Index
Note: Page numbers in italics indicate tables.
A
above-the-line: costs 220; money 136, 176; people 36, 220
Abrams, J. J. 60
action/adventure genre 90
administrative expenses, forecasting 193–4
adolescent/young adult audience 97
Adventures in the Screen Trade (Goldman) 70–1
advertising see print and advertising (P&A) costs
affiliated groups 112; market segment 94–8
affinity groups 90
AFFRM (African-American Festival Releasing Movement) 120
African-American filmmakers 94
Alchemy 145
Allen, Paul 159
All the Wrong Reasons 273
Altman, Robert 70
Amazon 85
Amazon Prime 62; Video on Demand 85
Amblin Entertainment 75
Amblin Partners 66
AMC Theaters 188
American Film Market (AFM) 88, 130
American Jobs Creation Act 168
American Pavilion 111
Amy 239
ancillary (secondary) markets 61, 208
ancillary revenues: domestic 186–7; foreign 188
animated films: business plan outline 237; financials 249–51, 250; independents 247; industry 247–8; markets 248–9
Annapurna Pictures 159
Anschutz, Phillip 159
Apatow, Judd 91
Apple iTunes Store 85
Apple TV 85
Apted, Michael 146
Are We Done Yet? 95
ARRAY 120
assumptions, business plan 189–90
attachments 50–4; books 50–1; money 53–4; options 50; real-life stories 51–2; stars 52–3
attorney advice: development money proposals 49; distribution deals 121, 123–4, 133–4, 138, 140, 147; Investor Offering 12, 55; legal form of business 34; limited liability company (LLC) 172; presales 111; real-life stories 52; risk statements 149–51
Audax Group 119
average foreign revenues 185
B
Bad Santa 2 76
Bailey, Miranda 76
Bain Capital 119
bankable stars 52
Barber, Gary 64
Barnes, Joslyn 273
Batman v Superman: Dawn of Justice 131
Beastie Boys 159
below-the-line: costs 176; deals 54; personnel 67, 220; production spending 169
Bernard, Tom 123
Bhargava, Manoj 120
BH-Tilt 120
Big Film Shorts 144
Big Picture, The 70
Big Short, The 92
“Big Six” studio dynasties 64–5
BillBlock Media 77
Billy Lynn’s Long Halftime Walk 77
Birnbaum, Roger 64
Black Bear Pictures 159
black bloc audience 94
Blackstone 159
Blair Witch Project, The 73, 93; as commercial project 5; independent companies and 119; as mockumentary 82
Bleecker Street Media 120
Block, Alex Ben 169
Block, Bill 77
block booking 82
Bloom 120
Borgnine, Ernest 267, 268, 269
Boss, The 131
Bowling for Columbine 238
box office revenues 63
Boxtrolls, The 248
Boy, The 77
Boyhood 99
Break Point 76
Bridge of Spies 94
Bristol Bay 159
broadcast.com 159
Broad Green Pictures 76
Brokeback Mountain 94
Brooklyn’s Finest 94
Brunetti, Dana 76
budgets: distributor, slow distributing and 133; film 54–7; incentives and 55–6; size of 56–7
Buena Vista Social Club 238
Bully 239
business: legal form of 33–4; steps for starting 33–5
business cards 33
business goals vs. personal goals 26–7
business plan: Company section of 19–20, 23–42; described 6–7; developing 7–8; as discovery process 16; Distribution section of 21; Executive Summary in 15–17; Film section of 20; Industry section of 20–1; investment opportunity/financial highlights section of 21–2; Markets section of 21; raising money with 6; role of 10; sample (see sample business plan); structure of 11; see also individual sections
C
Cannes Film Market 82, 85, 142
Cape Fear 93
Captain America: The Winter Soldier 61
Carol 92
Carolco 72
Cartel Land 120
Cash, Johnny 242
Castle Rock 73
CBS 143
Chariots of Fire 10
chick flicks 91
China Lion 121
CinemaNow 85
cinematograph 59
Cinepix Film Properties 119
Citic Guoan Group Co. Ltd 188
Clark, Jeff 126
Clearance and Copyright (Donaldson) 47
Cleveland Cavaliers 159
CNBC 117
Cohen, Charles 120
Cohen Media Group 120
Cold Iron Pictures 76
Columbia Pictures 65
comedy genre 90; subgenres of 92
coming-of-age films 99
