A
Administrative expenses, 192–193
Advertainment and advertorials, 230
Allen, Paul, 148
Altered, 161
Altman, Robert, 84
Amores Perros, 92
Ancillaries, international, 205–206
Apollo Cinema, 228
Artisan Entertainment, 121–122
Assumptions, financial plan, 189
Audiences. See Markets
B
Baehr, Ted, 91
Batman Begins, 65
Baujard, Thierry, 166
Beauty and the Beast, 111
Below-the-line-expenses (soft currency), 157
Benchley, Robert, 224
Big Film Shorts, 234
Bilateral treaties, European, 166–167
Biographies, production team, 36–39
Blair Witch Project, The, 4, 70, 74, 85, 87, 122, 161, 185, 186
Block booking, 74
Bloodsucking Killer Clowns from Outer Space, 84
Bob Roberts!, 74
Bone Collector, The, 88
Boogeyman, 84
Borgnine, Ernest, 8
Bottle Rocket, 225
Bottom line, projected, 154
Bowling for Columbine, 105
Boxoffice grosses, 181
Box Office Mojo, 98
Brothers McMullen, The, 148
Budget, film, 16, 50–53, 92–94
Buena Vista Social Club, 104
Burns, Ed, 148
Business plans, 1–13. See also Sample business plan
outline of, 12
and personal business sense, 5–9
C
Canal Plus International, 231
Cannes Film Festival Awards, 182
Cape Fear, 88
Capote, 90
Carlito’s Rise to Power, 111
Carolco, 69
Carroll, Lewis, 15
Case studies, European film financing, 175–177
Castle Rock, 67
Cats and Dogs, 208
Cell, The, 87
Chariots of Fire, 9
Charlie Rose, 182
Cinematographers, 199
Cinepix Film Properties, 122
Clearance & Copyright, 45, 235
Clerks, 148
CNC (National Center for Cinematography), 170
CNN, E! Entertainment Channel, 182
COE (Council of Europe), 166, 168
Coen brothers, 5
Columbia Pictures, 61
Comcast Corporation, 61
history of company, 33
introduction of company, 30–31
objectives of business, 35
opening pitch or mission statement, 28–30
management and organization, 36–40
Completion bond, 164
Completion guarantors, 163–164
Concise business plan, 11, 52–53
Consultants, 200
Contracts, short film, 234–238
Control of distribution, 137–138
Co-production, 156–157, 166–167
Corporation, The, 105
Costs
documentary, 115
statement of, 190
Council of Europe (COE), 166, 167, 168
Crash, 90
Crowe, Carol, 228
Crumb, 104
Cuban, Mark, 149
D
Development, 62
Devil in a Blue Dress, 88
Diary of a Mad Housewife, 90
Die Hard, 85
Diller, Barry, 67
Dinosaur, 77
Directors’ Guild of America (DGA), 237
Direct to DVD (DVD premieres), 111–112
Dirty Dancing, 69
Disney. See Walt Disney Company, The
methods for releasing films, 131–134
in Executive Summary, 20
fees, 120
domestic versus foreign, 123–125
and financing, 128
informing investors about, 139–140
overview, 117
in sample business plan, 208–211
in sample Executive Summary, 197
short film distribution, 223–239
short documentaries, 232
DLJ Merchant Banking Partners, 61
audiences, 104
grants, 108
revenues and costs, 115
short, 232
target market, 104
for television, 107
Dogtown and the Z-Boys, 105
Domestic distribution, 123–125
Dr. Dolittle, 208
Dr. Dolittle 2, 208
E
Eberts, Jake, 9
Edison, Thomas Alva, 57
El Mariachi, 96
EM Medie, 170
End of the Spear, 90
Enron: The Smartest Guys in Town, 105
Entertainment Data, Inc. (EDI), 181
Entertainment snippets, 230
Estimated Income Statement, 190
Estimates, 21
European Convention on Cinematographic Production, 166
European distribution, 173–174
European film financing, 166–177
state-funded subsidies, 167–175
overview, 167
European film-supporting agencies, 170–172
European tax incentives, 172–173
European Union (EU), 167
European Union, MEDIA PLUS program, 167–168
Everest, 109
Executive producers, 199
for sample business plan, 196–198
style of, 18
Exhibition, film. See Production and exhibition
Exotica, 88
Expenses. See Costs
Experience, production team, 36–39
