The document discusses the role of executive producers in filmmaking. It notes that while actors, directors, and other roles receive more attention, executive producers play a significant but difficult to define role. Their responsibilities vary by project but often include financing films, overseeing the creative process, and handling development and production. Several studies and articles are discussed that examine the diverse roles and experiences of different executive producers. The document concludes that while the role varies, executive producers generally are responsible for a film's existence and coordinating people to realize the director's vision.
The document discusses audience profiling and psychographic segmentation. It describes 7 common psychographic segments: Mainstreamers, Aspirers, Succeeders, Resigned, Explorers, Strugglers, and Reformers. It also defines primary and secondary research as well as quantitative and qualitative research methods. The document provides examples of analyzing movie trailers and posters to understand how they target different audiences.
Creative Critical Reflection - The Comedownsabika98
The film "The Comedown" is a 2-minute short film about a teenager named Hamza Khan who feels immense pressure from his family and coaches to succeed in basketball. The film explores how this pressure leads to Hamza turning to drugs and the potential downfall of his basketball career, which he is passionate about. The film aims to portray that true happiness, not the happiness of others, is key to success. The film leaves Hamza's ultimate fate ambiguous. Through this film, the creator aimed to both use and challenge conventions of drama films and represent the social issues of drug abuse and parental pressure faced by teenagers.
The document discusses a student group's superhero film sequence and how it was influenced by and compares to other superhero films such as Spiderman, Iron Man, and Kick-Ass. The student analyzes the sequence and believes it effectively introduces the main character while challenging some conventions of the genre by having a non-Caucasian protagonist and being set in the UK rather than America. The student also feels the sequence realistically portrays some stereotypes of teenagers.
The document analyzes two film posters - The Visitor (2007) and Taxi Driver (1976) - to find posters similar to the one being designed.
The Visitor poster features small action shots and a main character sitting alone on a bench with a bongo drum, suggesting themes of isolation and community. It highlights the film's critical success at festivals to draw in audiences. The simple title focuses attention on the drama. Taxi Driver's poster prominently features the distressed taxi driver character set in a dark city. It uses the taxi and the character's worried expression to convey the film's dramatic themes. Both posters emphasize the stars and credits to attract audiences familiar with their previous work.
Frank Hammond evaluates the brand identity of the marketing campaign for a film called "The Girl in Red" which included a teaser trailer, film poster, and film magazine cover. The marketing campaign successfully established a consistent brand identity across materials by using the color red, a romantic yet sleek font, and portrayals of the main characters that matched their personalities. This allowed the different elements to clearly represent the same film and appeal to the target audience of 15-25 year olds of both genders.
The document discusses various marketing techniques for films, including trailers, social media, billboards, and television advertisements. An exit poll was conducted after viewing the film "Bridget Jones's Baby" which found that the target audience was primarily younger females who enjoyed comedy and romance genres. Most audience members reported seeing advertisements on social media like Facebook and trailers influencing their decision to see the film. The analysis suggests social media marketing may be the most effective technique for reaching target audiences.
The document discusses various research techniques used by media producers, including demographic profiling, qualitative and quantitative research, and audience profiling based on factors like gender, age, socioeconomic status, and geographic location. It also provides examples of analyzing films to determine their genre and intended audience. Primary research examples are given, including an exit poll survey about the film Blair Witch that provided demographic data and feedback about the film. Finally, techniques for analyzing film posters and trailers are described like identifying genre conventions and targeting specific audiences.
This document discusses the target audience and potential distribution for a student film called "Peephole". The film uses horror conventions like graphic violence and explores themes of relationships and jealousy. It represents females in nontraditional roles like the antagonist. The suggested target age is 15-18 to get the largest possible audience while staying within BBFC ratings guidelines. Potential distributors mentioned include larger studios like Universal Pictures known for horror films, or smaller niche companies like Hammer Film Productions. Student feedback on the film was also discussed to continue improving it.
The document discusses audience profiling and psychographic segmentation. It describes 7 common psychographic segments: Mainstreamers, Aspirers, Succeeders, Resigned, Explorers, Strugglers, and Reformers. It also defines primary and secondary research as well as quantitative and qualitative research methods. The document provides examples of analyzing movie trailers and posters to understand how they target different audiences.
Creative Critical Reflection - The Comedownsabika98
The film "The Comedown" is a 2-minute short film about a teenager named Hamza Khan who feels immense pressure from his family and coaches to succeed in basketball. The film explores how this pressure leads to Hamza turning to drugs and the potential downfall of his basketball career, which he is passionate about. The film aims to portray that true happiness, not the happiness of others, is key to success. The film leaves Hamza's ultimate fate ambiguous. Through this film, the creator aimed to both use and challenge conventions of drama films and represent the social issues of drug abuse and parental pressure faced by teenagers.
The document discusses a student group's superhero film sequence and how it was influenced by and compares to other superhero films such as Spiderman, Iron Man, and Kick-Ass. The student analyzes the sequence and believes it effectively introduces the main character while challenging some conventions of the genre by having a non-Caucasian protagonist and being set in the UK rather than America. The student also feels the sequence realistically portrays some stereotypes of teenagers.
The document analyzes two film posters - The Visitor (2007) and Taxi Driver (1976) - to find posters similar to the one being designed.
The Visitor poster features small action shots and a main character sitting alone on a bench with a bongo drum, suggesting themes of isolation and community. It highlights the film's critical success at festivals to draw in audiences. The simple title focuses attention on the drama. Taxi Driver's poster prominently features the distressed taxi driver character set in a dark city. It uses the taxi and the character's worried expression to convey the film's dramatic themes. Both posters emphasize the stars and credits to attract audiences familiar with their previous work.
Frank Hammond evaluates the brand identity of the marketing campaign for a film called "The Girl in Red" which included a teaser trailer, film poster, and film magazine cover. The marketing campaign successfully established a consistent brand identity across materials by using the color red, a romantic yet sleek font, and portrayals of the main characters that matched their personalities. This allowed the different elements to clearly represent the same film and appeal to the target audience of 15-25 year olds of both genders.
