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

Barbara Freedman Doyle

AMSTERDAM • BOSTON • HEIDELBERG • LONDON

NEW YORK • OXFORD • PARIS • SAN DIEGO
SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO
Focal Press is an imprint of Elsevier
Focal Press is an imprint of Elsevier
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The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK

# 2012 Elsevier Inc. All rights reserved.

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This book and the individual contributions contained in it are protected under copyright by the
Publisher (other than as may be noted herein).

Notices
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broaden our understanding, changes in research methods, professional practices, or medical
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Practitioners and researchers must always rely on their own experience and knowledge in evaluating
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ideas contained in the material herein.

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ISBN: 978-0-240-82155-9

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Printed in the United States of America

 Acknowledgements

Thanks to all the friends and colleagues at Chapman and the cheerleaders who
helped to make this happen.
And for their patience and invaluable contributions, in order of
appearance:
Andy Horwitz
Allison Ewart
Priscilla Elliott
Cornelius Uliano
Bryan Schulz
Harry Ufland
Brent Lilley
Robert Kaplan
Michael Shoob
Walter Coblenz
Travis Knox
Jawal Nga
Shana Feste
Jacob Chase
Christopher Cronyn
Linda Montanti
Paul Seydor
Dawn Taubin
Russell Schwartz
Pat Quinn
Ted Mundorff
Derek Horne
Special thanks to Jeff Lancaster and to all my students, past, present, and
future.
Extra special thanks to Ray, who listened and continues to listen to it all.
And of course to Seamus and Murphy.

v
 Introduction

What You Should Know . . . and

Why You Need to Know It

Make Your Movie is a practical guide to navigating the complex and confus-
ing business and politics of the film industry. You may be a film school grad
or someone who’s known what you wanted to do since you got that video
camera for Christmas or since you saw Star Wars. You’ve read the books,
attended the workshops, made the 20-minute short, maybe submitted it and
been accepted into a festival, and you’re ready to make a feature. You have
confidence in your skill. You’ve written or found a story. You have a script.
The characters are original. The setup is unique. All you need is the money,
the cast, and the opportunity. You’ve made it your business to understand
how to make a movie. The question you now have to ask yourself is, do
you understand the business of how to get a movie made?
The creative process is challenging—the stuff of sleepless nights, shaping
an outline or pieces of dialogue to make your script sharper, funnier, more
real. You wrestle over a plot point or a motivation, you develop a character,
and you sweat to perfect a scene until you’re sure it’s playing just right. It’s
a struggle, but it’s exciting and invigorating and often—let’s face it—it’s
fun, because it’s a job that you want to do. You are dedicated to the idea of
getting your movie made.
OR . . . You’re a creative problem-solver, a people person, someone who
wants to find a great story and get it out there. You aren’t a writer or director,
but your strength is organization, and leading a team. You’ve always been
able to mediate between your friends, your family, and everyone looks to
you to help make things happen. You are a filmmaker, but rather than being
hands-on and making your own film, your talent and acumen for putting peo-
ple and projects together might lead you to help a film—or several films—get
cast, financed, distributed, and promoted. Maybe you’ll end up at a production
company, a management company, or a studio. You want to make a career of
working in a pivotal position in the Industry, to be someone who in some way
influences the life of a movie.
No matter your exact goal, the problem is this: you want to make movies
that will be seen outside of your living room and appreciated by an audience
beyond your friends and family. You would like your work to be seen at art

