinstein Company, 58, 73, 90, 134
WGA. see Writers Guild of America (WGA)
What the Bleep Do We Know?, 94, 95, 113–114, 146
Which Lie Did I Tell?: More Adventures in the Screen Trade (Goldman), 68–69
Whitacre, William L., 175
Wide release strategies, 142–143
Wilson, Owen, 253
Woman On Top Productions, 178
Word-of-mouth
distributor strategies, 139
moderate-speed distribution, 144
self-distribution, 146
self-marketing, 113
Working Capital/Corporate Finance, 195
World Trade Organization, 268
Worldwide distribution
Worldwide rights
and domestic distributors, 135
Writer-producer, 73
Writers
fiction vs. nonfiction, 48
vs. filmmaker, 25
international co-productions, 168–169
motion picture production, 64–65
Writers Guild of America (WGA), 48–49, 68–69
X
X-Men Origins: Wolverine, 68
Y
Yankee Group, 119
Yari Film Group Releasing, 133
York, Michael, 253
Young adult market, 93
Z
Zeitgeist Films, 133
Zierold, Norman, 63