1. Film Production OCTOBER 22, 2013

2. 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

3. 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.”

4. Production Principal photography Second unit shooting A typical studio feature film produced in LA spends an average of $200,000 per day.

5. Post-Production Editing Special effects Sound editing Color correction Music Etc.

6. Test Screenings ”Did you like it?” “What didn’t you like about it?” “Would you recommend it to people?” “If not, why not?”

7. Case Study: Sahara (2005)

8. An Average Hollywood Budget Average Cost (in millions) Initial Budget: $80 million

9. Budget for Sahara Source: LA Times

10. 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

11. 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

12. Independent Filmmaking

13. 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)

14. 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

15. Production: Film Labor

16. Working in Hollywood

17. 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

18. 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.)

19. Film Industry: Employment Boost

20. 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.

21. Happy 95 th Birthday, Joan Fontaine!

22. Child Star Shirley Temple

23. Star Merchandise

24. The Star System Today “The value of stardom relies partly on its rarity.” Agents Managers Publicists Entertainment Lawyers

25. 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)

26. 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

27. Entertainment Lawyers Lawyers work with agents to finalize deals that contract star talent

28. Publicists Exposure for stars/industry/film that is considered “free”

29. Role of Celebrity Gossip, Social Media, etc.

30. 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

31. Trade Unions and Guilds How do unions/guilds help? ◦Generally: salaries, benefits, working conditions ◦Specific to media: royalties/residuals, credits collective bargaining This is typically accomplished through collective bargaining.

32. Job Conditions Fewer opportunities in higher-budget employment Pressure (on part of studios) to reduce production costs More difficulty in negotiating appropriate compensation

33. Increased Cross-Pollination

34. 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