xiii
xiv Introduction

houses or multiplexes or on TV, not just online. You need the resources to
make the kind of film that made you want to make films. That usually means
money. You the filmmaker must be not only a creative person in a world of
business people, but you must be the kind of artist that a business person—an
industry person—will want to trust with his or her investment of time, effort,
and money. You must find a way to convince the people with the money and
the experience to hop onto your bandwagon and not someone else’s.
The process of getting a movie made—searching out and assembling the
best cast, the best team, the best distribution, getting those butts in the seats,
and coming up with the way to make the best film possible with the resources
available—can be prolonged and convoluted. The fundraising, the pitches, the
meetings—so many meetings! meetings with development executives, crea-
tive executives, production executives, managers, agents, lawyers, union reps,
completion guarantors, meetings with all the people who have the power to
help you or to stop you from moving ahead—that process can be manageable,
or heartbreaking, exciting or brutal, your personal black hole. Usually it’s all
those things at once.
And the business is changing. Many of the old rules don’t apply. Digital
technology, new audience expectations, and the economic climate have
changed everything. The people with the money and the power—the studios,
production companies, and agencies—are all asking the question “what’s
next?” You want the chance to give them the answer.
This book is not about the artistic or technical aspects of filmmaking, it’s
an overview, a guide to understanding the business part of the film industry
for people who are not businessmen. Make Your Movie is about how to work
with people in the film industry—about who they are, what they do, and what
they want. It’s about how to become one of them, if that’s the road you’d like
to take. They are the people who finance, invest, produce, package, market,
and distribute movies. They can green-light a project, tell you how long it’s
going to take to shoot, how much it’s going to cost, whether or not you should
go union, and if you do, how that will change the way you make the movie.
They can sometimes tell you in advance how much money your film will
make. They are the vendors, the bond guys, the insurance companies, the
attorneys, the exhibitors, and even your production crew. You know what
you’re worried about—getting your first chance. You know you’ll succeed
as long as you get up to bat. But unless you have a feel for why they worry
and for what all those meetings are about, you probably won’t have the oppor-
tunity. You must acquire the soft skills involved in getting started and gain a
sense of the etiquette of the Industry, so when you do get your chance you
don’t blow it.
Here is a list of some of the positions I’ve held: line producer, unit man-
ager, and production supervisor on feature films (studio and independent),
made-for-television movies, documentaries, commercials, and industrials.
I’ve also been a production associate, production coordinator, reader, and
Introduction xv

consultant. I’ve been associate dean of production at the American Film Insti-
tute, a chair in the Film Department of Brooks Institute of Photography, a
guest lecturer at various college and university film programs, a panelist at
film festivals, and now I’m a chair and professor at Chapman University’s
Dodge College of Film and Media Arts. In one way or another, my career
has been spent making movies or helping people to get their movies made.
For the past twenty years I have been fortunate enough to work with film-
makers at all levels of success, from Academy Award nominees and winners
to interns. Listening to them, working on films, and working with students has
taught me that you have to pay as much attention to what is going on beneath
the surface as to what is going on in front of you.
It’s important to focus on your craft with all your energy and talent, but it
is also imperative that you realize that in a high-stakes, personality-driven,
high-visibility business, you have to watch and listen, ask the right people
the right questions, know when it’s personal and when it’s not, and develop
an instinct about the dance that goes on between the two.
 Chapter 1

About You

Filmmakers, by nature, are dreamers and communicators. More than the need to
have a stable income, health insurance, or a pension, a filmmaker feels com-
pelled to tell stories, to use a camera to find a new universe, or to explore
the old universe in a new way. Whether you are an aspiring screenwriter,
producer, director, cinematographer, editor, production designer, story editor,
development person, or production executive, there is a reason you have de-
cided that you want to work on movies more than you want security. Your
friends and family may support your ambition—or not. You may care what they
think in an abstract way, but you’re not about to be shifted off course from doing
what you want to do. You don’t want to be difficult, but you’re sure you’ve
found the thing you need, the thing you care about doing more than anything
else. You’ve found your passion.
Passion is a word you’ll hear used over and over to explain and describe
what it takes to work in the film industry. Passion is determination, and guts,
and love. Any one of the three is not enough. You MUST feel passion in order
to want to stick with a process that can be demeaning and demoralizing.
Filmmakers often pass through a series of stages:
First there is The Dream—I Love Film, I Will Make Films.
Then The Pep Talk—I’m Talented; Everyone Agrees that I’m Talented
After a while . . .
Loss of Confidence—Maybe It’s Not Just About Talent.
And Anger—Who Do These People Think They Are Anyway?
This is the stage when many people decide that they’d better do something less
random and more pleasant for a living. If that feels OK to you, you should stop
reading right here and figure out what else you’d like to do. You will save your-
self uncertainty and pain. Every producer, director, and screenwriter I know has
stated about making a film, “If you can imagine being happy doing something
else, do it!”
If you can’t imagine being happy doing something else, stay with me for the
final stage: the Realization. By the time a filmmaker has reached Realization, he
or she is usually a little beat up and a lot less idealistic. The realization is,
there’s no secret handshake, there’s just figuring out the way things work.

