Index
Boldface page numbers refer to tables
A
ABC Family Channel, 119
ABC network, 119
above-the-line costs
international coproductions, 180–181
sample business plan, 229
above-the-line money, distribution, 139
Academy Awards, 209, 216, see also Oscars
filmmaker investment advice, 269
filmmaking goals, 31
financing advice, 269
partnership, 44
accounting issues
studio dollar tracking, 71, 71–73
action/adventure films, filmmaking goals, 31
action/adventure genre
defining, 92
market segment, 92
Act of Valor, 97
actor/estate agent investors, 273
actors, see also stars
and budget, 58
distribution publicity, 119
experienced, 56
filmmaker investment advice, 269
administrative expenses, forecasting, 203–204
advances
distribution deals, 126
Adventures in the Screen Trade (Goldman), 74
advertising, see also Prints and Advertising (P&A)
companies as investors, 269–271
distribution costs, 128
distributor strategies, 130
Internet, 147
moderate-speed distribution, 134–135
AFCI, see Association of Film Commissioners International (AFCI)
AFM, see American Film Market (AFM)
African-American filmmakers, 96
agents
book attachments, 55
foreign sales, 124
motion picture production, 70, 73, 78
studio clout, 73
Akeelah and the Bee, 97
Allen, Paul, 161
Allen, Woody, 92
Altman, Robert, 74
Aluna, 268
Amazon’s Video on Demand, 220
American Film Market (AFM), 90, 95, 108–113, 131, 132, 167
American Jobs Creation Act, 169
American Pavilion, 113
amores perros, 98
Anchor Bay, 121
ancillary markets
industry segment, 65
motion picture production, 217
forecasting research, 194
North American box office, 83, 216
sample business plan, 231
tracking, 81
animated films, 258
cash flows, 201
demographics, 255
independents, 254
target audience, 255
Anschutz, Phillip, 161
Apatow, Judd, 92
Apple iPod, 220
Apple’s iTunes Store, 220
April Showers, 274
Apted, Michael, 149
Are We Done Yet?, 97
art films vs. specialty, 93–94
Artisan Entertainment, 79, 120
artistic expression, 266
Asian markets, 220
Association of Film Commissioners International (AFCI), 171
assumptions, business plan, 199–200
attachments
examples of, 53
money, 57
options, 54
attorney advice
company creation, 43
deliverables, 141
development money proposals, 52
Investor Offering, 59
LLCs, 174
real-life story agreements, 55–56
risk statement, 151
state film incentives, 171
Audax Group, 120
audience, general, see also market segment; target markets
evolution, 75
ready-made, 54
saturation, 96
studio films, 68
theater vs. Internet, 147
Australian investment, 273
Avatar, 193
B
Bain Capital, 120
Balance Sheet, 203
bankable stars, 56
bank loans
advantages/disadvantages, 178
basics, 177
European film financing, 181
bankruptcy, 28
Barnes, Joslyn, 269
Baseline, 8, 106, 137, 194, 198, 253, 261, 262
Baujard, Thierry, 181
below-the-line costs
international coproduction, 180–181
sample business plan, 229
state film incentives, 171
below-the-line personnel
as attachments, 41
business cards, 37
motion picture production, 70
“bicycle” distribution, 135
“Big Six” studio, 68
bilateral agreements, European, 185
bilateral treaties, 182
biographies, 43
Black Swan, 165
The Blair Witch Project
art vs. speciality, 93
distribution, 120
success, 79
theatrical exhibition, 84
block booking, 84
Blockbuster video, 144–145, 220
book rights, 55
books
motion picture production, 70
Borat, 84
bottom line, 165
Bowling for Columbine, 246
box office basics, see also revenue basics
four-walling distribution, 135
“The Industry” section, 65
Jurassic Park effect, 89
“legs,” 133
as revenue backbone, 117
studio distribution, 118
from tentpole films, 89
box office receipts for independent films, 81
broadcast distribution, presales, 167–168
Brokeback Mountain, 96
Brooklyn’s Finest, 96
budget basics
bankable stars, 57
budget configurations, 101–103
business plan, 35
calculating, 82
Executive Summary preparation, 20
sample business plan, 205, 229
studio pictures, 69
budgets, 82
animated films, 257
Buena Vista Social Club, 246
business cards, 37
marketing strategies, 108
starting a business, 37
business goals, 32
business models, new media, 147–148
business plan
Company section of, 35, 38, 40
Distribution section, see “Distribution” section
for filmmaker, 156
idea of, 190
investors, 87
user-friendly computer software, 87–88
before writing financing section of, 157–160
