Soovid osaleda filmivõtetel?

Alates 3. detsembrist - 2. veebruarini kestavad Eesti Vabariigi 90. aastapäeva pidustuste raames valmiva 1924. aasta 1. detsembril toimunud kommunistliku ülestõusu ainetel kirjutatud filmivõtted. Hoolimata sellest, et kooli ajalooõpikutes sellest väha räägitakse oli reaalne oht Eesti iseseisvusele olemas ja mässajatest saadi jagu vaid tänu kokkusattumustele.

Võtete massisteenidesse ootame inimesi igas vanuses. Kui on tõsine soov osaleda, siis võib endast teada anda meie castingu pealikule Piretile (piret@ektv.ee)

Tule ja võta oma sõber kaasa!

hingematvalt ilus inimlikkus

hommikuti näen alati maja ees üht ema oma lapsega. laps on vaja lasteaeda viia. ema on temaga nii kannatlik. laps on nii pahur. nagu mina omal ajal.

jõuan tavaliselt esimesena tööle. tean,e t siis on mul umbes poolteist tundi rahu ja vaikust asjade tegemiseks, sest hiljem hakkab hullumaja. pärastlõunaks on kõik grogid. isegi karm mutt production manager teeb enda üle nalja ja naerab.

trennist tulles näen tihti inimesi, kes ei ole just tavaline trennitüüp - juba nende kohmakatest liigutustest on võimalik seda mõista. aga nad on ülipüüdlikud ja jälgivad silmanurgast teisi, et neid järmisel korral matkida, et vähem uuuuued välja paista.

saunalaval istudes ja dushiruumi vaadates näen inimesi, kes tulevad just trennist ja lähevad pesema. nad on kõik nii alasti ja liiguvad kuidagi nagu igaüks omas maailmas. sõbrannadega käivad vist koos trennis vähesed. aga neid on lihtsalt nii ilus vaadata, sest mul on tunne, et nad ise tunnevad ennast õnnelikena.

vahel õhtul väljas käies näen neid tüüpe, kes on natukene purjus, aga ise nii hirmsasti rahul ja õnnelikud.

ja siis hakkab endal ka hea.

ma olen perfektsionist. ma ajan taga ebanormaalseid väärtusi. aga vahel hakkavad mu lihtsalt silmad selliste asjade peale läikima. kui need inimesed vaid ise end kõrvalt näeksid.

esmaspäeva õhtul

selle asemel, et midagi mõistlikku teha sõin ma shokolaadi lamasin teki sees põrandal vaatasin jaburat romantilist filmi lasin üle kõik kohustused ja ostsin piletid parima sõbra juurde.

hea õhtu.

50

manque

sarah kane'i ma väga armastan ja imetlen. teda lugedes meenub aga alati millegi pärast veebruarikuu bordoos. praegu teeks kõik, et saaks sinna kohe minna.... ilmselt peab. see polegi bordoo, mida ma igatsen. see on prantsusmaa. see keel. see elu. see olek.


mari-helen küsis eile, miks ma hiina keelt õppima läksin. ja tegelikult ma ei tea.

mu sohva haiseb, sest kerstin ajas sinna oma joogi ümber. hurjuhh.

jah.

ja midagi selleks, mida teha kui ootamatud külalised tulevad - maailma kiireim kook.

punkt.

c'est moi!

ENFJ - "Persuader". Outstanding leader of groups. Can be aggressive at helping others to be the best that they can be. 2.5% of total population.

Free Jung Personality Test (similar to Myers-Briggs/MBTI)

ENFJ
outgoing, social, attention seeking, emotional, loving, organized, comfortable around others, involved, open, hyperactive, complimentary, punctual, considerate, altruistic, easily hurt, religious, neat, content, positive, affectionate, image conscious, good at getting people to have fun, easily excited, perfectionist, assertive, ambitious, leader, hard working, seductive, touchy, group oriented, anti-tattoos

favored careers:
casting directory, film critic, wedding planner, work in the performing arts, teacher (art, preschool, elementary), actor, fashion designer, news anchor, fashion merchandisier, school psychologist, broadcaster, stylist, interior designer, event coordinator, restarant owner, childcare worker, hair stylist, film director, counselor, dancer

disfavored careers:
race car driver, scientist, computer specialist, airline pilot, computer programmer, financial manager, epidemiologist, truck driver, electrical engineer, software designer, web designer, business consultant, dj, bookseller

shining city

olen viimased 2 töönädalat igal hommikul kell 6 ärganud ja 7-8-9 paiku õhtul lõpetanud töötamise. kooli pole kordagi jõudnud. lõputöö juhendajat nägin poes ja oli piinlik. trenni kuni 3 korda nädalas jõuan. öösiti vrähklen une ja reaalsuse piirimail ja näen ja kuulen õudusunenägusid võttekohtadest. nädal on jäänud. nädal on kuradi vähe. esimesel võttepäeval ei peagi kõik valmis olema. peaasi, et selleks hetkeks kui me kogu tavaariga kohale jõuame on kõik välivalgustus kustutatud, tänavad autodest ja inimestest tühjad, juurdepääs rõdudele ja katustele valguse paigaldamiseks, tänavalaternates naatriumlambid,liiklusmärgid tänavatelt eemaldatud, inimestel akende ees paksud kardinad, päästeamet valmis tänavaid märjutama, 63-125 A juurdepääs elektrile, kõik tänapäevased sildid, lipud tänavatelt kadunud ja kõige selle muu asemel näeme me aastat 1924.

jah.

kolmapäeval tabas mind lihtsalt kassiahastus. kuskil käis krõks. oleks tahtnud nutta. natuke nutsin ka. kõik asjad kasvasid üle pea. nüüd aga... kõik liigub ja ma tean, et mingil moel saab kõik veel korda;)

käisin eile draamateatris. kiirgavat linna vaatamas. väga meeldis. tõesti. ei teagi, mis meeldis.... anti reinthali ja merle palmiste jätsid külmaks aga... jah. viimaseid kordi mängitakse, minge vaadake kuni veel võimalust on.