Experimental Film Agreement, 236
F
Fahrenheit 911, 105
Family, investments by, 148, 227
Family films, 207
Far from Heaven, 49
Fargo, 88
Feuer, Frauke, 166
FFA (German Federal Film Board), 169–170
Filmboard Berlin-Brandenburg, 171
Film Entrepreneur, The, 109
FilmFernsehFonds Bavaria, 171
Filmmaker distribution strategies, 135–139
Filmmaking as business, 4–5. See also Company
Films, 41–56. See also European film financing; Financial plans; Nontraditional films;Short films
assessing strengths and weaknesses, 53–55
distributor methods for releasing, 131–134
in Executive Summary, 19
family, 207
in sample business plan, 200–201
in sample Executive Summary, 196
single, importance of business plan for, 10–11
Filmstiftung North-Rhine-Westphalia, 171
Filmtracker’s Baseline, 98
Financial assumptions, financing plan, 213–221
Financial highlights, Executive Summary, 20–21, 197–198
Financial instruments, specialized, 22
financial history of company, 192–193
overview, 179
financial assumptions, 213–221
strategy, 213
for single films, 193
Financing, 143–177. See also European film financing
completion guarantors, 163–164
co-production and below-the-line deals, 156–157
by distributor, 128
and film description, 50
foreign, 151
paying and splitting profits with, 152–153
and projected bottom line, 154
special interests, 150
for large-format films, 109–110
negative pickup, 158
sample business plan, 212
Fine Line Pictures, 67
First impressions, 18
First of May, The, 150
Focus Features, 67
Fog of War, The, 105
Foley, Jack, 92
Forecasting, 21, 104–107, 179–180
Foreign investors, 151
Formats, film, 109
Four-walling, 133
Four Weddings and a Funeral, 69
Fox Searchlight, 67
France, film financing and distribution in, 170–174
Freaky Friday, 89
Freeman, Jim, 109
Frida, 92
Friends, investments by, 148, 227
Funding for large-format films, 109–110. See also Financing
Fundraising Houseparty, The, 152
Fundraising party, 152
G
Garden State, 149
Geffen, David, 68
General Electric., 60
General’s Daughter, The, 88
George Lucas in Love, 225
German Federal Film Board (FFA), 169–170
German film financing and distribution, 171, 174
Gilbert, Gary, 149
Glickman, Dan, 202
Goldwyn, Samuel, 41
Good Machine, 67
Goodman, John, 150
Goodman Group, The, 150
Gramercy Pictures, 67
Graphs, industry, 79
Great Train Robbery, The, 57
Green, Harry, 9
Grizzly Bears, 219
Guarantors, completion, 163–164
Guidelines, financing, 145–147
H
HBO Mobile, 114
Hey, Arnold!, 90
History, company, 33
Hollywood, 7
Hollywood Distributors Directory, The, 125
Hollywood Reporter, The, 95, 181
Home video, 205
Hoodwinked, 90
Hoop Dreams, 104
Hoover, 8
Hours, The, 49
Hungarian tax incentives, 173
Hyder, James, 109
I
IFC Films, 70
IFTA (Independent Film and Television Alliance), 66
Ile-de-France, 171
IMDB (Internet Movie Database), 84, 98
I’m Trying to Break Your Heart, 105
Income statements, 190
Independent distribution, 121–128
domestic versus foreign, 123–125
financing, 128
Independent Film and Television Alliance (IFTA), 66
Independent Film Channel, 182
production process with, 69–70
Independent films
Independent Moving Pictures Company of America, 57
educating investors, 59–60, 78–79
in Executive Summary, 19
identifying applicable industry segment, 58–59
production process with, 69–70
production and exhibition, 73–78
overview, 73
future trends, 206
home video, 205
international theatrical exhibition and ancillaries, 205–206
motion picture production and financing, 202–204
theatrical exhibition, 204
in sample Executive Summary, 197
production process with, 61–63
Institute for the Financing of the Cinema and Cultural Industries (IFCIC), 174
Intermedia, UK firm, 151
