Music & musicians 9781422231722, 1422231720

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Filmmaking & Documentaries

Acting: Stage & Screen Art Festivals & Galleries: The Art of Selling Art Comedy & Comedians Filmmaking & Documentaries Music & Musicians Painting Performing Arts Photography Sculpting Writing: Stories, Poetry, Song, & Rap

Filmmaking & Documentaries Z.B. Hill

Mason Crest

Mason Crest 450 Parkway Drive, Suite D Broomall, PA 19008 www.masoncrest.com Copyright © 2015 by Mason Crest, an imprint of National Highlights, Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, taping, or any information storage and retrieval system, without permission from the publisher. Printed and bound in the United States of America. First printing 987654321 Series ISBN: 978-1-4222-3167-8 ISBN: 978-1-4222-3171-5 ebook ISBN: 978-1-4222-8708-8 Library of Congress Cataloging-in-Publication Data Hill, Z. B. Filmmaking & documentaries / Z.B. Hill. pages cm. — (Art today!) Includes index. ISBN 978-1-4222-3171-5 (hardback) — ISBN 978-1-4222-3167-8 (series) — ISBN 978-1-4222-8708-8 (ebook) 1. Motion pictures—Production and direction. 2. Documentary films—Production and direction. I. Title. II. Title: Filmmaking and documentaries. PN1995.9.P7H5 2014 070.1’8—dc23 2014011828

Contents 1. Creating Films and Documentaries

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2. The History of Filmmaking and Documentaries 21 3. The Business of Filmmaking and Documentaries 31 4. How Can I Get Involved in Filmmaking and Documentaries? 45 Find Out More 59 Series Glossary of Key Terms

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Index 62 About the Author & Picture Credits

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Words to Understand technical: Having to do with the mechanical and techno-

logical parts of making a video. cast: The actors appearing in a performance. chronological: Appearing in the same order that they really happened. enhanced: Artificially improved. green screen: A blank green background that actors perform in front of. Different videos and special effects can be added in the place of the green background later. affiliated: Officially connected to. studio: A company that produces movies and television shows.

Chapter One

Creating Films and Documentaries

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hether we’re sitting in front of television or in a movie theater, most of us spend a lot of time watching movies and documentaries. We can be entertained by them, terrified by others, educated by some, and even spurred to action by some films. When we are lucky, more than one of those things can happen with the same movie. When we watch a movie, the actors on the screen capture our attention. We get caught up in the plot and action. And unless there are topnotch special effects, we might forget that many parts go into making films and documentaries that do not directly involve actors.

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That movie that made you and your friends laugh so much started out as an idea in someone’s head.

Creating Films and Documentaries FIVE STEPS OF FILM AND DOCUMENTARY PRODUCTION Films tell a story. They often use actors and various effects to create a story. The story could be true or fiction, or a combination of both. Documentaries, on the other hand, are always nonfiction. The people who are actually involved in the story often appear in the documentary. Technically speaking, all documentaries can be called films, but not all films are documentaries. Whether making a film or a documentary, projects go through the same steps. Not all steps are completed in the same way or in the same order, but all must be tackled if a project is going to be successful.

The Idea Before anything else, there needs to be an idea. You’ve probably thought from time to time, That would make a great movie! Or you learn about an event or person, and then you search for a documentary on the same subject. But you’ve also probably seen enough bad movies and documentaries to know not every idea makes a good film. To increase the likelihood of success, you have to think beyond your likes and interests. You must accept the fact that just because something interests you, it may not interest others—at least not in the numbers necessary to attract the interest of those with the power to get the project made. But if you’re a filmmaker (or you want to be a filmmaker), this doesn’t mean you shouldn’t write about whatever interests or is important to you. Do you have special knowledge of or experience with a particular subject? This perspective can make a subject interesting to an audience. Once you come up with an idea, it’s time to turn it into a script. Many scriptwriters like to summarize the project in one sentence. This helps them clarify the project in their minds. After all, if it’s not clear to the screenwriter, it is unlikely audiences will understand it either. Ask yourself who you want to see the film, how you want the audience to feel

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after seeing it, and, especially if it is a documentary, what action do you want them to take after seeing it? Some filmmakers make a storyboard, using pictures to show the key points of the plot. This can be helpful to people who find it easier to visualize things instead of read about them.

Preproduction Making a plan is pretty much necessary for much of life. It’s true in everyday life and in making a movie or documentary. During the preproduction phase, plans are made for all the technical and creative parts of the project. This is also when those involved in the project imagine all the problems that can come up during production. Plans for solving them can be made in advance. Problems delay production, and delays can seriously increase production costs. Not a good thing, obviously. Film actors are cast during the preproduction stage. For documentaries, those who are to appear are contacted and arrangements made for filming them. One of the most difficult things to plan is the schedule. It’s important to establish a schedule as soon as possible. Among things to consider when setting a schedule is how many days will be needed to complete the project. With this information, you can plan your schedule to maximize efficiency and stay within budget. Someone will also be responsible for finding shooting locations, and designing and making sets, if needed. Basic camera shots will need to be planned. And since things seldom go as planned—even with good preproduction—contingency plans need to be made.

Production Whether a movie or a documentary, actual shooting occurs during the production stage. A well-written script and good planning during preproduction can make shooting easier and efficient, saving money.

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Make Connections: Footage The use of the word “footage” in filmmaking originated during the silent film. Thirty-five millimeter film is measured in feet and frames. One second of 35mm film was made up of 16 frames. After a while, the word began to be used for any type of moving images.

Recording of the soundtrack also takes place during this stage. The only sounds coming from the set during this time must be the ones called for in the script. “Quiet on the set!” is not said just for fun. Microphones used for film and documentary production are very sensitive. If they pick up unwanted noises, the scene will have to be reshot. And that can lead to a production delay—and increased costs.

