Index

A

ABC Family Channel, 130–131

ABC Network, 130–131

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

short films, 252–253, 257

Academy of Motion Picture Arts and Sciences, 266–267

Academy of Television Arts and Sciences

Awards, 266–267

Accounting issues

Cash Flow statement, 211

LLCs, 173

studio distribution, 130

studio dollar tracking, 65–66

Action/Adventure genre

company pitch, 31

defining, 88

direct-to-DVD, 124

filmmaking goals, 29

film matching, 201–202

history, 90–91

market segment, 87

Actor/estate agent investors, 178

Actors, see also Stars

as attachments, 53–54

biography brevity, 57

and budget, 56

distribution publicity, 130–131

filmmaker investment advice, 178

financing basics, 165

releases, 263–264

and securing budgets, 109–110

Adams, Amy, 253

Administrative expense forecasting, 211–213

Advances

distribution deals, 137

financing basics, 167

Adventures in the Screen Trade (Goldman), 68–69

Advertainment, 258–259

Advertising, see also Prints and Advertising (P& A)

companies as investors, 178

distribution costs, 138–139

distributor strategies, 139

Internet, 117–118

moderate-speed distribution, 143–144

studio distribution, 130–131

Advertorials, 258–259

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

Allen, Paul, 160–161

Allied Irish Bank, 195

Altered, 175

Altman, Robert, 68–69

Amazon's Video on Demand, 229–230

American Film Market (AFM), 109–110, 141, 166

American Jobs Creation Act, 169

American Pavilion, 109–110

Amores Perros, 96

Anchor Bay, 133

Ancillary markets

industry segment, 60–61

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

tracking, 74–75

Anderson, Wes, 253

Animated films

cash flows, 210

demographics, 92–93

digital film, 79–80

short documentaries, 261

target audience, 92–93

Anschutz, Phillip, 160–161

Apatow, Judd, 88–89

Apollo Cinema, 256

Apple iPhone, 120, 229–230

Apple iPod, 229–230

Apple iTunes store, 229–230, 260–261

April Showers, 178

Apted, Michael, 121

Are We Done Yet?, 94

Art films vs. specialty, 89–90

“Art” investors, 161–162

Artisan Entertainment, 73, 132

Artistic crime documentaries, 98–99

Art vs. profit, 115–116

Asian investors, 178

Asian markets, 229

Association of Film Commissioners International (AFCI), 170

Attachments

books, 52–53

examples, 51–55

money, 54–55

options, 51–52

real-life stories, 53

stars, 53–54

Attorney advice

bank loan financing, 176

company creation, 35

deliverables, 150

development money proposals, 50

distributor deals, 136, 149

Investor Offering, 56

limited partnerships, 172

LLCs, 173

negotiation stances, 12

PPM, 13

presales, 109–110

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

evolution, 69–70

IMAX, 122

and look of film, 81, 201

mass audience, 63, 218, 221, 226

movies as business, 5

ready-made, 52, 124

saturation, 92

short films, 251

studio films, 63

theater vs. Internet, 117

U.S. vs. Europe/Asia, 178

word-of-mouth, 77–78

Australian investment, 178

Australian market, 9, 257

Autry, Gene, 90–91

B

Baehr, Ted, 94–95

Bain Capital, 132

Balance Sheet, 212

Bankable stars, 54

Bank Guarantee, 195

Bank loans

advantages/disadvantages, 176–177

basics, 175–177

European film financing, 195–196

Bankruptcy, 25–26

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

tax incentives, 192–193

Below-the-line personnel

as attachments, 39

business cards, 34–35

motion picture production, 65

Belushi, Jim, 253

Benchley, Robert, 252

Berney, Bob, 71–72, 133

BETASP, 265

“Bicycle” distribution, 144

Big Film Shorts, 263, 267–268

The Big Picture, 68–69

“Big Six” studios, 63

Bilateral treaties, 185, 197

Biographies

brevity, 57

examples, 38–40

Black, Karen, 253

Blackberry (RIM), 120

The Blair Witch Project

art vs. speciality, 89

as commercial project, 4

distribution, 132

film matching, 202

genre success, 91–92

success, 73

theatrical exhibition, 77–78

Block booking, 77–78

Blockbuster Video, 116–117, 229–230

Block Party, 101

Blu-ray, 74–75, 124, 228–229

BMW, 258–259

Bohr, Nils, 115

Bonds, 177

The Bone Collector, 92

Book rights, 52

Books

as attachments, 52–53

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

in Executive Summary, 22, 23

forecasting, 214

four-walling distribution, 144–145

“The Industry” section, 60–61

Jurassic Park effect, 85

“legs,”, 142

LF Examiner, 122–123

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.com, 160–161

Broadcast distribution

digital film, 80

in Europe, 194

high-definition, 267

presales, 166, 196

short films, 257–258

TV documentaries, 102

Brokeback Mountain, 93–94

Budget basics

bankable stars, 54

box office-budget relationship, 5

budget configurations, 96–98

budget research, 203–204

business plan, 33

calculating, 76

comparative films, 201

Executive Summary preparation, 18

filmmaker advice, 109–110

Filmtracker 's Baseline, 107

market segment-budget relationship, 87

sample business plan, 215, 235

size, 55–58

skill-budget relationship, 38–39

studio pictures, 64, 68

Buena Vista Social Club, 100

Business cards

importance, 34–35

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

Executive Summary, 17–18

importance, 10–12

investor cut, 13

as marketing document, 23

negotiation strategies, 12–14

project uniqueness, 11

vs. prospectus, 13

raising money, 5–6

Business plan, sample

approach, 215

cash flow statement, 248t

“The Company” section, 218, 221–223

comparative films, 242t, 244t

“Distribution” section, 219–220, 232–234

Executive Summary, 218–221

“The Films” section, 218–219, 223–225

financial plan, 235–238

future trends, 229–230

Gross Profits, 241t, 243t

home video, 228–229

“The Industry” section, 219, 225–230

international theatrical exhibition, 229

introduction, 216–217

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

release strategies, 233–234

risk factors, 234–235

Strategic Opportunity, 218

Summary Projected Cash Flow Based on

Moderate Profit Cases, 240t

Summary Projected Income Statement, 239t

Table of Contents, 217–218

target markets, 230–232

television, 227–228

theatrical exhibition, 227