eile pärastlõunal hüppasin paariks tunniks läbi 101 last toompeal ürituselt riigikogus. vaatasin oma 5 aasta tagust elu nagu klaasitagant ja kuklast käis läbi mõte, et kas.... film ikk on see õige? sel ajal ma ju uskusin, et minust saab diplomaat. kas on parem sumbata tapa lähedal polügoni alal koos valgustajatega lumes või kõndida mööda sooje ministeeriumi koridore? kas on parem teha päevast päeva sama tööd või teha midagi, kus iga päev on uus saavutus?

igatahes. nad meeldivad mulle nii väga. see EÕELi praegune juhatus.

ja muide. see, kes nädalavahetused leiutas pidi küll geenius olema;)

kaks

seda ka, et... mai tea mis see on aga jube hea on ikka olla kui on pühapäev ja saunas käidud ja kodu koristatud ja saab puhaste lõhnavate linade vahele minna. mingi klišee armastus vist.

aga jah. mul on ilus roosa jope. ma ei saa ometi ju võttegrupi noorima liikmena mitte välja paistev olla. saaks nüüd nende lokatsioonidega ka ometi kõik ok. ajaloolise filmi tänavapildi filmimine on küll ehtne kebernass.

filmimeistrite riietusest

transpordi evelin: "kas filmimeestel on ka siis oma poed nagu surfaritel või matkajatel?"

režissöör asko: "ei nad kasutavad spordipoode."

.................................................................

pärast korduvaid heatahtlikke pahandamisi ja oma hääle ära külmutamist tegelesin ma lõpuks sel nädalavahetusel enese varustamiseks võtteperioodi ajaks. riietuse suhtes. kuna sel ajal ma umbes vähemalt 12 h päevas õues veedan ja see pole teps mitte suvi ja ma olin vähemalt 2 korda end juba peaaegu haigeks külmetanud, siis on mul nüüd esikus paar -32le vastu pidavaid saapaid, suusajope ja suusapüksid. vaatame siis. villased sokid on ka.

muidu võtab tõesti külm ära. nagu ma selle pildi peal olen. nina külmast sinine.

üllatus

the basics

Jobs such as directing, writing and acting are all well defined in the entertainment industry. Producing on the other hand is a different story, and adding titles such as associate, executive and supervising just make it even more confusing. Richard Zanuck once stated, "The producer is like the conductor of an orchestra. Maybe he can't play every instrument, but he knows what every instrument should sound like."

In general, the producer is responsible for turning creative ideas into practical or marketable concepts. They are also the person(s) who get studios to finance projects. Because producers are essentially supervisors at whatever level they produce, there is no union or guild that governs the jurisdiction of producing like what is seen in other professions such as writing, directing or acting. There is also no special school one can attend to learn the skills of being a successful and effective producer like there is for the other professions in the entertainment industry.

In most cases, the producer is in charge of bringing the production together, bringing in the creative elements and taking care of the numerous and frequent problems that may occur with film development and production. For those that actively produce, this can mean any number of activities including but not limited to: hiring the writer to write the original screenplay, selling the script to a studio, signing the major actors, doing the budget, hiring the crew, and making sure the set gets made on time. It is very clear that a single person cannot perform all these tasks. Likewise, different people prefer to do different tasks, but all perform some facet of a producer's overall responsibility; getting the motion picture developed, mounted and sold.
Those who take on all three tasks: writer-producer-directors, immerse themselves in the project, and almost totally control the quality of the final product
In movie credits, there are a lot of titles with the word producer (or some variation) listed. They can be typed into many different categories according to the nature and extent of their responsibilities. Some of these categories are Staff Producers, Independent Producers, Executive Producers, Associate Producers and "producer hyphenates." Production companies and or organizations employ Staff producers on continual bases. Often, they are assigned to specific projects, and often specialize in specific types of films. Independent producers are responsible for the bulk of theatrically released films, and will be discussed in more detail later.

An Executive Producer title is invariably the least descriptive. Generally, unless a person is directly involved in the film, you will not know exactly what task this person has performed. This title could be used to describe the person who raised every last cent to get the film made, or could be a person who made one phone call to a studio and then had nothing further to do with the project. The title could be for a person who was on the set constantly making sure the budget was kept intact, or simply for an actor who wants a little more credit for the film.

Associate Producer on the other hand often refers to a person who physically produced the project, making sure everything happens according to schedule and handling all production difficulties and problems that may come about once the money is allotted. Producer hyphenates combine the role of producer with other roles such as writing and or directing. Those who take on all three tasks: writer-producer-directors, immerse themselves in the project, and almost totally control the quality of the final product (along, of course, with the studio itself).
Finding and Acquiring a Property
The producer is almost always the first person on the project, even before the writer. It is very likely that the producer does not come up with the original idea for the screenplay, but they may see a play or read a book and believe that it would make a wonderful film. The first decision of a producer (and probably the most crucial) is to get involved. Once a commitment is made, a screenwriter needs to be found.

Ideally, a producer would find a ready-to-shoot script that could be taken directly to the studio, but this rarely occurs. Normally (if the screenplay is prewritten), the ideas will be there and the elements will be good, the script just needs a little work to become outstanding. In any case, the producer must obtain the rights of the material before they can proceed with making a film.

Rights are obtained by purchasing the material or by an option agreement (which provides the producer the exclusive right to purchase the material). The reason for this is that most published material is copyrighted and any use of the material without the author's consent could bring about major lawsuits. There are exceptions however, such as the works of Shakespeare or Charles Dickens. These works exist in the public domain and may be used to make a motion picture without having to acquire any rights to them. These days, at the time of publication most novels are automatically offered for production. Although this is the case, very few are actually optioned or purchased by a studio.

If a producer wants to find out where the picture rights currently stand for a piece of material, they can easily have a copyright search performed. Such firms as Thompson and Thompson Copyright Research Group (located in Washington DC) specialize in such searches. Performing such a search would reveal the entire chain of title of the material in question.

If a producer is serious about optioning or purchasing the material, this type of search is crucial. Once a producer has determined what material he would like to pursue and the rights status has been ascertained, the next step is to try and option those rights. By optioning the material, the producer is gaining the right to acquire something by the subsequent payment of additional money. In most cases, a purchase agreement is negotiated at the same time as the material is optioned. At this time, numerous rights (including publication, television, videocassette, dramatic and merchandising) are discussed which all pertain to the future prospects of the material.

