IFP Los Angeles Independent Filmmaker's Manual, Second Edition

349 Pages·2004·3.73 MB·English

by  Eden H. Wurmfeld

IFP/LOS ANGELES INDEPENDENT
FILMMAKER’S MANUAL
SECOND EDITION
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IFP/LOS ANGELES INDEPENDENT
FILMMAKER’S MANUAL
SECOND EDITION
Eden H. Wurmfeld
Nicole Laloggia
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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ISBN: 0-240-80585-2
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Printed in the United States of America
The following figures are used with permission from Honthaner, Eve. The Complete Film Production Handbook. Boston:
Butterworth–Heinemann, 1997.
Figure 7–4 (call sheet); Figure 7–9 (mileage log); Figure 7–12A (raw stock inventory form); Figure 7–12B (daily raw stock
log); Figure 7–14 (location agreement); Figure 7–19 (purchase order); Figure 7–24 (daily cost overview)
The following figures are used with permission from the Screen Actors Guild, Los Angeles, CA.
Figure 7–6 (Exhibit G form); Figure 7–7 (SAG Taft-Hartley report); Figure 7–8 (SAG extra Taft-Hartley report);
Figure 7–28 (SAG sign-in sheet); Figure 7–29 (SAG freelance contract); Figure 7–30 (SAG daily contract)
The following figures are used with permission from Screenplay Systems (for Movie Magic Budgeting & Scheduling),
Burbank, CA.
Figure 5–1 (Swingersstrip board [days 1–9]); Figure 5–2 (Swingersshooting schedule); Figure 5–3 (Swingersone-line sched-
ule [days 1–9]); Figure 5–4 (Swingers day-out-of-days sheets [cast, extras, and props]); Figure 6–1 (sample budget form);
Figure 6–2 (Swingers budget); Figure 6–3 (Swingers actualized budget); Figure 6–4 (sample budget 1); Figure 6–5 (sample
budget 2); Figure 6–6 (sample budget 3); Figure 6–7 (sample budget 4 for Kissing Jessica Stein); Figure 7–2 (Swingers chart
of accounts)
Movie Magic is a registered trademark and Budgeting is a trademark of Entertainment Partners. All rights reserved.
“. . . what’s really needed in producing is basically unrealistic
optimism despite complete evidence to the contrary . . . Which is
probably very similar to the definition of being absolutely crazy—you
know, it’s like refusal to accept the evidence that the world is not as
you dream it to be . . .”
—Ted Hope, Producer, American Splendor, 21 Grams
Dedicated to Michael S. Wurmfeld, who taught us to dream while
keeping our feet planted in reality.
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CONTENTS
xi Introduction
xiii Acknowledgments
1 1 Before You Begin
3 2 The Script
15 3 Financing
35 4 Breaking Down a Script
51 5 Scheduling
75 6 Budgeting
213 7 Pre-production
281 8 Production
289 9 Post-production
293 10 Festivals and Distribution
297 11 A Final Word
301 Appendix A: Resource Guide
313 Glossary
319 Index
ix