Business Strategies, 9, 58, 70–71, 76, 253–254

Buzz

definition, 77–78

self-marketing, 113

C

Cable channels

distributors, 128

documentaries, 98–99

documentary financing, 102

domestic ancillary revenues, 206

domestic rights, 135

industry analysis, 61

sample business plan, 227–228

short film markets, 257–258

TV documentaries, 102

Calling card film, 253–254

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

Canal Plus, 259–260, 267–268

Cannes Film Festival

filmmaker advice, 109–110

film markets, 86

forecasting, 100–101, 204

independent distribution, 133

presales, 166

securing distribution, 142

short documentaries, 261

short films, 252–253

Cape Fear, 92

Capitol Films, 133

Capote, 93–94

Carolco, 73

Carroll, Lewis, 17

Cash Flow statement

forecasting, 210–211

sample business plan, 237, 248t

Cassidy, Hopalong, 90–91

Castle Rock, 69–70

Cats and Dogs, 231

CBS, 118

CCP. see Crazed Consultant Productions (sample) business plan

The Cell 2, 124

Cell phones

film types, 2

Internet downloads, 118

New Media, 116–117

rights licensing, 128–129

short-attention-span theater, 118

CGI, 262–263

Chalke, Sarah, 253

Channel Four, 141

Chappelle, Dave, 101

Chapter 11 bankruptcy, 25–26

Chapter 7 bankruptcy, 25–26

Chariots of Fire, 10

Charlie Rose, 203–204

Chinese market

self-marketing, 114

short films, 268

Christian market

as niche, 94–95

self-marketing strategies, 113–114

teen films, 94–95

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

Clips, releases, 264–265

CNC, see National Centre for

Cinematography (CNC)

CNN, 120, 203–204

COE, see Council of Europe (COE)

The Coen Brothers, 5

Cofiloisirs S.A., 195

Columbia Pictures, 63, 105

Comcast Corporation, 63, 257–258, 267

Comedy Central, 260–261, 262

Comedy genre

history, 90–91

market segment, 87

popularity, 88

short films, 90–91, 252

Coming-of-age genre, 201–202

Commerzbank, 195

“The Company” section (business plan)

basic pitch, 30–32

basic questions, 29–37

brevity, 43

company introduction, 32

content and intentions, 32–34

distribution objectives, 36–37

entertainment experience, 38–40

founding date, 34–35

goals, 27–28

management and organization, 37–41, 221–223

market identification, 37

partnerships, 40–41

personal vs. business goals, 28–29

purpose, 21

sample, 218, 221–223

and self-knowledge, 26–29

set-up checklist, 35–36

starting, 25–26

Comparative films

budgeting, 97

forecasting, 200–201, 205

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

guilds, 265–267

ownership, 263–265

Convergence, digital film, 79

Co-productions

basic considerations, 196

European film financing, 184–185, 196

international, 168–169

Copyright

and distributors, 128–129

scripts, 48–49

short films, 263–265

The Corporation, 100–101

Council of Europe (COE), 184–186, 187

Coutts, 195

Cox, 267

Craftspeople, 60–61, 65

Crash, 162–163, 225

Crazed Consultant Productions (sample)

business plan

cash flow statement, 248t

“The Company” section, 218, 221–223

comparative films, 242t, 244t

“Distribution” section, 219–220, 232–234

Executive Summary, 218–221

“The Films” section, 218–219, 223–225

financial plan, 235–238

future trends, 229–230

Gross Profits, 241t, 243t

home video, 228–229

“The Industry” section, 219, 225–230

International theatrical exhibition, 229

Introduction, 216–217

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

release strategies, 233–234

risk factors, 234–235

Strategic Opportunity, 218

Summary Projected Cash Flow Based on

Moderate Profit Cases, 240t

Summary Projected Income Statement, 239t

Table of Contents, 217–218

target markets, 230–232

television, 227–228

theatrical exhibition, 227

Crime dramas, 92, 201–202

Critics’ Choice Awards, 143–144

Crow, Russell, 116–117

Crowe, Carol, 256

Crumb, 100

The Crying Game, 73, 141

Cuban, Mark, 160–161

Cue sheets, 150, 265

Cycles, genre markets, 92

D

Daily Variety, see Variety

The Dark Knight, 68, 92

Data analysis, forecasting, 205–213

DBS, see Direct broadcast satellite (DBS)

D-cinema, see Digital film trends

DEG, see Digital Entertainment Group (DEG)

Deliverables, 150, 265

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)

Die Hard, 88–89

DIGIBETA, 265

Digital Entertainment Group (DEG), 228–229

Digital film trends, 79–81

Digital remastering (DMR), 121–122

Digital Rights Management, 135–136

Diller, Barry, 69–70

Dimension Films, 94, 124

Dinosaur, 80

Direct broadcast satellite (DBS), 227–228

Directors

as attachments, 53–54

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

Dirty Dancing, 72–73

Disney Channel, 130–131

Distribution considerations

bank loan financing, 175–176

broadcast, see Broadcast distribution

cash flow statement, 210–211

distribution definition, 128

documentaries, 101–102

domestic vs. foreign, 134–136

in Europe, 194–195

independent, 131–134

Internet and investors, 120

investor information, 150–151

print and ad costs, 138–139

revenue and expenses, 209

sample rights contract, 129

studios, 65–66, 129–131

Distribution rights

advances, 167

LLCs, 174–175

motion picture production, 226

slow distribution, 144

standard agreement, 149–150

television, 227–228

“Distribution” section (business plan)

purpose, 22–23

sample business plan, 219–220, 232–234

Distribution strategies

basic considerations, 139–146

control of projects, 148–149

crucial elements, 140–142

filmmakers, 146–150

moderate-speed distribution, 143–144

release methods, 142–145

self-distribution, 145–146

short films, see Short film distribution

slow-speed distribution, 144–145

studio vs. independent, 146–148, 147t

wide release, 142–143

Distributors, general

at AFM, 109–110

company mission statement, 31

completion guarantors, 177

definition, 128–129

filmmaker investment advice, 178

as financiers, 139

forecasting research, 204

market research, 103–104

short film quality, 262

typical deal, 136–138

Distributor 's Fees, 218, 237

Distributor 's Gross

definition, 232–233

sample business plan, 239t, 241t, 243t, 245t, 246t, 247t

DLJ Merchant Banking Partners, 63

DMR, see Digital remastering (DMR)