The producer will find out quickly that to option and purchase a script, a lot of legal matters will be involved. Option and purchase agreements are far from casual documents, and a lawyer's involvement may prove very helpful. Lawyers are obviously not cheap, but in the long run having a lawyer negotiate the contracts for you will save the producer a lot of time, confusion and frustration. An experienced entertainment lawyer will know exactly how to state things on paper and will be able to offer the producer many business guidelines to follow.

To protect the film and its supporters from claims of copyright infringement that may result after the film is made, an insurance policy known as an errors and omissions policy (E and O policy) is normally drawn up by an attorney and carried by the picture. In most cases, if a claim of infringement is brought forth, it can be successfully defended without ever going to trial. The leading firm involved in reviews of such material is de Forest Research, Inc, based out of Hollywood California. Not only do they review your work, but also they have an extensive library that can prove useful to the writer during the initial scriptwriting.
It is crucial to either have the option renewed or the option exercised. If the option expires, all rights to the material will be lost.
For the producer, protection of their work can be provided by several different means. One way is to copyright the material the producer himself is working on. Another option is to join the Writer's Guild of America, which allows for registration of written material. Either way, the date that the material was within the control of the producer will be established and may prove crucial later if a claim is brought about. One last way to protect one's own material is to mail your material to yourself by registered mail that establishes a date that the material was controlled.

One important thing for a producer to remember when optioning material is the date in which the option expires. Because it normally takes a long time for the motion picture process to get underway, it is crucial to either have the option renewed or the option exercised. If the option expires, all rights to the material will be lost.

Because the term "producer" is so vague in the industry today, an option agreement is crucial in demonstrating the producer's drive, determination and belief in the project at hand. The most important first step is, once again, to find material that is believed in, gain a hold of the rights to that material, and start the process of development.
Working with Agents
One of the key players for a producer to be successful is the agent. In the motion picture industry there are very few pictures that have been put together without an agent being involved. Some of the major talent agencies today are International Creative Management (ICM), the William Morris Agency, TRIAD and Creative Artists Agency (CAA). Due to the close relationships they have with both studio executives and independent producers, the head of the motion picture department of these agencies are one of the greatest forces to getting pictures made today.

Agencies generally commission a maximum of 10% of their client's gross income, which they justify for work done on behalf of the client. These agencies are licensed (by the state) and are franchised by various professional guilds including the Screen Actors Guild (SAG), the Directors Guild of America (DGA) and the American Federation of Television and Radio Artists (AFTRA).

Agents are considered the middlemen between those trying to sell their material and those trying to buy it. Although they are not necessary in making any particular deal they are almost always involved. To find out who is represented by whom in the business, SAG offers a service that will furnish the names and telephone numbers of agents of its members. This service can prove very useful to a producer because much of the time an actor will only be able to be reached through their representative agent.
It is not necessary for a producer to have an agent of their own to make a film, but agents are needed to gain access to individuals that the producers need to make the film.
For any producer attempting to get their project off the ground, the enthusiasm of an agent can be of great assistance. If the agent feels good about the project they are more apt to suggest it to their clients. The problem is, sometimes just getting an agent to listen to you is difficult. For the new producer or someone whose name is unknown in the industry, an agent may not even take the time to answer your phone call. The key to this problem is persistence.

Agents are very busy people and do not have the time to listen to everyone, but if you keep pursuing them they may eventually listen. Because agencies are made up of many individuals, it is best for a producer to establish relationships with at least one agent from every agency they can. That way, there is more than one outlet that a producer has to choose from when trying to make a film. It is not necessary for a producer to have an agent of their own to make a film, but agents are needed to gain access to individuals that the producers need to make the film.

Studio Involvement
Packaging means the combining of two or more elements, such as a writer, actor, or director into a single project, which is then presented to prospective financiers. When a package is brought in front of a prospective financier, it has a better chance of approval. This is because when a buyer is offered a script along with an actor and a director they can more easily make an intelligent decision on the creative and financial aspects of the film. A package deal can relieve some of the stress that stems from unknown aspects of the project.

Motion picture studios are the principal source today for obtaining the funds needed by a producer to produce and distribute their films. Unfortunately for a new producer finding backing by a motion picture studio is very difficult. In the past few years there has been a great deal of films that have been made independently, and this is due in great part to the fact that a producer had the inability to sell their project to a studio. Some of the major studios today are Warner Brothers, Fox, MGM, Paramount, and DreamWorks.

There are also many so-called "mini-majors" which are companies that finance films but then distribute those films through other companies. Examples of these mini-majors are Castle Rock and Interscope.
The editor is considered a great and valuable ally for the producer because production executives will normally listen to the editor's suggestions.
There is a tall ladder that must be climbed in order for a producer to gain financial backing from a studio. The first step is the reader. Production executives normally give the material they receive to readers to look over and make comments on. The reader gives a synopsis of the script, describing the plot and the characters in brief detail. The reader also will state their opinion on whether they think the script will make a worthwhile movie or not. If the reader gives the script a negative report, there is a good chance that the script will be rejected and will not even be seen by anyone else.

Above the reader on the ladder is the story editor. The editor generally supervises the readers and gives some suggestions on scripts and writers. The editor is considered a great and valuable ally for the producer because production executives will normally listen to the editor's suggestions.

The next step up on the ladder is the production executives and or vice presidents. These positions are generally to draw in "good" material to the studios and to supervise it while it is being developed and while it is in production and postproduction. For a producer to deal with someone that will actually be receptive to their ideas, they would generally start at the production executive level. The senior production executive is considered the head of production. They decide upon which projects are to be produced and when, so that the studio will have pictures on the market all year round.
There have been many cases where a script was well accepted and then management was changed, other projects interfered or financial shortcomings occurred...
Unfortunately for a producer, once the script is given to the studio and it begins the process of hierarchy, there is no way of knowing what is to come of it. Even when it seems as if everything is going as planned, determining a development deal and a commitment for the picture may become a detriment of which the producer has little if any control. There have been many cases where a script was well accepted and then management was changed, other projects interfered or financial shortcomings occurred and the script subsequently foundered. By the time the producer hears a response from the studio a script that was a go at first may be filed away in the end, and the reason is never fully explained.