business plan, general
as discovery process, 20
freestanding document, 25
as marketing document, 25
business plan, sample
approach, 205
cash flow statement, 242
“The Company” section, 208, 211–212
comparative films, 235, 236, 238
“Distribution” section, 209–210, 225–227
“The Films” section, 208–209, 213–215
future trends, 220
“The Industry” section, 209, 216–217
international theatrical exhibition, 220
introduction, 206
investment opportunity and financial highlights, 210
“The Markets” section, 209, 221–224
motion picture production, 217
overhead expenses, 243
Projected Income, 239, 240, 241
risk factors, 228
strategic opportunity, 208
Summary Projected Cash Flow Based on Moderate Profit Cases, 234
Summary Projected Income Statement, 229, 233
table of contents, 207
television, 219
theatrical exhibition, 218
Business Strategies, 38, 76, 83
buzz
definition, 84
self-marketing, 113
C
cable channels
distributors, 116
domestic ancillary revenues, 196, 197
domestic rights, 123
industry analysis, 65
sample business plan, 219
Canada
domestic vs. foreign distribution, 123
fictional film project, 185–186
forecasting information, 194
international sales, 83
sample business plan, 229
theatrical rentals, 196
Canadian distributor, 272
Cannes Film Festival
film markets, 90
forecasting, 246
securing distribution, 132
Cape Fear, 95
Capitol Films, 121
Capote, 96
Carolco, 78
Carroll, Lewis, 19
cash flow statement
sample business plan, 231, 234, 242
Cassidy, Hopalong, 94
Castle Rock, 75
cats and dogs, 222
CBS, 146
CCP, see Crazed Consultant Productions (CCP)
cel animation, see traditional animation
Internet downloads, 149
rights licensing, 116
short-attention-span theater, 147
Christian audience
as niche, 97
teen films, 99
cinematographer, 212
Cinepix Film Properties, 120
Clearance and Copyright (Donaldson), 51
Clerks, 160
COE, see Council of Europe (COE)
Comcast Corporation, 68
comedy genre
market segment, 92
popularity, 92
coming-of-age genre, 192
companies, 27
independent distribution, 120–122
objectives, 39
type of, 34
“The Company” section (business plan)
content and intentions, 35
entertainment experience, 41–43
management and organization, 40–41
personal vs. business goals, 30–31
purpose, 23
set-up checklist, 37
comparative films
budgeting, 102
sample business plan, 235, 236, 238
completion bond, 179
completion guarantors, 178–179
consultants, 212
continuity script, 141
coproductions
European film financing, 181–182, 271–272
copyright
and distributors, 116
Copyright law, 51
The Corporation, 246
Council of Europe (COE), 182–183
Courageous, 165
Crazed Consultant Productions (CCP)
cash flow statement, 242
“The Company” section, 208, 211–212
comparative films, 235, 236, 238
controls, 213
“Distribution” section, 209–210, 225–227
“The Films” section, 208–209, 213–215
financial plan, 229–232, 233–236, 242–243
future trends, 220
“The Industry” section, 209, 216–217
international theatrical exhibition, 220
introduction, 206
investment opportunity and financial highlights, 210
“The Markets” section, 209, 221–224
motion picture production, 217
objectives of, 211
overhead expenses, 243
plans, 222
Projected Income, 239, 240, 241
risk factors, 228
strategic opportunity, 208
Summary Projected Cash Flow Based on Moderate Profit Cases, 234
Summary Projected Income Statement, 229, 233
table of contents, 207
television, 219
theatrical exhibition, 218
Critics’ Choice Awards, 135
crowdfunding, 166–167, 171–172
crowd sourcing, see crowdfunding
Crowe, Russell, 144
Crumb, 246
The Crying Game, 78
Cuban, Mark, 161
D
Daily Variety, 194
Dalian Wanda Group (DWG), 198
The Dark Knight, 96
data analysis, forecasting, 195–199
decision-making process, 130
DEG, see Digital Entertainment Group (DEG)
deliverables, 141
independent vs. studio film, 78
production steps, 69–70, 218–220
studio production, 73
Devil in a Blue Dress, 96
The Devil Inside, 193
Digital Entertainment Group (DEG), 219
digital remastering (DMR), 259, 260
Diller, Barry, 75
dimension films, 97
direct broadcast satellite (DBS), 220
directors, 56
distribution publicity, 119
distributor strategies, 130
filmmaker investment advice, 269
international coproductions, 180–181
motion picture production, 69–70
director’s reels, 108
direct-to-DVD market, 135, 148–149, 200
Dirty Dancing, 78
Disney Channel, 119
distribution
agreement, 117
expenses, 229
