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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. 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. 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.
Хрестоматия для самостоятельного чтения по специальности “Режиссура кино и телевидения” INTRODUCTION A good director makes sure that all parts of a film are creatively produced and brought together in a single totality. A director interprets the script, coaches the performers, works together with the montagist, etc., interrelating them all to create a work of art. According to Film Scholar Eric Sherman, the director begins with a vague idea of the entire film and uses this to help him determine what is to be done. He gains most when others are given their freedom to show what they know.
Some directors attend primarily to the camerawork, their chief concern being for a pictorial beauty and smoothness of execution. There are still other directors who say that the art of film resides in the editing process. For them, all steps prior to editing yield crude material, which will be finally shaped and lent an artistic worth through their imaginative juxtaposition. The point is that there have evolved nearly as many theories of film directing as there are directors. We cannot, while watching a film for the first time, point out particular shots or lines of dialogue and fully appreciate their ultimate relationship to the entirety of the picture. Similarly, the actor concentrating on every gesture, the writer concerned with logical narrative and captivating dialogue, the cameraman dealing with isolated images, and the editor concerned with the rhythmic flow are not in the position that the director is to grasp the film as a whole. Only the director stands apart from any one particular contributory element but lends to all of them a sense of the pictures entirety. Many of the strongest directors have refrained from virtually any function besides that of an overseer of the film. The director approaches a film with more or less a well-defined sense of its meaning. For him, this limits and determines what the basic drive should be of all the other contributing elements. As previously stated, the director’s concern is always conditioned by a sense of the whole. He selects and guides all work and shapes it along the necessary route to achieve (as close as possible) what he has in mind. When it is said that the director approaches a film with a sense of the whole in mind, obviously it is not meant that he has a complete knowledge of the finished product in all its parts. In fact, a director learns, as the production of the film progresses, exactly what it was that he had envisioned. There is no “beautiful shot” or “great cut” that has not been conditioned by the overriding vision of the whole that only the director provides. WHAT AND WHO IS A DIRECTOR? By definition, the director creatively translates the written word or script into specific sounds and images. He or she visualizes the script by giving abstract concepts concrete form. The director establishes a point of view on the action that helps to determine the selection of shots, camera placements and movements, and the staging of the action. The director is responsible for the dramatic structure, pace, and directional flow of the sounds and visual images. He or she must maintain viewer interest. The director works with the talent and crew, staging and plotting action, refining the master shooting script, supervising setups and rehearsals, as well as giving commands and suggestions throughout the recording and editing. Polanski, director of films such as Rosemary's Baby and Chinatown, also stated that, “Directors are like generals, political dictators, aggressive people. You don’t have to be aggressive in a malevolent way, in a hostile, disagreeable way. Actually, you have to be the opposite way. You have to be a real leader. That’s to say that you have to let those who are doing their work do their work. You are a guide, and you’re a “tell-it-to”, and you’re a prophet, and you’re a boss, and you’re a slave, and, in the end, it’s your fault. And everyone in the film is always grateful if you tell them what to do.” Obviously, to be a director, you have to take on several different roles depending on the particular situation at hand. ENTERING THE BUSINESS Whether it is intentional or by accident, there is probably as many ways to enter the business of filmmaking as there are filmmakers. Some directors, such as Paul Mazursky (Next Stop, Greenwich Village) and Woody Allen (Annie Hall, Manhattan Murder Mystery) started out as comedians and then actors. Eventually this led them both to screenwriting and finally directing. Allan Dwan (The Iron Mask, The Three Musketeers) planned to be an electrical engineer. Quentin Tarantino (Pulp Fiction) worked in a video rental store. Louis Malle (French films, India) and Irvin Kershner (The Hoodlum Priest, A Fine Madness) began by making documentaries.
THE SCRIPT The first basic element in creating a film is the script. The script is basically the guideline. Even if it is very precise, it is a guideline. Later, the period of the shooting will bring you a lot of surprises. Then, the editing is a completely new experience. Every picture starts out with an idea placed on paper. These ideas come from a multitude of places, including plays, poems, paintings, music, etc. There are thousands of people currently writing scripts in hopes that theirs might attract the attention of a producer, studio or director. There are a lot of well-written scripts that for one reason or another will never make it to the screen. Martha Coolidge (Rambling Rose) has said “You're always looking for a metaphor that is extremely visual and dramatic so that it becomes a picture and not just words on the page.” Michael Winner (Scorpio, Deathwish) has quoted, “What normally happens in this town (Hollywood) is that somebody gets a script and says, “Let's give it to somebody else, which I really can’t understand at all, and ten writers later and six arbitration's later…. Sometimes very good films are made that way. Some of the finest films ever have been through many writers in the most extraordinary manner.” Case in point: One of the American Film Institute’s 100 greatest movies of all time, MASH, was turned down by 12 different studios/directors before Robert Altman decided to take a chance and make the picture. For many directors, the creation of an unforgettable character in a script is the key to winning them over. Many directors begin by considering how the character’s journey through the story will ultimately affect the audience. For Ron Howard (Backdraft, Apollo 13) this is the single most important consideration. Directors like Howard tend to seek out material that will confirm their own worldview. More often than not this involves an attempt to carefully select the kind of stories that will have a lasting and positive impact on the audience. As the process of researching material comes close to completion, it may sometimes become apparent that parts of a script need to be reworked before production can begin. Reworking the script may consist of minor changes such as different locations, seasons or character situations. On the other hand, major changes may also be necessary, such as changing the entire scope of a character. For example, in the script for the movie Alien, the character eventually played by Sigourney Weaver was initially a man.
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