Make Your Movie: What You Need to Know About the Business and Politics of Filmmaking.
# 2012 Elsevier Inc. All rights reserved. 3
4 SECTION I First Steps (Before You Even Think of Shooting)

It’s about art, but it’s also about money and politics. The filmmaker who has
no sense of the politics of the industry is a soldier marching into battle with no
armor. The cause may be noble, but he or she is going to get hurt.
Understanding the business will not get you the keys to the kingdom. Suc-
cess in the film business is about talent, perseverance, timing, and luck. A sense
of the way the business works will not make you a better filmmaker—a lot of it
is about talent. But talent alone will probably not get you where you want to go.
Understanding the way things work can give you a road map, a way to remain
sane in the midst of a seemingly insane world.
Thanks to new technology, these days it is possible to make a film anywhere
in the world. You can rent a camera (film or digital), gather up some actors, and
mount a production without ever leaving home. That’s probably not quite what
you had in mind, though. If you want to make a feature that gets distributed, and
that will be the breakout project that paves your path to making more features,
you will most likely have to relocate to a film center—in the U.S. that means
Los Angeles or New York. Unlike writing a book or composing music, the making
of a film is not a solitary experience. You must work with other people at every
stage. You will have to learn to effectively present yourself and your ideas, to
instill confidence in those who have far more know-how than you do, to rely on
other people (some of whom you would never in a million years choose as
friends), and to compete with established filmmakers. All of this just to have
your work viewed, hopefully admired, and definitely critiqued by strangers.
Making a film is a commitment. It takes a special sort of discipline to resolve
to do something very difficult with the possibility that there may never be a re-
ward. In other types of work, if you hang in there long enough there is usually
some promise of success. But there is no guarantee that you will ever make your
movie. You must be the kind of person who can get out of bed every morning
knowing that you will face indifference and rejection and still be ready to make
the calls, shake the hands, and pitch your story again and again. Skillfully. With
enthusiasm.
The actual shooting of a movie can take from just three weeks to several
months, with several months after that spent in postproduction. But it can take
years to find material, develop or write a script, raise funds, get people on board,
and cast actors who will add something to the distribut-ability (not a word, but
an extremely important concept) of your project. It can take even longer to make
people aware of the project once it’s completed, and to get the finished project
in front of people. It’s an endurance test with lots of talking and pushing while
trying not to seem as if you’re pushing.
If you have a hard time dealing with difficult people, or you’re someone who
does not work well with others, you will have an especially tough time with the
process. Despite the stories of filmmakers who finance their projects via their
own credit cards, most people in the industry believe that you should not invest
in your own movie. Your investment will be time—not only the time spent put-
ting together your project, persuading, and cajoling, but the time spent finding a
Chapter 1 About You 5

way to earn an income that won’t keep you from doing your primary job,which
is getting the movie made. You will likely be spending time doing work you
don’t enjoy to support your basic needs of food and rent. If this is something
you don’t think you can do and you’re not independently wealthy, then we’re
back to the Passion thing. It’s not that you aren’t talented, and it’s not that you
don’t care about your film, it may simply be that you won’t last.
As this book moves through the stages and people involved in the business
of filmmaking, I’ll be addressing the changing politics of the people and the
language—politics meaning the way things work between people in the indus-
try, who needs who in order to move ahead and survive, the pecking order, and
the management of those relationships to your advantage. It’s crucial that you
know who has the power and that you gain a sense of how and if you can fit in.
As for the language, understanding the language of the industry is important for
the same reason you hire a guide or translator or buy a phrase book when you
travel to a foreign country. You don’t want to sound as if you studied issues of
Variety. In fact, you probably shouldn’t use any industry buzzwords at all at this
stage—you may sound like a poseur. But you should understand what people
are talking about before you’re in a meeting and they’re talking about you.
 Chapter 2

Who Are These People,

and What Do They Do?

IT’S EASIER TO SAY NO

Every job in the movie business is about finding and securing material and
talent (creative elements) for a project; securing funding, and supervising the
creative, logistical, and financial execution of the project; finding a way to
get the finished project in front of an audience or finding a way to get an audi-
ence in front of the project. Depending upon the exact title of the executive, the
responsibilities vary but in general all the jobs are there to support or lead the
process of development, funding, preproduction, production, postproduction,
sales, distribution, marketing, or publicity.

