Film Production OCTOBER 22, 2013
Feb 26, 2016
Film ProductionOCTOBER 22, 2013
Pre-Production Casting, lining up crew Shooting script and shooting schedule finalized Read-throughs of script Equipment lined up Production design (sets, costumes, etc.) Cross-promotions, product placement, etc. Location scouting
Above-the-line & below-the-line
Location Scouting “Oregon’s incredibly varied locations are not only in close proximity to each other, but also within a two hour flight of Los Angeles. People living in LA can be on a plane in the morning, work a full day in Oregon and be back at home the same night.”
Production Principal photography Second unit shooting
A typical studio feature film
produced in LA spends an average
of $200,000per day.
Post-Production•Editing•Special effects•Sound editing•Color correction•Music•Etc.
Test Screenings ”Did you like it?” “What didn’t you like about it?”
“Would you recommend it to people?”
“If not, why not?”
Case Study: Sahara (2005)
An Average Hollywood Budget
Average Cost (in millions)
Initial Budget: $80 million
$37m P&A
$65m negative
costs
Budget for SaharaSource: LA Times
Cost BreakdownsCamels: $81,375Riders, grooms: $79,748Horses: $71,610Stabling, transport: $53,989Horse, camel master: $51,638Veterinarian: $9,184
Payment to stop a river improvement project: $40,688
“Political/Mayoral support”: $23,250
Sources of Revenue Theatrical release Video/DVD release International release Cable/Television release Other windows Product Placement Tie-ins & Cross-Promotions Merchandise
For Sahara:
Loss (as of 2007) = $78.3 million
Independent Filmmaking
Pre-Production & Production
Challenges: ◦ How much financing is in place?◦ How much time can cast and crew
commit to production?
Production eased:◦ Digital technologies (e.g., high-end
digital cameras like the Red One camera)
Post-Production Challenges:
◦ Has filmmaker adhered to budget?◦ Was budget realistic to complete movie?◦ Was movie financed for production only, or was post-
production included?
Post-production eased:◦ Again, digital tools: Avid, Final Cut Pro, Pro Tools
Production: Film Labor
Working in Hollywood
Employed 27,000-34,000 people every month making films
Annual payroll ranged from $133 million to $145 million◦ 80% of actors (extras included) earned under
$15,000 per year; 45% earned less than $4,000
Spent $186.8 million making movies in 1939 Box office receipts = $673 million in 1939
Hollywood Data, circa 1941
From: Leo Rosten, Hollywood: The Movie Colony, 1941
President
Studio chief
Associate producers
Screenwriters
Directors
Actors
Cinematography, editing, casting, art direction, makeup, etc.
Publicity
Types of Workers
Louis B. Mayer (Head of MGM)
Herman J. Mankiewicz (worked on Citizen Kane, It’s a Wonderful Life, etc.)
Film Industry: Employment Boost
The Studio Star System Studios “owned” stars
◦ Under contract◦ Had to take the role given to them
◦ Or be in breach of contract and have to make up the time missed (contract is extended)
◦ Often “loaned out” to other studios
Practice ended due to vertical disintegration, reduction in production costs, etc. starting in 1950s.
Happy 95th Birthday, Joan Fontaine!
Child Star Shirley Temple
Star Merchandise
The Star System Today“The value of stardom relies partly on its rarity.”
Agents Managers Publicists
Entertainment Lawyers
Agents “Person or corporation who engages in the occupation of procuring, offering, promising or attempting to procure employment for an artist or artists” (McDonald, p. 168)
Personal Managers “It’s our job to take the whole picture into account, not just the particular job.”
--Bernie Brillstein, manager
Managers + Agents = turf war?
Keanu Reeves and manager Erwin Stoff
Entertainment Lawyers Lawyers work with agents to finalize deals that contract star talent
Publicists Exposure for stars/industry/film that is considered “free”
Role of Celebrity Gossip, Social Media, etc.
43 different craft and talent groups, including:
IATSE Conference of Studio Unions SAG-AFTRA Screen Writers Guild Screen Directors Guild American Federation of Musicians
Screen Cartoonists Guild
Trade Unions/Guilds
Trade Unions and Guilds How do unions/guilds help?
◦ Generally: salaries, benefits, working conditions◦ Specific to media: royalties/residuals, credits
This is typically accomplished through collective bargaining.
Job Conditions Fewer opportunities in higher-budget employment
Pressure (on part of studios) to reduce production costs
More difficulty in negotiating appropriate compensation
Increased Cross-Pollination
Film
TV
Comm-ercialsInternet
The Next Generation of Labor
Increased higher education media training programs
Skills: ◦ Learn variety of production skills◦ Working quickly within shoestring budget
Add to flexible, independent contractor workforce
Working style Expectations Relationship to unions