new media technology, see new media technology
distribution considerations
bank loan financing, 177–178, 273–275
distribution definition, 115–116
Internet and investors, 149
revenue and expenses, 200
sample rights contract, 116
distribution rights
motion picture production, 217
slow distribution, 135
standard agreement, 141
television, 219
“Distribution” section (business plan)
sample business plan, 209–210, 225–227
distribution strategies
moderate-speed distribution, 134–135
slow-speed distribution, 135–136
studio vs. independent, 137–139, 138
wide release, 133
independent, see independent distribution
risks, 126
studio, see studio distribution
distributors, 116–117, 147, 148
as financier, 130
release schedules plan, 129
distributor’s fees, 129, 230, 231
distributors, general
completion guarantors, 178–179
filmmaker investment advice, 269
as financiers, 130
forecasting research, 195
distributor’s gross
sample business plan, 233, 235, 237, 239, 240, 241
distributor strategies
elements, 131
film festivals, 132
film marketing, 130
films release methods, 132–137
DMR, see digital remastering (DMR)
television, 246
Dogtown and the Z-Boys, 246
domestic ancillary revenues, 196–197
domestic distribution
rights presale, 167
domestic rentals
definition, 196
sample business plan, 229, 239, 240, 241, 242
domestic rights
presales, 167
domestic theatrical rentals, 196
Donaldson, Michael, 51
drama genre
characteristics, 92
defining, 92
drama genre
market segment, 92
DreamWorks Animation, 76, 77, 255
DreamWorks SKG, 76
DVD market
distributors, 123
domestic ancillary revenues, 196
domestic rights, 123
industry analysis, 65
and Internet distribution, 145–148
presales, 167
sample business plan, 219
DWG, see Dalian Wanda Group (DWG)
E
Edwards Cinemas, 161
Eisenberg, Joel, 269
electronic devices, 147
El Mariachi, 105
Email marketing, 148
EMO Films, 269
End of the Spear, 97
Enron: The Smartest Guys in Town, 246
entertainment experience, “Company” section, 41–43
Entourage, 74
entrepreneurs, general, 164–165
goals, 29
passion, 160
environmental films, 33
E&O insurance policy copyright certificate, 141
equity investors
filmmaker experiences, 269–275
film share, 164
producer financial knowledge, 262
Ereira, Alan, 268
Eros Entertainment, 122
ESPN, 119
EU, see European Union (EU)
European Convention on Cinematographic Production, 182
European film financing
banking, 184
basics, 181
coproductions, 181–182, 271–272
state-funded subsidies, 182–184
European investments, 179, 271–272
exclusive rights, options, 54
executive producer, 212
investor as, 164
Executive Summary, general
“The Company” section, 23
“The Films” section, 24
“The Industry” section, 24
investment opportunity and financial highlights, 25
“The Markets” section, 24
Executive Summary, sample
“The Company” section, 208
“Distribution” section, 209–210
“The Industry” section, 209
investment opportunity and financial highlights, 210
“The Markets” section, 209
strategic opportunity, 208
exhibition numbers, 83–87, 218
Exotica, 96
F
fake company, 34
Fargo, 96
fast film releases, 133
federal film incentives, 169–170
fictional film, 185
film credits, financing basics, 164
film distribution, elements of, 226
FilmDistrict, 121
film festivals, 132
forecasting reasearch, 194
film industry
filmmaker advice
promises to investors, 159
filmmaker distribution strategies
deliverables, 141
distribution decision, 137–138
studio vs. independent, 137–139, 138
filmmaking process, studio, 73–74
film market guidelines, 108–109
film production costs and distribution fees, 81
cash flow statement, 202
definition, 225
and distribution fees, 118
domestic theatrical, 226
vs. total revenues, 81
films, 155
documentary, see documentary films
in Executive Summary, 58
family-friendly, 221
investment in, 67
large-format, see large-format films
short, 146
specialty, 94
streaming of, 145
strengths and weaknesses of, 44–46
films release methods
fastest-speed distribution, 133
moderate-speed distribution, 134–135
slow-speed distribution, 135–136
“The Films” section (business plan)
engaging readers, 50
money, 57
options, 54
purpose, 24
final cut control, 140
financial plan, 156
for one film, 204
revenue projection, 199
sample, 229
financing
crowdfunding, 166–167, 171–172
large-format films, 260–264, 263
financing basics
big payoffs, 165
completion guarantors, 178–179
