Synopses & Reviews
From getting the necessary training and understanding the intricate responsibilities of everyone behind or in front of the camera to getting your first break and avoiding career-specific pitfalls, andlt;Iandgt;All You Need to Know About the Movie and TV Businessandlt;/Iandgt; leads you topic by topic through andlt;BRandgt; * A breakdown of job descriptions, from casting directors and key grips to stunt coordinators and film editorsandlt;BRandgt; * What kinds of deals actors, directors, writers, and producers make when they start out and when they hit the topandlt;BRandgt; * How to protect and sell your creative workandlt;BRandgt; * How movie deals are put together at studios and by independentsandlt;BRandgt; * The nuts and bolts of a boilerplate contractandlt;BRandgt; * The notorious and mysterious world of profit participations, with a detailed explanation of why there's never any profit "net profit" deals andlt;BRandgt; The entertainment industry can be an exciting, challenging landscape to negotiate. Having some valuable insight into how to make the most of your career in the movie or TV business can put you on the surest path to success.
Review
Dirk W. van de Bunt Sr. Vice President, Business and Legal Affairs, The Carsey-Werner Company A...breezy and intelligent guide to the ins-and-outs of the dealmaking process. I wish I had had this book when I started my career.
Review
Dirk W. van de Bunt
Sr. Vice President, Business & Legal Affairs, The Carsey-Werner Company
A...breezy and intelligent guide to the ins-and-outs of the dealmaking process. I wish I had had this book when I started my career.
Review
Shelley, Levinson Academy Award-winning Writer-Director When two prominent entertainment attorneys spell out clearly much of the "business" of show business, "Who could ask for anything more?"
Review
andlt;divandgt;Debbie Pearl Writer-Producer, Designing Women The Grey's Anatomy of the TV and film business.
Review
Debbie Pearl Writer-Producer, andlt;Iandgt;Designing Womenandlt;/Iandgt; The andlt;Iandgt;Grey's Anatomyandlt;/Iandgt; of the TV and film business.
Synopsis
From getting the necessary training and understanding the intricate responsibilities of everyone behind or in front of the camera to getting your first break and avoiding career-specific pitfalls, All You Need to Know About the Movie and TV Business leads you topic by topic through
x A breakdown of job descriptions, from casting directors and key grips to stunt coordinators and film editors
x What kinds of deals actors, directors, writers, and producers make when they start out and when they hit the top
x How to protect and sell your creative work
x How movie deals are put together at studios and by independents
x The nuts and bolts of a boilerplate contract
x The notorious and mysterious world of profit participations, with a detailed explanation of why there's never any profit "net profit" deals
The entertainment industry can be an exciting, challenging landscape to negotiate. Having some valuable insight into how to make the most of your career in the movie or TV business can put you on the surest path to success.
About the Author
andlt;Bandgt;Gail Resnikandlt;/Bandgt; specialized in copyright and film and television production in her ten years of Paramount Pictures, where she handled business and legal affairs on andlt;Iandgt;Entertainment Tonightandlt;/Iandgt; and served as senior production attorney on major motion pictures. She currently resides in Seattle, where she acts as a consultant on entertainment and multimedia law.