Doctor investors, 178

Documentaries

forecasting, 100–102, 213–214

quality and diversity, 98–103

short, 261

synopses, 99–100

target markets, 99

television, 102–103

Dogtown and the Z-Boys, 100–101

Domestic ancillary revenue, 206

Domestic distribution

process, 134–136

rights presale, 166

sample contract, 129

Domestic rentals

definition, 206

sample business plan, 235, 241t, 243t, 245t, 246t, 247t, 248t

Domestic rights

definition, 135

vs. foreign, 134–136

presales, 166

Donaldson, Michael, 48–49, 264–265

Dr. Dolittle, 124, 231

Drama genre

characteristics, 88

defining, 88

film matching, 201–202

forecasting research, 204

market segment, 87

DreamWorks, 64, 160–161

DreamWorks Animation, 70–71, 82, 92–93

DreamWorks SKG, 70–71

DVD market

cash flow statement, 211

direct-to-DVD, 124–125

distributors, 134

documentaries, 98–99

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

sample business plan, 228–229

Scream, 91

short films, 257–258, 265, 268

E

Eberts, Jake, 10

Economic climate

financing effects, 6–7

investment trends, 78–79

Edison, Thomas Alva, 59–60, 252

Edwards Cinemas, 160–161

E! Entertainment Channel, 203–204

Eight Below, 219

Eisenberg, Joel, 178

El Mariachi, 105

Email marketing, 117–118

eMarketer, 119

EM Media, 190

Emmys, 266–267

EMO Films, 178

Endgame, 115–116

End of the Spear, 94–95

Enron: The Smartest Guys in Town, 100–101, 214

Entertainment experience, “Company” section, 38–40

Entourage, 68–69

Entrepreneurs, general

business proposal vision, 8

as dreamers, 15

goals, 27–28

as investors, 160–161

passion, 159–160

project assessment, 41–43

self-knowledge, 26

Environmental films, 31

E& O insurance policy copyright certificate, 150

Equity investors

and budgets, 55, 147

filmmaker experiences, 178–184

film share, 164–165

investment share, 164–165

private placement, 13

producer financial knowledge, 123–124

Eros Entertainment, 133–134

ESPN, 120, 130–131

Etheridge, Melissa, 101

EU, see European Union (EU)

EURIMAGES, 187, 197

European Convention on Cinematographic Production, 184–185, 196–197

European film financing

banking, 195–196

basics, 184–197

co-productions, 184–185

fictional case study, 196b

public subsidies, 185–196

European investment, 163, 178, 196

European Investment Bank, 195–196

European Union (EU), 185–188

Exclusive rights, options, 51–52

Executive producer

investor as, 165

as manager, 11

Executive Summary, general

“The Company” section, 21

“Distribution” section, 22–23

“The Films” section, 21–22

as hook, 17–18

“The Industry” section, 22

Investment Opportunity and Financial High-lights, 23

laying out, 20–23

“The Markets” section, 22

risk statement, 153

Strategic Opportunity, 21–23

style, 20

writing last, 18–20

Executive Summary, sample

“The Company” section, 218

“Distribution” section, 219–220

“The Film” section, 218–219

“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

Facebook, 114, 115–116

Facing the Giants, 73, 94–95, 113–114, 160, 208

Fahrenheit 9/11, 98–99, 214

Family film genre, 94, 230–231

Fargo, 92

Federal film incentives, 169–170

FFA, see German Federal Film Board (FFA)

15/70 format, 121–122

Filmboard Berlin-Brandenburg, 190–191

Film credits, financing basics, 165

The Film Department, 115–116

The Film Entrepreneur, 122–123

FilmFernsehFonds Bavaria, 190–191

Film festivals see also specific festivals

distributor strategies, 142

forecasting reasearch, 204

short films, 257, 266–267

Film Group, 133

Film incentives, 169–170

Filmmaker advice

about investors, 178–184

marketing, 109–113

promises to investors, 158

Filmmaker distribution strategies

control of projects, 148–149

deliverables, 150

negotiations, 149–150

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

domestic theatrical, 206, 235

forecasting, 166

presales, 166–167

vs. total revenues, 74–75

“The Films” section (business plan)