The document discusses various marketing techniques for films, including trailers, social media, billboards, and television advertisements. An exit poll was conducted after viewing the film "Bridget Jones's Baby" which found that the target audience was primarily younger females who enjoyed comedy and romance genres. Most audience members reported seeing advertisements on social media like Facebook and trailers influencing their decision to see the film. The analysis suggests social media marketing may be the most effective technique for reaching target audiences.
The document discusses various research techniques used by media producers, including demographic profiling, qualitative and quantitative research, and audience profiling based on factors like gender, age, socioeconomic status, and geographic location. It also provides examples of analyzing films to determine their genre and intended audience. Primary research examples are given, including an exit poll survey about the film Blair Witch that provided demographic data and feedback about the film. Finally, techniques for analyzing film posters and trailers are described like identifying genre conventions and targeting specific audiences.
This document discusses the target audience and potential distribution for a student film called "Peephole". The film uses horror conventions like graphic violence and explores themes of relationships and jealousy. It represents females in nontraditional roles like the antagonist. The suggested target age is 15-18 to get the largest possible audience while staying within BBFC ratings guidelines. Potential distributors mentioned include larger studios like Universal Pictures known for horror films, or smaller niche companies like Hammer Film Productions. Student feedback on the film was also discussed to continue improving it.
This document provides a pitch presentation for a film called "Same Differences". The film will follow four characters dealing with different social issues - mental health, racism, family issues, and disability. Each character will pursue ways to address their issues and fight discrimination. The presentation outlines ideas for the film's teaser trailer, poster, target audience, and how it will address real-life social issues similar to other teen drama films. The teaser trailer will introduce each character and their issue before showing them joining together for a campaign. The target audience is primarily females aged 15-24 from a working-class background to raise awareness of these issues through social media.
The document discusses brand identity in film marketing. It analyzes the marketing campaign for a mystery film about the kidnapping of a young woman named Charlotte. To create a strong brand identity, the film's producers used consistent visual elements like titles, character images, and genres across the movie trailer, poster, and magazine cover. This allowed the audience to recognize that the products were promoting the same film and understand the film's message and target demographic. The document argues that the campaign successfully established a cohesive brand identity that would appeal to and inform the target younger audience.
Film posters use images, text, and design elements to quickly convey essential information about a film's genre, tone, and subject matter to potential viewers passing by. Effective posters prominently feature iconic imagery that hints at the film's narrative and includes text that identifies the title, directors, actors, quotes, awards, and a brief tagline to pique interest. Within these limited elements, posters must clearly and concisely communicate the appropriate mood, themes, and expected experience of watching the film.
This document provides information and examples about film posters and their conventions. It discusses how film posters are used to promote films and attract audiences. Key elements that are typically included on film posters are discussed, such as images relating to the film, the film title, names of actors and directors, ratings, and release dates/seasons. Psychological thriller film posters specifically are then analyzed, with examples highlighting common visual conventions like intense facial expressions and symbolic images that pique audience curiosity without revealing full plots.
The document discusses the credit sequence of the short film "Post it". It introduces the production company Go For Broke Films at the beginning. It then shows that the film was by Michael Evans. Subsequent frames show the title of the film "Post it" and identify the director and writer. The main cast is then featured with the characters they played. Finally, additional production crew roles are listed to recognize their important contributions to shaping the film. The credit sequence follows a typical format of introducing the production company, director, title, main cast and additional crew.
The document discusses how effectively the filmmaker's main film product and ancillary texts of a poster and review work together. It finds that the poster, film, and review are all highly effective representations of the film's themes of drug abuse, physical abuse, and the vulnerability of the main character. All three products use similar techniques like low-key lighting and imagery of the weak protagonist to represent the film's dark social realism genre and issues in a cohesive manner. The review provides context and analyzes the film's themes, while the poster attracts audiences visually and hints at the film's hidden meanings. Overall, the ancillary texts enhance and reflect the film well.
- Twisted.Inc is the name of our production company, which was chosen to convey a sense of unease about the villain in our thriller. Our logo features barbed wire to symbolize potential danger.
- A production company is responsible for creating the film, handling jobs like budgeting, marketing, script writing and music. Distributors are responsible for film marketing through ads, trailers and deciding copy numbers.
- If we produced our thriller independently, we would struggle financially due to a low budget and inability to get loans or grants. Our main funding would have to come from personal funds and crowdfunding from family and friends.
The document discusses how the film poster replicates and challenges conventions of real film promotion. It summarizes that the poster includes key information like starring actors, a tagline, and production details, which help attract audiences. While replicating these features, the poster image also advances the narrative through the central female character. Rather than using disturbing visuals, the poster metaphorically depicts the character's dual nature through the canvas and word "kill" covering her face, with red lipstick and dark eyes implying danger.
The document discusses conventions used and challenged in a media production's trailer, magazine cover, and movie poster. It summarizes how the trailer follows conventions like introducing main characters, ending on a cliffhanger, and not showing the villain's face. It also breaks conventions like using uninterrupted soundtrack. The magazine cover follows conventions of featuring the main actor but breaks conventions like using no background. The poster follows conventions like reviews and credits but breaks conventions like only featuring one character.
The document analyzes several movie posters for social realism films. It discusses various design elements used in the posters and how they aim to attract audiences. Common elements included are: plain backgrounds to make text/images stand out; main actors/characters in large font to create recognition; taglines to hint at narratives; reviews/awards to establish credibility; and images that provide clues to the film's storylines or targeted demographics. Overall, the posters analyzed use graphic and textual elements strategically to intrigue audiences and encourage viewership.
Este documento presenta las siete fases típicas de una investigación de mercados: 1) Formulación del problema, 2) Determinación del diseño, 3) Preparación, 4) Trabajo de campo, 5) Procesamiento de información, 6) Tabulación y análisis, y 7) Comunicación de resultados. Describe cada fase en detalle, incluyendo la definición del problema, los tipos de diseños (exploratorios y concluyentes), y las actividades de preparación como determinar la información necesaria y el diseño de la muestra. El
Mohawk Valley Community College (MVCC) offers affordable tuition that is significantly lower than both SUNY 4-year schools and private colleges. MVCC provides over 90 academic majors along with career and transfer services to help students plan their educational and career goals. On-campus housing is available at MVCC's Utica campus, which includes high-speed internet and numerous dining options to maximize the full college experience. MVCC offers many student services like libraries, tutoring, counseling, and scholarships to help fund students' education.
