Book description
This book is for anyone interested in the business of breaking into the movies. Learn who the key players are when it comes to getting a movie made and how to navigate the politics of filmmaking from start to finish, from first pitch to filling movie seats.
Table of contents
- Cover
- Halftitle
- Title
- Copyright
- Acknowledgements
- Contents
- Introduction
-
Section I First Steps (Before You Even Think of Shooting)
- 1. About You
- 2. Who Are These People, and What Do They Do?
-
3. It’s a Small World After All
- If It’s About Who You Know and You Don’t Know Anybody, What Do You Do?
- Why Contacts Are Such a Big Deal
- How to Begin Networking (Meeting People)
- Where Should You Live?
- Film Schools
- Internships
- Film Organizations
- Helping Out on Other People’s Films
- More Volunteering
- Temping
- Finding a Mentor
- Learn the Names
- The Etiquette of the Meeting
- 4. Relationships and Reputations
- 5. Internship and Entry-Level Do’s and Don’ts
-
6. This Is a Great Idea, But Is It a Movie?
- The Story is Everything
- Whose Story Is It?
- What Do Your Characters Want?
- Three-Act Structure
- The Wind Up and The Pitch
- Do You Own It?
- You Can’t Own an Idea …
- How Do You Protect Your Idea?
- Why Ownership Is Important
- I Just Read Something Great …
- Writing with a Partner
- How to Find a Writer
- How to Persuade the Writer to Work with You
-
7. The Politics of Development
- Development Hell
- Working with Your Writer
- I’ll Get Back to You (Getting the Script Read)
- Before You Send Out the Script
- What Happens During Development
- The Top Ten Reasons Scripts Are Rejected
- Took Too Long to Get Going
- Didn’t Care About the Characters
- Writer Didn’t Know the World
- The Tangents or Subplots Were More Interesting Than the Main Action
- Nothing New, Seen It Before
- Writer Didn’t Know What the Script Was Really About
- Loss of Energy in the Second Act
- The Stakes Are Not High Enough
- Didn’t Know How to End It
- Why Would Anyone Want to See This Movie?
- 8. Agents and Managers—What’s the Difference?
- 9. The Money, Part 1
-
Section II Production: No Such Thing as a Free Lunch
- 10. It’s a Collaborative Medium—Exactly What Does That Mean?
- 11. Protecting Yourself and Your Movie
-
12. What People Do, and Who They Do It With
- Above and Below the Line
- The Team
- The Director
- The Producer
- The Line Producer and UPM
- The First Assistant Director
- The Look of the Movie
- Locations
- Camera
- Grip and Electric
- The Pretty Committee—Costume, Hair, and Makeup
- Hair and Makeup
- The All Important Crew Members Not Already Accounted For
- Sound
- Script
- Props
- Food
- Transportation
- Animals
- Stunts
- Special Effects
- Editing
- 13. A Producer’s Life
- 14. The Director, the First AD, and the UPM
- 15. Decisions, Decisions
-
16. Union or Non?
- How a Film Union Works
- Smaller Films
- What Are Union Benefits, and Why Are They Important?
- The Good News… and the Bad News
- Working Conditions
- Residuals
- The Sort of Good News… and the Not So Good News
- How You Get In
- Yet More Good News and Bad News…
- Why Someone Might Not Join a Union
- To Be or Not to Be
- 17. Maybe We Should Go to Canada, or Someplace Else
- 18. Who Is in Your Movie
- 19. Prep
- 20. Production
- 21. A Day in the Life of a Production
- Section III It’s Just Beginning to Be a Movie: Postproduction
- Section IV What Are You Doing Saturday Night?
- Appendix: Your Resume
- Index
Product information
- Title: Make Your Movie
- Author(s):
- Release date: August 2012
- Publisher(s): Routledge
- ISBN: 9781136072291
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