The Players
Studios are publicly owned entities. Almost anyone can call a stockbroker, put
down some cash, and buy a very tiny share of the corporation that owns Uni-
versal or Fox. As a stockholder, you want your investment to make money. The
Board of Directors of the corporations that own the studios know that if a film
costs $100 million to make, it must show a profit of two and a half to three times
the investment, otherwise the studio and the stockholders won’t make money.
(This two and half to three times the production budget formula is in part
because the cost of effectively marketing and distributing a film is so high).
If the studio doesn’t make money, the shareholders don’t make money. The pre-
sident of production loses his or her position and sometimes the other executives
are out of a job when the new president arrives, because that person wants to be
surrounded by his or her own people. The “business” of the parent corporations
is not only movies: Universal is NBC Universal, Warner Bros. is part of Time
Warner, Disney is Disney/ABC, Paramount is part of Viacom, 20th Century
Fox is owned by News Corporation, and Sony Pictures Entertainment is owned
by Sony, the electronics corporation. For some of the stockholders in these
entertainment conglomerates, movies are just a single aspect of a complex
web of media investment and no one invests their money intending to lose it.
Critical acclaim is nice but the dollar is king.

Make Your Movie: What You Need to Know About the Business and Politics of Filmmaking.
# 2012 Elsevier Inc. All rights reserved. 7
8 SECTION I First Steps (Before You Even Think of Shooting)

The dilemma of the studio executive is that the shelf life of his or her
position is extremely limited. A few bad calls and he or she is out of the game.
The probability of maintaining an executive position at the same studio or major
production company for several years is so low that experienced executives
have their lawyers negotiate their “exit packages” as part of their arrival signing
and bonus contracts. The job is fraught with peril. No matter how much the pro-
duction executive might love your project, if it’s going to be a hard sell it will be
an uphill battle. Nobody wants to spend the time and energy it takes to shepherd
a project that won’t get made, or worse, to get a project made that no one wants
to see. The easiest response to a project is a Pass, which means No. Executive
compensation (paychecks and bonuses) is lavish by ordinary standards, and so
is the lifestyle that kind of compensation affords. Why risk it to make a movie
just because you think it might be good? Then there are the perks (short for per-
quisites). These are the bonus benefits, like tickets to playoff games, traveling
first class, the right tables at the best restaurants. Why give them up if you can
avoid it? Few films are profitable. An entire career can be built by someone who
consistently rejects almost all pitches, scripts, or acquisitions. Pass, and the risk
is minimal.
Of course there is always the possibility that the project will be picked up by
another company and become a smash hit. That’s another kind of risk, and it’s
happened. Home Alone was passed on by Warner Bros., made by Fox, and
ended up with ticket sales topping $534 million and a series of sequels. My
Big Fat Greek Wedding was an independent film that struggled to find financing
for a $5 million budget and eventually earned $369 million. Slumdog Million-
aire almost didn’t get made at all. But $362 million later, the film was a runaway
hit and won eight Oscars, including Best Picture.

HOW IT WAS
In general, when people refer to a studio, they’re speaking of the majors,
or the big six: Universal, Warner Bros., Paramount, Fox, Sony, Disney. As
recently as ten years ago, many studios did it all—developed projects (gener-
ated ideas, optioned material, closely supervised the script drafts), packaged
them (put together the talent that would make the project viable), produced them
(sometimes on their own back lots, so there was even money to be made as the
cash simply moved from one area of the studio to another), then marketed and
distributed them.
To supplement this internal development and production of material, they
also contracted out. Studios had ongoing deals with producers and production
companies who took on some of the responsibilities listed above, so that
although the studios funded and distributed the films, not all the work was done
directly by studio personnel. There were companies with housekeeping deals. A
producer was given an office on the studio lot, the studio covered some or all
of the producer’s expenses, and the producer was expected to find, develop,
Chapter 2 Who Are These People, and What Do They Do? 9