Postproduction The end of shooting does not mean the film or documentary is ready to hit the screen. In fact, the raw footage will likely bear little resemblance to the final product. There is much more to be done. Editing is done during postproduction. Films and documentaries are generally not shot in chronological sequence. For example, on a rainy night, all scenes needing that background may be shot the same night, even though they take place on several days in the story. The editors take all the film and assemble it in the order the events take place in the script. The soundtrack is also edited during postproduction. Sounds can be enhanced during this stage. Places where sound needs to be rerecorded can be spotted and fixed.

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When it comes to distributing films, modern technology has moved even further than television studios—but some things haven’t changed. People have to want to see the films in order for them to make money.

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Special effects are also inserted during postproduction. Computergenerated imagery (CGI) replaces the green screen from the raw footage. Sometimes when you take photographs, the color doesn’t come out the way you want or expect. This can happen in movies and documentaries, too. Color can be corrected during postproduction. In most documentaries and some movies, narration is added. The narration can be used to tell the story or tie up loose ends.

Distribution The film or documentary is not going to be successful unless people see it. The project gets to the audience during the distribution process. If the film is not affiliated with a major studio, the first step is to find one to support the film, if possible. Film distributors take the completed project to theaters and sell rights to show it on television. DVDs, cable and satellite channels, and the Internet increases a project’s potential audience. An intense postproduction marketing campaign also occurs. Actors appearing in the project go on extensive promo tours. A film’s director, producer, or writer may also make promotional appearances. They are more likely to do so with documentaries, because most do not have a big-name star in the project. Besides driving audiences to theaters, television sets, or computers to watch the finished products, those involved in marketing also focus on other things. Ads are placed in trade publications to encourage award nominations, including the Academy Awards. Some films have products associated with them, such as toys, clothing items, and books. Marketing departments make the connections and help promote the products.

SOME DIFFERENCES BETWEEN FILMS AND DOCUMENTARIES As mentioned earlier in this chapter, although technically documentaries are films, people often use the two words to talk about two somewhat different things.

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Subject Most films are primarily meant to entertain audiences. For a while, people can escape their problems and enjoy some time away from reality. Documentaries, on the other hand, are aimed at catching the audience’s attention. They want to inform viewers about a subject. Some even want the audience to take action about something.

Fiction or Nonfiction Most movies are fiction. Even those based on real events generally have extra drama, added through the imagination of those involved in writing the script. All documentaries are nonfiction. New characters and events are not created for documentaries.

The Telling of the Story Films have to fill the screen for up to two hours or more. This allows time to develop complex characters and plot twists. Multiple cameras and camera views help bring the audience into the film. Film writers use many of the same techniques that novel writers do. Through the movie’s script, characters, and action, viewers experience a story’s beginning, middle, high point (climax), and end (denouement). Most people who appear in documentaries are not actors. They don’t act, and the words they say come from them, not a script. Without a script, those making the documentary can be surprised at what ends up being said! It makes the process of making a documentary less predictable. Sometimes the story takes off in a different direction from what the creators had originally planned. While films have the benefit of multiple cameras to provide shots of characters and action from many perspectives, a single camera is often used in documentaries. In some cases, it may not be that different from the one you and your family use to record events.

Creating Films and Documentaries

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Make Connections: Indie Films Independent films are made without the benefits available to filmmakers working with a major production studio. Nonetheless, they have to go through the same steps as those that are. It can be more difficult to find funding without the support of an established studio. Shortcuts in special effects may be necessary, and location shoots may need to be limited. It’s even more important for those working on an indie film to make wise use of their time and money. Just because a film may be an independent, it doesn’t mean it’s a “lesser” film. The Artist (2011) won multiple Academy Awards, including the big one—best picture.

Costs Because there are fewer sets, cameras, and all the other things often associated with filmmaking, making a documentary usually costs less. While a film can cost millions of dollars to produce, it can cost just a few thousand dollars to make a documentary.

WHO MAKES THE FILMS? Although jobs can vary between films and documentaries, there are some positions common to both.

Producer Producers may have one of the most misunderstood ones in film. Some people believe their primary role is to raise money and make sure the

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Earning an Oscar at the Academy Awards is the highest honor in the film industry.

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Make Connections: And the Winner Is . . . Over the years, most successful directors are male. And until recently, all winners of the Academy Award for directing have been male. Kathryn Bigelow changed that. The Hurt Locker was set in postinvasion Iraq and received critical and commercial success. She became the first woman to win the Directors Guild of America’s award for Outstanding Directorial Achievement in Motion Pictures and received a Golden Globe nomination from the Hollywood Foreign Press. In 2010, she won the award for Best Director, and The Hurt Locker won Best Picture at the 63rd British Academy Film Awards. Bigelow became the fourth woman and second American woman to earn a directing Academy Award nomination, and she was the first woman to actually receive the award. Her follow-up film, Zero Dark Thirty, was about U.S. efforts to find Osama bin Laden. Though it had critical acclaim, the film’s seemingly pro-torture stand brought much controversy.

director doesn’t overspend the budget. While this is somewhat true, many producers are involved much earlier than that. In fact, they help prepare the script and the entire project to ready it for presentation to potential funding sources. These sources include studios and distributors. The producer also handles most of the little day-to-day production.

Director The director is responsible for taking the words of the script and turning them into a film. She makes certain each day’s work is satisfactorily completed. Though the script guides her, it’s often the director’s vision that finds its way to the screen.

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Research Project Both films and documentaries can have real-life events as their subjects. Sometimes they’re made about the same topics. Here’s an example: in 2013, the BBC made a documentary about Nelson Mandela’s life called Nelson Mandela: The Fight for Freedom. (You can watch it on YouTube at http://youtu.be/ tV6x12n1yRA.) The same year, a movie titled Mandela: Long Walk to Freedom was released in box offices. You can find it on iTunes or Netf lix, and you can also go to the movie’s website at http://mandelafilm.com. If you can, watch both the movie and the documentary. If you can’t actually watch both of them, read as much as you can about them online. Now answer these questions: 1. How are the two films the same? List at least three separate ways. 2. How are they different? Again, list at least three separate ways. 3. Which one did you like better? Why?

