Syndetics cover image
Image from Syndetics

The guerilla film makers handbook / Chris Jones and Genevieve Jolliffe.

By: Jones, ChrisContributor(s): Jolliffe, GenevievePublisher: New York London : Continuum, 2004Edition: Hollywood edDescription: 460 p. 24cm001: 8932ISBN: 0826414648Subject(s): Motion pictures - production and direction | FilmingDDC classification: 791.430232 JON
Holdings
Item type Current library Collection Call number Copy number Status Date due Barcode
Book MAIN LIBRARY Book PRINT 791.430232 JON (Browse shelf(Opens below)) 1 Checked out 24/04/2023 080246

Enhanced descriptions from Syndetics:

The best-selling low-budget filmmaker's bible in the UK has now, at long last, been totally revamped for the American market. The two authors have interviewed hundreds of film industry insiders, resulting in, without doubt, the most comprehensive, entertaining, information-packed book available in America on how to produce a low-budget movie.

The book has 3 main sections: Anatomy of a Movie, Case Studies, and The Toolkit. Anatomy of a Movie features in-depth, candid interviews with a huge cast of people already working in the film industry - from script readers to bank managers; from casting directors to costume providers; and from sound mixers to negative cutters. Case Studies tells the stories of a selection of low-budget movies, and how they were made. These include Chris and Genevieve's own films, as well as international successes like The Blair Witch Project and Lock, Stock and Two Smoking Barrels. The Toolkit is an amazing resource for new filmmakers, incorporating a huge range of sample legal contracts and agreements, as well as templates for production forms like locations checklists, shooting schedules, and call sheets.

Previous ed.: 2000.

Includes index.

