people we have to work with to work with cast and crew
Unions:
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Screen Actors Guild
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Director’s'Guild of America
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Writers’ Guild of America
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American Society of Cinematographers
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IATSE (The International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada)
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Editors’ Guild
Also the individual agents, managers and casting agencies that represent the actors and crew members.
We would also need to begin work with an entertainment attorney and insurance providers.
Intro
Good Book Smokin’ Aces
Budget: $30 mil. $17 mil.
Tone: Stylish, glamorous, flashy, macho, Tongue in cheek, quirky, lots of gunplay
hard boiled, cynical humor.
Story:
Both: Involves a mob boss, gangsters, feds, and feme fatales. The story centers around bringing down a big time mob boss.
Smokin: several interlocking tales, Las Vegas . FBI uses mob bosses contract on a sleazy magician to bring down said mob boss. Several other criminals join in the hunt to reap the reward.
Good Book: centers around gambling and police corruption. Also, centers around one main character. Los Angeles.
Genre:
Both are action/crime/gangster/thriller.
Smokin’ Aces has elements of Film Noir, as well.
http://www.boxofficemojo.com/movies/?id=smokinaces.htm
crew
James Mangold (Director/Writer) –
James has producer, director, and writer credits. Some of his directing credits include such movies: Heavy (1995), Girl, Interrupted (1999), Kate & Leopold (2001), Identity (2003),Walk the Line, which was nominated and won a total of 53 awards (2005), and 3:10 to Yuma (2007). He has won an Amanda Award (Norway), for Walk the Line (2005), a Gijón International Film Festival award for both best screenplay and Grand Prix Asturias for Heavy (1995) , and a Sundance Film Festival Special Jury Prize for his direction of Heavy. He has been nominated for various other awards as well.
Why we want him-
We want James Mangold to direct our project because he has great experience with films in varying genres; he has a unique way of telling stories. He has been nominated for numerous awards and has a great reputation for professionalism.
We also want James Mangold to re-write the script, we want him because he has experience writing and we see him being able to give “Good Book” a more cohesive story with the rewrite notes we have made and with his creativity and vision.
Why he wants to work with us-
He could be enticed to work with us because he will have an opportunity to use aspects of different genres he has already directed. He will also be able to do a more action focused film than what he has previously done. This will give him new experience and give him an opportunity to expand his skill levels.
Time Commitment-
James Mangold will be needed for 1 week of re-writes and 12 weeks of pre-production and production work, making it a total of 13 weeks.
Michael Ballhaus (Cinematographer) -
Michael has 106 cinematographer credits; he originally started in his native country of Germany. He is honored to be the first German cinematographer to be honored by the American Society of Cinematographers in 2007. Some films he has worked on include: Working Girl (1988), Goodfellas (1990), Outbreak (1995), Air Force One (1997), Wild Wild West (1999), Gangs of New York (2002), and The Departed (2006). He has won several awards including Los Angeles Film Critics Association Awards for best cinematography in Goodfellas, National Society of Film Critics Awards for his cinematography in The Fabulous Baker Boys (1989), and won a Gooden Goblet at the Shanghai International Film Festival for The Legend of Bagger Vance (2000). He has also been nominated for 3 Oscars and 12 other awards.
Why we want him-
We want Michael because we feel that his experience will greatly benefit portraying the mood and tone of the film that we desire.
Why he wants to work with us-
Michael will be enticed with us because he has not worked on any projects since 2006 also he will have the opportunity to work with James Mangold.
Time Commitment-
We expect to need Michael Ballhaus for 10 weeks.
Back-Up list:
F. Gary Gray (Director)-
Gray has done a large body of music videos for such artists as R. Kelly, Babyface, and OutKast. The film he is best known for is The Italian Job (2003), this film will be relatively equivalent to our action needs. He has also done Be Cool (2005), and has been attached to The Brazilian Job (2009)
Andrew Lesnie (Cinematographer) –
Andrew Lesnie has won an Academy award for The Lord of the Rings: The Fellowship of the Ring (2001). He has done the Lord of the Rings Trilogy. He has also done King Kong (2005), and I Am Legend (2007).
