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HOW MOVIES GET MADE: THE BUSINESS SIDE OF FILMMAKING THFM 1610: Introduction to Film Dr. Rosalind Sibielski, Bowling Green State University

Film as Entertainment, Art, and Commodity

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This PowerPoint presentation is used in my Introduction to Film class in conjunction with Chapter One of Bordwell and Thompson's Film Art: An Introduction.

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Page 1: Film as Entertainment, Art, and Commodity

HOW MOVIES GET MADE:

THE BUSINESS SIDE OF

FILMMAKING

THFM 1610: Introduction to FilmDr. Rosalind Sibielski, Bowling Green State University

Page 2: Film as Entertainment, Art, and Commodity

THE BUSINESS OF FILMMAKING Commercial filmmaking is a for-

profit endeavor Economic considerations are a key

factor in decisions concerning which films get financing & which films get made

Industrial concerns have just as much influence on how films are made as the artistic concerns of the filmmakers

Page 3: Film as Entertainment, Art, and Commodity

THE FILM INDUSTRYProduction = Movie is made

Distribution = What format & in what venues movie will be seen by audiences, as well as how it will get to those venues

Exhibition = Movie is shown to audiences

*production, distribution, and exhibition are the three branches of the film industry

Page 4: Film as Entertainment, Art, and Commodity

PROPOSED MOVIE PROJECT:REMAKE OF BARTHOLOMEW'S SONG (2006) Original Film = DIY Mode of Production

written, directed, & edited by Destin Cretton & Lowell Frank

cast = 6 actors (2 of whom werealso crew members)

crew = 6 (+ 1 producer) budget = $2,500.00shot entirely on location at

CSU Campus Operations Building

Page 5: Film as Entertainment, Art, and Commodity

MODES OF PRODUCTION Large-Scale Production

$225 million (same as Man of Steel)

Independent Production$70 million Django Unchained had a budget of $100

million, while Silver Linings Playbook was made for around $21 million

Small-Scale Production$2.5 million (same as Beasts of the

Southern Wild)

Exploitation Film$3 million (Same as Paranormal

Activity2)

Page 6: Film as Entertainment, Art, and Commodity

SCRIPTWRITING & FUNDING

Page 9: Film as Entertainment, Art, and Commodity

MERCHANDISING Companies purchase the

licensing rights to the characters and/or title of your film, which they then use in the manufacturing of a range of consumer goods

Page 11: Film as Entertainment, Art, and Commodity

SHOOTING A MOVIE

Filming on a sound stageExample: Inception

Filming on locationExample: The Hunger Games

Filming in front of a green screenExample: The Avengers

Page 13: Film as Entertainment, Art, and Commodity

ANCILLARY MARKETS foreign theatrical distribution

video-on-demand

cable TV premium movie channels

cable TV stations that play movies as part of their programming schedules

cable TV networks that feature small-budget independent films

home video

legal digital downloads and streaming services

film festivals

free video sharing sites

Page 14: Film as Entertainment, Art, and Commodity

ADVERTAINMENT Movies that are made to

advertise a product/service or publicize a corporation

Often marketed as products in and of themselves, with ad campaigns for the advertisements

The Internet has provided a platform for this kind of publicity, although it is not limited just to content featured on Web sites

Page 16: Film as Entertainment, Art, and Commodity

THE MIRROR BETWEEN US Written & Directed by Kahlil Joseph

Page 17: Film as Entertainment, Art, and Commodity

EUGENE Director: Spencer Susser Screenwriter: Adam Blampied

Page 18: Film as Entertainment, Art, and Commodity

¡EL TONTO! Director: Lake Bell Screenwriter: Ben Sayeg

Page 19: Film as Entertainment, Art, and Commodity

MODERN/LOVE Director: Lee Toland Krieger Screenwriter: Amy Jacobowitz