32531 - Laboratory Of Management Of The Film Industry

Learning outcomes

The student is expected to learn the basis of managerial and organizational methodology in the film and multimedia sector. In particular, the student is expected to: - get an national and international overview of the film industry and its players - learn the basis of movie production: pre-production, production and post production - understand the roles of producers and distributors in the market.

Course contents

Course Description

Commerce and art collide in the film marketplace every day. Is there a line between business and art, content and promotion, the bottom line and award accolades? In this course, students will explore the reality behind big budget art.

The course will detail the life of two fundamentally different products: the independent and studio film. From concept inception to final net revenue reality, students will investigate basic aspects of development, finance, production, marketing, and distribution by investigating two roles; 1) indie producer, and 2) studio executive.

The course will focus on the history of the U.S. production distribution studio machine as the primary market maker that has recently shifted towards international distribution and streaming.

Course Objectives:

• Provide an overview of the history of film from a business perspective to better understand the growth of the domestic industry
• Learn the basic terminology of filmmaking development, finance and production
• Outline indie to studio structures; marketing vs. production, what is the pipeline, film “modeling” - from art house to genre, tent pole, and in-between.
• Define the major tools of the marketing executive, their budget, partnership structures and the essence of timing media for film campaigns

Simulate a private equity investment pitch, and the studio green-light process

 

COURSE SCHEDULE

Class 1 – Film History

Topic

Hour 1: Intro to the course

Hour 2: Film History

Hour 3: Class Project Set-up

Assignment

1. Review History Presentation
2. Brainstorm project ideas – be able to specify a source, the genre, and the concept

Class 2 – Development 101

Topic

Hour 1: Business overview - the option agreement

Hour 2: Creative overview - log-line lesson, structure, concept

Hour 3: Discussion - vote on ideas for final project; introduce case studies – Crown Heights, Sylvie’s Love, The Banker, Underworld, Silent Hill, Big Fish, Spider Man

Assignment

Project Proposal Part 1 - Development: list a) the intellectual property source, b) log-line, c) three paragraph plot summary (first, second and third acts), d) target Above-The-Line attachments (3-4 options for each; director, writer and key cast)

Class 3 – Models & Comps

Topic

Hour 1: Define budget ranges & use of comps

Hour 2: Define marketing budget ranges

Hour 3: Discuss projects considering production models with P&A

Assignment

Proposal Part 2

1. Add Business model/budget: Studio set-up, negative pick-up, independent; release pattern – ultra wide, wide, platform, planned platform, direct to streamer [ADD IT TO PART 1]
2. Comps Chart (Excel): 5-10 that are appropriate for/fit with your project (budget, genre, stars, distributor, theater count, box office – domestic & WW)

Class 4 – Finance

Topic

Hour 1: Intro to the “Waterfall”

Hour 2: Development financing deal structure & language

Hour 3: Production Financing - Indie vs. Negative-pick-up vs. Studio Set-up

Assignment

Proposal Part 3 – Development (Phase 1) & Production (Phase 2) financing deal language

Class 5 – Physical Production

Topic

Hour 1: Recap Class 4, student discussion

Hour 2: Overview of physical production

Hour 3: Discuss projects’ physical considerations

Assignment

Proposal Part 4 – Estimate Comps Waterfall (excel chart)

Class 6 – Marketing

Topic

Hour 1: Marketing into Distribution

Hour 2: Creative marketing overview, research

Hour 3: Discuss projects’ marketing considerations

Assignment

Proposal Part 5 – Target Demographic and Positioning Statement

Class 7 – Distribution

Topic

Hour 1: Market research

Hour 2: Exit Strategies & Case Studies

Hour 3: Waterfall projections lesson & Discuss project pitch

Assignment

Proposal Part 6 – Project Waterfall Projections Chart (excel)

Prepare for Oral Pitch

Class 8 – The Marketplace

Exercise

Hour 1: Four-minute oral pitches are in the form of a mock meeting with potential investor (Baker) for your film performed in front of the class. The entire class must pay close attention to all pitches as they will be discussing them later.

Hour 2 & 3: Greenlight Exercise. Students play various executive roles within a mock mini-major studio and buy projects for distribution. Films that are greenlit will receive bonus points.