Screenwriter William Goldman writes a perfect example of this in his book "Which Lie did I tell." William talks about an occasion in which he had written a screenplay for Universal studios, which the producer loved. The producer then presented it to the powers that be where it was rejected. The producer later left Universal and wanted to buy the screenplay from them and they refused to sell it. So much occurs behind closed doors that result in movie rejections. In this case both Goldman (the writer) and that particular producer felt they had a script that would make a good movie, but for one reason or another the studio denies the proposal and the script becomes just another file in the cabinet.
"The Green light" versus "The Turnaround"
Once a project finally becomes a development deal, the next task is to make the material as perfect as possible in order to get the picture made. Hopefully it is possible for the producer to work closely with the production executive responsible for their particular project. It is important to be aggressive and push your film. Together with the production executive, the hope is that the studio will give the picture a "go" or "the green light." Often, studios have numerous projects in the works and without the constant efforts of the producer to keep the project moving it may never get made.

The goal of selling a script to a studio is of course, to get a project made (the green light). Once the script is purchased, the studio will usually insist that the producer signs over all rights they have for the screenplay. At this point, the producer usually has the option to take the money and hit the road, although they almost always take credit in the final project. A producer could also decide to remain working on the film and therefore become involved in the daily process of film production on the script.

The amount of money a producer makes on a film varies greatly depending on their level of experience and amount of active participation in the film. A first time producer who does not become actively involved in the production of a film can generally walk away with between $10,000-$30,000. This is sometimes called a finder's fee, and the producer will rarely receive any profit participation in the film.

For a producer that is more experienced and remains actively involved in the film, there is generally a development fee obtained. This fee is usually compensation for the producer's input while the studio finds a writer (or writers) and decides whether or not to give the green light to the project. In this case, the producer can make anywhere from $15,000-$60,000. If a project does get the green light, the producer can then receive an additional profit ranging from $100-$400,000 or more with a participation in the profits from the film.

There is always the chance at this stage of development that the picture will be given the "turnaround." This means that the studio abandons their support of the project and therefore the transition from development to production is never achieved. At this point the producer will be given the chance to take the project to another studio, and once the project is resold the original financier will be reimbursed.

There are many reasons why a project is given the "turnaround." One of these reasons may be due to a lack of a screenplay that seems viably profitable. Another reason may be due to a change in management, which in turn creates a change in studio interest in the project.

A lack of enthusiasm may also be a cause for turnaround of a project. In any case, a producer will still have the chance to bring their project into production, but with a different studio. Once a project finally passes through all the stages of development and is given the green light by the studio, the producer's next step is to begin a further inspection into the budget and the casting of the film.

If a producer finds it unlikely or even impossible to gain support in their project from a studio but still feels as if their project is worthwhile, finding alternate sources of financing is essential. Because the average cost of a film produced by a studio exceeds $30 million, studios are not really attracted to films that will only bring in $1-$2 million profit. In the past few years there has been an extreme increase in what is known as independent production.

The term independent can have various meanings in the production industry. Usually, the term independent is applied to any production company that is not directly affiliated with a major film corporation. Independent can also be used to define a small studio or an individual producer, as is the case here. An independent producer is someone who works outside of the studio system and collects funding from private investors. The money invested can be obtained from such places as banks, business owners, wealthy friends and even relatives.

The downside of this is that many of these people willing to finance films are doing it for the wrong reasons. For instance, a lot of people are looking for the glamour and fame of the movie business. Being independent could also mean that although the producer is receiving money from a studio, they still retain control over the project.
Working outside of a studio will also bring a producer the benefit of saving a great deal of money in the production of the movie.
When a project is truly independently financed, the producer can keep more control over the project and possibly sell off the rights separately to various companies or organizations. A producer who has retained the rights to project can make separate deals for distribution of the film to various theaters as well. When these distribution rights are kept, the producer will then receive more of the profits that are brought in by the film.

Working outside of a studio will also bring a producer the benefit of saving a great deal of money in the production of the movie. The producer will be able to form his own opinions and make his own decisions concerning the film, without the constant pressure of a studio leaning over his shoulder. If a studio were involved, the producer would be in constant watch of the studio; every monetary decision the producer makes would have to receive the studios ok. The independent producer will know exactly how much money he can spend because he makes his own budget depending on how much money he has received from investors.

For a picture to reach a level where bet profits finally come into play, it must earn back the cost of production, prints and advertising and any fees that a studio may add along the way. For a studio picture, the earnings must be anywhere from 3-7 times the initial cost of the film before a profit is established. On the other hand, an independently financed film could reap the benefits of a "gross deal." The producer establishes this type of deal with a distributor in which the producer receives their profit directly from the amount of revenue brought in by the film. In the later case, the success of the film will be much more profitable for the producer.

Films that are considered low budget or theater turned motion picture scripts are generally released as independent films. Studios are always looking for sure-fire hits; the ones that are going to be major blockbusters. For those who feel that making a film without the support of a major studio is a lost cause, take a look at the success of such films as The Blair Witch Project or Boys Don't Cry.
If the producer believes in the film there is a way to get it made without the support of a studio.
The former was independently produced and was screened at the Sundance film festival where it received rave reviews as a very original film. To date, the film has grossed over $100 Million Dollars. The later film, Boys Don't Cry, did not bring in high grossing profits, but it was critically acclaimed and received several Oscar nominations in the year 2000, along with an award for Best Actress presented to lead actress Hilary Swank. As proven by these two very different films, whether it is high grossing profits or eye opening, thought provoking realism that speaks to the soul; if the producer believes in the film there is a way to get it made without the support of a studio.

For the independent film, it is obvious that word of mouth is essential for the success of the film. Because the budget of the film is a major factor in production, it is safe to assume that the millions of dollars a studio may spend to promote their feature will not be available for independently produced films. The Blair Witch Project was a very successful film at the Sundance film festival where the word spread like wildfire. It was considered one of the scariest and most original film to be released in recent years.