Table of Contents
andlt;BRandgt;andlt;Bandgt;CONTENTSandlt;/Bandgt;andlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Prefaceandlt;BRandgt;andlt;BRandgt;Introduction -- What It Takes to Work in the Movie and TV Businessandlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Section Oneandlt;BRandgt;andlt;BRandgt;WHAT YOU'LL NEED BEFORE YOU STARTandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 1andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Be Preparedandlt;BRandgt;andlt;BRandgt;Training and Experienceandlt;BRandgt;andlt;BRandgt;Talentandlt;BRandgt;andlt;BRandgt;Courageandlt;BRandgt;andlt;BRandgt;Patienceandlt;BRandgt;andlt;BRandgt;Common Senseandlt;BRandgt;andlt;BRandgt;A Good Work Ethicandlt;BRandgt;andlt;BRandgt;A Little Help from Your Friendsandlt;BRandgt;andlt;BRandgt;Required Reading before You Come to Townandlt;BRandgt;andlt;BRandgt;Section Twoandlt;BRandgt;andlt;BRandgt;THE PLAYERSandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 2andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;The People Above The Lineandlt;BRandgt;andlt;BRandgt;Above the Line vs. Below the Lineandlt;BRandgt;andlt;BRandgt;Producersandlt;BRandgt;andlt;BRandgt;Optioning a Screenplayandlt;BRandgt;andlt;BRandgt;Selling Projects to a Studioandlt;BRandgt;andlt;BRandgt;Script Breakdownsandlt;BRandgt;andlt;BRandgt;Directorsandlt;BRandgt;andlt;BRandgt;Actorsandlt;BRandgt;andlt;BRandgt;John's Acting Resumeandlt;BRandgt;andlt;BRandgt;Writersandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 3andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;The People Below The Lineandlt;BRandgt;andlt;BRandgt;Casting Directorsandlt;BRandgt;andlt;BRandgt;Production Assistantandlt;BRandgt;andlt;BRandgt;First and Second Assistant Director and Second Unit Directorandlt;BRandgt;andlt;BRandgt;Director of Photographyandlt;BRandgt;andlt;BRandgt;Camera Operator, First and Second Assistant Cameramenandlt;BRandgt;andlt;BRandgt;Gaffer and Best Boyandlt;BRandgt;andlt;BRandgt;Key Gripandlt;BRandgt;andlt;BRandgt;Production Sound Mixerandlt;BRandgt;andlt;BRandgt;Production Designerandlt;BRandgt;andlt;BRandgt;Set Decorator and Property Masterandlt;BRandgt;andlt;BRandgt;Lead Person and Swing Gangandlt;BRandgt;andlt;BRandgt;Makeup Artist and Hair Stylistandlt;BRandgt;andlt;BRandgt;Wardrobeandlt;BRandgt;andlt;BRandgt;Stunt Coordinatorandlt;BRandgt;andlt;BRandgt;Script Supervisorandlt;BRandgt;andlt;BRandgt;Production andlt;Iandgt;Accountantandlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Stand-ins and Extrasandlt;BRandgt;andlt;BRandgt;Matte Painterandlt;BRandgt;andlt;BRandgt;Production Illustratorandlt;BRandgt;andlt;BRandgt;Visual Effects Peopleandlt;BRandgt;andlt;BRandgt;A Note about Animationandlt;BRandgt;andlt;BRandgt;Film Editorsandlt;BRandgt;andlt;BRandgt;Post-Production Soundandlt;BRandgt;andlt;BRandgt;Composers, Orchestrators, and Musiciansandlt;BRandgt;andlt;BRandgt;Technical Advisers and Researchersandlt;BRandgt;andlt;BRandgt;Studio Employeesandlt;BRandgt;andlt;BRandgt;A Few Words about Reality Showsandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 4andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;The People Who Do Businessandlt;BRandgt;andlt;BRandgt;Agentsandlt;BRandgt;andlt;BRandgt;Agents vs. Managersandlt;BRandgt;andlt;BRandgt;Managersandlt;BRandgt;andlt;BRandgt;Business Managersandlt;BRandgt;andlt;BRandgt;Lawyersandlt;BRandgt;andlt;BRandgt;Studio