Index
A
16 to Life, 192–196
Accounting and taxes, 215–217
Acknowledgment, 139
Actors
agents and, updating, 120
commitment to, 127–128
guild actors, 85
photos with, 139
see also Screen Actors Guild (SAG) 1
Additional songs, 157
ADR (additional dialog recording), 157
Advertising Billing, 160–161
Affleck, Ben, 66
American Film Market (AFM), 14, 213
American Humane Association, 137
American Job Creation Act, 40
Anderson, John, 184–185
Animals, in film, 136–137
Audience testing, 149–151, 151f
lunch break and atmosphere, 93
scheduling, 89
time needed for, 91
B
Back-end deals, 181
Bank account, money into, 181–182
Bank account, opening, 50–55
check-signing authority, 53
making deposits, 52–53
preparation, 50
two accounts, 50–51
Visa/MasterCard, 53
Bank of America, 50–51
Behind-the-scenes shots, 108–109
Berlin, 31
Blanchard, Marcus, 148
Books, about films, 229–230
Bottle Shock, 184–185
Breakdown services, 86–88
Broderick, Peter, 184
Budget, 34
Business, of film producing, 4–5
Business and creativity, 3–4
Business plan, creating, 29
company summary, 37
extra bonus, 34–35
film comparisons, 36–37
investor proposal, 30–32
marketplace, 36
newspaper articles, 40
PPM/operating agreement/subscription agreement, 43–44
project objective, 35–36
quotation, 30
reasons for costs, 32–34
budget, 34
delivery, 33
executive producer fee, 33–34
operating costs, 33
risk, 35
synopsis, 37–38
team, 37
Buy-outs, 179
C
Callbacks, 94–95
chemistry callbacks, 95
scheduling, 94
breakdown services of, 88
callbacks of, 94–95
casting of, 84
chemistry callbacks of, 95
deal memos of, 97f
director's vision, 66
LLC (limited liability corporation), 45
pick-up day, 153
project objective, 35–36
sales presentation
logistics list, 59
room, setting up, 60–64
script, awareness of, 127
synopsis, 37–38
table read for, 79
team, 37
treat for the crew, 129–130
Career highlights, 63
Caridi, Frank, 127–128
auditions and callbacks, 92–96
callbacks, 94–95
chemistry callbacks, 95
final decisions, 95–96
lunch break and atmosphere, 93
scheduling callbacks, 94
deal memos, 96–103
extras, 102–103
with director, 88
preparation, 84–89
breakdown services, 86–88
casting director, role of, 84–85
guild actors, role of, 85
guild deposit, 85–86
scheduling, 89–92
auditions, 89
process, 89–91
sides, choosing, 91–92
time needed, for auditions, 91
typed sign-in sheets, 92
Cast table read/wardrobe fitting, organizing, 118–119
Certifiably Jonathan, 196–200
Certificate of authorship, 24–26, 25f
Certificates and seal, 50
“Chain of title”, 142
Checkbooks
signing authority, 53
writing, 128
Chemistry callbacks, 95
Children, in film, 136–137
Color correction on film, 148–149, 156–157
Commission on sales, 180
Communication, with sales agent, 212–213
Composer, deal memo for, 143f
Copyright
registration, 7
report, 173
transfer, 141–142
Corporation, 45
Costume/blood problem, 117
Courshon, Jerome, 200–204
Crain's New York Business, 30
D
Dailies, watching, 122–126
Damon, Matt, 66
Darling, Peter, 133–134
billing, 101
for composer, 143f
extras, 102–103
guaranteed compensation, 101
for Laurie Foxx, 158f
sound designer's deal memo on Séance and Portal, 148
term, 100
Deferments, 24
Delivery and sales agents, 164
Delivery costs, 33
Delivery items, reviewing, 143
Deposit slips, 52–53
Diet, attention to, 121
Director
in casting process, 88
in preproduction, 116
Director of photography (DP), 112
Director's chairs, 126
Director's cut, 149
Directors Guild of America (DGA), 1
Director's note, 28
Director's vision, 66
Distribution alternatives, 184
promoting, 213
DVDs, 182–183
E
E&O insurance, 182
Editor
assembly, 141
payment schedule, 111
in preproduction, 110–112
in principal photography, 127
EIN (Employer Identification Number), 49, 49f
End-roll credits, 161–163
Executive producer fee, 33–34
Exit clause, 183
Expenses, deal for, 180
F
Fangoria (magazine), 128
Festivals. See Film festivals
Film comparisons, 36–37
Film festivals, 192–193, 194, 199, 212
Film production, getting into, 1
business
and creativity, 3–4
of film producing, 4–5
landscape, changing, 2
right time, selecting, 1–2
step-by-step approach, 2–3
Film website, 142
Final decisions, about auditions, 95–96
Flash Forward Institute, 64
Four-Eyed Monsters, 185
Foxx, Laurie, 157
Front-roll credits, 160–161
Fund raising, for coproductions, 56