Due to this praise and the creative Internet marketing by the production team, the film was sold and when it hit theaters the success was overwhelming. As for Boys Don't Cry, the film was not released into that many theaters and did not bring in that much money from the box office. After receiving several Oscar nominations and an award, the shelf life and gross profits the movie will obtain from rentals should prove much more lucrative.

Preproduction
Paul Lazarus, a long time Hollywood producer states, "Everything begins with the written word. An idea may spring up in a number of ways, but a movie begins to take shape when words are put on paper." Keeping this in mind, it is not a hard realization that one of the most significant responsibilities that a producer has is selecting a screenwriter for their film.

To find out what writers have written which projects in the past, such organizations as the Writers Guild of America, The Academy of Motion Picture Arts and Sciences and The Academy of Television Arts and Sciences have current listings of writing credits that they all publish annually. Of course more popular writers require a larger fee, and therefore if the producer is independently financed they will have to narrow their search in terms of affordability.

Much of the time, a writer will be hired by a producer because that particular producer is familiar with their work. In any case, once a writer is chosen and all deals are set, the writing of the script can finally begin. First and foremost, the fundamental parameters must be clearly understood by both the writer and the producer so as not to create problems later on in the project. Next, it is important for the writer to be given the freedom to explore various options that may arise within the script that concern both the plot and the characters. The producer must of course remain involved in this process, but the level of involvement must be decided upon mutually between the writer and the producer.

Normally the first draft of the script will be completed approximately 16 weeks after the writer begins. Once the first draft is completed, it is then handed over to the producer for review. The task of the producer is to read the script and make suggestions on how to improve the story. In addition to making suggestions about the plot or characters, it is the producer's job to be the financial supervisor of the script. It may be necessary for the producer to make suggestions to the writer on how to trim down certain scenes in order to reduce the expenses that the script will incur.

After the completion of the final draft of the script, most writers will move on to another project. There have been many exceptions of course, especially when the screenplay is an original work. There may also be cases where the director asks for continued collaboration with the writer. This can prove to be either beneficial or disastrous depending on the persons involved.
Estimating the size and demographics of the potential audience may be very helpful in determining the financial outcome of the film.
Preproduction may just be the most important period resulting in the success of a film. At this time, a producer will perform a wide variety of managerial responsibilities Preproduction is the precursor for production of a film, and lays the foundation for both the creative and financial aspects of the film. During this period of preproduction it is also crucial for the producer to maintain a high moral and a happy working environment for all crewmembers.

It is wise for the producer to come up with some sort of production strategy for the film. This strategy should consist of at least (but not limited to) three steps. The first is defining the goals and objectives of the project. It is important to specify the goals and objectives of the project during preproduction to ensure that all members of the production team agree on the purpose of the project.

The second step is assessing the potential of the audience. Although audience appeal will be discussed in more detail later, it is important to note that estimating the size and demographics of the potential audience may be very helpful in determining the financial outcome of the film. These estimations can be quite complicated and are never completely foolproof, estimations can help to determine the best format for conveying information to reach target audiences and assuring program effectiveness.

Another step in production strategies is researching the topic. As stated by Gorham Kindem, careful research can make the difference between promoting and exploiting misinformation versus carefully examining the key issues and stimulating a reasonable debate.
Scenes in a movie are rarely shot in sequence, but rather are shot in an order that will be the most cost efficient.
Some producers have had experience in production management and are known as "Line Producers." These producers are generally interested in daily operations rather than putting the projects together. Line producers are responsible for such tasks as making sure things are built on time, making sure all the costumes are made, etc.

Studios generally hire them and independent producers to run things to make sure daily processes are on time and within budget. The production manager will break down the script and lay out the blueprint for the film on a production board. Scenes in a movie are rarely shot in sequence, but rather are shot in an order that will be the most cost efficient. Determining this sequence is a job of both the production manager and the producer himself. Upon completion of the production board, the producer will be able to determine when each actor will be working during the course of the filming.

Because there is such a wide range of prices asked for by different actors in today's film industry, the casting of the film is a great factor in determining a films budget and visa versa. In an ideal situation, a producer and director will pick the best actor for the part.
The Production Process
Production is the time when all the collaborative efforts of the crew start to become visualized and concrete. This is the time of greatest opportunity for those making the film. Unfortunately, it is also the time when most of the cost of the picture is incurred, and therefore the time when those who have put their money behind the film are most at risk.

Production management is crucial in maintaining an effective film production. Production management includes the supervision, acquisition and scheduling of staff, equipment, and facilities for the production. Part of production management includes the script breakdown. This helps the producer to estimate the budget and time needed to shoot specific scenes of the film.

The breakdown will tell the producer such things as when certain props are needed and when the actors need to be on set. After the breakdown is complete, breakdown sheets are filled out which lists in more detail props, costumes, actors, and equipment needed for each scene. A producer will further be able to determine a shooting schedule in which the total number of days needed to shoot the project can be determined.

Once the production begins, it is not uncommon to see some producers leave the project. As touched upon previously however, there are other producers who continue to keep their presence felt throughout the production process. These producers find themselves filling a number of roles with in the project, but try to focus their efforts evenly between the business and the creative aspects of the film in progress.

In all actuality, the producer is not needed on the set. Everyone on the set has a designated role to perform except the producer. Because of this, there is a question of why the producer would stay on the set if they do not have a specific function.

There is a tremendous difference between the producer that is always present on the set and the producer that is rarely if ever seen. It is inevitable that a producer who is never on the set will be treated like a stranger from the crew if they do in fact show up one day. If, on the other hand, the producer is always on the set and is making himself known to the crew, they are more apt to treat the producer as one of their own, even opening up and expressing concerns to the producer which otherwise may go unspoken.

The producer is very often treated like the middleman between the crew and the director, cinematographer, etc. They will also receive many suggestions and insights from the crew that may prove lucrative in the filmmaking process. For any producer who is looking to become more involved in the production process as a whole, establishing a good relationship with the crew is vital.
It is important that the producer coordinate the activities of the press throughout the course of the making of the film.
Another important function that the producer can provide during the production process is that of public relations supervisor and or supervisor of publicity for the film. It is very important for the producer to oversee all material being written about the project as not to allow false or strayed insights of the production to go published.