commercial, defined 5
companies: defined 23; failure of 23–4
Company section, business plan: beginning statement (who question) 30–1; business goals 27; catch-22 experience 37–9; film distribution (where question) 35; goals 24–7; honesty and 29–30; how question 36; management/organization portion of 36–7; mission statement (why question) 28–30; overview of 19–20; partnerships and 39–40; personal goals 26–7; pitching 27–8; production team portion of 36–7; in sample business plan 198–200, 201–2; size of 42; starting 23–4; start-up timeline (when question) 32–5; strengths/weaknesses, assessing 40–2; summary of intentions (what question) 31–2
comparative film data, forecasting and 181–2
Corcoran, Patrick 142
Corporation, The 238
Courageous 96
Covert Media 76
craftspeople 67
Crash 96
Creative Projects Group 270
Creep 120
Cross Creek Pictures 66
crowdfunding: for donations 163–4; for equity investment 164–5
Crumb 238
Crying Game, The 72
Cuban, Mark 159
D
Dalian Wanda Group 188
Danny Collins 120
Dark Knight, The 94
Darkroom 267
deadline.com 164
Deadpool 98
deals, independent distribution 123–6
demographics, market segment and 98–100
Deutsch, Levy & Engel 168
Devil in a Blue Dress 94
Devil Inside, The 93
Diary of a Teenage Girl, The 76
Dick Cook Studios 188
digital remastering (DMR) 252
Diller, Barry 73
Dimension 95
direct-to-DVD/Blu-ray films 144–5
direct-to-smartphones 141
Dirty Dancing 72
Dirty Producer 76
Disney Company 95
distribution, nontheatrical: Amazon Studios as 141–3; business models 146–7; defined 141; digital only distributors 146–7; direct-to-DVD/Blu-ray and 144–5; history of 141; investors and 145–7; Netflix as 141–3; second screens and 144; short films and 143–4; YouTube as 143
distribution, theatrical: agreement 115; defined 113; filmmaker strategies for 135–9; independent 117–28; strategies 128–35; studio 115–17
“Distribution Deal Points” (Seigel) 139
distribution rights 114
Distribution section, business plan: distribution system details 113–14; investors and 139–40; overview of 21; in sample business plan 216–17
distributors: defined 114–15; distribution deals 123–6; fees 124, 127–8; as financier 128; power of 115; strategies 128–35
distributor strategies 128–35; film elements observed 129–30; film festivals and 130; filmmaker relationship and 128–9; release strategies for films 131–5
Divergent Series, The 99
Divergent Series: Insurgent, The 70
documentary films: business plan outline 237; forecasting 242–4, 245–6; history of 238–9; interviews 240–1; markets for 241–2; synopses 239–40
Dogtown and the Z-Boys 238
domestic ancillary revenue 186–7
domestic rights 122
domestic theatrical rentals 186
Donaldson, Michael 47
Do You Believe? 120
Drafthouse 121
drama genre 90
DreamWorks Animation 74, 75, 145, 248
DreamWorks Pictures 159
DreamWorks SKG 74
Duff, The 98
E
E! 117
Eastman, George 60
Eastman Kodak Company 60
eBay 159
Eberts, Jake 10
Edwards Cinemas 159
Eisenberg, Joel 273
Ellison, Allison 159
Ellison, Larry 159
Ellison, Megan 81
EMO Films 273
Endgame 9
End of the Spear 96
Enron: The Smartest Guys in the Room 238
Entourage 70
entrepreneurs: goals 25; independent filmmakers as 8–9; as investors 158–60; strengths/weaknesses of films, evaluating 40–1
eOne 75
equity investors: budgets and 54, 136; crowdfunding for 164–5; filmmaker’s experiences/advice about 265–73; film shares for 161; nontheatrical distribution and 142–3
Eros 121
Exclusive Media 120
Executive Summary: as bait 18; as hook 15–16; investment opportunity/financial highlights section of 21–2; investors and 17–18; lay out 19–22; risk statements 149–51; Strategic Opportunity section of 19–21; style of 18; writing, last 15–18; see also individual sections