attachments, 51–55

books, 52–53

brevity, 57–58

budget, 55–58

business development speed, 58

engaging readers, 47–48

money, 54–55

options, 51–52

project scope, 45–47

providing facts, 47

purpose, 21–22

real-life stories, 53

right to know, 46–47

sample, 218–219, 223–225

scripts, 48–51

stars, 53–54

Filmstiftung North-Rhine-Westphalia, 190–191

Filmtracker 's Baseline, 107

Final cut control, 148–149

Financial plan

approach, 199–200

assumptions, 208–209

cash flow statement, 210–211

comparative films, 200–201

documentaries, 213–214

film matching, 201–203

numbers analysis, 205–213

for one film, 213

overhead expenses, 211–213

resources, 203–205

revenue and expenses, 209–210

revenue projection, 208

sample, 235

skills, 200

Financing basics

advances, 167

“art” investors, 161–162

bank loans, 175–177

big payoffs, 166

clarity of plan, 159

completion guarantors, 177

entrepreneur investors, 160–161

European co-productions, 184–185

European films, 184–197

federal film incentives, 169–170

film incentives, 169–170

filmmaker promises, 158

foreign investors, 163

friends and family, 160

guidelines, 157–159

international co-production, 168–169

investor fit, 157–158

investor information, 177–178

investor payback, 175

investor promises, 158–159

investor shares, 164–165

investor types, 159–166

limited partnerships, 171–175

LLCs, 173–175

locating investors, 163–164

negative pickup, 170–171

overview, 155

presales, 166–168

reasonable risk, 165–166

short films, 255–256

special interest investors, 162–163

state film incentives, 170

Finders, 3

Fine Line Pictures, 69–70

Fireproof, 94–95, 166

First Look Studios, 133

First money out, 74–75

First Run, 133

Fithian, John, 94, 230–231

Flickerfest Short Film Bureau, 257

Focus Features, 70, 96, 133

The Fog of War, 100–101

Foley, Jack, 96

Forbes, 105–106

Forbes 400, 160

Forecasting

approach, 199–200

assumptions, 208–209

cash flow statement, 210–211

comparative films, 200–201

documentaries, 213–214

film matching, 201–203

numbers analysis, 205–213

for one film, 213

overhead expenses, 211–213

resources, 203–205

revenue and expenses, 209–210

revenue projection, 208

skills, 200

Foreign ancillary revenue, 207

Foreign distribution structures

vs. domestic, 134–136

France, 195

Germany, 194–195

rights presale, 166

structures, 194–195

United Kingdom, 194

Foreign investment advice

AFM, 109–110

from filmmakers, 178

financing basics, 163

Foreign Revenue, 206–207, 235

Foreign rights

co-productions, 184

vs. domestic, 134–136

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

CNC, 189–190

distribution, 195

film banking markets, 195

financing example, 196

public subsidies, 191–192

tax incentives, 192–193

Free-for-view, 267

Freeman, Jim, 121

Free television

domestic ancillary revenues, 206

industry segment, 61

revenues, 204

sample business plan, 227–228

French public subsidies, 189–190, 191–193

Frida, 96

Friedman, Rob, 1

“Friends and family” investors, 160, 178, 255

Friendster, 114

Friese-Greene, William, 59–60

Fundraising basics, 164

The Fundraising Houseparty, 164

G

Gap Financing, 195

Gap lending, 178

Garden State, 160–161

Garfield: The Movie, 219, 231

Gay and Lesbian films

budgets, 97

distribution, 133–134

film matching, 201–202

as niche market, 93–94

Geffen, David, 70–71

General Electric, 62, 226

General partner, in LPs, 172

The General's Daughter, 92

Genre, general see also specific genres

budget similarities, 96–97

distributor strategies, 140

film matching, 201–203

history, 90–92

and independent film, 5

moderate budgets, 97

sample business plan, 241t, 242t, 243t, 244t

target audience, 88–89

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

distribution, 194–195

film banking markets, 195

financing examle, 196–197

public subsidies, 190–191

Giant Screen Cinema Association, 123–124

Gibs, Jon, 114

Gibson, Mel, 113–114

Gilbert, Gary, 160–161

Gill, Mark, 115–116

Glickman, Daniel, 225–226

“Global TV Price Spread” (Variety), 204

Glover, Danny, 178

Goals

company formation, 27

formulating, 27–28

personal vs. business, 28–29

Gods and Monsters, 90

“The Going Rate” (The Hollywood Reporter), 204

Gold Circle Films, 73, 133

Golden Globes, 143–144

Goldman, William, 68–69

Goldwyn, Samuel, 45, 94–95

Good Machine, 70

Google

cell phone downloads, 118

cell phone providers, 120

as investors, 160–161

short films, 260–261, 268

YouTube purchase, 118

Gore, Al, 101

Government film agency investors, 178

Gramercy Pictures, 69–70

Grants

for documentaries, 102–103

for short films, 255–256

The Great Train Robbery, 59–60

Green, Harry, 9

“Greenlight,” definition, 65

Grob, Hector, 109–110

Gross Income

dollar tracking, 74t

sample business plan, 235–236, 245t, 246t, 247t

Gross profit (loss)

definition, 207–208

sample business plan, 239t, 241t, 243t

Guest, Christopher, 68–69

Guggenheim, David, 101

Guilds

DGA, 121, 266–267

SAG, 265–266

short film distribution, 265–267

short film returns, 254–255

WGA, 48–49, 68–69

H

Haggis, Paul, 162–163

Halloween series, 91

Hanks, Tom, 53–54, 86

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)

Heaven's Burning, 116–117

Hedge funds, 64

Hedren, Tippi, 253

Hello, He Lied (Obst), 68–69

Here! TV, 267–268

High-definition (HD), 228–229

High School Musical series, 93

“Hired gun,” 136–138

Hispanic/Latino market, 93–94, 95–96

Hollywood, place vs. attitude, 7

The Hollywood Distributors Directory, 135

The Hollywood Reporter

AFM edition, 109–110

film sales list, 204

as information source, 203

as resource, 104

Home Shopping Network, 9

Home video

financing advances, 167

future trends, 229–230

release strategies, 233

sample business plan, 228–229

theatrical exhibition impact, 77

Hoop Dreams, 100

Hoover, 9

Horror genre

characteristics, 88

cycles, 92

direct-to-DVD, 124

history, 91

industry trends, 78–79

market segment, 87

Hostel series, 91

Hotelier investors, 178

Hot Fuzz, 225

House of Wax, 81–82

Howard, Ron, 64

How She Move, 93

Hudson, Oliver, 253

Hulu, 118

Hungarian public subsidies, 193

Hustle & Flow, 137–138, 158

Hyder, James, 122–123

Hype, 46–47, 139

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)

Ile-de-France, 191–192

The Ilya Salkind Company, 109–110

IMAX, 81–82, 121

IMDB, see Internet Movie Database (IMDB)