Các Chuyên đề Bồi dưỡng ôn thi vào lớp 6 môn Toán các trường chuyên. Mọi thông tin cần hỗ trợ về tài liệu, giáo viên giảng dạy bồi dưỡng Toán tiểu học, vui lòng liên hệ: 0936.128.126.
1) The document discusses the roles and responsibilities of various positions in the film industry such as script writers, producers, directors, commissioning editors, agents, and script editors.
2) It outlines some of the demands and requirements for working as a script writer, including properly formatting scripts, having agent representation, communicating with producers, and managing timelines.
3) The document covers some of the legal and ethical considerations for script writers, such as copyright and plagiarism laws, avoiding libel, handling censorship, and ensuring unbiased content.
1) Our production company is called Twisted Inc. and our logo features barbed wire to represent the danger posed by the villain in our thriller film. A production company is responsible for funding, casting, and hiring for the pre-production phase.
2) A production company oversees the creation of a film by handling budgets, marketing, music, and developing scripts and storyboards. Distributors are responsible for film marketing through advertisements, trailers, and deciding printing quantities.
3) As a low-budget student film, we would struggle to find funding and could only rely on personal finances and crowdfunding from family and friends. We included title credits at the beginning for our group and later introduced the actors
Our production company is called Twisted Inc. and our logo features barbed wire to symbolize potential danger relating to the villain in our thriller. A production company is responsible for funding, casting, and hiring for the pre-production phase. They oversee the creation of the film including budgeting, marketing, music, and script development. A distributor is in charge of film marketing through advertising, trailers, and deciding print quantities. For our low-budget thriller, funding would come from personal savings and friends due to lack of bank loans or grants. We included title credits at the beginning for our group, then introduced actors and the camera operator to distinguish characters while showing neutrality. Our film is similar to "Strangers"
The document discusses several different job roles within the film industry, including film editor, director, and producer. It provides examples for each role, such as Fiona Trayler being an editor known for films like Anastasia, and David Yates being a successful director known for the later Harry Potter films. It also notes that a producer oversees the vision and finances of a film from beginning to end.
This document provides information about various roles in the screenwriting and filmmaking process and considerations for screenwriters. It discusses commissioning editors who look for new projects, producers who oversee projects from conception to completion, and directors who are responsible for interpreting the script. It also covers corporations that distribute finished works, script editors who ensure continuity, and organizations that help develop writers' scripts. Legal and ethical considerations for screenwriters like copyright, censorship, plagiarism, and bias are also addressed.
This document provides a pitch presentation for a film called "Same Differences". The film will follow four characters dealing with different social issues - mental health, racism, family issues, and disability. Each character will pursue ways to address their issues and fight discrimination. The presentation outlines ideas for the film's teaser trailer, poster, target audience, and how it will address real-life social issues similar to other teen drama films. The teaser trailer will introduce each character and their issue before showing them joining together for a campaign. The target audience is primarily females aged 15-24 from a working-class background to raise awareness of these issues through social media.
The document discusses brand identity in film marketing. It analyzes the marketing campaign for a mystery film about the kidnapping of a young woman named Charlotte. To create a strong brand identity, the film's producers used consistent visual elements like titles, character images, and genres across the movie trailer, poster, and magazine cover. This allowed the audience to recognize that the products were promoting the same film and understand the film's message and target demographic. The document argues that the campaign successfully established a cohesive brand identity that would appeal to and inform the target younger audience.
Film posters use images, text, and design elements to quickly convey essential information about a film's genre, tone, and subject matter to potential viewers passing by. Effective posters prominently feature iconic imagery that hints at the film's narrative and includes text that identifies the title, directors, actors, quotes, awards, and a brief tagline to pique interest. Within these limited elements, posters must clearly and concisely communicate the appropriate mood, themes, and expected experience of watching the film.
This document provides information and examples about film posters and their conventions. It discusses how film posters are used to promote films and attract audiences. Key elements that are typically included on film posters are discussed, such as images relating to the film, the film title, names of actors and directors, ratings, and release dates/seasons. Psychological thriller film posters specifically are then analyzed, with examples highlighting common visual conventions like intense facial expressions and symbolic images that pique audience curiosity without revealing full plots.
The document discusses the credit sequence of the short film "Post it". It introduces the production company Go For Broke Films at the beginning. It then shows that the film was by Michael Evans. Subsequent frames show the title of the film "Post it" and identify the director and writer. The main cast is then featured with the characters they played. Finally, additional production crew roles are listed to recognize their important contributions to shaping the film. The credit sequence follows a typical format of introducing the production company, director, title, main cast and additional crew.
The document discusses how effectively the filmmaker's main film product and ancillary texts of a poster and review work together. It finds that the poster, film, and review are all highly effective representations of the film's themes of drug abuse, physical abuse, and the vulnerability of the main character. All three products use similar techniques like low-key lighting and imagery of the weak protagonist to represent the film's dark social realism genre and issues in a cohesive manner. The review provides context and analyzes the film's themes, while the poster attracts audiences visually and hints at the film's hidden meanings. Overall, the ancillary texts enhance and reflect the film well.
- Twisted.Inc is the name of our production company, which was chosen to convey a sense of unease about the villain in our thriller. Our logo features barbed wire to symbolize potential danger.
- A production company is responsible for creating the film, handling jobs like budgeting, marketing, script writing and music. Distributors are responsible for film marketing through ads, trailers and deciding copy numbers.
- If we produced our thriller independently, we would struggle financially due to a low budget and inability to get loans or grants. Our main funding would have to come from personal funds and crowdfunding from family and friends.
The document discusses how the film poster replicates and challenges conventions of real film promotion. It summarizes that the poster includes key information like starring actors, a tagline, and production details, which help attract audiences. While replicating these features, the poster image also advances the narrative through the central female character. Rather than using disturbing visuals, the poster metaphorically depicts the character's dual nature through the canvas and word "kill" covering her face, with red lipstick and dark eyes implying danger.