Exit Through the Gift Shop 239
Exotica 94
Expelled: No Intelligence Allowed 239
Eye in the Sky 120
F
Fahrenheit 9/11 238
faith-inspired films 96
family and friends as investors 158
Family Christian Entertainment 77
Family Christian Stores 77
family films 95
family-friendly films 98
Fargo 94
fast film release 131
Filiaci, Pete 97
FilmDistrict 74
film festivals: introducing yourself guidelines 106–7; marketing strategy 106–11; submitting to 107–8
Film Festival Secrets: A Handbook for Independent Filmmakers (Holland) 107
filmmaker distribution strategies 135–9; control over projects and 137–8; deliverables and 138–9; negotiation meetings and 138; studio vs. independent decision 135–7, 136
filmmakers: distribution strategies 135–9; linked to genres 91
filmmaker’s experiences/advice: about investors 273–8; with equity investors 265–73
film markets: attending, advice on 108–11; introducing yourself guidelines 106–7; marketing strategy 106–11
film noir 93
films: animated 247–51, 251; art vs. specialty 91–2; coming-of-age 99; direct-to-DVD/ Blu-ray 144–5; documentary 238–44, 245–6; faith-inspired 96; family 95; family-friendly 98; gay and lesbian 94–5; inspirational 96, 112; large format 253–5, 254; Latino/Hispanic 97–8; presales of as-yet-unmade 166–7; release strategies for 131–5; short 143–4; slacker/stoner 98; strengths/weaknesses of 40–1; teen 98–9
Film section, business plan: attachments 50–4; books 50–1; budget 54–7; engaging readers 46; money 53–4; options 50; overview of 20; project scope 43–6; real-life stories 51–2; right to know 44–6; in sample business plan 203–6; scripts 47–9; stars 52–3
financial plan: financing types 163–76; guidelines to consider/follow 155–7; investor information 176–7; investor types 158–60; locating investors 160–1; overview of 153–5; profit shares and 161–3; in sample business plan 220–3, 223–36
financials: animated films 249–51, 250; large format films 253–5, 254
financier, distributors as 128
financing: economic climate effect on 7; guidelines to consider/follow for 155–7
financing, types of 163–76; advances 167–8; bank loans 172–3; completion guarantors 173–4; crowdfunding for donations 163–4; crowdfunding for equity investment 164–5; federal film incentive 168–9; international coproduction deals 175–6; international investors 174–5; limited liability company (LLC) 171–2; negative pickups 170–1; presales 166–7; state film incentives 169–70
financing schemes, explaining 157
financing section, business plan: best investor fit and 155–6; financing schemes and, explaining 157; guidelines for 155–7; overview of 21–2; promises, filmmaker and investor 156–7; reality and 155
Fine Line Pictures 73
First Run 121
Fithian, John 63, 82–3, 95, 98
Focus Features 74, 76, 94, 117
Fogelson, Adam 77
Fog of War, The 238
Forbes 104
forecasting 181; assumptions 189–90; cash flow statement 191–3; comparative film data and 181–2; documentary films 242–4, 245–6; film matching data and 183–4; information sources 184–5; to investors 261–4; numbers analysis and 186–9; for one-film plan 194; overhead expenses 193–4; overview of 179–80; revenues and expenses 190–1; without fear 189–94
foreign ancillary revenue 188
foreign theatrical revenue 187–8
four Ps of marketing 103
four-walling 133
Four Weddings and a Funeral 72
Fox, Jennifer 164
Freeman, Jim 251
Free State of Jones 77
Frida 98
Friendster 112
Friese-Greene, William 59
Fundraising Houseparty, The (Warshawski) 161
G
Gallows, The 90
Geffen, David 74
General Electric 64
genres: cycle theory and 93–4; descriptive adjectives for 90; filmmakers linked to 91; to match films 183; producer 91; size/types of 90–1; subgenres/themes and 92–3; target audience and 89–91; term use of 90