Executivesandlt;BRandgt;andlt;BRandgt;Section Threeandlt;BRandgt;andlt;BRandgt;GETTING STARTEDandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 5andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;First Stepsandlt;BRandgt;andlt;BRandgt;Getting Settledandlt;BRandgt;andlt;BRandgt;Financial Considerationsandlt;BRandgt;andlt;BRandgt;Read the Tradesandlt;BRandgt;andlt;BRandgt;Letting Them Know You're in Townandlt;BRandgt;andlt;BRandgt;Do I Have Tape or Film of My Work?andlt;BRandgt;andlt;BRandgt;What about Student Films?andlt;BRandgt;andlt;BRandgt;Stand-Up Comedyandlt;BRandgt;andlt;BRandgt;Industrials and Educational Filmsandlt;BRandgt;andlt;BRandgt;The Porn Industryandlt;BRandgt;andlt;BRandgt;Sex and Money Scamsandlt;BRandgt;andlt;BRandgt;Avoiding Scamsandlt;BRandgt;andlt;BRandgt;Special Considerations for Actorsandlt;BRandgt;andlt;BRandgt;Pathways for Directorsandlt;BRandgt;andlt;BRandgt;Pathways for Producersandlt;BRandgt;andlt;BRandgt;Pathways for Agentsandlt;BRandgt;andlt;BRandgt;Pathways for Lawyersandlt;BRandgt;andlt;BRandgt;Pathways for Technical Peopleandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 6andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Getting Trainedandlt;BRandgt;andlt;BRandgt;Acting Teachers and Coachesandlt;BRandgt;andlt;BRandgt;Apprenticeships and Internshipsandlt;BRandgt;andlt;BRandgt;Film Schoolsandlt;BRandgt;andlt;BRandgt;Extension Courses and Seminarsandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 7andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;The People Who Represent Youandlt;BRandgt;andlt;BRandgt;Agentsandlt;BRandgt;andlt;BRandgt;Getting the Agent to Work for Youandlt;BRandgt;andlt;BRandgt;Managersandlt;BRandgt;andlt;BRandgt;Power of Attorneyandlt;BRandgt;andlt;BRandgt;Attorneysandlt;BRandgt;andlt;BRandgt;Three Good Reasons to Meet with an Attorneyandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 8andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;The People Who Promote Youandlt;BRandgt;andlt;BRandgt;Photographersandlt;BRandgt;andlt;BRandgt;Publicists and Press Agentsandlt;BRandgt;andlt;BRandgt;When Should You Add a Publicist to Your Team?andlt;BRandgt;andlt;BRandgt;Personal Trainersandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 9andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Unionsandlt;BRandgt;andlt;BRandgt;What Unions Are Involved in the Entertainment Industry?andlt;BRandgt;andlt;BRandgt;Associationsandlt;BRandgt;andlt;BRandgt;What Do the Unions Have to Do with My Early Career?andlt;BRandgt;andlt;BRandgt;Getting Your Union Card, That Elusive Catch-22andlt;BRandgt;andlt;BRandgt;The Union Card Shuffleandlt;BRandgt;andlt;BRandgt;Working Non-Unionandlt;BRandgt;andlt;BRandgt;Financial Coreandlt;BRandgt;andlt;BRandgt;Section Fourandlt;BRandgt;andlt;BRandgt;YOUR FIRST REAL JOBandlt;BRandgt;andlt;BRandgt;What Is a Real Job?andlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 10andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Contractual Issuesandlt;BRandgt;andlt;BRandgt;The Difference Between Movie and Television Contractsandlt;BRandgt;andlt;BRandgt;Basic Motion Picture Dealsandlt;BRandgt;andlt;BRandgt;TV Dealsandlt;BRandgt;andlt;BRandgt;Compensation for Your First Real Jobandlt;BRandgt;andlt;BRandgt;Paymentandlt;BRandgt;andlt;BRandgt;Scale for Actorsandlt;BRandgt;andlt;BRandgt;Why Actors Love Commercialsandlt;BRandgt;andlt;BRandgt;Scale for Directors and Writersandlt;BRandgt;andlt;BRandgt;Scale