I'm Trying to Break Your Heart, 100–101

Income Statement, 209–210

An Inconvenient Truth, 101

Independent distribution

domestic vs. foreign, 134–136

film quantity and quality, 132–134

players, 131–132

vs. studio, 146–148, 147t

typical deal, 136–138

Independent film, general

art vs. specialty, 89–90

budget, 55, 147

definition, 5, 69

direct-to-DVD, 124–125

distributor power, 128

documentaries, 98–103

dollar tracking, 73–75, 74t

function, 72–73

Internet and investors, 120

LLC investment, 174–175

market segment, 87–88

niche groups, 93–96

Oscar nominations, 70

production/exhibition numbers, 76–82

production overview, 69–76

pros and cons, 75–76

vs. studio film, 68

theatrical exhibition, 77–78

Independent Film Channel (IFC)

forecasting reasearch, 203–204

Internet markets, 116–117

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)

digital film, 79–81

independents dollar tracking, 73–75, 74t

independents function, 72–73

independents overview, 69–76

independents pros and cons, 75–76

industry analysis, 60–61

industry history, 59

investor facts, 82–83

investors, 61–63

motion picture production, studios, 63–65

production and exhibition, 76–82

production investment trends, 78–79

purpose, 22

sample, 219, 225–230

studio dollars, 65–68

studio history, 63–69

studio pros and cons, 68–69

tables and graphs, 82–83

theatrical exhibition, 77–78

3-D, 81–82

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

digital film, 79–80

direct-to-DVD marketing, 124–125

for distribution, 116–121

distribution rights, 135–136

and investors, 120–121

market research, 106–107

short-attention-span theater, 118–120

short film markets, 259–261

Internet Movie Database (IMDB)

documentary categories, 98–99

film summaries, 21–22

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

company start-up, 35–36

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

facts for, 82–83

filmmaker advice, 178–184

filmmaker fit, 157–158

financing information, 177–178

financing promises, 158–159

forecasting for, 199–200

foreign, 109–110, 163, 178

industry knowledge, 61–62

and Internet, 120–121

LLC/LP payback schedules, 175

LLCs, 173, 174–175

locating, 163–164, 178

LPs, 172

market research, 103–104

MGM consortium, 63

providing facts, 47

as risk takers, 8

and scripts, 49–50

types, 159

iPhone (Apple), 120, 229–230

iPod (Apple), 229–230

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

Jarchow, Stephen, 133–134

Jarmusch, Jim, 5

Jimmy Kimmel, 130–131

JP Morgan, 70–71

Juno, 21–22, 90, 143–144, 166, 219

Jurassic Park, 85

K

Katzenberg, Jeffrey, 70–71

Kendrick, Alex, 160

Kendrick, Stephen, 160

Kessler, Hal “Corky,” 169

Kidd, Bronwyn, 257

The Kid Stays in the Picture, 100–101

Kimmel, Sidney, 160–161

Kinetograph, 59–60

Kipling, Rudyard, 85

K-19: The Widowmaker, 163

Knowing, 201

Kodak, 60–61, 81

L

L.A. Confidential, 92

Laemmle, Carl, 59–60, 127

Lahti, Christine, 253

La misma luna, 96, 166

Landmark Theaters, 160–161

Large Format Cinema Association, 123–124

Large-format films

finances, 122–124

formats, 121–122

history, 121–124

The Last Shot, 68–69

Lee, Ang, 258–259

“Legs,” 142

Lethal Weapon, 88–89

LF Examiner, 121–123

Library of Congress, 48–49

Library research, 106–107

Lieberman In Love, 253

Limited Liability Company (LLC)

business plan negotiations, 12

characteristics, 173–175

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

characteristics, 171–175

entrepreneur investors, 161

investor payback, 175

ownership, 13

risk statement, 153

Linde, David, 127

Line producers, 55–56, 98

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

Look Who's Talking, 72–73

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

Lumiere, Louis, 59, 252

Lynne, Michael, 71–72

M

MacGillivray, Greg, 121

MacGillivray Freeman Company, 121, 123–124

Mad Hot Ballroom, 100–101

Magazine research, 105–106

Magic 4 Morons, 9

Magnet Releasing, 133

Magnolia Distribution, 160–161

Magnolia Pictures, 133

Majestic, Joe, 109–110

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

Man on Wire, 98–99

March of the Penguins, 94, 95, 113–114, 214

Marketing strategy

definition, 103–108

filmmaker expert advice, 109–113

film markets, 108–113

market research, 103–104

networking, 106

research reading, 104–106

self-marketing, 113–114

self-promotion, 107–108

studios, 65–66, 129–130

support materials, 108

Market research

concept feasibility, 103–104

Internet and libraries, 106–107

networking, 106

Market segment, see also Target markets

art vs. specialty, 89–90

cycles, 92

definition, 86–98

demographics, 92–93

genre, 88–89

genre history, 90–92

special niche groups, 93–96

target, 87–88

“The Markets” section (business plan)

art vs. specialty, 89–90

basic considerations, 85

cycles, 92

demographics, 92–93

direct-to-DVD, 124–125

filmmaker expert advice, 109–113

film markets, 108–113

genre, 88–89

genre history, 90–92

Internet distribution, 116–121

Internet and investors, 120–121

large-format film finances, 122–124

large-format films, 121–124

marketing strategy, 103–108

marketing support materials, 108

market research, 103–104

market segment, 86–98

networking, 106

production cost, 96–98

purpose, 22

quality and diversity, 98–103

research reading, 104–106

sample, 219, 230–232

self-marketing, 113–114

self-promotion, 107–108

short-attention-span theater, 118–120

special niche groups, 93–96

TV documentaries, 102–103

Mass audiences, 63, 218, 221, 226

The Matrix trilogy, 88–89

Matsushita Electric Industrial Co., 62

MCA Inc., 62

McTier, Karen, 124

mediabynumbers.com, 79

MEDIA MUNDUS program, 186–187

MEDIA 2007 program, 186

The Media-Wise Family (Baehr), 94–95

“Members” (LLC), 173, 174–175

Merchant-Ivory, 161–162

M& E tracks, 150

Metro-Goldwyn-Mayer (MGM), 63, 69–70, 116–117, 226

Metromedia, 69–70

MGM, see Metro-Goldwyn-Mayer (MGM)