Much of the time, the intentions of the filmmaker are misconstrued and the portrayal of the film by someone who is not directly related to the project will not do it justice. It is important that the producer coordinate the activities of the press throughout the course of the making of the film. By maintaining control and keeping one step ahead of the material to be published, any offending or "off the mark" material can be corrected before it makes its way into public eye.

Throughout production the producer will be in constant contact with the studio. It is important for the producer to keep the studio informed of the progress of the film, and to keep them off the directors' back. It is much easier for the director to do their job when they do not have to deal with the constant pressures of the studio. In this respect, if the producer can assure the studio that all is going as planned and within budget, the director will be able to keep their concentration on the film itself.
The Producer/Director Relationship
It is obvious that the relationship between the producer and the director is an extremely important one in the making of a successful picture. Although the producer appears to be a crucial role in getting a picture made, the studio does not necessarily believe so. As a matter of fact, the producer is paid far less than the director of the film, and is not a big consideration when deciding whether a film receives the "green light" or not. Due to this, one of the greatest tasks of the producer is to find a director that is affordable and acceptable to the studio.

There are a handful of directors that are considered "bankable," meaning that many studios are more than happy to have then on a project because of the almost guaranteed success the film will have with their name on the project. However, not every director can direct every type of film, no matter how talented or accredited they are. The producer must take into high consideration how the director relates to the particular project in mind. A great deal of persistence and enthusiasm in the project are once again key roles the producer must play in trying to bring a director to the project.

As the preproduction process begins, the producer and the director should work closely together and collaborate about how the production process and the entire scope of the film should take place. From the start, the producer and the director should have a shared vision of the picture. If the director goes into the project with the agenda of making a film that will promote or benefit his status then the film is bound for disaster.

The producer and the director must share a common goal; to make a picture that they both believe in. It is inevitable that there will be an overlap of interests and responsibilities between both players, and they should discuss these areas and try to figure out the most effective way to deal with them. The producer and director should work closely together while deciding the cast and crew, as well as location scouting and a lot of groundwork in preproduction.

During the production process, the producer is very helpful because they can be present in areas that the director is not. While the director is busy with their specific duties such as filming, the producer can be dealing with the studio, supervising crewmembers and their work, handling the press, etc.

The producer is also extremely helpful to the director in providing an objective point of view on the film as the process moves along. It should be considered helpful to the director for the producer to look at the dailies and be objective as to what they see. As the picture begins to take shape, the producers objective point of view will help to siphon out minor discrepancies that may plague the film in the future if not corrected. Many times, the director and others who spend countless hours each day with their eyes in a camera do not see these discrepancies. The point of view of the producer may pertain to both the performance and the technical aspects of the film.
Postproduction
Once the film is completed, the actors can go home, but the producer stays on. The amount of time it takes for postproduction varies greatly, but a period of twenty-eight to thirty two weeks (or even longer) is common. Initially the film editor, hired by the director and editor (usually with studio approval) will do most of the work in postproduction.

The film will take on many versions during the postproduction process. It will go through the editing room where the editor will make their cut and the director will make their cut, both leaving the scenes that they believe will create the best picture. Differing viewpoints are common, and when the studio gets involved it may even become quite hectic. The producer must once again be able to separate the creative and financial considerations of the film and finds a happy medium.

The producer may work with the director on the editing and some of the composing of the final picture, but in general the director, editor and composer work together on the final cut. If asked, the producer should continue to lend his support to both the director and the editor and offer suggestions to help in the editing process. If the producer is not requested to give his remarks however, he must temporarily step aside while the other three work their magic. Once the final cut is complete, the producer will once again step in and take a look at "his" film.

Throughout postproduction, the producer must maintain a sharp focus on the budget of the film. Although the bulk of the financial strain will have already been established in production, postproduction expenses can get out of hand if not carefully observed. Today, major studio postproduction costs exceed $1 million.

One of the main reasons for this is the increasing wages of the film editor and composer. Because there are only three (possibly four if the producer is involved) people working on the final product, more time will be needed to produce the final product. Time is not the only consideration that increases the budget however. These days, the editor and composer are considered major creative forces that will help to shape the film into something spectacular, and they are therefore paid much more for their work than they were in the past. Producers must keep a close watch on this increasing budget and keep the studio informed.

Distribution and Advertising
Once a picture has finally been completed and is ready for the viewing public, the responsibility of selling the film remains. For some reason, distribution of a film has always been a tough area for a producer to effectively participate in. The views of a producer are generally not well received by distributors. The best thing a producer can do in this area is to be honest. Because the producer has been with the film from start to finish, their knowledge of the film is much greater than that of the marketing agent. In this respect, the producer can hopefully offer a more effective sales approach for the market.

Studios normally have numerous films in the works and gaining support for a film even after it is made may be difficult. Even if it is a wonderful film, if no one hears about it, it will not be successful at the box office. A producer should do whatever they can to get their film marketed correctly. It is very important for a producer to remain involved in the distribution process of the film. The producer is once again the liaison, the middleman between the people who make the film and the people who market and distribute the film.

Major film distributors (a.k.a. the film studios) receive the bulk of the distribution receipts from their films. The studios generally negotiate with exhibition chains (such as AMC or Century theaters) along with independent theaters (privately owned) for a split of all receipts brought in by their films. One of the most common splits for a major motion picture is 90/10, in which the studio gets 90% of the receipts brought in, while the theater receives the remaining 10%.

Over time the theaters' profits will increase while the studios profits will decrease. In the initial stages of release, theaters will compete with each other for specific films by bidding a split amount and showing duration (# of weeks the picture will be shown at the theater) of the film. Films that are considered major blockbusters will be released in greater quantities and in more theaters across the country on opening weekend to try and bring in the maximum gross possible.
As with everything else, the more active and aggressive the producer is in promoting the advertising the better.
An area of ever increasing importance for negotiations of a film, and an area in which a producer can become very involved is that of commercial "tie-ins." These tie-ins include everything from t-shirts to toys to books, records, posters, dolls and games. Producer's negotiations with these distributors can help to further increase the profits of a successful film.