for Below-the-Line Peopleandlt;BRandgt;andlt;BRandgt;Non-Union Compensationandlt;BRandgt;andlt;BRandgt;Residualsandlt;BRandgt;andlt;BRandgt;Creditandlt;BRandgt;andlt;BRandgt;Is There Anything Else I Can Get This Time Around?andlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 11andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;When Will I Work Again?andlt;BRandgt;andlt;BRandgt;What Happens Between the First and the Next Real Jobandlt;BRandgt;andlt;BRandgt;Surviving the Hard Timesandlt;BRandgt;andlt;BRandgt;Section Fiveandlt;BRandgt;andlt;BRandgt;YOUR FIRST BIG BREAKandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 12andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;What Are the Breaks?andlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 13andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Exploiting the Breakandlt;BRandgt;andlt;BRandgt;Who Should Make My Deal and Negotiate My Contract?andlt;BRandgt;andlt;BRandgt;Should I Change My Agent or Manager?andlt;BRandgt;andlt;BRandgt;Major Deal Points for the First Big Breakandlt;BRandgt;andlt;BRandgt;Compensationandlt;BRandgt;andlt;BRandgt;Creditandlt;BRandgt;andlt;BRandgt;A Credit Primerandlt;BRandgt;andlt;BRandgt;Shared Writing Creditandlt;BRandgt;andlt;BRandgt;Multiple Picture and Episode Dealsandlt;BRandgt;andlt;BRandgt;Why A Seven-Year Rule?andlt;BRandgt;andlt;BRandgt;Most Favored Nationsandlt;BRandgt;andlt;BRandgt;Multiple Pictures with Preemptionsandlt;BRandgt;andlt;BRandgt;Hiatusandlt;BRandgt;andlt;BRandgt;Should I Incorporate?andlt;BRandgt;andlt;BRandgt;Why Do They Call It a Loanout?andlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 14andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Avoid Being Exploitedandlt;BRandgt;andlt;BRandgt;Location Feverandlt;BRandgt;andlt;BRandgt;Don't Get Caught Paying Doubleandlt;BRandgt;andlt;BRandgt;The Ego Problemandlt;BRandgt;andlt;BRandgt;What Price Fame?andlt;BRandgt;andlt;BRandgt;"Please Take Off Your Clothes"andlt;BRandgt;andlt;BRandgt;Sexual Harassmentandlt;BRandgt;andlt;BRandgt;The Production-in-Progress Scamandlt;BRandgt;andlt;BRandgt;Sex, Race, Sexual Orientation, and Age Discriminationandlt;BRandgt;andlt;BRandgt;Affirmative Actionandlt;BRandgt;andlt;BRandgt;Section Sixandlt;BRandgt;andlt;BRandgt;PROTECTING AND SELLING YOUR CREATIVE WORKSandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 15andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;The Value of Creative Ideasandlt;BRandgt;andlt;BRandgt;Who Needs to Protect Their Creative Work?andlt;BRandgt;andlt;BRandgt;Don't I Own All the Work I Create?andlt;BRandgt;andlt;BRandgt;The Basic Protectionsandlt;BRandgt;andlt;BRandgt;Copyright Protectionandlt;BRandgt;andlt;BRandgt;Registrationandlt;BRandgt;andlt;BRandgt;What If You Think Your Work Was Stolen?andlt;BRandgt;andlt;BRandgt;A Few Rules of Thumb about Life-Story Rightsandlt;BRandgt;andlt;BRandgt;Contractandlt;BRandgt;andlt;BRandgt;Work for Hireandlt;BRandgt;andlt;BRandgt;Writers Guild Registrationandlt;BRandgt;andlt;BRandgt;Your Agents and Representativesandlt;BRandgt;andlt;BRandgt;Selling Your Rights and Getting Them Backandlt;BRandgt;andlt;BRandgt;Should You Give Someone a Free Option?andlt;BRandgt;andlt;BRandgt;Section Sevenandlt;BRandgt;andlt;BRandgt;WHEN YOU'VE BECOME A WORKING PROFESSIONALandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 16andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Top-Level Contract