Michael Winslow Live, 9

Mille, Jean Charles, 258

Miller, Wentworth, 253

Mini-budget, financing, 9

Mini-Majors, 171

Miramax, 58, 69–70

Mission statement, 30

Mobile entertainment revenues, 119

MobiTV, 120

Mockumentary genre, 77–78, 91

The Moguls: Hollywood's Merchants of Myth (Zierold), 63

Monando Film Distribution, 109–110

Money, as attachment, 54–55

Monsters vs. Aliens, 82, 94

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

sample business plan, 225–226

script titles, 49

Motion picture production

dollar tracking, 73–75, 74t

function, 72–73

independent investors, 64

operation, 63–65

overview, 69–76

postproduction, 65

preproduction, 65

principal photography, 65

process, 226–230

pros and cons, 75–76

sample business plan, 226

steps, 64–65

studio dollars, 65–68, 66t

studio histories, 63–69

studio picture, 64

studio pros and cons, 68–69

The Motorcycle Diaries, 96

Movielink, 116–117, 229–230, 268

Moving Midway, 178

MTV, 260–261, 262

MTV Mobile, 120

Murdoch, Rupert, 63, 226

Music Box Films, 133

Music cue sheets, 150, 265

Muybridge, Eadweard, 59

My Architect, 100–101

My Big Fat Greek Wedding, 73, 161–162, 202, 206

My Bloody Valentine 3-D, 82

My Dog Skip, 94, 230

Myers, Peter, 142

My Indecision Is Final: The Rise and Fall of Goldcrest Films, 10

MySpace, 114

N

Nano, 267–268

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)

NBC, 2, 259

NBC Universal, 63, 226

Near video on demand (NVOD), 227–228

Negative costs

financing basics, 160

forecasting, 207

motion picture production, 65

sample business plan, 226–227

studio dollar tracking, 67–68

Negative pickup

advantages/disadvantages, 171

bank loan financing, 175–176

basic concept, 170–171

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

markets, 116–117

rights licensing, 234

short films, 268

Newreels, 252

News Corp., 226

News of the Day, 252

Newsweek, 105–106

New Yorker Films, 133

The New York Times, 105–106

NFO, see National Film Office (NFO)

Niche markets

business plan development, 11

documentaries, 98

examples, 93–96

and film budget, 97

studio involvement, 148

viral marketing, 124–125

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

Nonprofit investors, 162–163

Nord-Pas-De-Calais, 191–192

Northern Ireland Film & Television Commission, 190

Not-for-profit grants, 102–103

NTSC format, 265

NVOD, see Near video on demand (NVOD)

nWave Pictures, 121, 123–124

O

Objectives and goals, 27

Obst, Lynda, 68–69

October Films, 69–70, 132

Oh, Sandra, 253

Once, 60–61, 73, 166

One-film plan

foward projections, 33–34

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

Oprah, 130–131, 203–204

Options, see also Rights

as attachments, 51–52

books, 52–53

money, 54–55

real-life stories, 53

stars, 53–54

Orion Classics, 69–70

Orion Pictures, 69–70

Oscars, see also Academy Awards

film credits list, 165

forecasting, 100, 204, 208

gay and lesbian films, 93–94

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

definition, 66–67

forecasting, 211–213

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

Pamplin, Rick, 7, 8–10

The Pamplin Film Company, 7, 175

Panavision, 60–61

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 Media, 160–161

Participant Productions, 76

Partnerships, 35, 40–41

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

sample business plan, 227–228

short films, 267

PBS, 102, 206

Peacefulfish, 184, 197

Peach Arch Entertainment, 133

Pergasus Entertainment Group, 133

Perry, Tyler, 94

Personal goals

vs. business, 28–29

vs. company purpose, 31

Pet ownership, 231–232

PFE, see Polygram Filmed Entertainment (PFE)

Philips N.V., 69–70

The Pianist, 94

Picturehouse, 71–72, 133

Pierson, John, 137–138

Pitt, Brad, 53–54

Platform release, 143, 233–234

The Player, 68–69

Plot synopsis, 48, 99–100

Pohlad, Bill, 76, 133, 160–161

Pohlad, Carl, 160–161

Points, 165

Political films

documentaries, 98–99, 213–214

forecasting, 100–101, 213–214

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

trade papers lists, 104–105

Presales

advances, 167

advantages/disadvantages, 167–168

AFM advice, 109–110

bank loan financing, 175–176

basic concept, 166–168

distributor strategies, 141

Press kits, 108

Princess Mononoke, 92–93

Principal photography

budget problems, 55

motion picture production, 65, 226

production steps, 64–65

Principal purpose

definition, 32

example, 221

Prints and Advertising (P& A)

distribution costs, 138–139

filmmaker investment advice, 178

forecasting, 204, 207

independent films, 74

market research, 107

motion picture production, 65

sample business plan, 235, 237

short films, 265

Private placement (PPM)