Table of contents provided by Syndetics

  • Experts
  • Training
  • Becky Rolnick & Amy Collins - Film School Graduates (p. 14)
  • David Von Ancken - No film school (p. 20)
  • Susan O'Leary - Fox Searchlab (p. 24)
  • Eli Holzman - Project Greenlight (p. 28)
  • Michelle Satter - Sundance Labs (p. 32)
  • Development
  • Robert Kosberg - Pitching (p. 34)
  • Keya Khayatian - Literary Agent (p. 41)
  • Christopher Vogler - Script Guru (p. 48)
  • Dov S. Simens - Just Do It! (p. 52)
  • John O'Brien - Spec Script Market and Writer (p. 56)
  • Robin Schiff - TV or Film? (p. 62)
  • Anonymous - Script Reader (p. 68)
  • Margaret Grohne and Kay Schaber - Writers Guild of America (p. 70)
  • Organizations
  • Gail Silva - Film Arts (p. 76)
  • Dawn Hudson, Patrick Roddy, Josh Welsh - IFP Los Angeles (p. 80)
  • Michelle Byrd - IFP/New York (p. 84)
  • Jacques Thelamaque - Film Makers Alliance (p. 88)
  • Elizabeth Stanley - DGA (Directors Guild of America) (p. 90)
  • Rich Hull - PGA (p. 96)
  • Tom Bower - SAG (Screen Actors Guild) (p. 98)
  • Matt Loeb - IATSE (p. 104)
  • Joel Merrow - Transport (Teamsters) (p. 108)
  • Finance
  • Mark Litwak - Lawyer (p. 112)
  • Demille Haliburton - Insurance (p. 126)
  • Lew Horowitz - Finance (p. 132)
  • Hal Sadoff - Finance (p. 138)
  • Greg Trattner, Maureen Duffy, Matt Warren - Completion Bonds (p. 142)
  • John Manulis - Alternate Ways (p. 146)
  • John Schmidt - Major Indie (p. 154)
  • Chris Hanley - Major Indie (p. 158)
  • Talent
  • Michael Nilon - Agent (p. 162)
  • Rosalee Swedlin - Manager (p. 166)
  • Paul Petersen - Working with Kids (p. 170)
  • Michelle Gertz - Casting (p. 174)
  • Gary Marsh - Breakdown Services (p. 182)
  • Production
  • Gilly Ruben - Unit Production Manager (p. 184)
  • Amy Hansen - Accountant (p. 192)
  • Steven Fishman - Payroll Services (p. 202)
  • Paul Sessum - Crew Agent (p. 208)
  • Greg Jacobs - First Assistant Director (p. 224)
  • Ken Lavet - Location Manager (p. 184)
  • Mary Fry - Studio Rental (p. 230)
  • Tracey Wilson - Storyboards (p. 232)
  • Eric Stolz - Actor (p. 238)
  • Lorette Bayle - Film Stock (p. 240)
  • Charles Tammaro - Camera Rental (p. 244)
  • Xavier Sotela - Grips Rental (p. 250)
  • Richard Pilla and Jeremy Ramsaur - Lighting Rental (p. 254)
  • Eric Alan Edwards - Director of Photography (p. 262)
  • M. David Mullen - The Digital DP (p. 184)
  • Jim Plannette - The Gaffer (p. 286)
  • Liz Ziegler - Steadicam Operator (p. 292)
  • Mark Weingarten - Production Sound (p. 294)
  • Jeff Blauvelt - Renting HD (p. 302)
  • Phil Messina - Production Design (p. 308)
  • Susie DeSanto - Costume Designer (p. 314)
  • Judy Lovell - Make Up Supervisor (p. 322)
  • Annie Wells - Script Supervisor (p. 326)
  • Julie Weinhouse - Product Placement (p. 332)
  • Mic Rogers - Stunts and Action (p. 334)
  • Matt Sweeney - Special Effects (Physical) (p. 340)
  • Boone Narr - Animal Trainer (p. 346)
  • The Hanna Brothers - Catering (p. 348)
  • Post Production
  • Mike Munson - The Lab (p. 350)
  • Jeff Betancourt - Editor (p. 360)
  • David Gray - Dolby (p. 368)
  • Jonathan McHugh - Music Supervisor (p. 370)
  • Harry Gregson Williams - Composer (p. 374)
  • Doreen Ringer Ross - BMI (p. 382)
  • Kevin Coogan and Diana Szyszkiewicz - ASCAP (p. 384)
  • Debbi Datz-Pyle - Music Contractor (p. 386)
  • Mark Graham - Music Copyist (p. 389)
  • Phil Ayling - RMA (p. 390)
  • Peter Brown - Sound Design (p. 392)
  • Nerses Gezalyan - Foley (p. 392)
  • Tom Lalley - Foley Engineer (p. 403)
  • Mike Minkler - Re-recording Mixer (p. 404)