International co-production agreements, 156–157
International distributors, 124–125
International theatrical exhibition and ancillaries, 205–206
Internet Movie Database (IMDB), 84, 98
Introduction of company, 30–31
Investment opportunities, Executive Summary, 20–21, 197–198
Investments, partial, 50
Investors, 17
educating about industry, 59–60, 78–79
foreign investors, 151
paying and splitting profits with, 152–153
and projected bottom line, 154
special interests, 150
and information about films, 43
informing about distribution, 139–140
informing about financing, 164–165
Iris, 151
J
Jaglom, Henry, 5
Jarmusch, Jim, 5
Jurassic Park, 81
K
K-19: The Widowmaker, 151
Kagan Research, LLC, 75
Katzenberg, Jeffrey, 68
Kidd, Bronwyn, 229
Kid Stays in the Picture, The, 105
Kimmel, Sidney, 149
Kissinger, Henry, 141
L
L. A. Confidential, 88
Last Action Hero, The, 65
Layout, Executive Summary, 18–21
Lee, Ang, 230
Lethal Weapon, 85
Letter of Intent, 19
Limited liability companies (LLC), 34, 160–161
Linde, David, 117
Lion King, The, 111
Lipsky, Mark, 223
Little Mermaid, The, 111
LLC (limited liability companies), 34, 160–161
Loire Valley, 171
Look Who’s Talking, 69
Lord of the Rings, 54, 58, 186
Lost Highway, 88
Lucas, George, 77
Lumiere, Louis, 57
M
MacGillivray, Greg, 109
Mad Hot Ballroom, 105
Magazines for market research, 95–96
Management, company, in sample business plan, 198–200
Management teams, 19, 36–37, 196
March of the Penguins, 90, 92, 101, 197, 201
overview, 94
Markets, 81–101. See also Documentaries
in Executive Summary, 20
overview, 94
overview, 103
in sample business plan, 206–208
in sample Executive Summary, 197
art versus specialty films, 85–86
genre history and cycles, 86–88
identifying targeted age group, 88–89
Matrix, 85
Matsushita Electric Industrial Co., 60
MCA Inc., 60
MEDIA PLUS program, European Union, 167–168
Media-Wise Family, The, 91
Metro-Goldwyn-Mayer (MGM), 61, 67
Metromedia, 67
MGM (Metro-Goldwyn-Mayer), 61, 67
Michael Winslow Live, 8
Mille, Jean Charles, 230
Mission Impossible III, 65
Moderate film releases, 132–133
Moderate speed distribution, 132–133
Money. See also Costs
attached to film, 50
Moore, Michael, 84
Motion Picture Investor, 75
Motion picture production and financing, 202–206
Motivation for financing, 150
Motorcycle Diaries, The, 92
Movielink, 124
Murdoch, Rupert, 61
My Architect, 105
My Big Fat Greek Wedding, 49, 70, 74, 86, 150, 186, 187, 189, 197, 201
My Date with Drew, 58
Myers, Peter, 131
My Indecision Is Final, 9
N
Napoleon Dynamite, 86, 100, 126, 146, 154, 186, 189, 197, 201
National Association of Theater Owners, 89
National Center for Cinematography (CNC), 170
National level subsidies, European, 168–170
NBC Universal, 61
Negative pickups, 158
Negotiation and Executive Summary, 21–22
Netflix, 112
New Guy, 87
Newman, Robert, 96
Niches. See Markets
Nightmare on Elm Street, 54, 69
Nonfictional films. See Documentaries
Nontraditional films, 103–115. See also Documentaries
overview, 103
Northern Ireland Film & Television Commission, 170
North West Vision, 170
nWave, 110
O
Objectives, business, 35
Opening pitches, company description, 28–30
Open Water, 70, 154
Oprah, 182
Organization, company, in sample business plan, 198–200
Orion, 67
Orion Classics, 67
P
P&A money (print and ad money), 127–128
Pamplin Film Company, The, 161–162
Paramount Classics, 67
Partial investments, 50
Partnerships, 33, 39–40, 159–162
Passion of the Christ, The, 90, 91, 101
Pathé, Charles, 224
Payback, investor, 152–153, 161–162
Peacefulfish company, 177
Pianist, The, 90
Pierson, John, 127
Planning, lack of, 23
Platform, 132
Pollard, Rob, 112
Polygram Filmed Entertainment (PFE), 67
Presidents, company, 199