The document discusses conventions used and challenged in a media production's trailer, magazine cover, and movie poster. It summarizes how the trailer follows conventions like introducing main characters, ending on a cliffhanger, and not showing the villain's face. It also breaks conventions like using uninterrupted soundtrack. The magazine cover follows conventions of featuring the main actor but breaks conventions like using no background. The poster follows conventions like reviews and credits but breaks conventions like only featuring one character.
The document analyzes several movie posters for social realism films. It discusses various design elements used in the posters and how they aim to attract audiences. Common elements included are: plain backgrounds to make text/images stand out; main actors/characters in large font to create recognition; taglines to hint at narratives; reviews/awards to establish credibility; and images that provide clues to the film's storylines or targeted demographics. Overall, the posters analyzed use graphic and textual elements strategically to intrigue audiences and encourage viewership.
Este documento presenta las siete fases típicas de una investigación de mercados: 1) Formulación del problema, 2) Determinación del diseño, 3) Preparación, 4) Trabajo de campo, 5) Procesamiento de información, 6) Tabulación y análisis, y 7) Comunicación de resultados. Describe cada fase en detalle, incluyendo la definición del problema, los tipos de diseños (exploratorios y concluyentes), y las actividades de preparación como determinar la información necesaria y el diseño de la muestra. El
Mohawk Valley Community College (MVCC) offers affordable tuition that is significantly lower than both SUNY 4-year schools and private colleges. MVCC provides over 90 academic majors along with career and transfer services to help students plan their educational and career goals. On-campus housing is available at MVCC's Utica campus, which includes high-speed internet and numerous dining options to maximize the full college experience. MVCC offers many student services like libraries, tutoring, counseling, and scholarships to help fund students' education.
Các Chuyên đề Bồi dưỡng ôn thi vào lớp 6 môn Toán các trường chuyên. Mọi thông tin cần hỗ trợ về tài liệu, giáo viên giảng dạy bồi dưỡng Toán tiểu học, vui lòng liên hệ: 0936.128.126.
1) The document discusses the roles and responsibilities of various positions in the film industry such as script writers, producers, directors, commissioning editors, agents, and script editors.
2) It outlines some of the demands and requirements for working as a script writer, including properly formatting scripts, having agent representation, communicating with producers, and managing timelines.
3) The document covers some of the legal and ethical considerations for script writers, such as copyright and plagiarism laws, avoiding libel, handling censorship, and ensuring unbiased content.
1) Our production company is called Twisted Inc. and our logo features barbed wire to represent the danger posed by the villain in our thriller film. A production company is responsible for funding, casting, and hiring for the pre-production phase.
2) A production company oversees the creation of a film by handling budgets, marketing, music, and developing scripts and storyboards. Distributors are responsible for film marketing through advertisements, trailers, and deciding printing quantities.
3) As a low-budget student film, we would struggle to find funding and could only rely on personal finances and crowdfunding from family and friends. We included title credits at the beginning for our group and later introduced the actors
Our production company is called Twisted Inc. and our logo features barbed wire to symbolize potential danger relating to the villain in our thriller. A production company is responsible for funding, casting, and hiring for the pre-production phase. They oversee the creation of the film including budgeting, marketing, music, and script development. A distributor is in charge of film marketing through advertising, trailers, and deciding print quantities. For our low-budget thriller, funding would come from personal savings and friends due to lack of bank loans or grants. We included title credits at the beginning for our group, then introduced actors and the camera operator to distinguish characters while showing neutrality. Our film is similar to "Strangers"
The document discusses several different job roles within the film industry, including film editor, director, and producer. It provides examples for each role, such as Fiona Trayler being an editor known for films like Anastasia, and David Yates being a successful director known for the later Harry Potter films. It also notes that a producer oversees the vision and finances of a film from beginning to end.
This document provides information about various roles in the screenwriting and filmmaking process and considerations for screenwriters. It discusses commissioning editors who look for new projects, producers who oversee projects from conception to completion, and directors who are responsible for interpreting the script. It also covers corporations that distribute finished works, script editors who ensure continuity, and organizations that help develop writers' scripts. Legal and ethical considerations for screenwriters like copyright, censorship, plagiarism, and bias are also addressed.
Commission editors aim to build up a publisher's list by identifying commercially viable books and media products. They do this by reviewing proposals from authors, ensuring scripts are in the proper format, and managing their list of titles. Producers oversee projects from conception to completion, working closely with directors and crew. Directors are responsible for interpreting the writer's vision and helping actors and crew realize it. Organizations help screenwriters develop scripts and provide feedback to improve their writing.
A production company assists with all aspects of filmmaking including acquiring talent, managing budgets and schedules, and handling any issues that arise during production. They are first credited at the beginning of a film. Distribution is generally handled by an organization that advertises the film and sets its release format and dates. For an independent, UK-based, low-budget horror film, good distribution partners would be Film 4 or Bedlam Productions as they focus on similar projects, while larger non-UK companies like Universal Studios and Lionsgate would be less interested.
Unit 19 screenwriting- learning aim a and bJamesPotts21
Commissioning editors oversee script writing and choose genres and ideas. They control production and provide funding without their guidance, writers may not understand the genre or budget. Directors provide vision for scripts and help writers understand expectations. Multiple directors led to many rewrites of Alien 3. Script editors ensure scripts meet standards and fix issues to smooth development. Agents support writers and organize contacts to create better work environments and negotiate deals to prevent legal troubles from issues like plagiarism. Writers create engaging scripts through research, dialogue and adapting source material while considering themes. Screenwriting competitions provide a chance for exposure but success is not guaranteed. Copyright and avoiding plagiarism and libel are important legal and ethical considerations in scriptwriting.
A production company would be the best media institution to distribute the film because it assists in all aspects of filmmaking including production, marketing, and exhibition. It finds directors, casts, handles budgets and scheduling. The distributor, generally an organization, is responsible for advertising the film to mass audiences by setting release dates and determining how viewers can watch - in theaters or on demand. For a low budget horror film, two independent UK companies that could distribute it are Film 4 and Bedlam Productions, while Universal Studios would be less likely due to being a large non-independent American studio.
Unit 19 discusses the process of becoming a script writer and the responsibilities involved. There are many jobs in the film industry such as commissioning editors, producers, directors, script editors, and agents that script writers can work with. Writers must present scripts in the proper format and work to meet producer demands and deadlines. As a writer, it is important to trademark scripts to prevent plagiarism, avoid bias and misinformation, and be aware of censorship guidelines. Writers are also responsible for the legal and ethical considerations of their work.