advantages, 172

definition, 13–14

filmmaker investment advice, 178

Producers, general

as attachments, 21, 53–54

bank loans, 176–177

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

genre specialty, 88–89

independent film production, 75–76

international co-productions, 168–169

vs. investor shares, 164–165

LLC set-up, 174–175

locating investors, 164

as managers, 11, 39

P& A money, 138

short film distribution, 251

state film incentives, 170

studio projects, 62, 68

30-second pitch, 64–65

Production costs. see also Budget basics

budget configurations, 96–98

repaying, 150

via research reading, 104–105

sample business plan, 235

Production managers

budget breakdown, 55–56

budget creation, 98

Production money

availability, 91

cash flow statement, 210

and distribution company, 137

investor repayment, 50

options, 54–55

Production process. see also Motion picture production

French subsidies, 189–190

German subsidies, 188–189

investment trends, 78–79

overview, 76–82

player viewpoints, 60–61

steps, 64–65

studio vs. independent, 72

tax incentives, 192

trade papers lists, 104–105

Production team, 30, 35, 37, 39, 156

Projected Income

forecasting, 199, 209

sample business plan, 235, 245t, 246t, 247t

Promotion

distributor strategies, 139

marketing strategies, 107–108

short films as, 254

Providence Equity Partners, 63

PSP, 229–230

Publicity

gimmicks, 77–78

self-distribution, 145

studio distribution, 130–131, 147–148

Public limited partnerships, 172

Public subsidies

EURIMAGES, 187

European film financing example, 197

European level, 185–187

France, 191–193

French CNC, 189–190

Germany, 188–189, 190–191

Hungary, 193

Ireland, 193–194

national level, 187–190

PREPARATORY ACTION/MEDIA MUNDUS, 186–187

regional level, 190–192

tax incentives, 192–194

UK Film Council, 187–188

United Kingdom, 190, 192

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

Reading research, 104–106

Ready-made audience, 52, 124

Real estate developer investors, 178

Reality shows, 98–99, 204

Real-life story attachments, 53

Real Women Have Curves, 90, 96

Reasonable risk, 165–166

Reeves, Bernie, 178

Regal Cinemas, 160–161

Regal CineMedia Corp, 259

Regent Releasing, 133–134

Reiner, Rob, 69–70

Relativity Media, 71–72, 133

Release strategy example, 233–234

Releasing costs, 235

Reliance Big Entertainment, 70–71

“Rent-a-distributor,”, 138

Rentrak report, 125, 203

Research In Motion Blackberry, 120

Revenue basics

box office backbone, 129

cash flow statement, 210

domestic ancillary, 206

Filmtracker 's Baseline, 107

forecasting, 199, 208

foreign ancillary, 207

foreign sources, 211, 235

foreign theatrical, 206–207

independent dollar tracking, 73–75, 74t

international co-productions, 168

and production cost, 96–97

short films, 261–263

studio dollar tracking, 65–68, 66t

theatrical exhibition, 77–78

total, 207, 232–233

Revenue cap, 167

Revenues and Expenses, 209–210

Rhone-Alpes, 191–192

Rice, T C, 254

Richland, Gordon and Company, 132

Riding Giants, 100–101

Rights, see also Options

books, 52

copyright ownership, 128–129

distribution, see Distribution rights

domestic, 134–136, 166

DRM, 135–136

exclusive, 51–52

foreign, 135, 166, 184

Internet, 135–136, 259

new media, 116–117, 234

options definition, 51–52

presales, 166

sample business plan, 223

short films, 254, 259, 260

worldwide, 70–71, 135

“Right to know,”, 46–47

Risk factors

bank loan financing, 175–176

distributors, 137

financing basics, 165–166

guarantors, 177

sample business plan, 234–235

Risk statement, 153

Ritchie, Guy, 258–259

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

The Rogue Joint, 71–72

RogueLife.com, 71–72

Rogue Pictures, 71–72, 133

Rollout strategies, 143

Romance genre

defining, 88

film matching, 201–202

market segment, 87

Romantic comedy budgets, 97

A Room with a View, 161–162

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

Saw series, 88, 91

Sayles, John, 5, 155

Sci-fi genre

as action, 109–110

film matching, 202–203

Scorsese, Martin, 64, 92

Scream, 91

Screen Actors Guild (SAG), 265–266

Screendaily.com, 104

Screen International, 104

Screenplays. see also Scripts

French subsidization, 191–192

production process, 64–65

sample business plan, 226–227

Screen Yorkshire, 190

Scripts. see also Screenplays

and budget, 56

vs. completed films, 141–142

continuity script, 150

control, 75

development plans, 48–51

German development money, 188–189

motion picture production, 64–65

and negative pickups, 171

ownership, 51–52

title, 48

S. Darko: A Donnie Darko Tale, 124

Seagal, Steven, 124

Seagram, 62, 69–70

SEC. see Security Exchange Commission (SEC)