With our agreement with Treeline Films, we expect them to fill the following Above the Line positions: 1 story board artist (1 week), 1 assistant director (12 weeks), 2 producers (12 weeks), 2 associate producers (12 weeks), 1 production coordinator (8 weeks), 1 music coordinator (8 weeks), 1 costume designer( 10 weeks), 1 casting director (12 weeks). Why we chose this deal- We want the best out of James Mangold, since he has a working relationship with these people, it will take less time to get everybody on the same page and working well together.
We also plan on hiring Media Asia Films for fight choreography (9 weeks) because they have experience producing a lot of Kung Fu and action films. They have worked on films in both Hong Kong and America, and are responsible for the fight scenes in Infernal Affairs.
conclusion (3 of 6)
Response or Outcome: We hope to be able to reach a broad audience who will enjoy the look, feel, and concept of our film. We also hope to have this production put Plainview Productions on the map as a serious production company.
Chance of being made: Our film has a very good chance of being made. The story is one that a lot of people can enjoy. Also the names attached to the project give it more power and momentum going into production.
Measure of Success: We will know that we are successful with this project if we are on time, on budget, and are able to create a positive buzz with viewers.
lead cast and start up funds
and won a Boston Society of Film Critics Award for his supporting role in Full Metal Jacket. Why we want to cast R. Lee Ermey-We believe that Ermey will be the proper antagonist for Lujack to prove something to. He has a very abrasive way about him, as a former Marine he is tough. We believe that by casting him as Waters he will be able to make the most out of the character and stand out. Why he would want to work with us-
Content/Rewrite Notes (only partially complete)
A. Identify the genre and list five indicators of genre
Genre: Action/Crime/Film-Noir
Action - big action sequences with car chases, shoot-outs, gunplay
Crime: - Lujack is undercover cop who fights crime, involvement
with bookies and Las Vegas mob boss, Frank Nimmo
Film-Noir:
- Lane is a femme fatale who uses her looks to
try to seduce and betray Lujack, sexually-magnetic
relationship.
B. Beside the Hero, identify 5 key Archetypes in
the script (which character fits which archetype)
- Ally: Tommy Chin
- Thresh hold Guardian(s): Ernie B. and Phil
- Herald: Capt. Waters
- Shapeshifter: Lane
- Trickster: Phyllis, Mitch Mayfield
C. 8 Notes to Strengthen the Dialogue
- Overall, voice-over can be trimmed or deleted
all-together
- Lujack-Lane scenes can dispense with lame/cut clines,
such as “Lady, I like innuendo as much as the next guy
but the suspense is really killin’ me.”,
- Less dialogue for Tommy Chin and not as hysterical.
D. 6 Notes to strengthen the Archetypes
- Ally: Tommy Chin should help Lujack more, especially
in tenser scenes with Frank Nimmo and the Blue Fox
strip club. Not complain as much.
- Herald:
- Shapeshifter:
- Trickster: Phyllis, shouldn’t be revealed so early that she
is involved in the murders of her husband and son. Also,
adapt quality of a shape-shifter.
- Shape-shifter: It’s not much of a surprise when Lane pulls
a gun on Lujack. Her motives are not hidden well enough.
E. Provide 8 notes to strengthen the Character
- Make Tommy Chin more of a bad ass
- Capt. Waters, should not be the typical cynical police
superior who chews out Lujack. Maybe should be more of a mentor.
F. Provide 8 notes to strengthen the Story
G. Provide 6 notes to strengthen the Structure
- Map out the actual Story Structures and Plot Structures
- Identify 10 key plot points, including I.I., TP, and CX
- In a short paragraph (not a log line), summarize the
Protagonist’s Arc (or Journey), including mention of
his/her struggle with the Antagonist.
- Indentify and explain two key metaphors in the script
and explain how they help to tell the story.
- INCLUDE ALL COVERAGE REPORTS for all
Distribution Options
A. Identify three ways you could distribute your film
through traditional channels.
