LEADER 05524nam 2200673Ia 450 001 9910819076403321 005 20240516215128.0 010 $a979-82-16-04965-4 010 $a1-283-54951-4 010 $a9786613861962 010 $a0-313-08453-X 035 $a(CKB)2560000000089507 035 $a(EBL)995932 035 $a(OCoLC)879549619 035 $a(SSID)ssj0000716161 035 $a(PQKBManifestationID)12305995 035 $a(PQKBTitleCode)TC0000716161 035 $a(PQKBWorkID)10718595 035 $a(PQKB)11020611 035 $a(Au-PeEL)EBL995932 035 $a(CaPaEBR)ebr10590517 035 $a(CaONFJC)MIL386196 035 $a(MiAaPQ)EBC995932 035 $a(EXLCZ)992560000000089507 100 $a20120515d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe art of nonfiction movie making /$fJeffrey Friedman, Robert Epstein, and Sharon Wood ; foreword by Michael Fox 205 $a1st ed. 210 $aSanta Barbara, Calif. $cPraeger$d2012 215 $a1 online resource (264 p.) 300 $aDescription based upon print version of record. 311 $a0-275-99225-X 320 $aIncludes bibliographical references and index. 327 $aTitle; Copyright; Contents; Foreword; Acknowledgments; Introduction; Part One: Development; 1. The Idea; Where Do Documentary Ideas Come From?; What Makes a Good Idea for a Documentary?; Is the Idea Fundable?; What Are Funders Looking For?; Is It a Worthy Subject?; Is the Subject Important?; Has It Been Done Before?; Is It a Good Story?; Are There Strong, Interesting Characters?; Is There Conflict?; How Good Is Your Access?; Are There Strong Visual Elements to Tell the Story?; Case Study: The Times of Harvey Milk; Conclusion; 2. Research and Evaluate Your Subject 327 $aRead Everything, Talk to Everyone (within Reason)Rights and Licenses; Case Studies; Researching a Historical Film: Paragraph 175; Researching an Archival Film: The Celluloid Closet; Researching Storytellers; Archival Research; Researching an Observational Film: Crime & Punishment; Researching an Essay Film: Where Are We?; Using Research to Determine the Form: Common Threads; Conclusion; 3. Make Your Case: From Story to Proposal; Define the Story; Find the Story Arc; Write Your Film; Define the Storytelling Elements; Storytelling Tools; ""Objective"" Elements; ""Subjective"" Elements 327 $a""Directorial"" ElementsNarration; On-Screen Text; Reenactments; Music; The Proposal; Case Study: Paragraph 175; Case Study: Where Are We?; Outreach/Distribution Plan; Conclusion; 4. The Treatment; Case Study: Common Threads; Case Study: The Celluloid Closet; Case Study: Paragraph 175; Case Study: Taking HOWL from Documentary Treatment to Nonfiction Feature Screenplay; Conclusion; 5. Development Materials: The Budget and Sample Reel; Production Schedule; Case Study: Filming Common Threads; Budget; Budget Notes; Create a Sample Reel; Work with What You Have, Play to Your Strengths 327 $aCase Study: The Sample Reel as a Creative Tool for The Celluloid ClosetConclusion; Part Two: Preproduction; 6. Financing; Development Funding versus Production Funding; Foundations; Broadcast Partners; Sales; Presales; Coproductions; International Opportunities; Pitch Markets; Individual Donors; Targeted Fundraising Campaigns; Fundraising Events; Cocktail Parties; Individual Supporters; Individual Contributions; Investors; Conclusion; 7. Casting the Nonfiction Film; Casting Criteria; How Do They Fit In?; Can They Tell a Good Story?; Casting Historians and Other Experts; Screen Presence 327 $aPreinterviewsCase Studies; Casting an Interview-Driven Documentary: Common Threads; Casting a Ve?rite? Documentary: Crime & Punishment; Pitfalls and Obstacles; Reluctant Storytellers: Paragraph 175; Celebrity Storytellers: The Celluloid Closet; Casting Actors for a Nonfiction Movie: HOWL; Casting Tools; Conclusion; 8. Legal Headaches: Releases, Rights, and Licenses; Personal Releases; Story Rights; Book and Magazine Rights; Music Rights; Footage and Photo Rights; Fair Use; Errors and Omissions Insurance; Case Study: Licensing Clips for The Celluloid Closet; Conclusion; Part Three: Production 327 $a9. Assemble a Team 330 $aThe past few years have featured such blockbusters as Super-Size Me, Fahrenheit 9/11, Sicko, March of the Penguins, and An Inconvenient Truth. And as news articles proclaim a new era in the history of documentary films, more and more new directors are making their first film a nonfiction one. But in addition to posing all of the usual challenges inherent to more standard filmmaking, documentaries also present unique problems that need to be understood from the outset. Where does the idea come from? How do you raise the money? How much money do you need? What visual style is best suited to the 606 $aDocumentary films$xProduction and direction$vHandbooks, manuals, etc 606 $aMotion picture industry 615 0$aDocumentary films$xProduction and direction 615 0$aMotion picture industry. 676 $a070.1/8 700 $aFriedman$b Jeffrey$f1951-$01650236 701 $aEpstein$b Robert P.$f1955-$01650237 701 $aWood$b Sharon$f1952-$01650238 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910819076403321 996 $aThe art of nonfiction movie making$93999500 997 $aUNINA