Although documentaries do not have actors, a script may be prepared for any narrators. Directors make sure these scripts are delivered the way they want. And like the film director, directors of documentaries have overall responsibility for the production.

Cinematographer The cinematographer makes sure the finished product has the look envisioned by the director, producer, and screenwriter. He is in charge of

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Text-Dependent Questions 1. According to this chapter, what are the differences between films and documentaries? 2. The author says preproduction is an important stage when making a film or documentary. What are some of the reasons given? 3. During what production stage does shooting occur? 4. What happens in the editing stage? 5. According to the sidebar, what are indie films?

camera and lighting crews. He selects film stock, lens, and filters, all of which gives the film its desired atmosphere and look. Other positions include makeup, costumes, props, electrician, script supervisor, and caterer. Go online or to your library if you want to find out more information about these positions!

BOTTOM LINE Although most documentaries have a much smaller audience than films, both play important roles in our lives. And they have a long history.

Words to Understand Cold War: A period of hostility between the United States

and the Soviet Union that many people were afraid would lead to open war. leftist: Having communist beliefs or values, considered during the Cold War to be “un-American.” propoganda: Misleading information spread to convince people to think a certain way. subpoenaed: Ordered to appear before a court of law. blacklist: A list of people who are under suspicion or who are not allowed to do something. travelogues: Movies or books about someone’s traveling experiences.

Chapter Two

The History of Filmmaking and Documentaries

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he history of films began in December 1895, when the Lumière brothers, Auguste and Louis, showed their film The Arrival of the Train at La Ciotat in Paris, France. That was the beginning of audiences watching films. Most of these early movies showed of a single scene of everyday life or a public event; for example, the Lumière brothers did other films titled Feeding the Baby and Workers Leaving the Lumière Factory. They called their films “actualities.” Lumière employees traveled around the world, recording real-life familiar and exotic scenes—actualities—and then showing them to audiences. They made one-minute films such as A Gondola Scene in Venice;

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This movie showing workers leaving a factory was one of the first films.

Fifty-ninth Street, Opposite Central Park; A Scene Near South Kensington, London; and A Snow Battle at Lyon, France. For audiences in the 1890s, seeing real life up on screen was exciting. When audiences saw The Arrival of the Train, they screamed and jumped back as the filmed train moved from long shot to close-up, looking as if it could burst through the screen. The popularity of Lumière’s short films inspired Thomas A. Edison and others around the world to get their own portable film equipment and make their own “actualities,” and by the early 1900s, filmmaking had gone around the world. Film subjects extended beyond the every day. Though “clunky” when compared to today’s movies, they were often

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action films. Westerns were among the most popular early films, with heroes saving damsels tied to railroad tracks and fighting off villains. Though films were more animated, they were still missing something— sound. Instead, an organist often accompanied films. Some theaters had a person insert sound effects, such as a knock on the door or the sound of horses’ hooves. Sound was added to film in 1929, and the 1930s became known as the Golden Age of Hollywood. Filmmaking was now big business. Filmmaking slowed during the Depression and World War II, but by the end of the 1940s, filmmaking was thriving again.

THE HOUSE UN-AMERICAN ACTIVITIES COMMITTEE AND THE HOLLYWOOD TEN In 1938, during the early years of the Cold War, the House Un-American Activities Committee (HUAC) was formed to investigate people and groups who were suspected of communism in the United States. HUAC turned its attention to the film industry, especially the companies and individuals

Make Connections: The Hollywood Ten The Hollywood Ten were Alvah Bessie, Herbert Biberman, Lester Cole, Edward Dmytryk, Ring Lardner Jr., John Howard Lawson, Albert Maltz, Samuel Ornitz, Robert Adrian Scott, and Dalton Trumbo. Although film studios blacklisted the Hollywood Ten and others, many continued to write screenplays under pseudonyms. Writing under the pseudonym Robert Rich, Dalton Trumbo wrote the script for The Brave One, which earned an Academy Award for Best Screenplay in 1957.

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Protestors came out to support the Hollywood Ten, but the U.S. government did not lift the ban on many actors and filmmakers until the 1960s.

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headquartered in Hollywood. Hollywood had developed a reputation for radical thinking during the Great Depression, and many struggling actors and others in the film industry had leftist leanings. Members of HUAC worried that these left-leaning filmmakers would use their movies as propaganda for the Communist Party. Though HUAC had no proof, in October 1947, more than forty people with filmmaking connections were subpoenaed to answer questions about their political leanings. Ten prominent directors and screenwriters who were subpoenaed denounced HUAC’s tactics. They accused HUAC of violating their First Amendment rights to belong to any political party they wanted. These directors and screenwriters became known as the Hollywood Ten. They received jail sentences and fines. The Hollywood Ten were also banned from working for the major Hollywood studios. Other members of the film industry with alleged communist ties were later banned from working for the big movie studios. Eventually, the studios boycotted more than three hundred artists, including directors, radio commentators, actors, and screenwriters. The Hollywood blacklist didn’t come to an end until the 1960s.

THE CHANGING FILM INDUSTRY The film industry has grown and changed a lot over the past several decades. Advances in technology, for example, allow filmmakers the opportunity to include nontraditional actors in movies. No longer do dinosaurs need to look so obviously fake. Actors perform before a green screen, and during postproduction, dinosaurs or other creatures, other people, or buildings can be inserted. Today’s films are not limited to the movie theater. Made-for-television movies are increasingly popular. And movies that might have once been made to be shown in theaters are now seen on television.