and produce the product—the movies. The studio would finance part or all
of the budget, would market and distribute the film, and would profit from
the investment. An executive from the studio would work with the producers
so there would be an “inside” representative watching out for the studio’s
interests.
Additionally, studio executives met with producers and agents with whom
they did not have deals but “relationships” and who consistently brought them
projects for consideration. When industry money was difficult to find, the stu-
dios found outside investment and venture capital groups who raised production
money. Finally, on rare occasions, the studios partnered. Titanic was financed
and distributed by both 20th Century Fox and Paramount. The two competitors
shared the risks and the rewards.
The bottom-line intention of all of these machinations was to acquire the best,
most commercial material; to gain access to the most talented and commercial
creative elements (stars, directors); and to offset costs and minimize loss.
After several very tough years, the people who ran the studios and who
answered to the board of directors and the stockholders looked at the direction
the business was headed. They made changes that had an immense impact on
the way the studios now do business.
Great reviews are nice. Thumbs up and good word of mouth used to sell
tickets, and occasionally word of mouth can still send a movie’s earnings sky-
rocketing. But now if moviegoers don’t buy tickets the first weekend that the
film is released, it is unlikely that the film will be a big moneymaker. These
days as audiences leave the theatre, they are posting and tweeting. We are a
wired society, and word of a bad—or a great—movie makes its way around
the world at warp speed. There isn’t time to build word of mouth. Now usually
word of mouth is there early—the results of previews, festival success, or indus-
try buzz—or not at all. In general, if the audience isn’t in line the first weekend,
it’s not coming. Audience power is now instantaneous. It’s difficult to save a
film from a bad opening weekend. Occasionally a film will be rescued from
certain death, but it’s unusual.
It’s necessary to have a strong first weekend in order for a film to succeed
at the box office.
The studio overhead—the cost of keeping the studio running with personnel,
facilities, and equipment—was extremely high.
There is more investment in the physical real estate of the lots now, in
facilities that can be rented out to outside productions at a premium, and
in general there is more emphasis on ways to offset expenses. If you’re Uni-
versal Studios and the Universal Tour is a bigger moneymaker than most of
your films, then you’re going to take a hard look at your priorities. Those
sound stages? When they’re not being used for shooting, they’re rental spaces
for parties and events.
When producers develop their own projects then bring the projects to studios
for financing and distribution, the studio doesn’t have to foot the bill for the
10 SECTION I First Steps (Before You Even Think of Shooting)

development stage. The result of the development process for a project might be
a notable script or it might not. Rather than the studio putting money behind
something at the idea stage, an actual script is tangible and easier to evaluate.
The more the studio knows about a project, the less chance of an unpleasant
surprise. In other words, the less risk involved.
In-house production and development deals were expensive. There were
usually at least three sets of salaries and benefits to be paid—one to the produ-
cer, one to a development person, and a small salary for an assistant. Plus there
were offices and expenses. But there was no evidence that housekeeping deals
yielded scripts or films that were more successful than the already completed
scripts that were brought to the studios. In-house deals often ran two or three
years and yielded no projects at all. Sometimes there were first look deals,
which meant that the studio would cover the producers’ expenses and get first
dibs on whatever resulted. But if the “sponsoring” studio didn’t like the project,
the producer was free to bring it elsewhere. Imagine supporting a producer and
his or her staff for three years to the tune of more than a couple of hundred
thousand dollars a year, only to have that same producer bring the picture to
a competing company—and imagine if it becomes a hit. Not only a loss of
the investment but embarrassing too.
Studios now develop few projects in house and spend more on outside
projects that are further along than the idea stage. Most housekeeping deals
have been discarded. There is a heavy reliance on relationships with film-
makers outside the studio who have ongoing deals with individual studios
to create and then submit a steady stream of potential material.
The expectation of a studio used to be that a film would make money in
several ways (revenue streams). One stream was ticket sales (box office).
Another was domestic (U.S.) cable and network television sales. A film
could be sold to foreign territories (international distribution) for screening
in theatres and television sales. Some films that weren’t hits in the United
States found audiences elsewhere. It was also very possible that a film could
not do well at the box office but could do well in the home video and DVD
rental market. Another revenue stream was merchandising—soundtracks,
book spin-offs, T-shirts, the toy, cereal, and tie-in deals. The targeted con-
sumers for merchandising products and tie-ins are young kids and teenagers.
Now cable and network television are still around, but there is less demand
as other entertainment options (the internet, gaming, etc.) have shrunk the size
of the TV viewing audience. The development of digital downloads and stream-
ing video has reduced the DVD sales and rental revenue stream and it is
expected to dwindle further. But merchandising is still a major source of profit.
After the merchandising mega successes for big action/fantasy films, the studios
view merchandising possibilities as a fairly essential component in moving
ahead with bigger budget films.
Cut to 2012. The ways that studios look at recouping investments has
changed, so the type and number of films the studios invest in have changed.
Chapter 2 Who Are These People, and What Do They Do? 11