“30-second pitch,”, 64–65

“Section 42,”, 192

“Section 48,”, 192

“Section 481,”, 193–194

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

Self-promotion, 107–108

Senator Distribution U.S, 133

Sequencing distribution strategies, 143

Shaye, Robert, 71–72

Shine a Light, 98–99

Short-attention-span theater, 118–120

Short documentaries, 261

Short Film Agreement, 265–266

Short film distribution

contracts, 263–267

festivals, 257

future potential, 267–268

guilds, 265–267

overview, 251

worldwide, 257–258

Short film markets

advertainments/advertorials, 258–259

Internet, 259–261

overview, 256–261

Short films

as calling cards, 253–254

definition, 252–253

deliverables, 265

as feature promo, 254

for filmmaking experience, 254

financing, 255–256

as money makers, 254–255

potential revenue, 261–263

quality, 262–263

Showtime, 262

Shrek series, 92–93

Sicko, 101

Sidney Kimmel Entertainment, 160–161

Silver, Joel, 88–89

Sin City, 92, 105

The Sisterhood of the Traveling Pants 2, 88

The Sixth Sense, 88, 91

Skoll, Jeff, 76, 162

Sloss, John, 116, 135–136

Slumdog Millionaire, 166, 208, 225

Smith, Kevin, 160

Smith, Pete, 252

SNL Kagan, 120, 228–229

SOAPNet, 130–131

Social networking sites

independent films, 71–72

marketing, 117–118

self-marketing, 114

SOFICA, 192–193

Soft monies, 178

The Soldier's Wife, 141

Sole proprietorship, definition, 35

Songcatcher, 132–133

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

as investors, 162–163

release strategies, 143

viral marketing, 113

Specialty vs. art films, 89–90

Specialty divisions

acquisitions, 131–132, 133

database information, 76–77

parent advantages, 71–72

as studio brands, 26

Spellbound, 100–101

Spielberg, Steven, 70–71, 85–86

The Spirit of Christmas, 253

Spy Kids series, 94, 105, 219

Standing in the Shadows of Motown, 100–101

Stanford, Leland, 59

Stars, see also Actors

as attachments, 53–54

bankable, 54

biography brevity, 57

distributor strategies, 141

financing basics, 165

signing, 61–62

Star Wars: Episode I& ndash;The Phantom Menance, 80

STARZ, 9, 257–258

State film incentives, 170

Statement of Revenue and Expenses, 209–210

Steel, Dawn, 68–69

Step Into Liquid, 100–101

Stern, Jim, 115–116

Still photographs

filmmaker deliverables, 150

releases, 265

Stoltz, Eric, 253

Story

distributor strategies, 140

motion picture production, 64–65

selling projects, 235

synopsis, 48

Strand Releasing, 133–134

Strategic Opportunity

Executive Summary example, 21–23

sample business plan, 218

Strategy Analytics’ Multiplay Market Dynamics, 119

Street Kings, 92

Stuart Little, 219, 231

Studio distribution

advantages, 130–131

filmmaker control, 148–149

vs. independent, 146–148, 147t

process, 129–130

Studios

classic “studio” picture, 64

history, 63–69

Internet and investors, 120

market demographics, 93

pros and cons, 68–69

revenue tracking, 65–68, 66t

speciality divisions, 26

theatrical exhibitions, 77–78

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

Summit Entertainment, 64, 73

Sundance Channel

forecasting reasearch, 203–204

short documentaries, 261

short films, 259, 262

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

Sunset Boulevard, 118–119

Superbad, 93

Super gap lending, 178

Superman, 109–110

Super Size Me, 100–101

Swanson, Gloria, 118–119

Synopsis, see Plot synopsis

T

Tables & graphs vs. words, 82–83

Tarantino, Quentin, 88–89

Target markets, see also Market segment

defining, 22

documentaries, 99

niche groups, 93–94

profile, 87

sample business plan, 230–232

short films, 263

Tax-Incentive Financing, 195

Tax incentives

in Europe, 192–194, 197

filmmaker advice, 178

France, 192–193

Hungary, 193

investment trends, 78

Ireland, 193–194

United Kingdom, 192

Tax Rebate for International Production (T.R.I.P.), 193

Tax Reform Act, 171–172

Teenage Mutant Ninja Turtles, 42

Teen film market, 93

Television

federal film incentive, 169

future trends, 79

interstitials, 262

news story history, 252

sample business plan, 227–228

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

revenues, 77–78

sample business plan, 227

Theatrical rentals

definition, 206

dollar tracking, 74t

foreign vs. domestic, 232–233

thenumbers.com, 203

They Can Kill You But They Can't Eat You (Steel),68–69

THINKFilm, 133

35mm format

vs. digital, 80–81

into 15/70, 121–122

filmmaker deliverables, 150

transfer budget, 201

This Is Spinal Tap, 77–78

3ality Digital Entertainment, 121

3-D, 81–82

3D Entertainment, 121

Thriller genre

cycles, 92

defining, 88

industry trends, 78–79

market segment, 87

Time, 105–106

Time Warner, Inc, 63, 226, 257–258, 267

Titan A.E., 79–80

Titanic, 85

Toon Disney, 130–131

Toronto Film Festival, 142

Tortilla Soup, 96

Total cost forecasting, 207

Total revenue, 207

Touching the Void, 100–101

Trade paper research, 104

T-Rex, 121–122

Tribeca Film Festival, 257

Trimark Pictures, 132

T.R.I.P., see Tax Rebate for International Production (T.R.I.P.)

Turner Broadcasting, 69–70

Turner Pictures, 69–70, 71–72

Twain, Mark, 199, 205

Twentieth Century Fox

digital film, 79–80

film release methods, 142

independent divisions, 69–70, 133

motion picture production, 226

Movielink, 116–117

studio dynasties, 63

2929 Productions, 160–161

Twilight, 73, 91

Twitter, 114

U

The Underneath, 92

Under the Same Moon, 96, 225

United Artists, 160–161

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 breakdown, 55–56

budget creation, 98

state film incentives, 170

Universal Pictures, 2, 62, 252

Universal Studios

founder, 59–60

history, 62

independent division, 69–70

and Internet, 116–117

studio dynasties, 63

UPMS, see Unit production managers (UPMS)

Urban genre, 87, 124

USA Networks, 69–70

USA Today, 105–106

Usher, 160–161

The Usual Suspects, 92

V

Van Damme, Jean Claude, 124

Vanity Fair, 105–106

Variety

AFM edition, 109–110

box office dollars, 123

feature film price list, 204

forecasting research, 203

as resource, 104, 203

VHS format, 74–75, 91, 228–229

Viacom, 63, 226, 260–261

Video Business, 125

Video-on-demand (VOD)

market research, 107

presales, 166

sample business plan, 228

short films, 267

Video snacks, 118–120

Videotape, as deliverable, 150

Vidmark, 132

The View, 130–131

Viral marketing, 113, 124–125

The Visitor, 77–78, 109, 225

Vivendi, 62

W

Wade, April, 178

Wagner, Todd, 160–161

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

Movielink, 116–117

and New Line, 71–72

studio dynasties, 63

Warner Independent Pictures, 69–70, 71–72, 133

Warshawski, Morrie, 102–103, 164

Waters, John, 88–89

Weinstein, Bob, 58, 73

Weinstein, Harvey, 58, 73

The Weinstein Company, 58, 73, 90, 134

Western genre, 90–91

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

Why We Fight, 100–101

Wide release strategies, 142–143

Wilson, Owen, 253

Windows (release), 233, 238

Woman On Top Productions, 178

Woman Thou Art Loosed, 94–95

Word-of-mouth

distributor strategies, 139

moderate-speed distribution, 144

self-distribution, 146

self-marketing, 113

and wide release, 142–143

Working Capital/Corporate Finance, 195

Working Title Films, 71–72

World Trade Organization, 268

Worldwide distribution

documentaries, 101–102

short films, 257–258

Worldwide licensing, 65–66

Worldwide rights

and domestic distributors, 135

DreamWorks, 70–71

Writer-director, 38, 73

Writer-producer, 73

Writers

business cards, 34–35

fiction vs. nonfiction, 48

vs. filmmaker, 25

international co-productions, 168–169

motion picture production, 64–65

options, 51–52

sample business plan, 226–227

script registration, 48–49

studio system, 68–69

Writers Guild of America (WGA), 48–49, 68–69

X

Xbox, 229–230, 268

X-Men Origins: Wolverine, 68

Y

Yahoo!, 120, 260–261

Yankee Group, 119

Yari, Bob, 160–161

Yari Film Group Releasing, 133

The Yari Group, 160–161

Yash Raj Films, 133–134

Yauch, Adam, 160–161

York, Michael, 253

Young adult market, 93

YouTube, 118, 260–261

Y tu mamá también, 93–94, 96

Z

Zeitgeist Films, 133

Zierold, Norman, 63