| Introduction |
|
1 | (4) |
|
|
|
5 | (16) |
|
|
|
7 | (5) |
|
What does the industry say about indies and money? |
|
|
8 | (1) |
|
How the book is organized: common themes and unconventional advice |
|
|
9 | (1) |
|
|
|
10 | (2) |
|
|
|
12 | (9) |
|
Act one -- looking for the answer at film festivals |
|
|
13 | (2) |
|
Act two -- tracking down those who "just did it" |
|
|
15 | (1) |
|
Act three -- and for my sins, they gave me one |
|
|
16 | (5) |
|
|
|
21 | (24) |
|
|
|
23 | (4) |
|
4 Fear and loathing: commercial is a dirty word? |
|
|
27 | (3) |
|
Commercially appealing film? Wash your mouth out with soap! |
|
|
27 | (3) |
|
5 This stuff is complicated |
|
|
30 | (2) |
|
6 Falling revenues: falling demand for indies |
|
|
32 | (2) |
|
|
|
32 | (1) |
|
|
|
33 | (1) |
|
7 The downside of festival culture |
|
|
34 | (5) |
|
8 Trends in film journalism |
|
|
39 | (6) |
|
Film journalism survey results |
|
|
40 | (2) |
|
The rise of the film blogger |
|
|
42 | (3) |
|
PART 3 How films make money |
|
|
45 | (22) |
|
|
|
47 | (4) |
|
Marketing your running documentary to Nike customers? |
|
|
48 | (1) |
|
Film: a work of art is still a product |
|
|
49 | (2) |
|
|
|
51 | (7) |
|
|
|
51 | (2) |
|
|
|
53 | (1) |
|
|
|
54 | (1) |
|
|
|
55 | (2) |
|
|
|
57 | (1) |
|
|
|
58 | (4) |
|
Various rights to be sold |
|
|
58 | (1) |
|
|
|
58 | (2) |
|
Are theater runs possible anymore? |
|
|
60 | (2) |
|
|
|
62 | (3) |
|
Self-distribution movement (DIY) |
|
|
62 | (1) |
|
|
|
63 | (2) |
|
13 Promotion and publicity -- who's selling this thing, anyway? |
|
|
65 | (2) |
|
PART 4 Making profitable films |
|
|
67 | (50) |
|
|
|
69 | (2) |
|
15 Development: crafting a commercial success |
|
|
71 | (2) |
|
|
|
71 | (2) |
|
|
|
73 | (5) |
|
|
|
74 | (1) |
|
|
|
74 | (1) |
|
|
|
75 | (1) |
|
|
|
75 | (1) |
|
|
|
75 | (1) |
|
|
|
76 | (2) |
|
|
|
78 | (3) |
|
Thinking about genre more broadly |
|
|
78 | (1) |
|
Expectations and the press |
|
|
79 | (2) |
|
|
|
81 | (2) |
|
|
|
81 | (1) |
|
|
|
82 | (1) |
|
|
|
83 | (3) |
|
|
|
86 | (7) |
|
|
|
87 | (1) |
|
|
|
88 | (1) |
|
If it's good enough for a two-time Oscar winner |
|
|
88 | (5) |
|
21 Producers and producing |
|
|
93 | (6) |
|
|
|
94 | (2) |
|
Money first or cast first? |
|
|
96 | (1) |
|
Producing and attachments |
|
|
97 | (2) |
|
|
|
99 | (3) |
|
What was that budget again? |
|
|
99 | (1) |
|
The importance of being on budget |
|
|
100 | (1) |
|
Financial responsibility and film |
|
|
101 | (1) |
|
23 Raising money the traditional way -- beg |
|
|
102 | (2) |
|
The high-wealth individual and the UFO |
|
|
102 | (1) |
|
|
|
103 | (1) |
|
24 Before you start begging |
|
|
104 | (5) |
|
Meet your business partners |
|
|
104 | (1) |
|
|
|
105 | (1) |
|
|
|
106 | (3) |
|
25 Reducing the risk when presales don't work |
|
|
109 | (3) |
|
Maximize non-recoupable money |
|
|
109 | (1) |
|
|
|
110 | (1) |
|
Use development financing |
|
|
110 | (2) |
|
26 Press -- the gift that keeps on giving |
|
|
112 | (5) |
|
|
|
113 | (1) |
|
|
|
113 | (1) |
|
Social media will not save you |
|
|
114 | (1) |
|
|
|
115 | (2) |
|
|
|
117 | (2) |
|
|
|
119 | (6) |
|
#1 Let art embrace commerce |
|
|
119 | (1) |
|
#2 Festivals are the vehicle, not the destination |
|
|
119 | (1) |
|
|
|
120 | (1) |
|
|
|
120 | (1) |
|
#5 Network with business people who have access to resources |
|
|
121 | (1) |
|
|
|
121 | (1) |
|
#7 Make sure your producer thinks money first, cast second |
|
|
122 | (1) |
|
#8 Bring something unique to the table |
|
|
122 | (1) |
|
#9 Understand the importance of press |
|
|
122 | (1) |
|
#10 And last ...go make something |
|
|
123 | (2) |
|
Appendix: case studies, interviews and producer profiles |
|
|
125 | (2) |
|
Case study: micro-budget filmmaking -- Marcus Mizelle |
|
|
127 | (4) |
|
|
|
127 | (1) |
|
|
|
127 | (1) |
|
|
|
128 | (1) |
|
|
|
129 | (2) |
|
Interview with legendary film school teacher Dov Simens |
|
|
131 | (4) |
|
Show business is marketing business |
|
|
131 | (1) |
|
The details of low-budget filmmaking |
|
|
132 | (1) |
|
The job isn't over with the finished film |
|
|
133 | (2) |
|
Case study: niche moviemaking -- Tom Malloy |
|
|
135 | (4) |
|
|
|
135 | (1) |
|
|
|
135 | (1) |
|
|
|
136 | (1) |
|
|
|
136 | (1) |
|
Post-production, early screenings and festivals |
|
|
137 | (1) |
|
|
|
137 | (1) |
|
|
|
137 | (2) |
|
Case study: low-risk, low-budget sci fi -- Jeffrey Giles |
|
|
139 | (4) |
|
|
|
139 | (1) |
|
|
|
140 | (1) |
|
|
|
140 | (1) |
|
|
|
140 | (1) |
|
|
|
141 | (1) |
|
Typical film timelines and other statistics |
|
|
141 | (1) |
|
|
|
141 | (2) |
|
Case study: making 70 films with Daniel Zirilli of PopArt Film Factory |
|
|
143 | (5) |
|
|
|
143 | (1) |
|
|
|
144 | (1) |
|
Breaking down his process |
|
|
144 | (1) |
|
|
|
145 | (3) |
| Index |
|
148 | |
Rohkem infot Taylor & Francis e-raamatute kohta