entrepreneur investors, 161–162
European coproductions, 181–182, 271–272
European films, 186
federal film incentives, 169–170
filmmaker promises, 159
international coproduction, 180–181
investor information, 186–187, 269–271
investor payback, 176
investor promises, 158
overview, 155
special interest investors, 167
state film incentives, 171
financing scheme, explaining, 159–160
Fine Line Pictures, 75
first money out, 81
First Run, 121
Focus Features, 75, 77, 98, 121
The Fog of War, 246
Foley, Jack, 98
Forbes, 106
forecasting, 190
comparative films, 191
documentary films, 249–251, 252–253, 254
for one film, 204
revenue projection, 199
skills, 191
foreign ancillary revenues, 197–198
foreign distribution structures
rights presale, 167
foreign dollars, 198
foreign investment advice
from filmmakers, 269
foreign-language films, 122
foreign markets, studios distribution, 118
Foreign Revenue, 197–198, 202, 229
foreign rights
and domestic distributors, 124
presales, 167
four-walling distribution, 135
Four Weddings and a Funeral, 78
Fox, Jennifer, 166
Fox Searchlight, 75, 98, 119, 127
Fox/Walden Media, 121
France
bilateral treaties, 185
film banking markets, 184
Freeman, Jim, 259
free television
domestic ancillary revenues, 196
industry segment, 65
sample business plan, 219
Frida, 98
“friends and family” investors, 160–161
Friends with Kids, 77
fundraising basics, 166
The Fundraising Houseparty, 163
G
gap lending, 269
Garden State, 162
gay and lesbian films
budgets, 102
distribution, 122
as niche market, 96
Geffen, David, 76
General Electric, 68
general partner, in LPs, 173
genre, general, see also specific genres
distributor strategies, 131
moderate budgets, 102
sample business plan, 235, 236, 237, 238
target audience, 91
Germany
fictional film project, 185–186
film banking markets, 184
Giant Screen Theater Association (GSTA), 262
Gilbert, Gary, 162
goals
Gods and Monsters, 94
“The Going Rate,” 195
Golden Globes, 135
Goldman, William, 74
Goldwyn, Samuel, 97
Good Machine, 75
cell phone downloads, 147
YouTube purchase, 146
Gore, Al, 246
government film agency investors, 273
Gramercy Pictures, 75
G-rating reads, definition of, 256
The Great Train Robbery, 63–64
Grob, Hector, 111
gross income
dollar tracking, 80
sample business plan, 229, 239, 240, 241
gross profit (loss)
sample business plan, 233, 235, 237
guesstimate, 20
H
Haggis, Paul, 97
hand-drawn animation, see traditional animation
Hard Rock Hotel and Casino, 77
Harold Greenberg Fund, 272, 273
Harry Potter and the Deathly Hollows, 73
Haxan Films, 177
Heaven’s Burning, 144
hedge funds, 69
Hello, He Lied (Obst), 74
The Help, 267
High School Musical series, 99
“hired gun,” 126
The Hollywood Reporter, 166
AFM edition, 110
information source, 194
as resource, 104
home video
future trends, 220
release strategies, 226
theatrical exhibition impact, 83
Homework, 127
Hoop Dreams, 246
horror genre
characteristics, 92
market segment, 92
hotelier investors, 273
House of Wax, 86
Howard, Ron, 69
How She Move, 99
The Hunger Games, 73
Hustle & Flow, 127
Hyder, James, 261
I
IDP distribution, 121
IFC, see Independent Film Channel (IFC)
IFT A, see Independent Film and Television Alliance (IFTA)
The Ilya Salkind Company, 109
IMDB, see Internet Movie Database (IMDB)
I’m Trying to Break Your Heart, 246
incentives
An Inconvenient Truth, 246
independent distribution
distributor, as financier, 130
distributor’s fees, 129
theatrical marketplace, 122–123
working procedure, 123
Independent Film and Television Alliance (IFTA), 74, 124
Independent Film Channel (IFC)
Internet markets, 145
motion picture production, 79
independent film, general
definition of, 74
distributor power, 117
Internet and investors, 149
market segment, 91
niche groups, 97
production/exhibition numbers, 83–87
social media, 84
vs. studio film, 75
independent filmmakers, 78, 85, 261
independent filmmaking
disadvantages, 82
independent films
distributors, 117
platform release, 128
independent investors, 69
Independent Moving Pictures Company of America, 64
independent producers, 28, 210, 259, 262
vs. conglomerates, 28
goal, 217
Indiegogo, 166
“The Industry” section (business plan)
independent pros and cons, 81–82
independents dollar tracking, 79–81, 80
industry analysis, 64
investor facts, 87
motion picture production, studios, 67–70