Giant Screen Theater Association 253
Gibran, Kahlil 270
Gibran 270
Gilbert, Gary 159
Gilbert Films 159
Giver, The 97
GKIDS 121
Glickman, Dan 239
Global Entertainment and Media Outlook, 2015 –2019 63
Glover, Danny 273
goals 24–7; formulating 25–6; personal vs. business 26–7; setting 24
GoDigital 146
God’s Not Dead 61, 96, 120, 162
Goldwyn, Samuel 96
Good Machine International 74
Google Play 85
Gore, Al 239
Gracenote 185
Gramercy Pictures 73
Granados, Javier Delgado 98
Grandma 92
Gravitas 146
Great Train Robbery, The 59–60
Green, Harry 268
greenlit 67
Grob, Hector 110
Guangchang, Guo 77
Guest, Christopher 70
H
Haggis, Paul 96
Hammond, Daniel 76
Hammond, Gabriel 76
Hanson, Paul 76
Hardcore Henry 77
Harold and Kumar 98
Harry Potter 97
HBO GO 85
Heaven Is for Real 96
Hello, He Lied (Obst) 71
Hello, My Name Is Doris 82
hired gun 127
Hitchcock, Alfred 239
Holiff, Jonathan 242
Holland, Christopher 107
Hollywood Reporter, The 103, 142, 164, 169
Home Shopping Network 267
Homework 125
Hoop Dreams 238
Hoover 267
horror genre 90; subgenres of 92–3
House of Wax 84
Howard, Ron 66
Huayi Bros. Media Corp 188
Hulu 141
Hulu Plus 85
Hurricane Film Partners, LLC 108
Hustle & Flow 125
hype 128
I
I Am Number Four 97
IDP/Samuel Goldwyn 121
I Know What You Did Last Summer 93
Ilya Salkind Company 108
Imitation Game, The 95
I’m Trying to Break Your Heart 238
incentives: budgets and 55–6; federal film 168–9; production costs and 102; state film 169–70
independent distribution 117–28; companies 119–21; deals 123–6; distributors, as financier 128; distributor’s fees and 124, 127–8; domestic vs. foreign 121–3; players 117–18; print and ad money 126–7; process of 118; pros and cons of 136; theatrical marketplace and 118; video on demand and 123
independent distributor, defined 119
independent film: animated 247; defined 5–6, 71, 77; dollar, tracking 78–80, 79; motion picture production and 71–82; new production companies 76–7; production process 78; pros and cons 80–1; revenues for 63; theatrical exhibition 81–2
Independent Film and Television Alliance (IFTA) 71, 122
independent filmmakers, as entrepreneurs 8–9
independent filmmaking: advantages of 80; disadvantages of 80; money for 80–1; reasons for entering 3
Independent Moving Pictures Company of America 60
indiwire.com 145
industry, animated films 247–8
Industry section, business plan: analysis of industry 61–4; digital film 82–4; future trends 85–6; history of industry 59–60; independents and 71–82; investors 62–3, 86; motion picture production, studios and 64–7; overview of 20–1; in sample business plan 207–12; snapshot of industry 63–4; studio dollars, tracking 68, 68–9; studio pros and cons 70–1; tables and graphs 86; theatrical exhibition 81–2; 3D 84–5
Inherent Vice 94
Insidious: Chapter 3 91
Instagram 112
international coproduction deals 175–6
International Retail Christian Show 96
Internet: domestic/international distributors and 122–3; market research 103–4
Internet Movie Database (IMDB): horror film genre and 90; as independent film source 77; neo-noir designation 94; plot summaries 20
investment opportunity/financial highlights section, business plan 21–2; keywords to use 22
investors: artistic expression and 258; big returns and 259; business plan splits for 12; elevator pitch and 259–61; entrepreneurs as 158–60; Executive Summary and 17–18; expectations of 257, 258–9; family and friends as 158; filmmaker’s experiences/advice about 273–8; forecasting and 261–4; international 174–5; locating 160–1, 257–8; low-budget, big-return films and 162–3; pitching projects to 259–61; profit shares for 161–2; risk and 162; special interests and 258–9; types of 158–60