Deliverable

Oral Pitch

TURN IN:

Written Film Proposal + Comps Research & Project Waterfall Projections Chart

(the complete project, Parts 1-6)

____________________________________________________

DISCLAIMERS

INDUSTRY MATERIALS: Many of the materials and stories shared in this course are sensitive and considered insider entertainment industry information. Your attendance to class indicates you will respect the delicate nature of lectures, materials and class discussions. No recording devices or cell phones will be permitted at any time. Any disregard for this policy not only jeopardizes your passing but also the continuation of the course itself and/or the manor in which it can be taught.

THIS IS NOT A FILM THEORY COURSE: Many students may have studied film production, or theory in other programs. Many students may have made short films, or even features. This course focuses on the business of theatrical motion pictures. It is an economics class that breaks down creative concepts into business structures, quantitative research, marketing, and distribution models. It is not to disrespect high-art, cinema, in any way, but rather to offer a real-world perspective on the larger global marketplace and how it works.

Readings/Bibliography

REQUIRED READING SOURCES PROVIDED

Students must download materials from Panopto or Dropbox.

Lecture slides integrate or summarize the following books:

• Filmmakers & Financing, Business Plans for Independents, by Louise Levison
• Marketing to Moviegoers: A Handbook of Strategies Used by Major Studios and Independents, by Robert Marich
• Entertainment Industry Economics, by Harold L. Vogel
• Story, by Robert McKee
• Film & Video Budgets, by Michael Wiese and Deke Simon
• The Filmmaker’s Handbook, A Comprehensive Guide for the Digital Age, by Steven Ascher & Edward Pincus
• Independent Feature Film Production, A Complete Guide from Concept Through Distribution, by Gregory Goodell
• Turning Points in Film History, by Andrew Rausch
• Acting without Agony, An Alternative to the Method, by Don Richardson
• Film Directing, Shot by Shot, Visualizing from Concept to Screen, by Steven D. Katz

Recommended Industry Trades:
Variety
Hollywood Reporter
Los Angeles Times, Calendar Section
Sunday New York Times

Resources for class project and discussion:
Boxofficemojo.com
pro.imdb.com
thenumbers.com
Rottentomatoes.com

Teaching methods

 

CLASSIFIED MATERIALS: Many of the materials and stories shared in this course are highly sensitive and considered entertainment industry insider information. Your attendance to class obligates you to keep confidential all lecture notes, materials and class discussions. No recording devices or cell phones will be permitted at any time. Any disregard for this policy not only jeopardizes your passing but also the continuation of the course itself and/or the manor in which it can be taught.

THIS IS NOT A FILM THEORY COURSE: Many students may have studied film production, or theory in other programs. Many students may have made short films, or even features. This course focuses on the business of theatrical motion pictures. It is an economics class that breaks down creative concepts into business structures, quantitative research, marketing, and distribution models. It is not to disrespect high-art, cinema, in any way, but rather to offer a real world perspective on the larger global marketplace and how it works.

 

Assessment methods

GRADING:

Student’s performance will be evaluated through the following point system:

Class Participation There are 8 classes worth 5 points each, totaling 40 points

Homework Homework builds the final project document

Final in Class Pitch 30 points

Final Project 30 points for final document

Project Bonus 5 points if your film is green-lit by class marketplace
5 points if your company receives investment from Professor Baker’s private equity firm

TOTAL SCORE: 100 - you must achieve at least 80% to pass the course.

GIOCA rules state that students must attend 70% of the lectures to pass, which translates to six classes in this course. The participation grade is evaluated based on active discussion and productive dialogue about class subjects. Please request permission to miss a class if you wish the opportunity to make up the participation grade points by doing a make-up assignment.

Teaching tools

DISCLAIMERS

INDUSTRY MATERIALS: Many of the materials and stories shared in this course are sensitive and considered insider entertainment industry information. Your attendance to class indicates you will respect the delicate nature of lectures, materials and class discussions. No recording devices or cell phones will be permitted at any time. Any disregard for this policy not only jeopardizes your passing but also the continuation of the course itself and/or the manor in which it can be taught.

THIS IS NOT A FILM THEORY COURSE: Many students may have studied film production, or theory in other programs. Many students may have made short films, or even features. This course focuses on the business of theatrical motion pictures. It is an economics class that breaks down creative concepts into business structures, quantitative research, marketing, and distribution models. It is not to disrespect high-art, cinema, in any way, but rather to offer a real-world perspective on the larger global marketplace and how it works.

Office hours

See the website of Jonathan Theodore Baker