production/exhibition numbers, 83–87
purpose, 24
in-house studio marketing, 71
“in perpetuity,” 167
inspirational films, 97
Intermedia, UK firm, 179
Internal Revenue Service (IRS), 169, 174
international coproduction, 180–181
international coproductions
advantages/disadvantages, 180–181
European film financing, 181–182, 271–272
government requirements, 180
international investors, 179–181
international theatrical exhibition, 220
Internet, 145
digital film, 85
direct-to-DVD marketing, 148–149
distribution rights, 124
and investors, 149
market research, 104, 106, 256–257
short-attention-span theater, 147
Internet Movie Database (IMDB), 96
film summaries, 24
horror genre, 92
Internet VOD (iVOD), 219
investment opportunity and financial highlights, 25, 210
investments in film, 67
business plans, 87
development money vs. planned projects, 52
distribution plans, 25, 141–142
distribution strategies, 139
environmental films, 33
and Executive Summary, 21
facts for, 87
financing information, 270
forecasting for, 190
industry knowledge, 66
and Internet, 149
LLC/LP payback schedules, 176
MGM consortium, 68
iPod (Apple), 220
Iris, 179
IRS, see Internal Revenue Service (IRS)
Italy, film banking markets, 184
It Came from Outer Space, 86
iTunes Store (Apple), 220
iVOD, see Internet VOD (iVOD)
J
Japanese investments, 179
Jarchow, Stephen, 122
Jimmy Kimmel, 119
Jobs, 162
Jump Start Act of 2012, 166, 171–172
Jurassic Park, 89
K
Kashyap, Anurag, 115
Katzenberg, Jeffrey, 76
Kendrick, Alex, 160
Kendrick, Stephen, 160
Kessler, Hal “Corky,” 169
Kickstarter, 166
The Kids Are All Right, 96
The Kid Stays in the Picture, 246
Kimmel, Sidney, 162
kinetograph, 63
Kissinger, Henry, 151
Knowing, 191
Kodak, 86
K-19: The Widowmaker, 179
L
L.A. Confidential, 96
Ladrón que roba a Ladrón, 98
La misma luna, 98
Landmark Theaters, 161
Large Format Cinema Association (LFCA), 262
large-format films, 143–144, 263
history of, 259
The Last Shot, 74
“legs,” 133
Lerner, Danny, 92
Library of Congress, 51
library research, 106
limited liability company (LLC), 34, 38, 163, 174–177, 271
entrepreneur investors, 161–162
filmmaker investment advice, 269
investor payback, 176
risk statement, 151
limited partner investors, 175–176
limited partnership (LP), 173–174
advantages/disadvantages, 174
entrepreneur investors, 161–162
investor payback, 176
risk statement, 151
Lionsgate Films, 120
distribution, 122
distributors, 120
Internet distribution, 144, 146
specialty market, 98
Live Entertainment, 120
LLC, see limited liability company (LLC)
Look Who’s Talking, 78
The Lord of the Rings trilogy, 77, 89
Lost Highway, 96
Lotus Eaters, 167
Louverture Films, 269
LP, see limited partnership (LP)
Lumière, Louis, 63
Lynne, Michael, 77
M
MacGillivray Freeman Company, 259, 262
MacGillivray, Greg, 259
Mad Hot Ballroom, 246
Magnet Releasing, 121
Magnolia Distribution, 161
Magnolia Pictures, 121
Majestic World Entertainment, 109–110
Majors
definition, 68
independent distribution, 119–120
sample business plan, 217
management team, 23, 32, 40–44, 208, 211, 225
March of the Penguins, 97, 246
marketing strategy
filmmaker expert advice, 109–113
libraries, 106
support materials, 108
market research
Internet and libraries, 106–107
markets
foreign, studios distribution, 118
market segment, see also target markets
target, 91
“The Markets” section (business plan)
basic considerations, 90
filmmaker expert advice, 109–113
film markets, 108
Internet and investors, 149
Internet distribution, 145–148
large-format film finances, 260–262, 264
large-format films, 143–144, 259–262, 263, 264
marketing support materials, 108
purpose, 24
short-attention-span theater, 147
Matsushita Electric Industrial Co., 67
MCA Inc., 67
“members” (LLC), 174
M&E tracks, 141
Metro-Goldwyn-Mayer (MGM), 68, 75, 144, 146, 217
Metromedia, 75
MGM, see Metro-Goldwyn-Mayer (MGM)
Midnight in Paris, 92
mini-Majors, 172
Miyazaki, Hayao, 92
mockumentary genre, 84
moderate film releases, 134–135
The Moguls: Hollywood’s Merchants of Myth (Zierold), 68
Monando Film Distribution, 111
money
attached to film, 57
sources of, 157
Monster’s Ball, 94
Monterrey Pictures Entertainment, 109
Moore, Michael, 246
Motion Picture Association of America (MPAA), 83, 122, 256, 259
filmmaker deliverables, 141
market demographics, 100
sample business plan, 217, 222–223
script titles, 51
motion picture distributors, 117