-Theatrical, DVD, Internet B. For each of three distribution options, describe the
pros and cons.
1) Theatrical - Pros – helps market for DVD and other distribution, thrilling experience of viewing on big screen - Cons – most expensive form of distribution because prints are very pricey, less accessible, unpleasant theater atmosphere, plays for limited time – audience: world-wide, all ages (more than other forms),
2) DVD - pros: most profitable form of distribution, most accessible to the widest audience; if you purchase it, you can keep it forever like a book.
- cons: easily damaged which can prevent movie from playing, hurt theatrical re-release,
3) Internet
- pros: Targeted toward younger audience (18-34), who are more open to viewing content online., Easy access (people don’t need to leave home, one click away),
- cons: Only attracts younger age group. Many people don’t want to watch a film on a silly cpu screen, available for a limited amount of time.
C. For each of these three distribution options, estimate the audience that would be addressed.
1) Theatrical- world-wide, all ages (more than other forms), most specifically the 18-34 demographic
2) DVD- 18-34 demographic
3) Internet- 18-34 demographic D. Explain which of the three options seems most feasible for your film
- Theatrical E. Find FOUR particular Festivals for which your short would be appropriate. For each one, explain why the festival is a good match for your film.
1) Tokyo International Film Festival (October) - first screenings in Asia, start word of mouth there to hype a spring theatrical release.
2) Toronto Film Festival (September)
- Although it will not be the primary way to market for domestic, it is a great venue to generate buzz for the summer domestic release.
3) Berlin Film Festival (February)
- A great venue to generate buzz for the summer theatrical release in Europe.
4) Sydney Film Festival, Australia (June):
- A great venue to generate buzz for the fall (winter in Australia) theatrical release in Australia. F. Research and summarize ONE form of distribution that might work for your film.
- Ideal film for theatrical release because festivals aren’t as significant in marketing the film.
- Promise of a strong opening weekend,
- Action film lends self well to the big screen
- Great marketing tool for the DVD release where most of the film’s profits will come from, big – - Stars – Colin Farrell and Andy Lau – will attract people to theaters on their respective continents.
- As a big studio player, Twentieth Century Fox can release “Good Book” in over 3,000 theaters,
Project Deadlines
Note: Cross out item when complete
THURS. 03.06
- Cast (40)
- Budget (15)
TUES. 03.11
- Crew (40)
- Start-up Funds (20)
- Distribution Options (30)
THURS. 03.13
- Locations (40)
- Content & Rewrite Notes (85)
- Contracts (25)
- Profit Notes (25)
- Production Approach (20)
MON. 03.17
- Marketing Considerations (25)
- Introduction (15)
- Conclusion (20)
- Proofread/Format
TOTAL: 400 pts.
PROJECT DUE DATE: 10:15am on Mon. 03.17
“GOOD BOOK” BUDGET ESTIMATE
ABOVE-THE-LINE
Story $225,000
Scenario $1,087,500
Producer $750,000
Director $2,000,000
Principal Cast $3,500,000
Supporting Cast $712,500
Stunts $250,000
Fringe Benefits $600,000
Travel & Living $540,000
______________________________________
Above-The-Line Total $9,665,000
BELOW-THE-LINE
Production
Extras/Stand-Ins $597,500
Production Staff $735,000
Art Department $535,000
Camera $1,112,500
Set Construction $1,312,500
Miniatures $570,000
Set Operations $837,500
Electrical $740,000
Special Effects $635,000
Set Dressing $395,000
Props $217,500
Action Props $160,000
Wardrobe $1390,000
Makeup & Hair $225,000
Production Sound $472,500
Transportation $1,150,000
Location Expense $1,775,000
Process Photography $412,500
Production Dailies $362,500
Below-the-Line Travel $632,500
Fringes $1,575,000
Tests $45,000
Facilities Fees $127,500
Production Total $16,015,000
Post-Production Total $3,013,750
Other Direct Costs $900,000
_____________________________
Below-The-Line Total $19,928,750
TOTAL BUDGET $29,593,750
