1. Despite its use of improvisation, how is Gummo different from “execution dependent” screenplays such as Stranger than Paradise?
Despite the improvisation employed in Gummo, it is not an execution dependent screenplay. Unlike Stranger than Paradise, when you read the script to Gummo it flows and makes sense. A producer can read the script to Gummo and understand the film, making it not as big of a risk as something as execution dependent as Stranger than Paradise, and therefore more likely to get made.
2. What are the current platforms and delivery systems for digital distribution?
Digital distribution has become wide spread and works on many platforms. Online, movie and music files can be downloaded as protected files from iTunes or streamed from NetFlix or Amazon. There are also features standard now with dish/direct tv boxes and video game consoles that allow you to connect to the internet and rent movies off the provider's database which feed directly onto your tv.
3. What were the advantages and disadvantages of releasing Ed Burns’s Purple Violets on i-Tunes?
The advantage of releasing Purple Violets on iTunes is that is reaches a much broader audience than an art house release. You can rent the movie for $2.99 or buy it for $9.99, which is much more convenient than it probably would have been to try to get this film had it had an independent dvd release.
The biggest disadvantage of buying movies on iTunes, in my opinion, is that it doesn't include any bonus features. You miss out on any behind the scenes footage, deleted scenes or special stuff the director wants to include. Also, you can burn it to a dvd, but only to play on other computers - the only way to play an iTunes movie on a tv is to have an appleTV connected to your computer.
4. What is a digital media aggregator, and what is its equivalent in the traditional home video chain between the filmmaker and the consumer?
A digital media aggregator is the video distributing agent of the digital world. They represent films to attract the interest of bigger distribution companies, such as iTunes.
5. What is the Digital Cinema Initiative (DCI), and why is it important for both the studios and independent filmmakers?
The Digital Cinema Initiative is responsible for paving the way to digital cinema. Their responsibilities include updating older theatres and installing digital projectors and screens. It is important for the studios because switching to digital cinema will keep them at the cutting edge of technology and it is important for the independents because it can help their product look better and draw more audience.
Tuesday, November 25, 2008
week 14.
1. How is a $10 million dollar gross for an independent film typically broken up before the producers receive their share? How much goes to the following entities / categories?
Exhibitors: 60% of gross, $6 million
Distribution Rentals: 40% of gross, $4 million
Distributor’s Fee: 30% of the distributors share, around $1.33 million
Prints and Advertising: $3 million (as a minimum - this is 1/6 the average in 98, and around 1/9 of todays average)
Payout (financiers, director, stars): profit split up between financier and producer. but theres no profit, cause the film is in the negative..
Producer’s Net Profit: negative $333,000
2. What is an "execution dependent" screenplay?
A screenplay that needs to be seen to be appreciated is referred to as "execution dependent". Its a script that doesn't rely on dialogue to move the play forward but instead relies on action, which may be hard to understand and visualize when simply reading the script.
3. What are some of the expenses associated with the Cannes Film Festival (or any festival, for that matter)?
Cannes has a laundry list of expenses that add up very quickly. Probably the biggest expense comes from Cannes' requirement of the submission of two prints that have subtitles in French. The filmmaker has to come up with the money for a translation of the dialogue and the two new prints, as well as paying to have them shipped to France. In order to spread the word about their film, the director must also provide press packets and publicity, as well as expenses to attend parties. During the festival hotels raise their prices, and the festival only covers the director's hotel room for three nights. Any time beyond that, and any rooms for people other than the director, have to come out of pocket. All told, Shamus estimates that Cannes' budget is around $150,000 per filmmaker.
Exhibitors: 60% of gross, $6 million
Distribution Rentals: 40% of gross, $4 million
Distributor’s Fee: 30% of the distributors share, around $1.33 million
Prints and Advertising: $3 million (as a minimum - this is 1/6 the average in 98, and around 1/9 of todays average)
Payout (financiers, director, stars): profit split up between financier and producer. but theres no profit, cause the film is in the negative..
Producer’s Net Profit: negative $333,000
2. What is an "execution dependent" screenplay?
A screenplay that needs to be seen to be appreciated is referred to as "execution dependent". Its a script that doesn't rely on dialogue to move the play forward but instead relies on action, which may be hard to understand and visualize when simply reading the script.
3. What are some of the expenses associated with the Cannes Film Festival (or any festival, for that matter)?
Cannes has a laundry list of expenses that add up very quickly. Probably the biggest expense comes from Cannes' requirement of the submission of two prints that have subtitles in French. The filmmaker has to come up with the money for a translation of the dialogue and the two new prints, as well as paying to have them shipped to France. In order to spread the word about their film, the director must also provide press packets and publicity, as well as expenses to attend parties. During the festival hotels raise their prices, and the festival only covers the director's hotel room for three nights. Any time beyond that, and any rooms for people other than the director, have to come out of pocket. All told, Shamus estimates that Cannes' budget is around $150,000 per filmmaker.
Tuesday, November 11, 2008
week 13.
1. According to Murphy, what are the two major faults of the traditional screenwriting manuals in their treatment of independent cinema?