It Came from Outer Space 84
iTunes 141
K
Kao, Ken 120
Katz, Daryl 76
Katzenberg, Jeffrey 74
Kendrick, Alex 158
Kendrick, Stephen 158
Kessler, Hal “Corky” 168
Ketchup 145
Kick-Ass 98
Kids Are All Right, The 95
Kid Stays in the Picture, The 238
Kimmel, Sidney 159
kinetograph 59
Kino Lorber 121
Kujawski, Peter 74
L
L.A. Confidential 94
Landmark Theaters 159
Large Format Cinema Association 253
large format films: business plan outline 237; financials 253–5, 254; formats 252; history of 251; markets 252; synopses 252
Last Shot, The 70
Lazarus Effect, The 93
Learning to Drive 76
Legendary Entertainment 188
libraries, market research and 104
Library of Congress 47
limited liability company (LLC) 34, 171–2
LinkedIn 112
Lionsgate Entertainment 31, 66, 73, 119, 143, 192
Lionsgate Films 119
Little Miss Sunshine 125
Live Entertainment 119
Look Who’s Talking 72
Lord of the Rings, The 87
Lord of the Rings: Fellowship of the Ring, The 75
Los Angeles Film Festival 9
Lost Highway 94
Louder Than Bombs 120
Louverture Films 273
Lynne, Michael 75
M
MacGillivray, Greg 251
MacGillivray Freeman Company 251
Madea 187
Mad Hot Ballroom 238
Magic 4 Morons 267
Magic Mike XXL 66
Magnolia Pictures 121, 146, 159
main film genres 89
Majestic World Entertainment 108
management team 19
Marguerite 120
Marketing Sherpa 99
marketing strategy 102–11; defined 102; film markets/festivals 106–11; libraries 104; market research 103; networking 105; overview of 102–3; reading 103–4; self-marketing 111–12; self-promotion 105–6; social media 111–12
market research 103; libraries 104; networking 105; reading 103–4
market segment 89–102; art vs. specialty 91–2; cycles and 93–4; defining your 89–90; demographics and 98–100; genre selection and 90–1; production cost and 100–2; special niche/ affiliated groups 94–8; subgenres of 92–3; target 89–90
Markets section, business plan: advice from filmmakers and 107–11; art vs. specialty 91–2; cycles and 93–4; demographics and 98–100; film markets/festivals and 106–7; financing and 88; genre selection and 90–1; marketing strategy 102–11; market research 103; market segment 89–102; networking 105; overview of 21, 87–9; production cost and 100–2; research reading 103–4; in sample business plan 213–15; self-marketing 111–12; self-promotion 105–6; special niche/affiliated groups 94–8; subgenres and 92–3
Matsushita Electric Industrial Co. 64
MCA Inc. 64
McFarland, USA 95
Media Content Capital (MCC) 76
Merced Media 77
Meridian Entertainment 76, 188
Metro-Goldwyn-Mayer (MGM) 64, 65, 73, 143
Metromedia 73
MGM see Metro-Goldwyn-Mayer (MGM)
Michael Winslow Live 267
Minnesota Twins 159
mockumentary format 5
Moguls: Hollywood’s Merchants of Myth, The (Zierold) 65
Mom’s Night Out 120
Monando Film Distribution 110
Monterrey Pictures Entertainment 108
Motion Picture Association of America (MPAA) 47, 63; theatrical marketplace overcrowding 118; Theatrical Market Statistics 2015 report 81, 99, 248
Motion Picture Group 77
motion picture production: defined 65; investors 62–3; steps 66–7; studio dollars, tracking 68, 68–9; studio pros and cons 70–1
movies: as a business 5–6; as a commercial enterprise 5
Moving Midway 273
MSNBC 117
Murdoch, Rupert 65
Music Box Films 121
Mustang 120
Muybridge, Eadweard 59
My Architect 238
My Big Fat Greek Wedding 73
My Dog Skip 95
Myers, Peter 131
My Father and the Man in Black 242
My Indecision Is Final: The Rise and Fall of Goldcrest Films (Eberts) 10
My Reincarnation 164
My Space 112
N
Napoleon Dynamite 125
Nathanson, Jeff 70
National Association of Theater Owners (NATO) 63, 82, 98, 99, 142
National Geographic Cinema Venture 251
NATO see National Association of Theater Owners (NATO)
NBC News 117