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A BRIEF LOOK AT DOCUMENTARY HISTORY Nineteenth-century French filmmakers used the term “documentary” for any nonfiction film. The earliest movies, such as those by the Lumière brothers, were considered documentaries: they documented actual life. During the early twentieth century, travelogues were very popular. Another popular documentary was Frank Hurley’s film about the Imperial Trans-Antarctic Expedition, South, released in 1919. It documented Ernest Shackleton’s failed Antarctic expedition, which took place five years before. Examining previous cultures and times was another popular subject. Robert J. Flaherty’s 1922 documentary Nanook of the North showed how his subjects would have lived in the previous century. Though in 1922 his subjects would have shot a walrus with a shotgun, he made them use a harpoon, because that it how it would have been done in 1822. The newsreel is also important in documentary history. These were often shown in theaters before the main film. Though sometimes staged, newsreels were usually reenactments of events. For example, battle footage was a popular subject of early-twentieth-century newsreels. It was rare for a cameraperson to be onsite as the battle took place. Instead, the cameraperson would film scenes of major battles as they were reenacted. During the 1930s and 1940s, documentaries took on a propaganda tone. Documentaries were made with the specific purpose of bringing around the audience’s opinion to that of the filmmaker. The U.S. government hired Frank Capra to create the Why We Fight series. The purpose of the series of seven documentaries was to explain to service members why the United States was involved in World War II. The government also used them to convince the public to support U.S. war efforts. The 1950s saw the beginning of cinéma vérité/direct cinema. Harlan County, USA, Don’t Look Back, and Chronicle of a Summer are examples of this style that often includes using a handheld camera to follow

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Make Connections: Michael Moore One of the most successful documentary makers is Michael Moore. He grew up in a suburb of Flint, Michigan, and his parents and grandparents were among the many in the area who worked at General Motors factories. In 1989 Moore became famous for his documentary, Roger & Me, which won an Emmy. It examines what happened to Flint after General Motors left the area. Bowling for Columbine (2002) takes a look at guns and violence in the United States. It won a major award at the 2002 Cannes Film Festival as well as the Academy Award for Documentary Feature. Fahrenheit 9/11 looks at the Bush administration following the September 11, 2001 attacks. It became the first documentary since 1956 to win the Palme d’Or, the highest award, at the 2004 Cannes Film Festival. In 2007, Moore’s movie Sicko premiered. This documentary discusses the health-care system in the United States. Moore’s documentaries usually earn critical and commercial success, but some people criticize his techniques. Critics claim he plays a little loose with chronology (as in Roger and Me, for example). With Sicko, he came under fire for going to Cuba with some rescue workers from September 11, seeking to find treatment.

a person during a crisis. More-personal reactions can be shown using this technique. Because many shots are taken to get that “perfect” one, the editors’ role is very important. They sort through all the shots, find the ones that best represent the subject, and create a smooth film that flows together. In the 1960s and 1970s, documentaries were often used to express political philosophies and highlight music styles. Documentaries were made about Woodstock, Bob Dylan, and political campaigns here and

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Research Project The author writes that documentaries are often made to inf luence people’s opinions. Choose something you feel strongly about, and write a summary telling how you would use a documentary to convince others your opinion is the right one. Don’t worry about practical concerns like funding! Instead, list the people you would interview and the places you would show. Do some research online or in books, newspapers, or magazines to find out who are the important people in this story. Make a list of questions you would ask them. How would you organize each interview? What scenes would you include along with the interviews? How long would each segment be? What would you hope to make the audience understand?

abroad, among many other subjects. Several were made about the assassination of President John F. Kennedy. In the past, documentaries were often shown on television in the United States, but lately, they have found a wide audience as theatrical releases as well. Among the most popular recent documentaries are Bowling for Columbine, Super Size Me, Fahrenheit 9/11, March of the Penguins, and An Inconvenient Truth. Fahrenheit 9/11 earned more than $228 million in ticket sales and has sold more than three million DVDs. According to some industry experts, the perspective of documentaries has changed over the past two decades, and this could be why their popularity has increased so dramatically. The Thin Blue Line by Errol Morris and Roger and Me by Michael Moore, considered landmark films by experts, helped shape this change. Morris’s film uses reenactments,

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Text-Dependent Questions 1. When did the history of filmmaking begin? Describe what the first films looked like. 2. Why was the House Un-American Activities Committee created? What was it looking for in Hollywood? 3. Who were the Hollywood Ten, and what did they do? 4. What are some of the characteristics of cinéma vérité documentaries? 5. According to the sidebar, what are some of the criticisms of documentaries made by Michael Moore?

which was rare until his film. Roger and Me put a great deal of control over the audience’s interpretation of the information into the hands of the director. This is nothing new, of course; it can be traced back to Robert J. Flaherty’s 1922 Nanook of the North. Regardless of whether a film or a documentary is made for entertainment, educational purposes, or propaganda, these projects are always a business. They’re a way for people to make money!

Words to Understand grossing: Making a certain amount of money from sales,

before expenses are subtracted. royalty: A percentage of the profits from a creative work paid to a certain person or company. foundations: Organizations started with donations from people who want to achieve a certain goal. entrepreneur: Someone who starts a business or takes risks in business.

Chapter Three

The Business of Filmmaking and Documentaries

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here’s no doubt about it—making films and documentaries is a big business. And an expensive one. Just as an example, here are the top five biggest movie budgets of all time:

Avatar (2009) $425 million Pirates of the Caribbean: At World’s End (2007) $300 million The Dark Knight Rises (2012) $275 million John Carter (2012) $275 million The Lone Ranger (2012) $275 million

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The final Harry Potter movie was one of the top five movies that made the most money ever.

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But films don’t just cost a lot of money to make; they also, if they’re successful, make a lot of money. The top five highest grossing films of all time worldwide are:

Avatar (2009) $2,782.3 million Titanic (1997) $2,186.8 million Marvel’s The Avengers (2012) $1,518.6 million Harry Potter and the Deathly Hallows Part 2 (2011) $1,341.5 million Iron Man 3 (2013) $1,215.4 million Notice anything about these two lists (besides the fact that they’re talking about a lot of money)? Only Avatar made both lists, as the film with the highest budget and the highest grossing films of all time—number 1 on both lists. This means that Avatar was a financial success for its creators. It cost a lot to make—but its creators definitely didn’t lose any money on it!