This document provides information about various roles in the film and television industry, including screenwriters, producers, directors, script editors, agents, and corporations. It discusses the responsibilities of screenwriters, such as proper formatting, time management, collaboration, and considering legal and ethical issues like copyright and bias. It also describes the roles of producers in overseeing projects, directors in interpreting scripts, and script editors in ensuring continuity. Agents represent clients, and corporations produce and distribute finished works. Overall it outlines the production process and responsibilities of various creative roles.
Total Film magazine is a good choice to advertise the film Breakdown because it features advertisements for both major blockbuster films and smaller, lower budget films. There are many types of advertisements in the magazine, including film posters, reviews, and articles about the filmmaking process. Film posters and reviews are especially effective at advertising since posters highlight appealing elements and reviews provide more information about the film's plot and quality to generate interest. Reviews also discuss technical filmmaking aspects and critics' opinions, which audiences consider when deciding whether to see a film. Additional behind-the-scenes articles give context around the production that target audiences find informative.
The document provides an overview of the Auteur Theory chosen by Matthew Evans for his personal study project research. It includes definitions and examples of the theory. The Auteur Theory suggests that directors can be considered the "authors" of the films they direct, as their personal creative vision and style leaves a distinct mark across multiple projects. Quotes from directors like Francois Truffaut and Alan Parker are included that both support and refute aspects of the theory.
The document discusses the commissioning process for television and film scripts. It describes the roles of the producer, commissioning editor, and scriptwriter. The producer is in charge of the overall production and gives the final approval of scripts. The commissioning editor selects scripts that match the brief and presents them to the producer. The scriptwriter submits their script to commissioning editors. If approved, the scriptwriter may receive royalty payments if the script is produced.
This is a slideshow of different types of roles in the media industry. I have researched about these roles and illustrated the point whilst including pictures to go with the descriptions.
The document discusses the roles of several key creative positions in filmmaking - the director, screenwriter, producer, and editor. It provides examples for each role and describes their typical responsibilities and involvement at different stages of production. It also discusses qualifications for the roles, average salaries, and how the different creative positions typically work together on a film project under the supervision of the production company.
The document discusses researching various film directors, a graphic designer, and a film company to inform the writer's own film project. Key figures researched included Tim Burton, Jordan Peele, Alfred Hitchcock, and John Alvin. The writer analyzed the influences and styles that made each one successful to understand how to develop a unique vision. Researching low-budget films like Evil Dead also provided practical tips that could be applied with a limited budget. The overall goal was to gather contextual information to help create an original story while experimenting with techniques that have proven effective.
The document discusses several roles involved in film production including director, screenwriter, producer, and editor. It provides examples for each role and describes their responsibilities. The director oversees the visual interpretation of the screenplay and works with the production team. The screenwriter writes the script. The producer manages the business aspects and ensures resources are available. The editor assembles the raw footage into the final cut. It also describes how the roles typically collaborate and are overseen by a production company.
The document discusses the film production process from development through distribution. It notes that film is both a creative and commercial endeavor, requiring financing at each stage. Producers play a key role in raising funds, overseeing the project, and ensuring investor expectations are met. While success is never guaranteed, producers must package films in a way that convinces investors and maximizes profit potential based on audience appeal and ancillary revenue streams. Financial backing comes from various sources like studios, broadcasters, and independent investors seeking returns.
The document discusses brand identity and marketing campaigns. It defines a marketing campaign as a series of media promotions for a product. It explains that a brand identity synchronizes all marketing to present a consistent message. It analyzes the brand identity of a James Bond film, noting consistent elements across posters. It then summarizes the group's efforts to achieve brand identity for their film "The Unfinished Business" through similar images and color schemes across the poster and magazine cover.
2. The Movie Initiator
Section 1: Statement of the Argument or Thesis
The film industry constitutes of many different variables to create a good film. Even
though actors, actresses and directors are usually the ones getting all the attention and fame,
there are many other important people involved in the process of filmmaking. Executive
producers play a significant role in the film industry because they are in charge of financing a
film, following through with the creative process and handling all the aspects of development
and production. In essence, the executive producer is the soul of the film and the person
responsible for the film existing in the first place. Even though the role for most executive
producers across different projects appears to be consistent, it is not always the same. The role of
an executive producer is difficult to describe because it varies with every project, but inarguably
the role of executive producers is imperative to every movie project.
Section 1: Literature Review
Several studies (e.g., Meir, 2009; Broderick, 2005; Maltby, 1996) agree that the role of
executive producers is difficult to define because what they do varies with each project that they
are involved. According to Meir, most of what is written about executive producers is focused
around the conflicts between producers and directors (467). Meir believes that there is not much
3. information written about the producer’s role because of the narrow views of the role of the
producer. In his article, Meir focuses primarily on the career of Jeremy Thomas who has been a
very successful independent producer for the past three decades. Meir believes that Jeremy
Thomas has been extremely neglected within film studies because of his role as producer,
regardless of his great success. Meir appears to be bitter about how little importance has been
given to Jeremy regardless of his success and believes that the little that has been written about
him in film studies is biased and an inaccurate description of the role he has played in the
projects he has been involved. Meir does not believe that it would be accurate to describe
Jeremy’s work as a balance between his financial backers and his creative personnel nor a
producer with full creative control over the films that carry his name. Meir believes that
describing Jeremy Thomas as an auteur producer is not adequate, because he was not heavily
involved in the creative process of his projects and therefore trying to analyze a producer’s
career based on this would be extremely difficult. Meir believes that a more accurate way of
examining the career of a producer is based on their marketing, promotion and reception because
this constitutes to a more consistent pattern across films. Meir mentions that there is a big
difference between producers working in big production studios and independent producers like
Thomas who depend more in their ability to get their product ready to sell to financial backers
then subsequently to distributors in order to be able to keep working in the film industry.