motion picture industry
independent film, 74
nontheatrical distribution, 65
principal activities, 69
motion picture production, 217
independent investors, 69
postproduction, 70
preproduction, 70
principal photography, 70
motion picture production (Continued)
studio picture, 69
success of, 228
movie, financing of, 156
MPAA, see Motion Picture Association of America (MPAA)
Mulvey, Logan, 143
Music Box Films, 121
music cue sheets, 141
Muybridge, Eadweard, 63
My Architect, 246
My Big Fat Greek Wedding, 79
My Dog Skip, 97
Myers, Peter, 132
My Reincarnation, 166
N
National Association of Theater Owners (NATO), 100, 221
National Geographic Cinema Venture, 259
Native American theme, 134
NATO, see National Association of Theater Owners (NATO)
negative costs
of films, 160
forecasting, 198
motion picture production, 70
sample business plan, 218
advantages/disadvantages, 173
basic concept, 172
negotiation strategies, 25
Net Producer/Investor Income, 230
net profit
studio distribution, 118
studio vs. independent films, 139
net profit (loss)
independent films, 80
revenue and expenses, 200, 201
net profit line, 201
net profit model for studio film, 118
Newman, Robert, 105
new media technology
CinemaNow, 144
download sales, 148
Internet market, 145
rights licensing, 228
second screens, 147
YouTube, 146
News Corp., 217
Newsweek, 106
New Yorker Films, 121
The New York Times, 98, 106, 247
niche markets, 102
and film budget, 102
studio involvement, 139
Nightmare on Elm Street, 78
no-budget films, 79, 96, 135, 149
No Country For Old Men, 96, 216
NoHo Films International, 269
nonprofit investors, 163
normal purchase prices, 158
North American independent films, revenues for, 66
O
objectives and goals, 29
Obst, Lynda, 74
Once, 165
Income Statement, 200
summary tables, 205
One Missed Call, 92
opening weekend, 133
The Operating Agreement (LLC), 176, 274
options, see also rights
as attachments, 54
books, 55
real-life stories, 55
Orion Classics, 75
Orion Pictures, 75
Oscar nominations, 75
Oscars, see also Academy Awards
film credits list, 164
forecasting, 199
gay and lesbian films, 96
and independent productions, 75
sample business plan, 209
Oscilloscope Laboratories, 162
Oscilloscope Pictures, 121
Our Idiot Brother, 127
definition, 72
sample business plan, 229, 232, 243
studio distribution, 118
Owens, Tim, 269
P
P&A, see Prints and Advertising (P&A)
Paiko, David, 148
Palm Pictures, 121
Paramount Pictures, 217
Paramount Vantage, 75, 77, 119
Paranormal Activity, 193
Participant Media, 161
Participant Productions, 82
The Passion of the Christ, 97
Payne, Patricia, 269
PayPal, 146
pay-per-view (PPV)
domestic ancillary revenues, 196
sample business plan, 219
PBS, 197
Peach Arch Entertainment, 121
Pergasus Entertainment Group, 121
pet ownership, 222
Philips N.V., 75
The Pianist, 97
Pierson, John, 127
Pitt, Brad, 56
The Player, 74
plot synopsis, 53
Pohlad, Bill, 162
Pohlad, Carl, 162
“points,” 164
political films, forecasting, 250
Polygram Filmed Entertainment (PFE), 75
post-production process, 218
budget problems, 58
function, 70
production steps, 70
studio system, 73
PPM, see Private placement (PPM)
PPV, see pay-per-view (PPV)
prebuy, see presales
Precious, 162
premium channels, domestic ancillary revenues, 197
pre-production process, 217
independent films, 78
motion picture, 70
trade papers lists, 105
presales
advantages/disadvantages, 167–168
basic concept, 167
financing, 167
Press kits, 108
Princess Mononoke, 256
principal photography
budget problems, 58
motion picture production, 70, 217
principal purpose
definition, 34
example, 211
Prints and Advertising (P&A), 229, 231
filmmaker investment advice, 271
independent films, 81
motion picture production, 70
private investors, 160
Private placement (PPM)
advantages, 174
filmmaker investment advice, 274
producers, general
completion guarantors, 178–179
distribution publicity, 119
distributor deals, 116
distributor strategies, 130, 131–132
European film financing, 181–182, 271–272
feature film experience, 56
independent film production, 81
international coproductions, 180–181
P&A money, 129
30-second pitch, 70
state film incentives, 171
production costs, see also budget basics
budget configurations, 101–103
repaying, 141
sample business plan, 229
production managers
budget breakdown, 58
budget creation, 102