Rather than spread resources thin by covering the production of several films
per year, studios are making fewer films. The demographic (the age, sex, ethni-
city, education level) of the movie viewer has changed. It is increasingly difficult
to get people out of their apartments and houses.
We’re watching films in different ways.
Who hasn’t watched a movie on their laptop? Who hasn’t at least thought of
ordering a movie through Pay Per View (PPV) or Video On Demand (VOD)?
Remember trying to decide whether to see a movie in the theatre or wait until
it was available on DVD? Or when the thought of seeing a movie on a cell phone
was pretty funny? Now there is the shrinking release window—the time between
when a film is released in the theatres and when it is released on PPV or VOD and
even DVD. Normally, a studio film would have a theatrical release, then a few
months later it would be released for DVD sales and rentals, and finally to
network television. The market and enthusiasm for the theatrical release would
feed the DVD and network audience. But it’s expensive to release a film theatri-
cally. In order to justify theatrical distribution, there had to be the sense that a
theatrical distribution would be worth it. When films were judged to be lacking
the potential to do well at the box office, they often did not receive theatrical
distribution. Instead they went direct to video. These films could still earn a profit.
Audiences began to feel that their home theatres were more comfortable and
convenient and sometimes more economical than finding a babysitter, driving
to the multiplex, and having to schedule their movie viewing.
Studios aren’t making many original character-driven dramas for the thirty
and older crowd. They may do well on the East and West Coast, but they don’t
often make the profits that big, plot-driven action films make, either domesti-
cally or internationally. Older audiences don’t run to see a film the first weekend
it’s out. This audience is staying home with the kids, or working long hours to
finance their more expensive lifestyle. They see films but not in the crowds that
the 18-to-25-year-olds do—they are not crucial to the theatrical run of a movie.
Eighteen-to-twenty-five-year-olds and kids see the most movies, so studios
are making films for them.
These are expensive fantasy and action films derived from already established
material—comic books, graphic novels, bestsellers, even games. Individual ticket
prices are up, which helps to make up for the older audiences who are staying
home more. Studios are placing their bets on tent pole films—these are event
movies, buoyed by extremely high-dollar marketing campaigns. It is expected that
audience awareness will push profits high enough to support the rest of the year’s
films. These types of films (Spiderman, Men in Black, etc.) become franchises.
They can be spun off into at least one and in some cases several sequels. IMAX
and 3D have also helped this kind of movie. As newer technology becomes part of
selling the idea of a special experience that audiences want and are willing to pay
extra to see on the big screen, 3D and IMAX have magnified the excitement.
At the other end of the spectrum, studios are desperately trying to find a way
to make money using the Web, through downloads and Web programs. As most
12 SECTION I First Steps (Before You Even Think of Shooting)

of the studios are in some way tied in to television, and television depends upon
sponsorship (ads) or subscription (premium cable), they are concerned about the
development of Web TV and other new platforms. When you can DVR your
way through commercials, then ad revenue decreases. When sponsors are not
sure when the program is really airing (as opposed to a scheduled air time), they
aren’t certain of their demographic and tend to be more cautious in terms of
spending money for commercial time. When a chunk of prime consumers
(18-to-35-year-olds) are watching programming on their computer, and even
on their phones, the traditional models of how to make a profit don’t quite work.
Traditionally, the movie business thrives during economic depressions
and recessions. During the recent recession, though, that didn’t happen.
The industry was hit almost as hard as other business. There were massive
layoffs and contracts were not renewed. Agencies trimmed their client lists
and concentrated on the superstars and the potential superstars. This resulted
in the production of fewer films but with more of the proven (less risky)
elements that tend to ensure commercial success—remakes and adaptations,
and established producers, directors, and stars.
With all this, there continue to be real concerns about the changing
technologies available and the changing moods of the movie-going public.
Films made by major directors with major stars are failing (State of Play).
Studio executives are surprised when a film they expected to do good business
becomes a massive hit (The Blind Side). They rush to second-guess and explain
these unprecedented successes and failures to each other, and to the press—
“People are tired of politics and war”; “People want hope and inspiration.”
But why didn’t they know that ahead of time?
The truth is that our tastes morph faster than ever, and we have a shorter
attention span. For studios, the ability to predict what will resonate two years
down the line is all important.
It can easily take a full two years from the moment production on a movie is
green lit to when it comes out in the theatres. If the audience is going to be full of
surprises, how can strategic decisions be made? Studios can’t turn on a dime.
Even when a studio acquires a finished independently made film, there is inse-
curity about how to market and distribute it.
And there is yet more competition.
There are the mini-majors, for example: DreamWorks, Summit Entertain-
ment, Relativity Media. These companies are run like studios, but they do not
have the overhead costs of the big six because they have no physical lot and not
as many employees. They are smaller, and they can react and make decisions
more quickly. They can take on just a little more risk.
And what about independent films?
Many of the films we think of as independent were actually financed and
produced by the studios or by companies collaborating very closely with the
studios. Until fairly recently, most studios even had a specialty (independent)
division, and they acquired festival films looking for distribution. Executives
flocked to the Sundance Film Festival. There were bidding wars. It was an
Chapter 2 Who Are These People, and What Do They Do? 13