According to Meir in order to become a successful independent movie producer a producer really
has to know how to sell his/her products because as a result that is how the distributors will
market the product. Overall, Meir wanted to demonstrate that the role of producers is very
versatile but there are many important roles that are very consistent across different projects like
that of their commercial strategy, their marketing practices and the way they may be involved in
4. the creative process. Meir solely focused on the work of one person and wanted to generalize the
work of most executive producers based on the work ethic of Jeremy Thomas. Even though it
was helpful to learn about the role of an executive producer that has been successful with movies
like The Last Emperor (1987), Sexy Beast (2000) and Naked Lunch (1990), it is impossible to say
that based on Jeremy’s work, a methodology for analyzing a producer’s body of work can be
created.
Furthermore, Broderick’s (2005) article also demonstrates that different executive
producers do different things. In her article, Broderick writes about what she discovered after
interviewing sixteen different film producers. The interviews were conducted to determine what
an executive movie producer does. Every executive movie producer had a different answer but
what most of them agreed on, is that they do not receive the credit they deserve. They all believe
that the executive producer is the soul of the movie and that “They are the unsung heroes of the
movie business” (98). Every executive producer had a favorite aspect of production, for example
Dino De Laurentiis mentioned that his favorite part is the creative aspect of movie production.
He enjoyed selecting the script, the screenwriter, the director and the cast. He also enjoyed
making the movie as well as being involved in the release of the film, creating trailers and even
promoting it and helping make the movie posters. Other executive producers like Lauren Schuler
Doner believe their job is to find the right material, work with the script then find a director that
is interested in the project and then a studio to finance the project. Broderick clearly
demonstrates that the job of an executive movie producer is different depending on the project.
Executive producers have to put on many hats, some believe that producers have to be involved
in the project every minute of the day; others believe executive producers have to have sense of
what is important and what is not as well as play the role of a trouble-shooter. Broderick does an
5. excellent job at demonstrating the different aspects that an executive movie producer may play
depending on the project they are involved in. Her article is also more reliable because it does
not focus solely on one person, the various different opinions of people that have first hand
experience as executive movie producers makes it a more reliable source of information. This
article does not contain a bias opinion because the author is simply asking different people what
their definition of executive producer is. This article does a great job at describing what an
executive movie producer may be involved in during a film project by providing excellent
detailed examples of real life events.
Another role that may vary depending on the executive producer is described by Barbara
Maltby (1996), who focused on the development and production of the film and how this can be
a very stressful time for the executive producer because things do not always go as smooth or as
planned. According to Maltby, “The story behind the production…is the almost daily
rollercoaster ride of good news followed by bad news followed by a ray of hope followed by a
sinking feeling followed by relief followed by unreturned phone calls” (40). Maltby had first
hand experience and uses the story of the production of the movie “The President Elopes” which
became the movie “The American President” to explain exactly what a movie producer does.
She talks about how money is the driving force of the narcissistic and insulated Hollywood
culture. In her article she mentions all the obstacles she had to go through to keep the project
running and how the movie business can drive a person to two complete opposites of an
emotional spectrum. Barbara mentions how in the movie business everything is constantly
changing and how things can be going great one day and completely awful the next. She recalls
how as an executive producer she was constantly bombarded with good and bad news such as
knowing the money for the film had finally been obtained and how easily the studio would pull
6. out and not have a financed film. Other news consisted of finally getting the right actors
committed to the film and then finding out they do not want to be a part of the project, as well as
having meetings confirmed to be later cancelled. Another important part of the movie business
that Barbara considers to be very difficult is to find good screenwriters because writing a good
script is very difficult to do. She mentions how an actor can easily decline a movie offer based
on a poor written script. Another main concern of the executive producer is to make sure the
movie they are producing is a marketable blockbuster hit that appeals to a mass audience. The
movie industry is particularly concerned with making a profit because ultimately a movie that
fails to find an audience can nearly wreck a studio. Barbara believes that independent filmmakers
have a greater leeway and luxury of freely exercising artistic intentions without worrying too
much about making an enormous profit. A great example of the difference between Hollywood
movies and Indie movies is written in the article by Gentile (2012) who interviewed executive
movie producer Nina Parikh, who was in charge of producing the indie movie “Ballast” and talks
about the creation of untraditional film in comparison to Hollywood film. Nina mentions the
importance of communication and teamwork particularly in the making of a film. Nina talks
about how her role as an executive producer for a small film differs from a major Hollywood
film, “So for me it began with finding and hiring the crew, working with an assistant director and
the director on scheduling, helping out with location scouting. You usually have a location
manager, but I worked with the director to finalize our locations, worked with the owners of
those properties to get contracts signed—all the things a location manager would do” (84). In
comparison to a major Hollywood film, executive producers play different roles. Nina mentions
how in Hollywood executive producers usually have other people do the job that executive
producers in indie films have to do themselves. However, Nina agrees that most executive
7. producers that are involved in the project have a common goal, which is “…to work with the
director to realize his vision, and then to coordinate all those hundreds of people to make that
vision happen” (85). Nina also mentions that sometimes the producer already has a vision of
what the movie will look like and other times it is the director that already has everything
planned and they both need to work collaboratively or be supportive of each other’s opinion.
Overall, both authors describe their own personal experience working with a big studio
production versus working in an independent film. Both Maltby and Nina had different
experiences but they were both however, very involved in the movie project. The experiences
they had are based on their personal experience, which does not necessarily apply to all
executive producers working in big studio productions or independent films, however they do
demonstrate how their role varies even in the development and production of a film. Contrary to
Jeremy Thomas who was more involved in the marketing of the film, Nina and Maltby can be
described as auteur movie producers. This further demonstrates that the role of an executive
movie producer is very versatile and it is no surprise that there is no definite definition for an
executive movie producer.
Also, Ceplair (2009) further describes how an executive producer’s role may be
influenced by the time, location and the country’s situation. Ceplair talks about Julian Blaustein
and what he did to succeed in Cold War Hollywood. It focuses on different aspects that lead this
movie producer to succeed against all odds like knowing what genre to select, reversing genre’s
traditions, having well-written scripts based on well-written printed sources, having great
directors and having an important theme. Ceplair describes the approach that Blaustein decided
to take after becoming an independent producer, or better said a unique independent producer in
1948. Blaustein, unlike many other executive producers decided that he did not want to establish
8. an independent production company. Blaustein decided to take a leap of faith by picking up a
couple of properties, working with writers to get some scripts and see where that would take him.