Issuesandlt;BRandgt;andlt;BRandgt;Do I Really Need to Know All This Stuff?andlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 17andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Now That You've Got the Power to Negotiateandlt;BRandgt;andlt;BRandgt;Why do Deals Fall Through?andlt;BRandgt;andlt;BRandgt;Money Issuesandlt;BRandgt;andlt;BRandgt;Profit Participationandlt;BRandgt;andlt;BRandgt;History of Movie Profit Participationandlt;BRandgt;andlt;BRandgt;The Hierarchy of Participation Dealsandlt;BRandgt;andlt;BRandgt;Net Profitsandlt;BRandgt;andlt;BRandgt;Summary of How Profits are Calculatedandlt;BRandgt;andlt;BRandgt;Deferments (Accrued before Actual Breakeven)andlt;BRandgt;andlt;BRandgt;Breakevenandlt;BRandgt;andlt;BRandgt;Merchandisingandlt;BRandgt;andlt;BRandgt;Tips for Negotiating Your Profit Participationandlt;BRandgt;andlt;BRandgt;Credit/Name and Likenessandlt;BRandgt;andlt;BRandgt;Sample Credit Provisionsandlt;BRandgt;andlt;BRandgt;Perquisitesandlt;BRandgt;andlt;BRandgt;Approval Powerandlt;BRandgt;andlt;BRandgt;Real Powerandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 18andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;So What andlt;Iandgt;Isandlt;/Iandgt; in That Boilerplate?andlt;BRandgt;andlt;BRandgt;Rights and Moral Rightsandlt;BRandgt;andlt;BRandgt;A (Very) Short Primer on Moral Rightsandlt;BRandgt;andlt;BRandgt;Screen and Advertising Creditandlt;BRandgt;andlt;BRandgt;Representationandlt;BRandgt;andlt;BRandgt;Transportation and Living Expensesandlt;BRandgt;andlt;BRandgt;Suspensions, Strikes, and Other Force Majeure Eventsandlt;BRandgt;andlt;BRandgt;Tips on Suspensionsandlt;BRandgt;andlt;BRandgt;Morals Clauses and Other Restrictionsandlt;BRandgt;andlt;BRandgt;Other Gobbledygookandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 19andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Breaking the Contractandlt;BRandgt;andlt;BRandgt;Choosing to Break the Contractandlt;BRandgt;andlt;BRandgt;Getting Firedandlt;BRandgt;andlt;BRandgt;Section Eightandlt;BRandgt;andlt;BRandgt;THE RULES OF THE GAMEandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 20andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Motion Picture Productionandlt;BRandgt;andlt;BRandgt;Studio Picturesandlt;BRandgt;andlt;BRandgt;Negative Costsandlt;BRandgt;andlt;BRandgt;Negative Pickupsandlt;BRandgt;andlt;BRandgt;Completion Bondsandlt;BRandgt;andlt;BRandgt;Article 20andlt;BRandgt;andlt;BRandgt;Independent Productionsandlt;BRandgt;andlt;BRandgt;Want Someone to Finance Your Film?andlt;BRandgt;andlt;BRandgt;Marketing and Exhibitionandlt;BRandgt;andlt;BRandgt;Blind Biddingandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 21andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;Television Productionandlt;BRandgt;andlt;BRandgt;That Highway in the Skyandlt;BRandgt;andlt;BRandgt;Broadcast Televisionandlt;BRandgt;andlt;BRandgt;Cable Televisionandlt;BRandgt;andlt;BRandgt;Syndicationandlt;BRandgt;andlt;BRandgt;Financial Syndication Rulesandlt;BRandgt;andlt;BRandgt;Who Produces Television?andlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Chapter 22andlt;/Iandgt;andlt;BRandgt;andlt;BRandgt;The Marketplaceandlt;BRandgt;andlt;BRandgt;Festivals and Marketsandlt;BRandgt;andlt;BRandgt;NATPE/NABandlt;BRandgt;andlt;BRandgt;Affiliate Meetingsandlt;BRandgt;andlt;BRandgt;andlt;Iandgt;Epilogue -- Final Thoughtsandlt;BRandgt;andlt;BRandgt;Appendix -- Suggested Reading Listandlt;/Iandgt;