cash flow statement, 201
and distribution company, 126
investor repayment, 52
options, 55
production of motion picture, 69–70, 217, 218
production process
studio vs. independent, 78
trade papers lists, 105
production team, 40–41, 156, 210, 211–212
professional investors, 160
Projected Income Statement, 200–201
sample business plan, 229, 233, 239, 240, 241
promotion
distributor strategies, 130
prospective investors, 37, 46, 158
publicity
gimmicks, 84
self-distribution, 136
studio distribution, 118–119, 139
public limited partnerships, 174
public subsidies
EURIMAGES, 183
Puerto Rico market, 123, 170, 171
Q
The Quiet American, 179
R
Rainbow Media, 79
Rambo films, 78
ready-made audience, 54
real estate developer investors, 273, 275
real-life stories, attachments, 55–56
Real Women Have Curves, 94, 98
recession-proof business, 67
Red Granite Pictures, 77
Red State, 137
Reeves, Bernie, 273
Regal Cinemas, 161
Regent Releasing, 122
Reiner, Rob, 75
release strategy example, 226–227
releasing costs, 229
“rent-a-distributor,” 129
Rentrak Corporation, 122
Rentrak report, 148
revenue basics
box office backbone, 117
cash flow statement, 201
foreign theatrical, 197
independents dollar tracking, 79–81, 80
international coproductions, 180–181
studio dollar tracking, 71, 71–73
revenue cap, 168
Richland, Gordon and Company, 120
Riding Giants, 246
rights, see also options
book, 55
copyright ownership, 116
exclusive, 54
Internet, 124
options definition, 54
sample business plan, 213
distributors, 126
sample business plan, 228
River Road Entertainment, 162
Roadside Attractions, 121
Rockefeller, John D., 30
Rocky Mountain Pictures, 121
Rodriguez, Robert, 105
Roger & Me, 246
The Rogue Joint, 77
romance genre
defining, 92
film matching, 192
market segment, 92
A Room with a View, 266
Roosevelt, Franklin Delano, 131
S
Saleman, Michael Norman, 175
sample business plan
approach, 205
introduction, 206
The Samuel Goldwyn Company, 75, 136
satellite presales, 167
Saw films, 89
Saw V, 193
Sayles, John, 265
Scary Movie, 95
sci-fi action drama, 112
Scream, 94
Screen International, 104
screenplays, see also scripts
sample business plan, 218
scripts
and budget, 57
vs. completed films, 132
continuity, 141
motion picture production, 70
ownership, 54
SEC, see Securities and Exchange Commission (SEC)
second screens, see television
Section 181
American Jobs Creation Act, 2004, 169
income tax reduction, 170
Section 199
income tax reduction, 170
Securities and Exchange Commission (SEC), 166, 172, 174
seeking reality, 157
Seger, Linda, 50
Seigel, Robert, 141
self-distribution, 136–137, 141
self-marketing, 113–114, 136, 148
sequencing distribution strategies, 135
Shaw, George Bernard, 275
short-attention-span theater, 147
short films, 146
Sicko, 247
Sidney Kimmel Entertainment, 162
Sin City, 105
Slumdog Millionaire, 165, 199, 216
SOAPNet, 119
social media distribution impact, 84
social networking sites
independent films, 77
marketing, 149
sole proprietorship, 37
Songcatcher, 121
Sony Classics, 75, 77, 93, 94, 120
Sony Corporation of America, 68, 144
Sony Pictures Classics, 158
Sony Pictures Entertainment, 75, 217
Soul Surfers, 97
Sources and Uses of Funds, 203
Southern Documentary Fund, 273
Spain, film banking markets, 184
Spain, Jay, 269
special-interest groups
distributor strategies, 130
as investors, 167
release strategies, 134
viral marketing, 113
specialty divisions
database information, 83
as studio brands, 28
specialty vs. art films, 93–94
Spellbound, 246
Spielberg, Steven, 76
Spy Kids, 97
standard agreement, 141
Standing in the Shadows of Motown, 246
Stanford, Leland, 63
stars, see also actors
bankable, 56
distributor strategies, 132
state film incentives, 171
Statement of Revenues and Expenses, see Projected Income Statement
Steel, Dawn, 74
Step into Liquid, 246
Stewart, Jimmy, 89
still photographs, filmmaker deliverables, 141
story
distributor strategies, 131
motion picture production, 70
synopsis, 50
storylines, types of, 247
Strand Releasing, 122
strategic opportunity
Executive Summary example, 23–25
sample business plan, 208
studio distribution
backup system, 138
studios
classic “studio” picture, 69
distribution, 73
Internet and investors, 149
market demographics, 99
speciality divisions, 28
studio system
dollar tracking, 71
overhead, 72
Summary Projected Cash Flow Based on Moderate Profit Cases, 230, 234