Princess Diaries 2, 89
Principal purpose of company, 31
Print and ad money (P&A money), 127–128
Production, motion picture, 202–206
Production and exhibition, 73–78
overview, 73
Production team descriptions, 36–39
Professionalism, 6
Projected bottom line, 154
Projection, 21
Promotional materials, 99
Prospectus, 22
Providence Equity Partners, 61
Q
Quiet American, The, 151
R
Racing Stripes, 90
Rambo, 69
Real Women Have Curves, 49, 92
Regal Cinemas, 77
Regional level subsidies, European, 170–172
Reiner, Rob, 67
Releases/contracts, guidelines for, 234–235
Rentrak report, 112
documentary, 115
potential, for short films, 232–234
projecting for financial plan, 189–192
statement of, 190
Rhône-Alpes, 171
Rice, T.C., 226
Riding Giants, 105
Ritchie, Guy, 230
Rockefeller, John D., 26
Rodriguez, Robert, 96
Roger and Me, 104
Rollout, 132
Room with a View, A, 150
Roosevelt, Franklin Delano, 129
Royal Tenenbaums, The, 225
Rushmore, 225
S
financing, 212
financial assumptions, 213–221
strategy, 213
future trends, 206
home video, 205
international theatrical exhibition and ancillaries, 205–206
motion picture production and financing, 202–204
theatrical exhibition, 204
overview, 195
Samuel Goldwyn Company, 67, 135
Saw, 84
Scary Movie, 87
School of Rock, 89
Screen Actors Guild (SAG), 236
Screen International, 95
Seagal, Steven, 111
Security Exchange Commission (SEC), 159–160
Seger, Linda, 44
Sequencing, 132
Shaye, Robert, 68
potential revenue formula, 232–233
short documentaries, 232
Shrek, 89
Shrek 4-D, 111
Sideways, 84
Silver, Joel, 85
Sisterhood of the Traveling Pants, The, 84
Skoll, Jeff, 149
Smith, Kevin, 148
Smith, Pete, 224
Snipes, Wesley, 111
Soft currency (below-the-line-expenses), 157
Soldier’s Wife, The, 130
Sole proprietorship, 34
Songcatcher, 122
Sony Corporation of America, 61
Sopranos, The, 114
Special interests, investor, 150
Specialized financial instruments, 22
Specialty films, 85–86. See also Independent filmmakers
Spellbound, 105
Spirit of Christmas, The, 225
Standing in the Shadows of Motown, 105
Star Wars, 77
State-funded subsidies, European, 167–175
overview, 167
Statement of Revenues and Expenses, 190
Step into Liquid, 105
Strand Releasing, 123
Strategic opportunities, 19, 196
Stuart Little 2, 208
production process with, 61–63
Subsidies. See State-funded subsidies, European
Sunset Boulevard, 113
Super Size Me, 105
Swanson, Gloria, 113
T
Tables, industry, 79
Tarantino, Quentin, 84
Target locations, 35
Target markets, 20, 82–83, 104, 207–208. See also Markets
Tarnation, 70
Tax incentives, European, 172–173
Teenage Mutant Ninja Turtles, 54
Texas Pacific Group, 61
Theatrical exhibition, 73–74, 204–206
Time Warner, 60
Titan A.E., 77
Titanic, 81
Tortilla Soup, 92
Touching the Void, 105
Transamerica, 133
Trimark Pictures, 122
Turner Broadcasting, 67
Turner Pictures, 67
Twain, Mark, 179
Twentieth Century Fox, 60–61, 67, 77
U
UK Film Council, 169
Underneath, The, 88
United Kingdom, film financing and distribution in, 170–173
USA Networks, 67
Usual Suspects, The, 88
V
Van Damme, Jean Claude, 111
Variety, 110
Viacom, 61
Vice-presidents, 199
Viewers. See Markets
Vivendi, 60
W
Wagner, Todd, 149
Walk to Remember, A, 90
Wallace & Gromit—The Curse of the Were-Rabbit, 90
Walt Disney Company, The, 61, 67, 70, 90, 121
Walter from Wisconsin, 47
Warner Independent Pictures, 67
Warshawski, Morrie, 152
Waters, John, 84
Weinstein, Bob, 70
Weinstein, Harvey, 70
Weinstein Company, The, 56, 70, 86
What the Bleep Do We Know?, 74, 90, 92, 135
Whitacre, William L., 161
Why We Fight, 105
Wolfe Releasing, 123
Woman Thou Art Loosed, 90
Word of mouth marketing, 100–101, 133
Worldwide short film distribution, 229–230
Y
Yari, Bob, 149