  • Tim West - Indie Film Mixer (p. 410)
  • Sheena Duggal - Visual Effects Supervisor (p. 412)
  • Stu Maschwitz - Magic Bullet (p. 418)
  • John Knowles - Telecine (p. 420)
  • David Hays - Tape to Film (p. 430)
  • Pacific Title - Titles and Opticals (p. 434)
  • Dan O'Grady - Negative Cutting (p. 438)
  • Matt Lian - Trailers (p. 444)
  • Derek Hildebrandt - DVD Production (p. 448)
  • Sales
  • Tom Ortenberg - Domestic Distribution (p. 452)
  • Andy Gruenberg - Theatrical Releasing (p. 458)
  • Carole Curb - International Sales (p. 460)
  • Holly Becker - Independent Film Channel (p. 472)
  • Aaron Ryder - Indie Distribution (p. 474)
  • Bob Berney - Marketing (p. 480)
  • Laura Kim - Publicity (p. 484)
  • Chris Wilson - Preview Theaters (p. 488)
  • Lesli Lawrence - The Image (p. 490)
  • Jeanette Volturno and Trey Wilkins - Self Distribution (p. 494)
  • Greg Laemmle - Indie Theaters (p. 496)
  • Jeff Dowd - Producers Rep (p. 500)
  • Peter Belsito and Sydney Levine - Film Finders (p. 506)
  • Geoffrey Gilmore - Sundance Film Festival (p. 508)
  • Dan Mirvish - Slamdance (p. 514)
  • Nancy Schafer - Tribeca Film Festival (p. 519)
  • Kenneth Turan - Film Critic (p. 520)
  • Aftermath
  • Renee Tab - Agent (p. 526)
  • Shaun Redick - Agent (p. 529)
  • Carlos Goodman - Entertainment Attorney (p. 530)
  • David Berke & Stephen Israel - When Disaster Strikes (p. 534)
  • Josh Deighton - Fox Studio Executive (p. 542)
  • Donna Langley - Universal Studio Executive (p. 545)
  • Case Studies
  • The Living Spirit Pictures Story (p. 549)
  • Thirteen - Catherine Hardwicke (p. 634)
  • Donnie Darko - Sean McKittrick and Richard Kelly (p. 646)
  • The Singing Detective - Keith Gordon (p. 654)
  • Suture & The Deep End - Scott McGehee & David Siegel (p. 662)
  • The Slaughter Rule - Andrew and Alex Smith (p. 674)
  • Chuck & Buck and The Good Girl - Miguel Arteta & Mathew Greenfield (p. 682)
  • Being a Producer - Jeff Baliss (p. 690)
  • Lovely and Amazing - Nicole Holofcener (p. 696)
  • Glossary
  • Film Lingo (p. 702)
  • Top North American Film Festivals (p. 703)
  • Example Indie Budget ($1.7m) (p. 704)
  • State to State Incentives (p. 706)
  • Major Studios (p. 707)
  • Contract Terminology (p. 708)
  • International Film Festivals (p. 710)
  • Canadian Film Commissions (p. 712)
  • Shooting Overseas / Co-productions (p. 713)
  • Index
  • Index (p. 715)
  • Tips
  • Training
  • Virgin Directors (p. 16)
  • Is Film School For You? (p. 17)
  • Film Help Websites (p. 19)
  • Internet Shorts Websites (p. 19)
  • Chrysler Million Dollar Film Festival (p. 21)
  • Directing Books (p. 22)
  • Working From Home (p. 25)
  • Film Schools (p. 26)
  • Global Film School (p. 27)
  • The Gatekeeper or Assistant (p. 30)
  • Development
  • Tips on Negotiating Yourself or Your Movie (p. 36)
  • Pitching Tips (p. 37)
  • Pitching Competitions and Festivals (p. 38)
  • The Writers Bookshelf (p. 41)
  • A Question of Genre...? (p. 44)
  • Script Options (p. 45)
  • Dogme Films (p. 46)
  • Copyrighting your script or film (p. 47)
  • Top Screenwriting Competitions (p. 51)
  • Top 10 Reasons script readers reject submissions (p. 55)
  • Screenplay Formatters (p. 57)
  • John Truby - Another View on Story (p. 58)
  • Public Domain (p. 59)
  • Script Tracking - The Film Executive's Info Network (p. 60)
  • Script Tips for a low budget movie (p. 63)
  • Development Hell (p. 70)
  • Top 10 screenwriting websites (p. 72)
  • Writers Block (p. 73)
  • Top Film Bookstores (p. 74)
  • Literary Agents Contact Details (p. 75)
  • Organizations