THE LIST NO ONE WANTS TO BE ON Unfortunately, some movies cost more than they ever make back. According to www.businessinsider.com, the biggest film flops of 2013 were:

The Lone Ranger—budget: $275 million; gross worldwide receipts: $260.5 million R.I.P.D.—budget: $130 million; gross worldwide receipts: $78.3 million Bullet to the Head—budget: $55 million; gross worldwide receipts: $9.5 million Paranoia—budget: $35 million; gross worldwide receipts: $13.8 million Oldboy—budget: $35 million; gross worldwide receipts: $4 million On the documentary side, the following are the highest-earning documentaries in the United States.

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Michael Moore’s documentaries have caused controversy, but they are also among the most successful ever produced.

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Fahrenheit 9/11 (2004): $119,114,517 Everest (1998): $87,178,599 Space Station (2002): $89,935,229 March of the Penguins (2005): $77,437,223 Dolphins (2000): $51,000,000 Budgets for documentaries can be difficult to obtain. In general, they run less than those for films. Before a film or documentary can get started, those in charge need to determine how much money they need and where to find the money.

FINDING THE MONEY Whether you’re making a film or a documentary, the first step to finding the money is to determine what you need the money for: the actual costs of making the film. These include paying writers, producers, actors, and directors. Unless scenes are being re-created, documentaries do not have the expense of paying actor salaries, which can eat up a large part of a film’s budget. Other expenses include production costs (including sets), locations, film and other materials, crews, and food. Documentaries will have these expenses as well, but they are usually much less than those of films. Documentary crews, for example, are generally much smaller than those needed for film work. Both films and documentaries have marketing costs, and they can be high. They are also very important. These are the expenses of getting the film or documentary to the public’s attention. If people don’t watch the film or documentary, it won’t make money. In most cases, distributors—those who get the projects into the theaters or on television—are responsible for coming up with the promotional/marketing plan. Plans may not evolve in the same way from project to project, but there are common elements.

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MARKETING Before developing the marketing plan, those involved watch the film or documentary. After viewing the project, they determine the target audience, the people who the film will most likely draw to the theater or who will watch the project on television. Ideally, the target audience was determined even before production began. But things change, and giving it a second look after watching the film can provide marketers with more complete information before coming up with a promotional campaign. After seeing the film and with the target audience in mind, marketers take a look at the title. Does it catch the attention of the target audience? Is it unique? Does it set this film apart from others of the same genre? Is it easy to remember? The title is usually the first thing that comes to the potential audience’s attention, so making sure it is effective is very important. Think about it. Which title is more likely to get you to the theater to see a movie: Gravity or Floating Away in Space? With target audience and title in hand, marketers come up with ideas for posters, media ads, trailers, and other promotional materials. Most are aimed at grabbing the attention of the target audience. Again, the idea is to develop promotional materials that will get people excited about seeing the product. Excited people mean increased ticket sales. Actors are expected to do their part to promote the project and increase interest and ticket sales. Media interviews with actors—and sometimes writers, directors, and producers—bring attention to films and documentaries. For smaller films, independent films, and documentaries, these interviews can give the projects a “buzz” they may not otherwise receive. Another way a project makes money is to sell rights for film to be shown on television. A network purchases the rights to show the film or documentary for a specific period. The station may have exclusive rights for the entire period or for a specified time. This means no other stations can show the project during that period. Sometimes nonexclusive rights

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Make Connections: Don’t Blame the Theater The cost of going to the movies seems to get higher and higher. Most of the money theaters take in through ticket sales goes back to the film studio, though. The studio or distributor and the theater agree to show a film for a specific period. During the first two weeks, the theater usually keeps between 20 and 25 percent of ticket sales for that film. For example, if you plopped down $15 to see the movie, the theater keeps between $3 and $3.75. The rest goes to the studio. The percentage theaters can keep increases the longer they show a film. By week 4, theaters can generally keep up to 80 percent of a film’s ticket sales. So how do theaters make money? After all, they’re businesses, too. The answer is simple—concessions! They charge a lot for the popcorn, soda, and other snacks they sell.

are sold. Under these terms, the distributor can make the project available to multiple networks or other viewing options. Releasing films and documentaries as DVDs is another opportunity to recoup expenses. DVD buyers have often already seen the film or documentary in a theater first. They liked it so much they decided to buy the DVD, so they can watch it whenever they want, even years after it leaves the theaters. Streaming has become increasingly popular. People can go online through their computer or other device—like Roku, PlayStation, or DVD players—and watch a wide variety of films and documentaries (among other things). It’s yet another way for filmmakers and documentary makers to make money. Tie-ins to books and products can be a very lucrative way to increase

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Harry Potter books’ popularity around the world—including Korea—helped make the movies based on the books equally successful.

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profits. Take the Harry Potter series, for example. Of course the filmmakers had to purchase the rights to make films of the popular J. K. Rowling series. That increased the costs of making the films. But the books have a large and loyal fan base. You know the kind—they wait outside bookstores to get the latest edition. And if they’re that anxious to read the books, filmmakers figured they’d jump at the chance to see movie versions. They were right. Audiences flocked to movie theaters to see the films, and then they bought DVDs. While that’s the usual relationship between books and films and documentaries, it is not the only way things work. The book doesn’t always come first. Some films and documentaries, such as Rocky, Star Wars, It’s a Wonderful Life, and Conan the Barbarian, have led to book versions. In some cases, it is a retelling of the film (though not always exactly). Other times, the books expand on the films or documentary. They provide the story that led to the film’s plot or what happens after the events portrayed. Business arrangements vary—who pays for what and how long, for example. These books can renew interest in a film or documentary. DVD and streaming rentals and sales can increase. Some of the best-known tie-ins are between films and toys. Sometimes the films are based on toys, such as GI Joe and LEGOS. Many times, however, the toys are based on films. Action figures are popular examples. So are Halloween costumes and masks. Studios license manufacturers and other companies to create these products. They generally earn a royalty on each product sold, which can lead to a great deal of money. Packages carry wording that indicates the producers were properly licensed to manufacture and sell the products. If you make filmrelated products without that license, it’s a crime.