For a producer who seeks to assist in the marketing of the film, advertising is one of the most critical components. The more information the producer knows about the process the better. As with everything else, the more active and aggressive the producer is in promoting the advertising the better. From the beginning of the marketing and advertising process, the producer should have in mind what social groups the film will appeal to most.

He should be very knowledgeable about the film as a whole, and who will bring about the biggest response to it. With all this in mind, the advertising of the film can take on a much more focused approach, which will save both time and money. On the other hand, a producer must try and find a way to cross the lines drawn by all social groups; the more people that go and see the film the better. There is a fine line to walk when determining the advertising that will be most beneficial.

As with all aspects of the film, studios will also try and impose a time deadline on advertising. Unfortunately time deadlines create restraints on the amount of revising that can be done. There have been many instances when advertisers have presented their ads or movie trailers to producers without time to make changes. Producers must try and work with these deadlines and make sure to oversee the work as it is in progress. This way, when the deadline arrives, the advertisement will not need revisions.
Foreign distributors can be of great importance to producers even before a film has gone to production... they will give the producer a cash advance on the film for distribution rights once the film is released.
One last area that a producer must be well aware of is foreign distribution of their films. In recent years, foreign revenues (those theaters outside the United States and Canada) have accounted for greater than 50 percent of the total gross of a film.

Foreign distributors can be of great importance to producers even before a film has gone to production. In this case, distributors will give the producer a cash advance on the film for distribution rights once the film is released. Distributors can also make advances after the film is produced. In either case, the producer can use this money for financing the film, and the distributor will be reimbursed from the producers' share of the proceeds the movie will bring in.

Foreign distribution is an ever-increasing benefit for the producer. The producer, whether independent or studio-based, should maximize whatever foreign means made available but should make sure to have individual contact with each distributor from each individual country. This may seem like an overwhelming task, but every country will have a different approach to distribution and their profit margin, and therefore should be treated on an individual bases. If done correctly it is possible that foreign distribution could ultimately account for a majority of the films' profits.

Gorham Kindem, writer of The moving image, sums up the role of the producer in a few simple words. He states, "Producers are risk takers, who seize an idea, run with it, and convince others to follow them." Producers are the film industries' building blocks. They can come from anywhere and don't need any particular training to get in the game (other than the ability to socialize well).

They are always thinking and trying to sell a product, and always looking for that one idea, that one script which strikes a chord. Many producers begin their career as somebody's assistant. Others come from other areas of the industry, such as directing, acting, managing, law, etc. Others start out with simply a dream of being in the industry and money they received from family or another source.

In any case, to be a producer means you must have confidence, perseverance and a willingness to give your all to the project. The producer is the one who is there before the beginning and after the end.

References

Goldman, William © 2000. Which Lie did I Tell?
Kindem, Gorham © 1987. The Moving Image. Production Principles and Practices
Lazarus, Paul N © 1992. The Film Producer
Linson, Art © 1998. Pound of Flesh: Perilous Tales of How to Produce Movies in Hollywood
McHugh, Kenna © 1999. Breaking into Film
Pink, Sydney © 1989. So you want to make movies: My Life as an Independent Film Producer
Random House Inc, NYNY © 1999. Movies and Money
Resnik, Gail and Trost, Scott © 1996. All you need to know about the Movie and TV Business
Seger, Linda and Whetmore, Edmard Jay © 1994. From Script to Screen

FilmMakers recommendations

ACTION CUT - This is the most unique series of learning tools in the film industry that provides an in-depth look inside the directing craft on a step-by-step, shot-by-shot professional level of production from the written page through the moviemaking process to the final film.

Which Lie did I Tell? by Goldman, William

The Moving Image. Production Principles and Practices by Kindem, Gorham

The Film Producer by Lazarus, Paul N

Pound of Flesh: Perilous Tales of How to Produce Movies in Hollywood by Linson, Art

Breaking into Film : Making Your Career Search a Blockbuster by Kenna McHugh

So you want to make movies: My Life as an Independent Film Producer by Pink, Sydney

Movies and Money by Random House Inc, NYNY

All you need to know about the Movie and TV Business by Resnik, Gail and Trost, Scott

From Script to Screen : The Collaborative Art of Filmmaking by Linda Seger, Edward Jay Whetmore

how do you pronounce "evelin" in estonian?

oma hüpertihedas päevaplaanis liigun ma vahel harva hektiliselt, kui mulle piisavalt pinda käia ka kodu-kool-töö-trenn marsruudi väliselt.

täna käisin selle aasta EBSi erasmuslaste mingil pisikräul, kus prantslased kokkasid. mmmmmmmmmm:):):)

see eellugu on juba naljakas. arthuriga kohtusime me bordauxis cambridge pubis, kus tema jõi ja mina töötasin. pärast seda kui ta mingil põhjusel teada sai, et ma eestist olen, andsin ma talle oma eesti nri. ja mõni aeg tagasi ta helistas mulle. pühaba õhtul otsustasin siis enese suurest masendusedepressioonijaenesehaletsusehunnikust välja tõmbamiseks temaga kohtumist mitte üle lasta ja läksin kompressorisse, kus oli veel 4 prantslast! juba see õhkkkond.... oojaaa. hästi tegin. nojaa ja kui ta esmaba mulle siis smsi saatis, et kas ma tahaks õhtusöögile neile tulla ja mul kõik meie bordoo õhtusöökide pildid silme eeest läbi jooksid vastasin mõttes automaatselt jah ja pärast saatsin talle smsi ka.

kuna tlns lõpetatakse alkomüük ebaausalt vara siis olingi täna õhtul suur kalevi kadrioru kommikarp näpus nende korteriukse taga jaa.....!!!

kui see ei ole cheating, siis ma ei tea, mis on.... see on nagu nende erasmusest endale tükikese varastamine.

no ja sellest ma parem üldse ei räägi, millist furoori ma seal ainukese eestlasena tekitasin;)

koolielu

ohjah, mu eriala on niiiiiniiii põnev ja popp võiks arvata.