  • Minority Filmmaking Sites (p. 78)
  • Top Short Film Festivals North America (p. 79)
  • IFP Minneapolic / St. Paul (p. 82)
  • Independent Feature Project (IFP) Locations (p. 85)
  • IFP NY (p. 87)
  • Women In Film (p. 91)
  • AMPAS (p. 93)
  • LA Screening Rooms (p. 94)
  • AFTRA (p. 102)
  • Method Acting & Classical Training (p. 103)
  • Cinema Libre Studio (p. 106)
  • IATSE Schemes and Contacts (p. 107)
  • Movement Lists / Travel Itineraries (p. 110)
  • Finance
  • Making a Contract (p. 114)
  • Top 10 Points to look out for in an Agreement (p. 124)
  • Production Budget (p. 125)
  • Filming Overseas (p. 131)
  • Safety (p. 145)
  • Permits for shooting in LA (p. 148)
  • EIDC - Entertainment Industry Development Corporation (p. 148)
  • Production Books (p. 153)
  • Talent
  • Actor Deals (p. 164)
  • Agent or Manager? Large or Small? (p. 165)
  • Work Time For Kids (p. 173)
  • Getting a work permit for a kid (p. 176)
  • Extras (p. 177)
  • Casting and Audition Tips (p. 179)
  • Using Friends As Actors (p. 180)
  • Casting - The Directories (p. 181)
  • Production
  • When To Shoot (p. 185)
  • Union v Non-Union (p. 186)
  • Negotiating Tips (p. 187)
  • Production Binders (p. 188)
  • Office Stuff (p. 188)
  • UPM Checklist (p. 189)
  • Catering (p. 190)
  • Petty Cash (p. 195)
  • Money Matters (p. 197)
  • Accountant Show Reports (p. 198)
  • The Wrap (p. 201)
  • 401k & IRAs (p. 204)
  • Crew Websites (p. 209)
  • Getting Your Crew With Little Cash (p. 210)
  • The Crew And What They Do (p. 212)
  • The Daily Call Sheet (p. 215)
  • Final Script Rewrite (p. 217)
  • Scheduling Problems (p. 218)
  • Scheduling (p. 219)
  • Day Out of Days (p. 221)
  • Week at a glance (p. 222)
  • Ready, Set, GO! (p. 223)
  • Problem Props (p. 223)
  • Script Planning (p. 226)
  • Location! Location! Location! (p. 227)
  • A Carnet (p. 228)
  • Filmmakers Code Of Conduct (Locations) (p. 229)
  • Stages V Locations (p. 231)
  • Directing - Basic Tips (p. 234)
  • Storyboard Abbreviations (p. 235)
  • Blocking (p. 239)
  • Film Graininess (p. 241)
  • Aspect Ratios for Final Presentation (p. 246)
  • Camera Kit (p. 247)
  • Shooting Formats (p. 249)
  • Lighting Books (p. 252)
  • Gels (p. 256)
  • Lighting Equipment (p. 257)
  • Color Temperature (p. 260)
  • Basic Film Camera Package (p. 263)
  • Depth Of Field (p. 264)
  • Lenses (p. 265)
  • Coverage (p. 266)
  • Lens & Focal Length (p. 267)
  • Simple Lighting Setup (p. 268)
  • Visual Tricks (p. 269)
  • The Camera Report Sheet (p. 270)
  • Film Frame Rates (slower and faster) (p. 271)
  • The Light Meter (p. 272)
  • The Gray Card (p. 273)
  • T-stops and F-stops (p. 275)
  • Shooting Ratio (p. 276)
  • Over or Under Exposing (p. 277)
  • Follow Focus (p. 277)
  • Cheap Special Effects Filters (p. 278)
  • The Rule of Thirds (p. 279)
  • HD vs. Film (p. 280)
  • HD vs. Film Cost Analysis (p. 281)
  • HD vs. DV (p. 283)
  • Video Formats (p. 284)
  • Viable Shooting Formats (p. 284)
  • Film formats (p. 284)
  • Video Assist (p. 285)
  • How much power? (p. 287)
  • Lighting Types (p. 289)
  • Barney and the Blimp (p. 294)
  • Getting Good Sound (p. 296)
  • The Slate/ Clapperboard (p. 297)
  • Sound Equipment for Low Budget Shoots (p. 298)
  • Sound Report Sheet (p. 300)
  • Microphone Patterns (p. 301)
  • HD Spectrum (p. 303)
  • HD Audio (p. 304)
  • HD Rates (p. 305)
  • Concept Art (p. 309)
  • Props and Set Dressing (p. 310)
  • Low Budget Production Value (p. 311)
  • Production Design (p. 312)
  • Production Design Books (p. 313)
  • Costume Tips (p. 316)