negative costs 67; forecasting 188
neo-noir 94
net profit 78
networking, market research and 105
New Line Cinema 72, 73, 75, 117
niche 89; see also market segment
Nick.com 99
nickelodeon 60
Nightmare on Elm Street 72
90 Minutes in Heaven 77
99 Homes 76
No Country for Old Men 94
NoHo Films International 273
Nolan, Christopher 61
nontheatrical distribution 61–2
Nut Job, The 248
nWave Pictures 251
O
Oasis, Emmett Furla 77
objectives 25
Obst, Lynda 71
October Films 73
one-film plan, forecasting for 194
Open Road 121
options: as attachments 50; books and 50–1; defined 50
Oracle 159
Orchard, The 120
Orion Classics 73
Orion Pictures 73
Oscars: documentaries and 238; forecasting and 189; gay and lesbian films 94–5; goals and 26; Netflix and 142
Oscilloscope Laboratories 159
Oscilloscope Pictures 121
Our Idiot Brother 125
overhead expenses 69; forecasting 193–4
Owens, Tim 273
P
P&A see print and advertising (P&A) costs
Paddington 248
PalmStar Media Capital 77
Pamplin Film Company 8
paradigm 3
Paramount 65, 66, 73, 74, 75–6, 125
Paranormal Activity: The Ghost Dimension 66
Participant Media 75, 121, 159
partnerships: advantages of 40; contracts and 39–40; defined 34; disadvantages of 40; elements for good 40
Passion of the Christ, The 96, 189
Pawn Sacrifice 120
Payne, Patricia 273
Perks of Being a Wallflower, The 97
perpetuity 166
personal goals vs. business goals 26–7
Photographer, The 267
Pianist, The 96
Pierson, John 125
Pitch Perfect 2 66
platform release 126
Player, The 70
Plympton, Bill 164
Pohlad, Bill 159
Polygram Filmed Entertainment (PFE) 73
post-production process 67
prebuy 166
pre-production process 67
presales of as-yet-unmade films 166–7
Price, Roy 142
PricewaterhouseCoopers 63
print and advertising (P&A) costs 67, 80; forecasting 188; independent distribution 126–7; independently financed films and 71; theatrical distribution 116–17, 122
Pritzker, Gigi 77
producer genres 91
production: defined 65; independent film and motion picture 71–82; independent film companies 76–7; independent film process 78; motion picture, defined 65
production costs: budget configurations for 100–2; incentives and 102; market segment and 100–2
production spending, below-the-line 169
production team 19; business plan 36–7
Projected Income Statements 190
Prophet, The 270
Provoked 266
Prtizker, Gigi 159
Pure Flix Entertainment 120
Purge, The 66
R
Radius-TWC 132
Rainbow Media 73
Rambo 72
Rams 120
reading, as marketing strategy 103–4
real-life stories, as attachments 51–2
Real Women Have Curves 98
Red Granite 77
Regal Cinemas 159
Relativity Media 76
releasing strategies for films 131–5; in sample business plan 217–18
Religulous 239
rent-a- distributor 127
Revenant, The 61
revenue cap 166
revenues and expenses, forecasting 190–1
Richland, Gordon and Company 119
Riding Giants 238
Rio 2 249
Risen 96
risk factors 149–51; in sample business plan 219
River Road Entertainment 94, 159
Roadside Attractions 121
Rockefeller, John D. 26
Rock the Kasbah 76
Roger & Me 238
Rogue Pictures 76
Roku 85
Roosevelt, Franklin Delano 129
Russell, David 144
S
saleable commodity 130
sample business plan 195–236; executive summary 198–200; introduction 196; overview of 195; table of contents 197
Samuel Goldwyn Company 73, 134
Saturday Night Live 117
Saw 87
Schoch, Steve 72
Schwarzman, Stephen 159
Schwarzman, Teddy 159
scripts: Film section of business plan 47–9; motion picture production and 67; registering 47
Searching for Sugar Man 239
Second Best Exotic Marigold Hotel, The 95
second screens 144
Secret in their Eyes 77
Section 199 Manufacturer’s Deduction 169
Seigel, Robert 139
self-distribution film release 134–5
self-marketing, social media and 111–12
Sessions, The 126