aga üha enam hakkan ma kahtlema, kas ikka tegin õige valiku. hiina keel on khuul. raske, aga ma usun, et see mäng ja pingutus väärib neid küünlaid. kagu-aasia riikide ained on need minu ained ja tõsiselt harivad ja huvitavad. lotmani loengusse on põnev maanduda, aga kuidas ja kas ma selle eksamiga hakkama saan on iseasi. siis minu antropoloogia aine rahvastest ja rahvustest on parim aine üldse, lihtsalt keeruline on kogu selle lugemisega hakkama saada(sest igas aines on miljon asja lugeda) ja siis jääb veel konfutsianismi ja vana-hiina kultuuri ained. konfutsianism on naljakas mu jaoks sellepärast, et me õpime erinevaid konfutsianismi tüüpe hoolimata sellest, et mul puudub backround selle asja kui terviku suhtes. usun,e t ka teised on sarnases teadmatuses. ja see vana-hiina asi... ohjah. selles see kahtlus sel nädalal alguse saigi. pidime lugema mingeid vanu suutraid. ma tohutult pingutasin selle jaoks ja tõesti lugesin aeglaselt ja mitu korda, et mõista ja arusaada. ja kokkuvõttes lihtsalt taipasin, kui mitte minu asi see on. mitte lugemine, aga kasvõi selle usundi eesmärk - eesmärgiks on ju muutuda piisavalt apaatseks ja ignorantseks muu ümbritseva suhtes, ainult minetades kõik tunded ja meeled on võimalik budismi järgides kuskile jõuda....


huvitav. väga huvitav.


ma olen teisest puust.

identiteedikriis

miks ma siin olen?

mida ma teen?

kas ma teen õigeid asju?

kas ehk peaks tegema midagi muud?

kas ma teen liiga suuri ja laiahaardelisi plaane?

kas ma võtan liiga palju ette?

kas oleks õigem natuke taandada neid plaane?

äkki peaks aja maha võtma?

siin tehti maagiat

mai tea, mis see on. filmides ja raamatutes ja vanemad inimesed räägivad ka. et tundsid ära. kui tuli see õige. kas naine või mees. et tuli nagu selline rahu. teadmine, et kõik on korras võib saab korda. lootus. või mingisugune kindlust. kuskilt seest. mul tuli sel kevadel ka. kevadel mitte, aga hiljem kindlasti. mul pole sellist asja veel varem olnud elus. selline rahu. mitte lihtsalt rahu, aga... tunne, et ongi seeseessseeeeee.

tagasimõeldes tundub see ikka üldse mõistuse. puhtalt möödunule mõeldes võisin orgasmi saada. lihtsalt.

kui kogu see asi kokku kukkus, siis ... esimest korda mõtlesin, et milleks see kõik.

nüüd on rahulikum. flirdin võõraste meestega ja teen igast nalja. aga hetked enne täielikku uinumist ja hommikul silmade avamist kuuluvad talle. puhtalt sellele mõeldes...

ulme.

through the monsoon

postkastis on 2 kirja. mõlemad millegipärast spämmi hulgas:

1. kirja saatja teatab, et ma saan omale paartuhat krooni taskuraha juurde, sest ELil jäi raha üle

2. easyjet ütleb, et sale kestab keskööni....


jah....

ei teagi nüüd...

;)


eile õhtul tegime režissööri ja soomlasest 1 ADiga pikapika jalutuskäigu vanalinnas ja käisime kõike võttepaigad läbi. Pärast läksime krahli ja rääkisime tsuti juttu ka. igaüks siis rääkis oma lugu, kuidas keegi filmini välja jõudis.... jah... mai tea mis see oli, aga hästi ta oli. ei kujutaks elu hetkel teistmoodi küll ette. ma armastan oma tööd üle kõige maailmas!

nowadays

see, kes leiutas mobiiltelefoni oli kullatükk.

aga see, kes leiutas selle vaikse režiimi oli geenius.

ma õpin ja õpin ja õpin ja õpin, sest otsustasin, et niisama magistris käia pole mõtet. selleks et ma suudaks oma eksamid ära teha ja midagi külge ka jääks(ja uueks aastaks osaks ka lühikesi jutte hiina keeles rääkida) peab pingutama.

aga selle eest on tööle tore.

tantsimine on nagu uus armastus.

kes tahab mind kätte saada peab kannatlik olema.

spoiler

njah... vahel ma mõtlen, et ma olen nagu kapilaps. et kasvanud kuskil muust ühiskonnast eemal ja siis aeg-ajalt kui sellega kokkupuutun ja nn oma steriilsest roosast ümbrises väljuma olen sunnitud, saan ikka šoki.

ostsin suvel omale kodu. selle kodu müüs mulle üks väga kena noor poiss, kes ühtlasi oli nii maakleri kui müüja rollis. aga jaa... ma vist jäin sellele poisile kuskile kripeldama ja siiani pole ta suutnud oma kirju ümber suunata ja kasutab seda ettekäändena, et mind aeg-ajalt külastada ja mulle helistada ja siis venitada neid käike siia oimaiteakuipikkadeks.

ja eile ma siis otsustasin pärast seda kui ta juba mitu korda helistanud oli, talle ise need kirjad ära viia, sest siis saan ise valida kauaks ma jään ja ei pea kuidagi pingsalt leidma põhjust, miks teda enda poolt välja visata.

seal siis istusin hetkeks maha ja rääkisin temaga juttu kuni ma rääkisin oma tulevikuplaanidest ja mainisin singapuri minekut. millepeale ta kommenteeris, et ohh see on ju nii lähedal ja siis tuli välja, et noormees täiesti siiralt arvab, et singapur on saksamaal ja ajas selle luksemburgiga sassi.

booh.
okei. ta on minust aasta noorem, 21 siis, ta lõpetas põhikooli ja läks siis tsileriks õppima, see ei tulnud välja ja siis hakaks kortereid müüma, see tuli jälle väga hästi välja. ehk siis, ta näeb tõesti überhea välja ja finantsmõttes on tas kullaauk, aga loll nagu..... lauajalg.


mu sõbranna ütles eile öösel selle peale kui ma talle seda rääkisin, et aga sul polegi ju teda rääkimiseks vaja, rääkida võid kellegi teisega ka.