The main advantage that he did have was his agent Lew Wasserman, who was considered the
prince of packaging in Hollywood. Blaustein considered finding a good story the most difficult
part of filmmaking. He believed that a good story would be one that would make money but also
one that would give him a certain degree of artistic satisfaction. Ceplair describes that part of
Blautein’s success is also contributed to never being forced to use a story or an actor against his
wishes. He was also searching for movie projects that had not been made before or that had not
gained much popularity. Picking a good genre was also imperative to his success, and Blaustein
knew that very few science-fiction movies were produced therefore he saw this as an opportunity
for a new project. Blaustein would find stories or themes, and subsequently screenwriters that
would captivate the direction he wanted the script to take. Blaustein believed that this was very
important because he considered producers to be the “creator or co-creator of the concept and the
custodian of it all the way through the process” (263). Blaustein believed that a message of peace
in his movies would be very uplifting and important considering the time period that he was in.
After being heavily involved in the creation of the script and the message that he wanted to
convey, with the help of studio head Zanuck and screenwriter friend Edmund H. North, the
movie The Day the Earth Stood Still (1951) was produced and released. Blaustein knew the type
of stories that would be successful, he was highly aware of the time period he was in and what
would work considering that he was in a time period that was difficult for the movie business.
Blaustein succeeded during the Cold War because he paid attention to what people wanted and
knew what he needed to give them in order to make his movies a hit. This is a reliable source
that although the information is not from a current time it gives an insight into what to do during
9. rough times in the economy. This article highlights how the making of a great movie has not
greatly changed over time. Ceplair’s article provides great information about what a movie
producer needs to focus on when he/she not only has to worry about the movie he/she is making
but also about the time, location and the country’s situation.
Section 3: Methodology/Critical Approach
For the purposes of this collaborative study of significant RTVF industry positions in
each field, the authors engaged in a collective investigation of what a single group of college
students in 2014 identified as the top professional positions in the relevant industries today. The
purpose of the project was three-fold: 1) to identify a body of professional positions on which
there was some consensus regarding importance; 2) to articulate what the nature of the duties of
each position are; 3) to analyze which position individual students found particularly valuable
and interesting, and to include information on professionals in those positions.
This project was undertaken by San José State University’s RTVF 183 course Critical
Study and Research in Spring 2014 led by Dr. Alison McKee. Initially, each member of the
class was instructed to compile a list of 10 positions that he or she would be willing to defend as
representing key positions in RTVF fields. The lists included summaries of the relevant duties
and cited examples of people who hold or have held such positions. Approximately 74 positions
were reflected in the lists of 31 registered class members. Their reasons for selecting these
positions included (but were not limited to) issues of writing, directing, producing,
cinematography, production design/mise-en-scène, editing, sound and music, technology, visual
effects, acting, context, significance, impact and influence, and marketing and promotion. To
determine additional parameters of the research project, Dr. McKee and the class held an online
discussion to explore opinions and options. Students were also asked to select one position from
10. their own top ten lists and engage in a literature search around that title. Approximately two
thirds of the way through the semester, using the master list of 74 positions, students voted on
the positions that were of most interest to them, each student casting five votes . The voting and
tallying were conducted in person by Dr. McKee and student Sarah Ragent. The top positions
broke down as follows: Director (15 votes); Cinematographer (12 votes); Editor (8 votes);
Screenwriter, Assistant Director, Casting Director (tied with seven votes); Executive Producer,
Camera Operator (tied with 6 votes).
Students were then asked to write about a single specific RTVF position (exceptions were
made for one non-RTVF major who preferred to focus in a position in a different field). Students
were free to focus on a position from the master list of positions that was of most interest to
them, using relevant secondary literature and other reliable sources to guide their analysis of that
position and specific examples of one or more people who hold or have held those positions.
Dr. McKee and RTVF 183 students who were present in class on April 2 and/or 7 to
participate in the collective writing and editing process jointly produced this methodology
section of students’ papers.
Section 4: Analysis of Individual RTVF Industry Position
One of the main responsibilities of Producers is to finance a movie. They are in charge of
building relationships with financiers, distributors, marketers, and promoters. According to
Barbara Maltby, “First, you need to find a good piece of material. It could be a book, a treatment,
or an already existing screenplay” (34) to sell to the studio. When the script has been finalized
the producer arranges to purchase the legal ownership rights. To provide funding for the
production cost the producer may contact financial investors and offer shares of the movies
profit. Since the Executive producers are in charge of the finances they have to clearly
11. communicate what the limitations are to anyone involved in the project. People in the business
care about the quality of their work, producers, directors, actors, writers want to create a break
for themselves and as a result sometimes they want to do more than they should. This is when an
executive producer steps in to reinstate the limitations of the project to deliver the project on time
and on budget.
Once the Producers have gotten the financing, they let the studio know who will be
involved in the project. Planning a budget starts when the producers finds out how much funding
the movie has. The budget is spread out by paying for advertising, location, cast crew, food and
any other additional cost. The producer uses his judgment on what is the best way to spend the
money. He/ She may decide to spend less on a location but spend more money on a famous
director or actor hoping that attracts more moviegoers and increases profit because of the big
names. According to Suzanne Broderick “She feels her job is to find the material, work with the
script, attract a director and a studio to finance. Once production starts, “I am there to solve
problems . . . come up with an idea to make the film funnier or go faster. At the end of the shoot,
I get involved in the cutting room and with the editing, music and video effects, marketing and
distribution. To be successful, you have to wear many hats. A producer’s job is to have a sense
of what is important and what is not” (99). After making sure the financing part has been taken
care of, the executive producer then focuses on the creative process as well as the development
and production of the film.