SPECIAL PROBLEMS FOR DOCUMENTARIES Documentary makers face most of the same money issues as large film studios. They have production and related expenses. And they’d like to make money, so they can go on making documentaries.

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Since documentaries generally do not use actors, do not require elaborate sets, and can cut costs on things like costumes, makeup, and hair styling, their production costs are less than other films. They usually require fewer cameras, and not as many takes are necessary to get a shot. Although their costs are lower, documentary filmmakers often have a harder time getting financing to make their projects. Unless they have established a good reputation in the industry or has someone connected with the project who has, they may not be able to connect with a studio. The studio would cover some of the costs or help the documentary maker find funding. Documentaries make a lot less money than films, so they’re usually less attractive to studios. This means documentary makers may try to fund their projects themselves—but with lower income, documentary filmmakers can have problems paying their expenses, even though they are relative small compared with large film productions. But despite potential financing roadblocks, documentary filmmakers have options. Early in the process, documentary filmmakers can research potential grants from public and private sources, such as businesses and foundations. A grant is money that does not have to be repaid. The grant usually has some requirements about wording and placement of the grant award in the credits and publicity materials for the documentary, and there may be some requirements for showing the finished documentary. For example, a foundation may want to show the documentary at its annual meeting. Documentary filmmakers should make clear what—if any—input the grant source has in the actual making and content of the documentary. Audiences need to know whether the grant-giver’s viewpoint may have shaped the documentary’s content. Experts often tell people wanting to start a business not to overlook friends and family as potential funding sources, especially if the entrepreneur -tobe has a limited ability to get credit from a bank, savings and loan, or credit union. The same is true for documentary filmmakers. Ask friends, family members, and people interested in the subject to contribute to the project.

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Make Connections: The Problem with Piracy Film piracy is the illegal, unauthorized copying and distribution of films in DVDs, print, videos, and electronic files. It costs studios a lot of money in lost sales and rentals. This can be particularly hard on low-budget films and documentaries. As technology improves, pirating films gets easier. Hackers can sometimes lift files from online. Some pirates find ways to override protection features on DVDs and videos. But pirating doesn’t necessarily need high-tech or specialized knowledge. Some pirates simply go to a movie theater with a concealed video camera and record the film. Then they record copies to sell. The most unsophisticated pirates simply record a film from television, copy it, and sell it. People make a lot of money selling pirated films. But it is a risky business. After all, it’s a federal crime. If you download a pirated film, you have also broken federal law. Both pirate and downloader can be charged with either a misdemeanor or felony. Either charge can bring a hefty fine and prison sentence.

This can be in the form of monetary gifts. In return, their names can become part of the credits. Documentary filmmakers could also ask these individuals to invest in the project, meaning that if the film makes money, the investors will also profit. It would be a highly risky investment, since documentaries don’t always make much money, if any. This is another situation in which all terms should be carefully thought out, understood by all involved, written down, and agreed on by everyone.

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Research Project The Academy of Motion Arts and Sciences—the organization that gives out Oscars—offers grants to help young f ilmmakers get started. Go to http://www.oscars.org/ education-outreach/grants/index.html. List the different types of grants the Academy offers, and describe what each provides in terms of funding. Do any of the grants interest you? Now use the Internet to f ind one other organization that offers grants to f ilmmakers who are getting started. Describe these grants’ requirements and offers.

The Internet has increasingly been used as a fund-raising source. Pleas for funding are made on Twitter, Facebook, and personal and professional blogs and websites. Sites such as Kickstarter (www.kickstarter. com) help fundraising reach more people and receive more contributions. The Oscar-nominated documentary The Square, about the events of the Egyptian Revolution in Cairo, was partially funded through a Kickstarter campaign. It is now a Netflix documentary and available for streaming. As the initial phases of preproduction are completed, information needed for fund-raising campaigns is developed. It’s important to have all the information needed to answer questions potential donors have. You don’t want to look poorly prepared and disorganized. Donors may believe that reflects how their money will be used and how the project will be done. Yes, the business of making films and documentaries is a big one. From the outside looking in, the challenges may seem overwhelming.

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Text-Dependent Questions 1. What’s the first step before beginning to make a movie or documentary? 2. List the expenses that come with making a film or documentary? 3. Define the term “target audience.” 4. Explain what piracy is within the film industry, and explain the problems it causes for makers of films and documentaries. 5. How can the Internet be used to raise money to make a film or documentary?

Just keep in mind that others have experienced these same difficulties and succeeded. Even the greatest director or producer probably started out small. Like most everything in life, being a success in the film industry takes hard work, determination, and dedication.

Chapter Four

How Can I Get Involved in Filmmaking and Documentaries?

F

ilm and documentary makers come from all walks of life. It takes hard work—but if this is a career path, you could become a filmmaker or documentary maker. It helps if you start young, as Steven Spielberg has proven.

STEVEN SPIELBERG One of the most successful film producers and directors is Steven Spielberg. Among his long list of hits are Jaws, E. T., Close Encounters of the Third Kind, Jurassic Park, Schindler’s List, Amistad, and Lincoln. Spielberg became known as a filmmaker in his early teens. Using an 8mm camera, he made adventure movies featuring his friends. Later,

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Steven Spielberg at the 2000 Academy Awards.

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Steven Spielberg has earned the honor of having his own star on Hollywood’s Walk of Fame.

he showed them in his home for 25 cents admission. There was even a concession stand; one of his sisters sold popcorn to the audience. When Spielberg was thirteen, he won a prize for his forty-minute film Escape to Nowhere, based on a battle in east Africa. Just three years later, he wrote and directed his first indie film, Firelight. He even set up a budget for the film and learned about profit and loss. The film, which later inspired Close Encounters of the Third Kind, had a budget of $500. Expenses were $499, so he earned a profit of $1. But at least it made money! After graduating from high school, Spielberg applied to the University of Southern California film school. He didn’t get in, so he applied

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One of Spielberg’s award-winning films was Schindler’s List, which brought to life the horrors of the Holocaust.