Murphy's problem with traditional screenwriting manuals' treatment of independent cinema is the manuals rely on formulas to create a film, which is too structured and traditional for an independent film. The manuals do not understand this, however, and try to force independent films to fit into their formulas; fitting into a formula is pretty much the opposite of most independent cinema, which strives to be unique and against the norm.
3. According to Murphy, how are independent films different than classical Hollywood in the following areas?
Protagonists / Antagonists: Independent films are lacking both goal-oriented protagonists and goal-thwarting antagonists.
Dual plotlines (romance): Non cause and effect writing eliminates the cause for most romance.
Character Motivation (goals): Characters simply react to what is going on around them because the script lacks in goal orientation and causality.
Dialogue: little or no dialogue, or true to life conversationalist dialogue creates ambiguity in the characters which is not seen through the goal-pushing clear minded dialogue of most Hollywood films.
Closure: Independent films prefer open endings with a lack of closure.
4. According to Ed Guerrero, what were the three phases of the black image in Hollywood?
The three phases are:
1) pre-blaxploitation. the mainstream image was that of submissiveness from black characters.
2) blaxploitation. resistance and reversal of mainstream ideology.
3) new black cinema. compromise between Hollywood and black filmmakers.
6. What are the two distinct notions of "guerrilla cinema" exemplified by Spike Lee and Bill Gunn?
"Guerilla Cinema" was embodied by Spike Lee as using independent films as a step ladder to breaking in to mainstream Hollywood. It was embodied by Bill Gunn as a way to use the system and take funding meant for standard, d grade films to make socially conscious films.
Murphy's problem with traditional screenwriting manuals' treatment of independent cinema is the manuals rely on formulas to create a film, which is too structured and traditional for an independent film. The manuals do not understand this, however, and try to force independent films to fit into their formulas; fitting into a formula is pretty much the opposite of most independent cinema, which strives to be unique and against the norm.
3. According to Murphy, how are independent films different than classical Hollywood in the following areas?
Protagonists / Antagonists: Independent films are lacking both goal-oriented protagonists and goal-thwarting antagonists.
Dual plotlines (romance): Non cause and effect writing eliminates the cause for most romance.
Character Motivation (goals): Characters simply react to what is going on around them because the script lacks in goal orientation and causality.
Dialogue: little or no dialogue, or true to life conversationalist dialogue creates ambiguity in the characters which is not seen through the goal-pushing clear minded dialogue of most Hollywood films.
Closure: Independent films prefer open endings with a lack of closure.
4. According to Ed Guerrero, what were the three phases of the black image in Hollywood?
The three phases are:
1) pre-blaxploitation. the mainstream image was that of submissiveness from black characters.
2) blaxploitation. resistance and reversal of mainstream ideology.
3) new black cinema. compromise between Hollywood and black filmmakers.
6. What are the two distinct notions of "guerrilla cinema" exemplified by Spike Lee and Bill Gunn?
"Guerilla Cinema" was embodied by Spike Lee as using independent films as a step ladder to breaking in to mainstream Hollywood. It was embodied by Bill Gunn as a way to use the system and take funding meant for standard, d grade films to make socially conscious films.
Tuesday, November 4, 2008
week 12. happy election day...time to choose not to loose!
1. What were the average shot lengths (ASLs) for the following periods?
1920s-4 to 6 seconds
1930-1960-8 to 11 seconds
Mid-1960s-6 to 8 seconds
1980s- 4 to 7 seconds
2000 (“by century’s end”)- 3 to 6 seconds
2. How has faster editing in Hollywood affected the other elements of film style?
It allows for jump cuts, fast and slow motion, and using short and long lenses within the same sequence. In addition, cutting in the midst of a camera movement and using matches on action became the norm.
3. How were wide angle (short) lenses used after 1970?
Wide lenses were used to provide views from within cramped quarters, give us expansive establishing shots and provide looming close ups.
4. How were telephoto (long) lenses used after 1970?
The telephoto lens was used to compress the background and foreground action.
5. Why did filmmakers start mixing long and short lenses within scenes?
Lenses were mixed because while filmmakers liked the advantages of long lenses, they still liked the look and feel they got from the wide lens.
1920s-4 to 6 seconds
1930-1960-8 to 11 seconds
Mid-1960s-6 to 8 seconds
1980s- 4 to 7 seconds
2000 (“by century’s end”)- 3 to 6 seconds
2. How has faster editing in Hollywood affected the other elements of film style?
It allows for jump cuts, fast and slow motion, and using short and long lenses within the same sequence. In addition, cutting in the midst of a camera movement and using matches on action became the norm.
3. How were wide angle (short) lenses used after 1970?
Wide lenses were used to provide views from within cramped quarters, give us expansive establishing shots and provide looming close ups.
4. How were telephoto (long) lenses used after 1970?
The telephoto lens was used to compress the background and foreground action.
5. Why did filmmakers start mixing long and short lenses within scenes?
Lenses were mixed because while filmmakers liked the advantages of long lenses, they still liked the look and feel they got from the wide lens.
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