Sex, Lies and Videotape 266
Shakespeare In Love 72
Sharknado 82
Shark Tank 26
Shaun of the Dead 93
Shaye, Robert 75
Showtime Anytime 85
Sicario 94
Sicko 239
Sidney Kimmel Entertainment 159
Silver, Joel 76
Silver Pictures Entertainment 76
Simonds, Robert, Jr. 77
slacker/stoner films 98
Slumdog Millionaire 189
SnagFilms 146
Snapchat 112
social media, self-marketing and 111–12
sole proprietorship 33
Sony Corporation of America 64
Sony Entertainment 120
Sony Pictures Classics 118, 123
Sony Pictures Entertainment 65, 73, 85
Sony Pictures Releasing 77
Soultrean 77
Spacey, Kevin 76
special formats 90
special niche groups market segment 94–8
specialty films vs. art 91–2specialty market, defined 92
Spectacular Now, The 99
Spectre 70
Spellbound 238
Spielberg, Steven 74
Spyglass Entertainment 64
Spy Kids 95
standard agreement 138
Standing in the Shadows of Motown 238
Standing Tall 120
Stanford, Leland 59
Star Wars: Episode IX 60
Star Wars: The Force Awakens 70, 87
STARZ 267
Statement of Revenues and Expenses 190
Steel, Dawn 71
Step into Liquid 238
Stern, James 9
Strategic Opportunity section of Executive Summary 19–21; Company section 19–20; components of 19; Distribution section 21; Film section 20; Industry section 20–1; Markets section 21; in sample business plan 198
studio: dollars, tracking 68, 68–9; pros and cons 70–1
studio distribution 115–17; advantages to 116–17; process of 115–16; pros and cons of 136
studio picture 66
studio vs. independent distribution decision 135–7, 136
Summary Projected Income Statement 190
Summit Entertainment 73
Sundance Film Festival 85, 125–6
Superbad 98
Superman 110
Super Size Me 238
Swiss Army Man 76
Symbolic Action 188
Symbolic Exchange 76
T
target market profile 89–90; see also market segment
target markets: for animated films 248–9; for documentary films 241–2; large format films 252
Team Marketing 145
“the markets,” defined 88
They Can Kill You but They Can’t Eat You (Steel) 71
“30-second pitch” 67
This Film Is Not Yet Rated 239
3ality Technica 251
3D Entertainment 251
thriller genre 90
Time Warner 75
Titanic 87
Today 117
Tonight Show with Jimmy Fallon, The 117
Tortilla Soup 98
total costs 188
total revenue 188
Touching the Void 238
Town, The 94
TPG 77
Trevorrow, Colin 60
Trigger Street 76
Trimark Pictures 119
Trumbo 120
Turner Broadcasting 73
Twain, Mark 239
tweens 99
Twentieth Century Fox 64, 73, 83
Twentieth Century Fox Entertainment 131
20 Feet From Stardom 239
The Twilight Saga: Eclipse 87
U
underlying themes 90
Underneath, The 94
Unfinished Song 72
Un Gallo con Muchos Huevos 98
Unique Features 75
United Artists 159
Universal Pictures 3, 63, 64, 73, 74, 75, 76, 77
Universal Studios 64
University of California at Los Angeles (UCLA) 25
Univision 97
USA Networks 73
Usual Suspects, The 93
V
Vampire Academy 99
Vanity Fair 104
Variety 103
Vertical 145
Viacom 65
video on demand (VOD) 62, 267; independent distribution and 123, 141
Vimeo 85
viral marketing 112
Virtual Print Fee 126
Vivendi 64
Vudu 85
W
Wade, April 273
Wagner, Todd 159
Walden Media 159
Walt Disney Company, The 65, 72, 144
Walton, Alex 120
Warner Bros. 64, 66, 73, 74, 75, 77, 117, 251
Warner Independent Pictures 74, 75, 117
Warshawski, Morrie 161
Waypoint Entertainment 120
Way Way Back, The 99
Web K inz.com 99
Weinstein Company, The 31, 57, 66, 72, 125, 146, 192, 248
Well Go USA 145
Whalen, Tony 273
What the Bleep Do We Know? 96, 134–5
What We do in the Shadows 120
When the Game Stands Tall 95
Which Lie Did I Tell?: More Adventures in the Screen Trade (Goldman) 71
Why We Fight 238
Wii 86
Wild Tales 98
Winter’s Bone 94
Woman On Top Productions 273
Working Title Films 76
World of Arriety, The 95
Worldwide Acquisitions 74
wraparound 130