G
The Grudge, 40
Guild actors, role of, 85
Guild deposit, 85–86
H
Headsets, importance of, 126
Hunk DuJour, 208
I
IndieGoGo, 75
Internet marketing
JC Calciano on, 209
Jerome Courshon on, 203
Jim Pasternak on, 200
Marc Rosenbush on, 186–190
Richard Marshall on, 200
Stacey Parks on, 191
Interviews, for postproduction positions, 139
Investor proposal, 30–32
Investors
during principal photography, 137–139
in postproduction, 163
in sales presentation, 69–70
tips to get investors, 71–73
updating, 120
Invitation
for sales presentation, 58
for wrap party, 132f
iTunes, 206
J
Jericho Mansions, 130
K
on Candy Stripers, 66
in product placement, 119–120
Kickstarter, 75
L
LA Casting, 88
Landscape, changing, 2
Legal advice, 7
Legal Zoom, 45–46
Line, Cruise, 119
Line producer, 34
focus during preproduction, 106–107
versus producer, 105–108
wrap-up, 141
LLC (limited liability corporation), 45
in California, 46
Candy Stripers, 45
certificates and seal, 50
closing, 218
form, 48f
location of, 46
preparation
articles of organization, 47–48
EIN (Employer Identification Number), 49, 49f
naming of company, 46–47
Location scouting, 80–82
Lock picture, 153–154
Logistics, 59–60
Lunch break and atmosphere, 93
M
MAC cosmetics, 119
Main titles. See Front-roll credits
“Making of”, 163
producer/stills photographer, 108–110
Managers, 48
Marketplace, 36
Marshall, Richard, 196–200
MasterCard, 53
“Maximizer account”, 50–51
Media producer, 208
Mentor, getting, 218–219
in product placement, 119–120
Mission statement, 40, 41f, 65
Mock sales presentation, 70
Money
below estimated amounts checking, 182
into your bank account, 181–182
Music score, 156–157
N
Name availability inquiry letter, 47f
Newspaper articles, 40
O
Old models, problems with, 178
Omarr the Camel, 8
One-sheet poster, 41–43
Operating agreement, 43–44
Operating costs, 32–33
Option agreements, 16
Option period, 23
Option/purchase agreement, 16–18
of Portal, 18f
Osaka Film Festival, 1
P
Pan-and-scan method, 172–173
Paperwork, time for, 15
Parks, Stacey, 191–192
Pasternak, Jim, 196–200
Patten, Chris Van, 185
Payment and back end, 23–24
Personal highlights, 63
Pick-up day, 153
Politeness, 93
actors, choosing, 92
audience testing screening, 150
breakdown services of, 88
casting of, 84
crew deal memo, 113f
deal memo of sound designer, 148
main titles for, 161
pick-up day, 153
supporting roles on, 95–96
table read for, 78
treat for the crew, 130
Postproduction
in Séance, 13–14
hiring for, 142–149
investors in, 163
interviews for, 139
Preproduction, 105
actors and their agents, updating, 120
beginning of, 12
cast table read and wardrobe fitting, 118–119
director, 116
director of photography, 112
editor, 110–112
investors, updating, 120
“making of” producer and stills photographer, 108–110
producer versus line producer, 105–108
producer's job, 108
product placement, 119–120
table reads with keys, 116–118
Principal photography, 12–13, 121
acknowledgment, 139
call sheets, Day Out of Days, and shooting schedule, reading, 122
children and animals, 136–137
commitment to time/budget/actors, 127–128
dailies, watching, 122–126
editor, role of, 127
“going the extra mile”, 133–135
investors, 137–139
postproduction positions, interviews for, 139
presence on set, 121–122
putting out fires, 130–131
script awareness, 127
shooting schedule, 122
stills and press release, 128–129
treats, 129–130
video village, 126–127
wrap party, planning, 131–133
writing checks, 128
Private placement memorandum (PPM), 8, 43–44
Private placement offering, 69
Prize, concentration on, 219–220
Process after delivery of films, 211
accounting and taxes, 215–217
communication with sales agent, 212–213
domestic sale, promoting, 213
festivals, 212
investors, informing, 215
LLC, closing, 218
markets, attending, 213
mentor, getting, 218–219
prize, concentration on, 219–220
SAG residuals, 215
winners, surround yourself with, 219
Producer focus during preproduction, 106
job, 108
“making of” producer, 108–110
versus line producer, 105–108
Production assistants (PAs), 107
Product placement, 119–120
Project goal, 5
Project Greenlight, 66
Promise, caution on, 71
Q
Question and answer session, 70
Quotation, 30
R
Relationship, establishing, 68
Release form, 104f
Risk, 35
Rosenbush, Marc, 186–190
S
Sales agents, 164
changes, 179