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again—and was again turned down. Instead, he attended California State University in Long Beach, where he finally earned a degree in film production and electronic arts in 2002—thirty-five years later. His college education was interrupted by real work experience. First, he got an unpaid internship at Universal Studios. Internships are often great ways to get your foot in the door of any business; not only do you learn practical know-how, but you also meet people who may later give you a job. In 1968, while Spielberg was serving as an intern, he completed his first theatrical release, a twenty-six-minute film, Amblin’. The film so impressed executives that Spielberg was signed to a contract at Universal. This made him the youngest director to have a long-term deal with a major Hollywood studio. Spielberg eventually started his own production company, rEntertainment. His career since then has included films and television programs. He has also worked tirelessly to preserve the memories of Holocaust survivors.

GETTING STARTED You do not have to be Steven Spielberg to get an early start as a filmmaker or documentary maker. And you have several options about what part of the industry to pursue. Maybe your interests lie in writing. Maybe you think you would like to be a director. Perhaps a cameraperson. The film and documentary fields embrace many interests.

Do You Want to Be a Writer? If you want to be a screenwriter, write. Take every chance you can to write. Throw yourself into writing assignments. Take creative writing classes if they are available. Some schools and community programs offer special enrichment classes, including ones in writing. While some are free of charge, others, such as camps and special classes, may have a fee. Scholarships are sometimes available.

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There’s more to making movies than just pointing a camera. Learning about writing techniques and how to structure a plot will also be a big help to you if you want a career in film.

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Getting involved with student news productions can give you valuable experience behind the camera.

Seek out internships. They can provide valuable experience, and they also introduce you to people already in the field of film and documentary production. You never know when those contacts will come in handy. Even if your goal is to write fictional screenplays, don’t pass up any chance to write that comes along. Write for the school newspaper. Write an essay for a competition. Write short stories. All of them will give you practice in writing clearly and concisely, as well as keeping to a schedule. These are important tools for professional screenwriters. Check with school and community drama program. See if they would consider performing a play you have written. You might have a better chance with groups that produce plays for children.

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A cell phone may be all you need to get started making some simple videos.

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Watch movies and documentaries with the eye of a writer. Pay attention to dialogue. Listen to speech patterns. Learn to love words. Word choice, speaking rhythm, tone—these are things that add uniqueness to dialogue. Get involved in school or community theater. Even if you have no plans to act or do makeup, costumes, or hair, you can learn a lot about writing by being involved in theater. For example, you will have the chance to learn about blocking and stage direction. As a screenwriter, you will have to add directions to your script. The director will have the ultimate say over such things, but your suggestions will be part of the script. Your directions about movement or how a line should be read will let actors and directors know how you see the character and scene. If you know someone making a film for a class or club, see if you can help with the script. Even if you cannot, consider getting involved in some other way. It’s a chance to learn more about the entire filmmaking process, which can benefit your writing. Write screenplays. Try to commit to writing some every day. Even if you don’t think your screenplay will ever be produced, keep writing them. Each time you finish one, you’ll have learned a little more. And who knows—maybe one of those screenplays will become your Amblin’!

Do You Want to Be a Cameraperson? If you want to be the person to shoot a film or documentary, Steven Spielberg proves you can do so as a teen. In fact, it’s easier now than it was in Steven’s day. Inexpensive video cameras are available. Many basic cell phones have a video feature. If you do not have access to a video camera—and even if you do— get involved with any school clubs or organizations that may provide you with the opportunity to shoot footage. In some schools, students use school-provided video cameras to film school events and sporting events. Check with community organizations to see if you could film their special events.

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Spike Lee has produced films in many genres, many of which have made important statements about our world.

Research any special classes, workshops, or camps focusing on filmmaking. If you can’t find any that offer sessions on being a cameraperson, consider taking those on general filmmaking. The more you know about making films and documentaries, the better cameraperson you will be.

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Make Connections: Spike Lee Spike Lee is a well-respected filmmaker, and many of his projects have been groundbreaking. Lee earned a master of fine arts in film and television from New York University’s Tisch School of the Arts. As his thesis, he made the film Joe’s Bed-Stuy Barbershop: We Cut Heads. It was the first student film to be showcased at the New Directors New Films Festival in New York City. Other Lee films include She’s Gotta Have It, Do the Right Thing, Mo’ Better Blues, and Summer of Sam. Lee has also produced documentaries, including the Oscar-nominated 4 Little Girls, the story of the deaths in the 16th Street Baptist Church bombings in Birmingham, Alabama.

Internships are also important sources of information, education, and training for camerapersons. Check with your locals news stations. Many of them offer summer internships in many areas of news program production. Try to find opportunities to shoot using various types of cameras. The experience you have can help you make sure this is the career you want. And it will put you in contact with others who can help you along your way. Just as someone who wants to write should look at films and documentaries with a writer’s eye, begin to look at them with the eye of a cameraperson. Take notes on what angles and what lenses you would use.

Do You Want to Be a Director? If you want to be a director, you need to learn as much as you can about making films and documentaries. Follow the same suggestions given for

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If you want to sit in this chair one day, you’ll need to get as much experience as possible now with drama, writing, and film.

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Research Project Stephen Spielberg is just one example of a filmmaker who started his career when he was young. There are other young filmmakers out there. Go to the Internet and search for “young filmmakers.” You’ll find several lists of up-and-coming filmmakers, as well as opportunities for young filmmakers. Pick one filmmaker and find out more about her or him. How did this person get started? Describe his or her education. How did she or he get started? What challenges has the person overcome to reach the point where he or she is today? What are this person’s goals for the future?

those who want to be screenwriters and camerapersons. You need to have a working knowledge of what they do. Get involved with drama clubs at school. Contact your community theater and ask if it has opportunities to shadow the director or be an intern. Get as much experience and make as many contacts in the field as you can. And look at films and documentaries with a director’s eye. How would you have set up a scene? Would you have had the actors do the scene differently?

