Filmmaking Stuff - How To Make, Market and Sell Your Movie
Many are hard at work in redesigning and rethinking capitalism tinkering at the margins. Some of us are experimenting with small changes in our own lifestyles. We are beginning to walk a new path as we become alive to the truths of abundance. These are not simply utopian in nature but practical changes that collectively are moving the system as a whole to a more enlightened economic system. Young filmmakers, entrepreneurs and business people like Adam Cormier are exploring such a future. Cormier is producing a documentary called Fixing Capitalism that is exploring how enlightened captains of commerce are beginning to rethink their roles and responsibilities as stewards of the common wealth. The new champions of this renaissance in economics, commerce and accounting include Ray Anderson (Interface Inc.), Paul Hawkens, Amory Lovins, Hazel Henderson, Leslie Christian (Progressive Investment), William McDonough, Dan Rubenstein, David Korten, Anita Burke, William Greider, Raffi Cavoukian,...
In the fields of theater and dance, perhaps there is no serious problem. Those forms have a natural audience in all ethnic groups. The works of black playwrights are frequently produced, black filmmakers are becoming successful, and black actors and actresses have begun to make their way in the theater and in motion pictures. In the field of modern dance, there have long been black companies, choreographers, and performers, and there is a well-established black ballet company, the Dance Theater of Harlem. Much the same thing can be said for Hispanic American dance.
The fixed-proportions production function describes situations in which the methods of production available to firms are limited. For example, the production of a television show might involve a certain mix of capital (camera and sound equipment, etc.) and labor (producer, director, actors, etc.). To make more television shows, all inputs to production must be increased proportionally. In particular, it would be difficult to increase capital inputs at the expense of labor, since actors are necessary inputs to production (except perhaps for animated films). Likewise, it would be difficult to substitute labor, for capital, since filmmaking today requires sophisticated film equipment.
The crossroad in my career, filmmaker giant George Lucas recalls, happened very early on. I was in an automobile accident. Before that I wasn't really a very good student. I wasn't really focused in my life. I came through an automobile accident that I should never have survived. And, in the process of that, I realized that there must be some purpose for me to be here and I'd better figure out what it is . . That really motivated me in a very direct way which sent me off, ultimately, searching for the things I loved and winding up in the film business.
The name Disney is known around the world. Yet as a young man, Walt Disney was a failed filmmaker operating out of a makeshift studio in a garage in Los Angeles. Disney had moved there from Kansas City, where he had helped create cartoon advertisements for showings in movie theaters. Dreaming of making full-scale movies, he headed to Los Angeles then, as now, the film industry capital to pursue his dream. For five years, he struggled to make ends meet. Then he released an animated film featuring a character that would soon become a household name Mickey Mouse.
If you have ever wanted the secrets to making your own film, here it is: Indy Film Insider Tips And Basics To Film Making. Have you ever wanted to make your own film? Is there a story you want to tell? You might even think that this is impossible. Studios make films, not the little guy. This is probably what you tell yourself. Do you watch films with more than a casual eye? You probably want to know how they were able to get perfect lighting in your favorite scene, or how to write a professional screenplay.