commission, 180
communication with, 212–213
dealing with, 179–183
delivery lists from, 166f
expenses, 180
and festivals, 154
getting a copy of each territory deal, 180–181
Sales presentation and finding investors, 56, 69–73
additional perks, 71
“Be prepared”, 73–74
company introduction, 64–65
invitation, 58
logistics, 59–60
mock sales presentation, 70
offering, 68
outline, 57
preparation, 57
promise, caution on, 71
question and answer session, 70
room, setting up, 60–64
assistants, role of, 60–61
career and personal highlights, 63
formal welcome, 61
having fun, 62
outline for the evening, 61–62
purpose of the evening, explaining, 61
self introduction, 62–64
team, introducing, 67–68
venue, booking, 57–58
visual, 74–75
WindChill Films, launching, 65–66
wrap-up, 70
Schaaf, Geoff, 153
Scheduling, 89–92
actors, 78
auditions, 89
callbacks, 94
process, 89–91
sides, choosing, 91–92
time needed, for auditions, 91
typed sign-in sheets, 92
Screen Actors Guild (SAG), 1, 65, 85
delivery book, 141
residuals, 215
signatory number, 77–78
signatory project, 55
Screen Gems, 37
Script, 15
certificate of authorship, 24–26
deferments, 24
development, 27
director's note, 28
option agreements, 16
option period, 23
option/purchase agreement, 16–18
paperwork, time for, 15
payment and back end, 23–24
short-form assignment, 24–26
table read, 27–28
Script awareness, 127
Script clearance report, 7, 165
Seal and certificates, 50
Séance, 31
accounting and taxes of, 215–217
bank account for, 50–51
breakdown services of, 87
casting of, 84
chemistry callbacks of, 95
copyright report of, 177f
deal memos of, 97f
location scouting of, 82
lock picture, 154
scheduling auditions for, 89, 90, 91
shooting schedule page, 125f
sound designer's deal memo on, 148
thank-you section in, 162
title report of, 173f
treat for the crew, 129–130
Séance, timeline for, 6
April
casting, 11–12
soft prep, 11
January 2006, 9
January/February/March, 10
June 5–September 29, postproduction, 13–14
March, 10–11
May 1, preproduction begins, 12
May 21, principal photography, 12–13
November 1–8, attended American Film Market, 14
November 9–December 15, delivery, 14
November/December 2005, 8
October, prepared for market, 14
September/October 2005, 7
“The Secrets To Distribution”, 200
Section 181 (information), 1, 40
Self-distribution, 184–185
Ellen Pittleman on, 185–186
JC Calciano on, 204–210
Jerome Courshon on, 201
John Anderson on, 184–185
Marc Rosenbush on, 189–190
Stacey Parks on, 191
Self introduction, 62–64
career and personal highlights, 63
Short-form assignment, 24–26
for Candy Stripers, 27f
“Show business”, 3
Sides, choosing, 91–92
Sign-in sheets, 92
Sim Video, 153
Smith, Becky, 192–196
Smith, Mark L., 88
Snowfall Film, Inc., 45, 64, 179
Social media explosion, 2
investors, informing, 76, 82–83
location scouting, 80–82
meaning for, 76–77
SAG signatory number, getting, 77–78
table read, 78–79
trades, list your film in, 82
Songs, 157
in end-roll credits, 162
Sound designing, 156–157
Spotting, 156–157
State and provincial incentives, education on, 72
Stills and press release, 128–129
Stills photography “making of” producer and, 109–110
Strahorn, Andy, 112
Stunt performer, separate contract for, 102
Subscription agreement, 43–44
Synopsis, 37–38
T
Table reads with keys, in preproduction, 116–118
Talent and money, 72
Team, introducing, 67–68
Thank-you section, 162
Timeline for Séance. See Séance, timeline for
Title report, 173
Trades, list your film in, 82
Trailer, 180
Treats, 129–130
Trefgarne, Justin, 73–74
Twilight, 203
U
The Undead, 112
Undertaking Betty, 60, 119, 133–134, 165
V
Video village, watching, 126–127
Visa, 53
Visual presentation, 74–75
W
Website resources, 221–228
Websites, 142
WindChill Films, Inc., 1–2, 45, 65–66
Winners, surround yourself with, 219
Wrap-up and postproduction, 140
additional songs, 157
audience testing, 149–151
copyright transfer, 141–142
director's cut, 149
editor's assembly, 141
end-roll credits, 161–163
film website, 142
front-roll credits, 160–161
investors, 163
line producer, 141
lock picture, 153–154
“making of”, 163
music score, sound designing, color correction, spotting, and ADR, 156–157
party, 140
pick-up day, 153
planning, 131–133
postproduction positions, hiring for, 142–149
sales agents and festivals, 154