Summary Projected Income Statement, 200, 229, 233
Summit Entertainment, 79
Sundance Film Festival
distribution rights, 127
financing promises, 158
independent distribution, 121
securing distribution, 132
Superbad, 99
super gap lending, 269
Superman, 111
Super Size Me, 246
The Sessions, 127
synopsis, see plot synopsis
T
tables & graphs vs. words, 87–88
target markets, see also market segment
defining, 24
profile, 91
tax break, Australia, 273
tax incentives, filmmaker advice, 269
Tax Reform Act, 1986, 173
technology for films, 81
teen film market, 99
television, 147
federal film incentive, 169–170
introduction and development of, 68–69
sample business plan, 219
and studio dynasties, 68
television station investors, 273
television syndication
domestic ancillary revenue, 196
release strategies, 226
tentpole film, 133
theatrical distribution, 83–84
theatrical exhibition
sample business plan, 218, 225
theatrical marketplace, 122–123
Theatrical Market Statistics, 223, 256
theatrical rentals
definition, 196
dollar tracking, 80
foreign vs. domestic, 226
The Motorcycle Diaries, 98
They Can Kill You But They Can’t Eat You (Steel), 74
THINKFilm, 121
35mm format
transfer budget, 192
“30-second pitch,” 70
3D Entertainment, 259
thriller genre
defining, 92
market segment, 92
Time, 106
Titan A.E., 85
Titanic, 89
Toon Disney, 119
Toronto Film Festival, 132
Tortilla Soup, 98
total cost forecasting, 198
total revenue, 198
Touching the Void, 246
track records, 40
trade paper research, 104, 105
trade papers, 195
traditional animation, 255
T-Rex, 262
Tribeca Film Festival, 167
Trimark Pictures, 120
Turner Broadcasting, 75
Twentieth Century Fox
digital film, 85
independent divisions, 75, 85, 121
motion picture production, 217
Movielink, 144
and studio dynasties, 68
2929 Productions, 161
Twilight, 79
U
UCLA, see University of California at Los Angeles (UCLA)
The Underneath, 96
Under the Same Moon, 98
United Artists, 161
United Kingdom, film banking markets, 184
United States, fictional film project, 185–186
Unit production manager (UPM)
budget breakdown, 58
budget creation, 102
state film incentives, 171
Universal Pictures, 67
Universal Studios
and studio dynasties, 68
University of California at Los Angeles (UCLA), 29
Unlimited, 269
UPM, see unit production manager (UPM)
urban genre, 92
USA Networks, 75
USA Today, 106
user-friendly computer software, 87–88
Usher, 162
U.S. theatrical box office, 117
The Usual Suspects, 96
V
Vanity Fair, 106
Variety
AFM edition, 110
VHS tapes, 81
Video-on-Demand (VOD), 124–125
presales, 167
sample business plan, 219
Vidmark, 120
The View, 119
Virtual Print Fee (VPF), 128
Vivendi, 67
VOD, see Video-on-Demand (VOD)
The Vow, 97
W
Wade, April, 269
Wagner, Todd, 161
Wakeman, Rick, 245
The Wall Street Journal, 100
The Walt Disney Company
distribution publicity, 119
family films, 96
independent film production, 78–79
motion picture production, 217
and studio dynasties, 68
and The Weinstein Company, 78–79
War Horse, 97
Warner Bros.
independent divisions, 75, 119
motion picture production, 217
Movielink, 144
and studio dynasties, 68
Warner, Harry M., 47
Warner Independent Pictures, 75, 77, 119
Warshawski, Morrie, 163
Web-based company, 220
The Web Today, 104
The Weinstein Company, 61, 79, 93, 122, 127
WGA, see Writers Guild of America (WGA)
Whalen, Tony, 269
What the Bleep Do We Know?, 97, 98, 136
Which Lie Did I Tell?: More Adventures in the Screen Trade (Goldman), 74
Whitacre, William L., 177
Why We Fight, 246
wide release strategies, 133
The Widowmaker, 179
Winter’s Bone, 96
Woman On Top Productions, 269
word-of-mouth
distributor strategies, 130
self-marketing, 113
and wide release, 133
The World of Arriety, 97
worldwide distribution, documentaries, 246
worldwide licensing, 71
worldwide revenues and expenses, 257, 258
worldwide rights
and domestic distributors, 124
DreamWorks, 76
writer-director, 79
writer-producer, 79
writers
business cards, 37
fiction vs. nonfiction, 50
vs. filmmaker, 27
international coproductions, 180–181
motion picture production, 70
options, 54
sample business plan, 218
script registration, 51
studio system, 73
Writers Guild of America (WGA), 51
X
Xbox, 220
Y
Yahoo!, 147
Yash Raj Films, 122
Yauch, Adam, 162
young adult market, 99
YouTube, 146
Y tu mamá también, 96
Z
Zeitgeist Films, 121
Zierold, Norman, 68