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Make Your Movie What You Need to Know about the Business and Politics of Filmmaking

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ISBN-10: 0240821556

ISBN-13: 9780240821559

Edition: 2012

Authors: Barbara Freedman Doyle

List price: $33.95
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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 the filmmaking from start to finish from first pitch to filling movie seats.  
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Book details

List price: $33.95
Copyright year: 2012
Publisher: Routledge
Publication date: 2/21/2012
Binding: Paperback
Pages: 306
Size: 6.00" wide x 8.75" long x 0.75" tall
Weight: 1.364
Language: English

First Steps (Before You Even Think of Shooting)
About You
Who Are These People, and What Do They Do?
It's Easier to Say No
The Players
How It Was
How It Is Now
What Does This All Mean for You?
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
Film Organizations
Helping Out on Other People's Films
More Volunteering
Finding a Mentor
Learn the Names
The Etiquette of the Meeting
Relationships and Reputations
Your Reputation and Credibility
Cautionary Tale: You're at the Bottom of the Food Chain Until You Aren't
Cautionary Tale #2: Just Because It's in Your Head, It Doesn't Have to Come Out Your Mouth
Internship and Entry-Level Do's and Don'ts
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
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?
Agents and Managers-What's the Difference?
Do You Need an Agent?
Do You Want to Be an Agent?
Who Do You Need on Your Team?
The Money, Part
Where Does the Money Come From?
Finding "Angels"
How to Ask for Money
Product Placement Money
Completion Bonds
Finding Money and Working with an Attorney-Who Can You Trust?
Production: No Such Thing as a Free Lunch
It's a Collaborative Medium-Exactly What Does That Mean?
How Stories Change
Creative Control and Final Cut
Protecting Yourself and Your Movie
Setting Up a Production Company
Payroll Companies
Why Go Through All This?
Production Insurance
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
Grip and Electric
The Pretty Committee-Costume, Hair, and Makeup
Hair and Makeup
The All Important Crew Members Not Already Accounted For
Special Effects
A Producer's Life
The Director, the First AD, and the UPM
The Director
The Assistant Director
Decisions, Decisions
How Much, How Long? The Schedule and The Budget
How Long Does It Take to Make a Movie?
How Much Will It Cost to Make a Movie?
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
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
Maybe We Should Co to Canada, or Someplace Else Where to Shoot the Movie
Runaway Production-Why They Want You There
Why You Might Want to Runaway
Why Investors Might Want Projects to Runaway
The Pros and the Cons
Shooting Outside the United States
One More Thing You Should Know
But I Don't Want to Live in a Production Center
Who Is in Your Movie
The Casting Director
Finding a Casting Director
Casting for Funding and Distribution
The Screen Actors Guild
How Does an Actor Get into SAG?
The SAG Bond
Background Actors
How Are Background Actors Cast?
An Actor's Life
The Process
The First Hires
How Departments Prep
The Call Sheet
The Production Report
Why Communication and Documentation Matters
It's the Little Things…
A Day in the Life of a Production
It's Just Beginning to Be a Movie: Postproduction
After the Smoke Clears
The Politics of Wrap
Who Sees the Cut?
Your Score
It's an Old Song, How Much Can It Cost?
What If We Just Get Festival Rights?
I Know a Guy Who Knows the Band
What Are You Doing Saturday Night?
The Money, Part
How Does a Movie Make Money?
The Grosses
Theatrical Exhibition
Home Video and Online Distribution
Will Anybody Ever See My Movie?
Selling Your Movie
Your Marketing Campaign
Test Screenings
Being Your Own Publicist
Producer's Reps and Sales Agents
Filling the Seats: The Future of the Movie Theatre Business
Which Festivals Really Matter?
Why do Festivals Matter, and How Do They Work?
How Does Your Film Get into a Festival?
How to Work a Festival
The Glory
The Big Ones
Other Little (and Not So Little) Things That You Should Know
Loyalty in Business
How to Work with Vendors
Remember What Mom Taught You
Ethics and Personal Loyalty
Sooner or Later You Will Have to Fire Somebody
Sooner or Later You Will Get Fired
Some Final Cautionary Tales
Now What?
It's OK to Leave…
And It's OK to Leave… Then Come Back
Out Takes
Final Words of Advice from People Who Have Been There, Done That
Appendix: Your Resume
Resume for an Internship
Resume for an Entry-Level Position
Resume for a Production Position