The Everything Filmmaking Book: From Script to Premier--A Complete Guide to Putting Your Vision on the Screen
by Karg, BarbaraFormat: Paperback
Pub. Date: 2007-02-01
Publisher(s): Adams Media Corp
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Summary
Filmmaking is a notoriously difficult field to break into-a script's chance of making it to production is a staggering 1 in every 140,000! But if you're an aspiring filmmaker, you can up your odds with The Everything[Registered] Filmmaking Book.
Table of Contents
| Top Ten Things You'll Learn about Filmmaking | p. x |
| Introduction | p. xi |
| When I Grow Up, I Want to Make Movies! | p. 1 |
| The Origins of Film | p. 2 |
| Overview of Filmmaking | p. 3 |
| The Script | p. 5 |
| Preproduction | p. 6 |
| Production and Postproduction | p. 8 |
| The Art of Cinema | p. 9 |
| Finding Your Niche | p. 10 |
| The Drama | p. 10 |
| The Romance | p. 11 |
| The Action Movie | p. 13 |
| The Western | p. 14 |
| Science Fiction Films | p. 16 |
| Horror Movies | p. 17 |
| The Comedy Shop | p. 19 |
| Shoot to Thrill | p. 21 |
| The Musical | p. 22 |
| Animated Films | p. 23 |
| Fantasy Films | p. 24 |
| Have Camera, Will Travel: Documentaries | p. 25 |
| The Write Stuff | p. 27 |
| From Good to Grand | p. 28 |
| Compelling Storylines | p. 30 |
| Creating Memorable Characters | p. 34 |
| To Write or Not to Write | p. 39 |
| Scripts on Spec | p. 40 |
| Pitching a Winner | p. 42 |
| The Right Write Stuff | p. 45 |
| What Is Project Development? | p. 46 |
| The Art of Flexibility | p. 47 |
| To Read or Not to Read | p. 48 |
| Tracking Boards | p. 51 |
| Option Deals | p. 51 |
| Step Deals | p. 52 |
| If-Come Deals | p. 53 |
| Package Deals | p. 53 |
| Breaking Into the Business | p. 55 |
| Legend Has It... | p. 56 |
| Making Your Mark | p. 57 |
| The Running Start | p. 58 |
| Dealing with Production Companies | p. 60 |
| Making Professional Contacts Personal | p. 60 |
| The Art of the Deal | p. 64 |
| All about Agents | p. 65 |
| Polishing the Brass | p. 67 |
| Entertainment Attorneys | p. 68 |
| The Players | p. 69 |
| Knowing the Ropes | p. 70 |
| The Studios | p. 70 |
| Brave New World | p. 73 |
| Executive Power | p. 75 |
| A-List Talent | p. 76 |
| Power Agents | p. 79 |
| Independent A-List Producers | p. 80 |
| A-List Screenwriters | p. 80 |
| Money Talks | p. 83 |
| Law and Order | p. 84 |
| Pitching Your Product | p. 84 |
| Developing a Business Plan and Packaging the Pitch | p. 86 |
| The Impact of Image Packages | p. 89 |
| Ways to Make Your Pitch | p. 91 |
| The Money Chase | p. 93 |
| The Myth of Credit Card Financing | p. 97 |
| Your Production Package as a Business | p. 98 |
| Scheduling and Budgeting | p. 101 |
| Breaking Down the Script | p. 102 |
| Breaking Down the Shooting Schedule | p. 104 |
| Creating the Budget | p. 105 |
| Budget and Script Synchronization | p. 107 |
| Production Insurance | p. 110 |
| Budgeting and Scheduling Software | p. 112 |
| Preproduction: The Birth of a Film | p. 113 |
| Setting Up Shop | p. 114 |
| Choosing a Director | p. 114 |
| Finding the Right Players | p. 118 |
| Production Design | p. 118 |
| Scouting Locations | p. 120 |
| Musical Accompaniment | p. 122 |
| Essential Crew | p. 125 |
| Hiring Your Crew | p. 126 |
| Producers and Directors | p. 129 |
| Hiring a Writer | p. 133 |
| Setting the Scene | p. 133 |
| Technicians | p. 136 |
| Maintaining Sound Continuity | p. 137 |
| All the Bells and Whistles | p. 141 |
| Enhancing Your Production Team | p. 142 |
| Assistant Directors | p. 144 |
| Camera Work | p. 146 |
| Script Supervisors | p. 147 |
| Storyboard Artists | p. 147 |
| Production Specialists | p. 148 |
| Bonus Footage | p. 150 |
| Final Phases of Preproduction | p. 153 |
| Bringing It All Together | p. 154 |
| Who Are All These People? | p. 155 |
| Casting Call | p. 156 |
| Finding Actors | p. 158 |
| Holding Auditions | p. 160 |
| Extra Help | p. 163 |
| Science in the Art | p. 167 |
| From Sprockets to Terabytes | p. 168 |
| Cinematography | p. 169 |
| Choosing a Camera | p. 170 |
| Lenses | p. 172 |
| The Magic of Filters | p. 173 |
| Stocking Up on Film | p. 174 |
| Going Digital | p. 175 |
| On the Set | p. 177 |
| Got Props? | p. 178 |
| The Importance and Science of Sound | p. 178 |
| Sound Equipment | p. 180 |
| Sound Versus Noise | p. 182 |
| Microphone Placement | p. 183 |
| Controlling the Recording | p. 184 |
| Lighting Techniques | p. 186 |
| Special Effects | p. 189 |
| Stunts | p. 191 |
| Visual Effects | p. 198 |
| Inside the Camera | p. 194 |
| Magic on the Set | p. 197 |
| Effects in Postproduction | p. 201 |
| Real World Versus the Digital World | p. 201 |
| Shooting and Scene Layouts | p. 204 |
| Postproduction | p. 209 |
| Creative Choices in Editing | p. 210 |
| Linear Versus Nonlinear Editing | p. 211 |
| The Effectiveness of Sound | p. 213 |
| Making Music | p. 214 |
| Credit Due | p. 217 |
| Unions, Guilds, and Credits | p. 218 |
| Getting It Out There | p. 221 |
| The Distribution Challenge | p. 222 |
| Film Festival Formats | p. 225 |
| Independent Distributors | p. 227 |
| Major Distributors | p. 228 |
| Personal P.R. and Self-Distribution | p. 229 |
| Your Legal Watchdog | p. 229 |
| Studio Strategies | p. 231 |
| How Studios Operate | p. 232 |
| Rolling the Dice | p. 233 |
| Jockeying for Position | p. 234 |
| Box Office Blockbusters | p. 235 |
| Box Office Bombs | p. 237 |
| Going It "Alone" | p. 239 |
| What Exactly Is an Independent Film? | p. 240 |
| Evolution and Revolution | p. 241 |
| Miramax: An Independent Film Distributor | p. 246 |
| Taking the Indie Route | p. 247 |
| Filmmaking on a Shoestring | p. 248 |
| Indie Films and SAG | p. 250 |
| Filmmakers of Legend | p. 253 |
| Epic Filmmakers | p. 254 |
| Class Acts | p. 256 |
| Kings of Comedy | p. 259 |
| Action Filmmakers | p. 261 |
| Pushing the Envelope | p. 263 |
| Glossary | p. 267 |
| Recommended Reading | p. 277 |
| Film Schools | p. 279 |
| Who's Who of Directors | p. 281 |
| Contact Information | p. 293 |
| Index | p. 297 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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