AFTER HIGH SCHOOL Chances are you won’t have Steven Spielberg’s luck at landing a studio job while in college—so make sure you spend your time in college learning what you need to increase your chances of finding a good job in the

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Text-Dependent Questions 1. According to the chapter, what are three things you can do to gain experience in whatever area of filmmaking interests you? 2. What does it mean to look at something with a writer’s, cameraperson’s or director’s eye? 3. How can internships be important to your career as a filmmaker or documentary maker? 4. According to the author, you should have an understanding of many areas of filmmaking. Why? 5. List information you should get when researching film schools.

field. Many schools have film departments. Research carefully any you are interested in attending. If you can, talk to graduates. Get information about job placement. This is an important decision. Make it carefully. No matter what area of filmmaking you want to pursue, remember you can be a success if you’re ready to work hard.

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Find Out More Online Documentary.org www.documentary.org Filmmaker www.filmmakermagazine.com Making a Documentary www.filmmakingstuff.com/making-documentary 10 Tips for Young Filmmakers www.donalforeman.com/writing/freshadvice.html 12 Extra-Useful Filmmaking Tips for Ambitious Filmmakers www.lavideofilmmaker.com/filmmaking/filmmaking-tips.html

In Books Grove, Elliot. 130 Projects to Get You into Filmmaking. Hauppauge, N.Y.: Barrons, 2009. Hamlett, Christina. Screenwriting for Teens: The 100 Principles of Screenwriting Every Budding Writher Should Know. Studio City, Calif.: Michael Wiese Productions, 2006. Hampe, Barry. Making Documentary Films and Videos. New York: Holt, 2007.

60 Honthaner, Eve Light. The Complete Film Production Handbook. Burlington, Mass.: Focal Press, 2010. Lanier, Troy. Filmmaking for Teens: Pulling Off Your Shorts. Studio City, Calif.: Michael Wiese Productions, 2010.

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Series Glossary of Key Terms Abstract: Made up of shapes that are symbolic. You might not be able to tell what a piece of abstract art is just by looking at it.

Classical: A certain kind of art traditional to the ancient Greek and Roman civili-

zations. In music, it refers to music in a European tradition that includes opera and symphony and that is generally considered more serious than other kinds of music.

Culture: All the arts, social meanings, thoughts, and behaviors that are common in a certain country or group.

Gallery: A room or a building that displays art. Genre: A category of art, all with similar characteristics or styles. Impressionism: A style of painting that focuses more on the artist’s perception of movement and lighting than what something actually looks like.

Improvisation: Created without planning or preparation. Medium (media): The materials or techniques used to create a work of art. Oil paints are a medium. So is digital photography.

Pitch: How high or low a musical note is; where it falls on a scale. Portfolio: A collection of some of the art an artist has created, to show off her talents.

Realism: Art that tries to show something exactly as it appears in real life. Renaissance: A period of rapid artistic and literary development during the 1500s–1700s, or the name of the artistic style from this period.

Studio: A place where an artist can work and create his art. Style: A certain way of creating art specific to a person or time period. Technique: A certain way of creating a piece of art. Tempo: How fast a piece of music goes. Venue: The location or facility where an event takes place.

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Index 4 Little Girls 55 Academy Award 13, 15–17, 23, 27, 46 Amblin’ 49, 53

Hollywood Ten, the 23–25, 29 House Un-American Activities Committee (HUAC) 23, 25, 29

Bigelow, Kathryn 17 Bowling for Columbine 27–28 budgets 10, 17, 31, 33, 35, 41, 47

independent “indie” films 15, 19, 36, 47 internship 49, 51, 55, 58

cameraperson 26, 49, 53–55, 58 Cannes Film Festival 27 Capra, Frank 26 casting 6, 10 cinéma vérité (direct camera) 26, 29 cinematographer 18 community theater 53, 57 computer-generated imagery (CGI) 13 costs 10–11, 15, 33, 35, 37, 39–41 denouement 14 director 13, 17–18, 25, 29, 35–36, 43, 45, 49, 53, 55, 57–58 distribution 13, 41

Joe’s Bed-Stuy Barbershop: We Cut Heads 55 Kickstarter 42 Lee, Spike 54–55 Lumière, Auguste and Louis 21–22, 26 marketing (promotion) 13, 35–36 Moore, Michael 27–29, 34 movie ticket prices 37 Nanook of the North 26, 29 narration 13 newsreel 26

editing 11, 19

Oscar 16, 42, 55

Facebook 42 Fahrenheit 9/11 27–28, 35 financing 40 five steps of film and documentary production 9–11, 13 Flaherty, Robert J. 26, 29 footage 11, 13, 26, 53

piracy 41, 43 plot 7, 10, 14, 39, 50 postproduction 11, 13, 25 preproduction 10, 19, 42 producer 13, 15, 17–18, 35–36, 39, 43, 45 production 9–11, 15, 17–19, 35–36, 39–40, 49, 51, 55

Golden Globe 17 Harry Potter 32–33, 38–39

rights 13, 25, 28, 36, 39, 55 Roger and Me 27–29

63 Rowling, J. K. 39

Spielberg, Steven 45–49, 53, 57

schedule, importance of 10, 51 screenwriter 9, 18, 49, 53 script 9–11, 14, 17–19, 23, 53 Sicko 27 sound in films 23 soundtrack 11

tie-ins, film 37, 39 travelogue 20, 26 Trumbo, Dalton 23 Twitter 42 writer 13–14, 35–36, 49, 53, 55, 58

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About the Author Z.B. Hill is a an author, actor, and publicist living in Binghamton, New York. He has a special interest in education and how art can be used in the classroom.

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