exciting avenue for young up-and-coming filmmakers. After a while studios

began producing their own independent-style films. But now most of those
independent divisions have closed, in part because producing small, personal,
character-driven films is not what the corporate-run studios of today do best.
Studios are not set up to devote the time to develop or produce lower-budget,
edgy productions, and there is not usually enough profit to warrant the man-
power involved. Many of the independent divisions failed because of too many
incorrect choices and not enough income. Now studios have taken a step back
from actually financing and producing independent films, although they do
acquire, market, and distribute them.
The studios are not happy. The executives are scared. No one feels that they
really have a handle on where the money is to be made. They aren’t sure where
to place their bets because the game is constantly changing.

HOW IT IS NOW
The production of fewer films but with more of the “proven” elements that
tend to ensure commercial success.
The studios are making the kind of films that justify higher ticket prices to
make up for diminishing theatre-going audiences, the more spectacular the
better, in order to capture first weekend box office. Studios may distribute
a smaller, more niche film, but the film will probably be developed and
financed in part outside of the studio system.
In an attempt to maximize profit the window for a film’s theatrical release
has been shortened—sometimes by months. This year the discussion is about
distributing films by the “Day and Date” route—Day and Date means that a
film is released for a premium price the same day it’s released in the theatres.
And all the big guys are worrying about ”monetization”—finding a way to
make money and protect investments in a digital world.
Social developments and innovations—the changing expectations and
interests of audiences and the costs of failure have caused upheavals for a
business that was comfortable sticking to a formula.

WHAT DOES THIS ALL MEAN FOR YOU?

The good news is that all the changes in the industry have created an exciting cli-
mate for people like you. Bad news for the established players and the way things
were means great news for people who are young, have original ideas and creative
voices, and aren’t afraid to take chances. The studio executives and the investors
and the old-school Industry veterans are smart enough to know that they don’t
know, and they’re out looking for creative solutions. For you, this time of upheaval
can be an opportunity. You just have to learn the rules, learn how to work with
them and around them, and then figure out which of them can be broken.
 Chapter 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?
You have probably studied film and seen as many significant films as possible.
You have also gone to the library or bookstore and read the books and plays
and history upon which some of those films are based. (If you haven’t, now is
the time to do that.) If you see an interview with a filmmaker whose work you
admire and he or she mentions a book, a film, or a piece of art, you should
check it out. Most filmmakers—directors and writers especially—feel that
in addition to knowing about film you must also know about art, history, phi-
losophy, psychology, literature, politics. The days of someone making a film
that is purely an homage to other films she has seen are over. You must have
a broad base of life and knowledge in order to bring something new to the
cinematic table.
More practically speaking, if you are a well-rounded albeit focused person
rather than a one-track obsessed one, you will be happier. You don’t have to
search out isolation and pain to make films. It will find you soon enough.
Don’t lock yourself in; don’t close yourself off from people and shun things
that are not involved with film. First, your life will be lonely and miserable.
Second, the more perspective you have, the more you will be able to cope with
the struggle ahead. It will smooth away the rough edges of desperation. Des-
peration is death in the film industry, and people can smell it a mile away. So
get a life. And realize that most first films that do well these days are quirky
and reflective of the filmmaker’s uniquely personal take on life. That’s what
makes them interesting.

WHY CONTACTS ARE SUCH A BIG DEAL

How many times have you heard it said that he (or she) is connected? You
should know that being connected only means only that he knows people, or
knows people who know people, who can help them. It doesn’t mean that
the person is any more important than you are. The connection may just mean
that she is the niece or cousin of a bigwig, or that there is some vague business or
school or hometown relationship. Being connected is a shortcut. It makes things

Make Your Movie: What You Need to Know About the Business and Politics of Filmmaking.
# 2012 Elsevier Inc. All rights reserved. 15
16 SECTION I First Steps (Before You Even Think of Shooting)