Another main role of an executive producer is to follow through with the creative process
of the movie. The executive producer is heavily involved in the process of making sure the right
people are involved in the project. Once the executive producer has gotten the film financed,
their main role is to have written agreements with the creative partners about what their roles will
12. be, how much they will be getting paid, the credits they will receive and if there will be any
profit participation. According to Gail Resnik the role of an executive producer can vary from
project to project but in general, “For those people who actively produce, this can mean any
number of activities, such a hiring the writer to write the original screenplay, selling the script to
the studio, courting and singing the major creative talent, doing the budget, making sure the sets
get made on time, hiring the crew, even making sure the cast and crew make it over the border
for a foreign shoot” (38). After the hiring process, the executive producer has already agreed on
what each person will do and their main role thereafter would be to be as supportive as possible
as well as bringing their talents’ abilities into insight. Executive producers have to also worry
about hiring the right talent for the film because according to Andrew J. Weaver movie
producers have to be careful with the type of cast they select because that has a great impact on
the number and type of people that decide to watch their movies. In his article "The Role Of
Actors' Race In White Audiences' Selective Exposure to Movies." Weaver conducted
experiments, which revealed that racial makeup of a cast does have an influence on White
audiences' selective exposure to movies. For nonromantic movies, race did not have an impact
on the number of moviegoers however for romantic movies, regardless of racial attitudes, White
participants demonstrated less interest in watching movies that included a mainly Black cast in
comparison to movies whose cast was primarily White. The producer has many variables to
focus on to make sure a movie is successful and even though the producer does not necessarily
have to know about the specifics of filmmaking, according to Lawrence Turman “The producer
is a generalist. He really has to know less about the specifics of filmmaking than any of the other
crafts, less than a director, less than a script supervisor, less than an art director, a grip. A
producer, if he can afford it, can just dream about a movie and go about those long months of
13. getting it on” (51). The executive producer has to know how to manage the people involved in
the project and learn how to keep them motivated and focused on keeping the vision of the film
without necessarily being hands on in the creative process. The executive producer has the
ability to decide exactly how he/she wants the movie to be made since it is thanks to them that
the movie is being produced in the first place. Turman describes how incredible it is to be an
executive producer “Boy, what fun to decide whether a picture should be made, to decide or
influence a decision that something should be done this way instead of that way, and to see if I
can get this artistic quality here within the framework of that kind of budget money there” (2).
Even though executive producers have the final say, they work collaboratively with the other
crewmembers to create a visually pleasant and entertaining movie by sharing visual ideas and
incorporating new creative elements to the film. Once the film has been financed and all the
responsibilities of the film have been assigned, the executive producer focuses on the
development and production of the film. This can be a very stressful time for the executive
producer because things do not always go as smooth or as planned.
Some of the most influential executive producers are Steven Spielberg, he is one of the
most well known and successful producers in Hollywood with countless big grossing and
critically acclaimed films as well as Jerry Bruckheimer who is very well known for his
explosive, machine-gun fire movies like Top Gun (1986), and Days of Thunder (1990). There are
many other executive producers like Harvey Weinstein (The Hateful Eight), Martin Scorsese
(Revenge of the Green Dragons), Donald Kushner (TRON: Legacy), Paul Deason (Pirate of the
Caribbean: The Curse of the Black Pearl), Bruce Hendricks (Pirate of the Caribbean: Dead
Man’s Chest), Mike Stenson (Black Hawk Down).
Section 5: Conclusions and Directions for Future Research
14. Overall, it is difficult to come up with one definition to describe the role of executive
producers. Executive producers have a very complex role when it comes to being involved in a
movie project. They may be involved in only one aspect of the film, like finding a way to finance
the project, to being involved in the creative process, as well as the development and production
of a film. It is no surprise that finding information about the role of executive producers may be
difficult and confusing because every source of information may provide a different definition. It
is important to realize that an executive movie producer plays a very significant role in the movie
business because he/she is the driving force that turns an idea or a story into a film. Executive
movie producers are cross-functional team players; they work with the screenwriters, directors,
actors and many other people involved in the movie project. Executive movie producers take on
many hats to make sure the movie is finished on time and within budget. Although it was
interesting to find out what an executive movie producer does, it became very frustrating trying
to find articles that focused solely on executive producers because even the role of producer can
be divided into different types of producers. It was difficult to differentiate between an associate
producer versus an executive producer versus an assistant producer because sometimes an
executive producer takes on all those roles depending on the project. I was surprised to find out
there are so many different job titles for a producer because many times we do not hear about
them or they are not given the credit they deserve. For future research there should be more
articles describing the differences between them and why some people may take on that many
roles at a time and only get credit for one thing. There are many executive producers but only
few are well known to the public, they are sadly not as famous as actors or movie directors. Even
though it was difficult to find information solely on executive producers, I read many articles
that gave me a better understanding of a movie producer as a whole. Overall, I learned that
15. executive movie producers do more than just worry about the budget of the movie. Executive
producers may be involved in almost every aspect of the film and they are clearly a very
important part of the film industry.
16. Works Cited
Broderick, Suzanne. "Movie Moguls Speak: Interviews With Top Film Producers." Film &
History (03603695) 35.2 (2005): 98-99. Academic Search Premier. Web. 10 Apr.
2014.
Ceplair, Larry. "Julian Blaustein: An Unusual Movie Producer In Cold War Hollywood." Film
History 21.3 (2009): 257-275. Communication & Mass Media Complete. Web. 10 Apr.
2014.
Gentile, Phillip. "An Interview With Mississippi Film Producer Nina Parikh." Southern
Quarterly 49.2/3 (2012): 82-101. OmniFile Full Text Mega (H.W. Wilson). Web. 10 Apr.
2014.
Maltby, Barbara. "What Do Movie Producers Do?." American Scholar 65.(1996): 31-43.
OmniFile Full Text Mega (H.W. Wilson). Web. 10 Apr. 2014.
Meir, Christopher. "The Producer As Salesman: Jeremy Thomas, Film Promotion And
Contemporary Transnational Independent Cinema." Historical Journal Of Film, Radio &
Television 29.4 (2009): 467-481. Communication & Mass Media Complete. Web. 7 May
2014.
Resnik, Gail, and Scott Trost. All You Need to Know About the Movie and TV Business. New
York: Touchstone, 1996. Print.
Turman, Lawrence. So You Want to Be a Producer. Ney York: Three Rivers Press, 2005.
Print.
17. Weaver, Andrew J. "The Role Of Actors' Race In White Audiences' Selective Exposure to
Movies." Journal of Communication 61.2 (2011): 369-385. Communication & Mass
Media Complete. Web. 10 Apr. 2014.