  • Costume Continuity Sheets (p. 319)
  • Costume Design Books (p. 321)
  • Make up Artist Books (p. 321)
  • Make-up Continuity Form (p. 323)
  • Make Up & Hair (p. 324)
  • Make Up Continuity (p. 325)
  • Script Timing (p. 327)
  • The 'Line Of Action' (p. 328)
  • Script Revisions - (p. 329)
  • The Rainbow Effect (p. 329)
  • Story Days (p. 330)
  • The Continuity Report Sheet (p. 331)
  • E.R.M.A. - Entertainment Resources & Marketing Assoc. (p. 333)
  • Stunts (p. 335)
  • Stunts and Pyrotechnics (p. 337)
  • Special Effects - Rough Guide (p. 343)
  • American Humane Association (p. 347)
  • Post Production
  • Choosing a Lab (p. 351)
  • Super 16mm to 35mm Blow Up (p. 352)
  • Super 35mm - Widescreen without anamorphics (p. 353)
  • The Lab Report Sheet (p. 355)
  • Digital Intermediate Workflow (p. 356)
  • Digital Intermediates (p. 357)
  • Time / Footage Chart (p. 358)
  • Glossary of Lab Terms (p. 359)
  • The Editor's Job (p. 361)
  • Pickups and Reshoots (p. 362)
  • Editing Tips (p. 363)
  • Test Screenings (p. 364)
  • What is the 3:2 Pulldown? (p. 366)
  • Final Cut (p. 367)
  • Music Rights (p. 372)
  • Temp Music (p. 375)
  • Spotting and Timing (p. 376)
  • Hiring an Orchestra (p. 377)
  • The Music Cue Sheet (p. 378)
  • Music Reports, Inc. (MRI) (p. 381)
  • Music Libraries (p. 388)
  • Track Laying Yourself? (p. 393)
  • Post Production Sound (p. 395)
  • 44.1 kHz or 48 kHz? (p. 396)
  • Track Groups And What They Mean (p. 397)
  • THX (p. 398)
  • The Props Room (p. 401)
  • Cinema Surround Layout (p. 402)
  • The Final Mix (p. 405)
  • Premix to Final Mix (p. 406)
  • Audio Tracks In Detail (p. 407)
  • 35mm Print Audio (p. 408)
  • Visual Effects (p. 415)
  • Visual Effects Quote Procedures (p. 416)
  • VFX Shooting Formats (p. 417)
  • Video Format Facts (p. 421)
  • Common Formats - Video Delivery (p. 422)
  • Telecine Aspect Ratio For 1.85:1 Projects (p. 423)
  • How much time to budget for your Telecine? (p. 423)
  • Sound and Your Dailies (p. 424)
  • Mastering Tips (p. 425)
  • The Recording Report (p. 426)
  • World Distribution of the Three Major TV standards (p. 427)
  • Flex files (p. 428)
  • Video Terms Glossary (p. 429)
  • Picture Clearance (p. 436)
  • Punch Hole and Timecodes (p. 439)
  • 16mm & Super 16mm A & B Roll checkerboarding (p. 440)
  • 16mm Negative Join In Detail (p. 440)
  • 35mm Negative Cutting (p. 441)
  • Anatomy Of An EDL (p. 442)
  • Your Negative and Master Tapes (p. 447)
  • DIY DVD (p. 450)
  • Sales
  • Distribution Pointers (p. 455)
  • The MPAA (p. 457)
  • Sales Agent Deliverables (p. 463)
  • QC Failure Reasons (p. 467)
  • The QC Report (p. 467)
  • The Major Sales Markets (p. 468)
  • Surviving Cannes (p. 469)
  • Sales Agent Tips (p. 470)
  • Estimated Sales Breakdown (p. 471)
  • What's in the Press Kit? (p. 483)
  • The EPK (p. 485)
  • Setting Up Press Screenings (p. 486)
  • The Press (p. 487)
  • DIY Website (p. 488)
  • DIY Poster (p. 492)
  • Festival Do's and Don'ts (p. 501)
  • The Art Of The Schmooze (p. 503)
  • Trade Magazine (p. 507)
  • Surviving Sundance (p. 509)
  • Film Festival Necessities (p. 511)
  • Useful Websites For Sundance (p. 513)
  • International Film Festivals (p. 515)
  • Handling Interviews (p. 522)
  • Publicity on Set (p. 524)
  • Aftermath
  • Getting An Agent (p. 527)
  • The Next Project (p. 532)
  • Dealing With Debt (p. 533)
  • Bankruptcy (p. 535)
  • Credit Report Companies (p. 539)
  • What to do if you're arrested (p. 541)

There are no comments on this title.

to post a comment.

Powered by Koha