easier. It’s helpful when there’s a buddy or an Aunt Jen who is savvy in the
ways of whatever road you’re about to go down and they’re looking out for
you. Before you disdain or discount the concept of connections or that much
repeated term “networking,” take a minute and think about how important these
may be and why.
If you want to be a lawyer, you go to law school. Once you graduate, you
study for and presumably pass the Bar exam and ultimately you practice law. If
you want to be in finance, you get your MBA, and it can be assumed by corpo-
rate recruiters that at minimum you have the basic know-how to make econom-
ically prudent decisions. If you want to teach, you get a teaching certificate; if
you want to practice medicine, etc. Shifting away from the professions it’s even
more cut and dried. Building contractors must be licensed. Police officers and
firefighters go through training and many wash out. In other words, there is an
assumed basic skill set that you must have, and there is a qualifying certification
required.
Every day hundreds of people arrive in Los Angeles with the intention of
making movies. Film studios and production companies receive piles of script
submissions and resumes. But there is no qualifying certification. It’s like going
on a date with someone you met through the Internet. They seem OK, but how
can you really know? Anyone can say, “I’m a director/producer/screenwriter.”
You may be articulate, brilliant, and talented, but how can you prove you have a
real and singular vision? You may be great with people, have wonderful taste
and ideas, be a terrific problem-solver, but how can they (remember who “they”
are) be sure you can produce? On the basis of your track record? Great, if you
have one. But someone starting out doesn’t. Your short film or school experi-
ence may give them a clue, but not really. In these days of layoffs and cutbacks
no one wants to make an expensive mistake. They have to be certain that they’re
betting on the right horse.
These people are busy. They’re under extreme pressure. They don’t have
the time to have a cup of coffee and guess at your potential. They can’t give
everyone just a few minutes, or there would be no time left for them to do
anything else. So relationships and referrals are important. They serve as a fil-
ter. They lend you that minimum certification. And once someone does a favor
for a friend by meeting you, they will be able to ask a favor in return. That’s
politics.
Most people starting out in film don’t come conveniently equipped with
connections and are pretty much on their own. So what can you do?

HOW TO BEGIN NETWORKING (MEETING PEOPLE)

Tell everyone you know your plan.
You are moving to Los Angeles to get your start in the film business. Is it
possible that they know anyone you might call for advice once you get there?
You’ll be surprised by how many people have an old roommate working at a
Chapter 3 It’s a Small World After All 17

studio, or who is a friend of a manager, or something. Entertainment is a major

industry in Los Angeles, and there are lots of people directly and indirectly in-
volved. For several years, I rented an apartment in a very ordinary building in
Santa Monica, California. There were eleven tenants. Eight of them worked in
film, television, or music. When after several years I bought a house in a
completely different neighborhood, the guy down the street was a location man-
ager, a neighbor on one side of me worked on a TV show, and the one across the
street was a freelancer working on commercials. A Director of Photography
and a screenwriter shared a house around the corner. Los Angeles is like a fac-
tory town. Certain neighborhoods are overflowing with people who support the
industry.
NEVER use someone’s name without asking permission first. If they
seem hesitant when you ask, don’t do it.
They may not feel comfortable for reasons that have nothing to do with
you—or maybe even reasons that are because of you. Either way, unless they
are happy to help you make the contact, don’t do it. If they agree to help, let
them set it up in their own way. They are doing you a favor. If the contact is
not responsive, try once more then let it go. If the contact is willing to speak
with you or answer your email, don’t take up too much time—don’t write epic
emails. In the words of a friend of mine who agreed to take a call from a friend of
a friend then lived to regret it, “I said I’d talk to the kid, not adopt him.”
Is there a film festival in a city near you?
Most festivals bring industry professionals in to speak. Festivals use volun-
teers. Usually in exchange for your unpaid assistance, you can attend as many
panels and workshops as can fit around your work schedule. You will make the
acquaintance of people who might be willing to give you advice. The film-
makers at smaller festivals are sometimes willing to spend time speaking with
you, which is something they might not do on their home turf or at a bigger fes-
tival where they are too busy. A director on a panel at a secondary festival (more
about those later) told me once that since the organizers of the event treated him
so well, he felt that he should make himself accessible to the festival-goers. I
saw him speaking to a bunch of students from the local junior college. Had they
met him at Sundance, it wouldn’t have happened. Use your local festival to
practice and immerse yourself in the language and feel of the industry, so that
by the time you’re ready to transplant yourself to L.A. or New York you’ll be
more accomplished at sorting out the real guys from the fakes.
When a panelist at a festival mentions a film to watch or a book to
read, do it!
If you’re going to be attending a festival and you don’t know the work of the
panelists, familiarize yourself with their work ahead of time. What they say on
the panel, or in the green room if you are able to meet them, will make more
sense if you know what they’ve done. You don’t have to have a one-on-one
conversation with someone to pick up valuable information. If by chance
you do end up in a conversation, it helps to understand someone’s body of work.
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