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 Sahara

Source: LA Times

Cost Breakdowns

Camels: $81,375

Riders, grooms: $79,748

Horses: $71,610

Stabling, transport: $53,989

Horse, camel master: $51,638

Veterinarian: $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