This is the Companion Workbook to Kelley Baker's acclaimed The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. It consists of filmmaking tips and hints to keep in mind during all aspects of making your movie. It contains a sample short film script (All The Important Things by William Akers & Mark Cabus), and practical exercises as you prepare to make either a short film or a feature. These exercises include numbering scenes, breaking down a script, breaking out props and finding locations. You'll have to figure out a production schedule and a budget. The book includes copies of forms that are used in the business to assist you and a Glossary of film terms.Sample Tips include: 6) Show your screenplays to people whose opinion you trust. Give out short questionnaires with your screenplays, including specific things that you are concerned about. You get more specific feedback when you outline what it is you're looking for, and it's always nice to have written feedback that you can refer to later.18) When you are scheduling your shoot never put the final scene, big climactic scenes, or any love scenes early in your schedule if you can avoid it. Your cast and crew are still getting to know how each other work, and you haven't set up a good working pace yet.30) Cast a wide range of actors, especially age-wise. The more diverse your cast is, the more an audience will think they're watching a "real" movie. If people think they're watching a twenty-something production, they're going to take it less seriously. Have actors from all walks of life in various roles. A film festival judge told me he can usually tell the age of a director by the cast. It's something to think about.71) When people see something that's shot on digital and they comment on how good it looks, it's usually because it's well lit. I would rather take an extra hour at the beginning of each scene to light the whole thing, than to light just what I need for the master, and then relight for each medium shot or close-up. The lighting of each individual shot can eat up hours on the set when you add it all together. When you think about it, lighting the whole set makes more sense, if you are using the entire set.88) After a take, if you want performance changes go up to your actors and quietly talk to them. Don't shout it out. The discussions you have with any actor to get a performance should be private. I see commercial directors and amateurs shout out directions to actors from a distance. They treat the cast like just another prop. They could get better performances if they took a little extra time and showed the actors some respect.As the director, you are going to want an actor to dig down deep inside and to go to a place where they can make that character become whole. Keep your conversations private.What others are saying about The Angry Filmmaker Survival Guide Part One: Making The Extreme No Budget Film. (The companion to this workbook.) "Read this book and you will not only SURVIVE but you will SUCCEED. One of the best books on making your way through the independent filmmaking jungle with justifiably-angry filmmaker Kelley Baker as your top-notch guide: Funny, profane and committed to telling the unblemished truth. Don't make your next movie until you've read this terrific book."John GaspardAuthor, "Digital Filmmaking 101" and "Fast, Cheap and Under Control"This is a great book, written by an impassioned filmmaker who also happens to be a teacher of the first magnitude. An incredibly rare combination. Profit from your luck at having stumbled on this gem. Do yourself a favor; listen to what Kelley Baker has to say. William M. AkersAuthor of Your Screenplay Sucks! 100 Ways To Make It GreatTo get the most out of this Workbook, use it in conjunction with The Angry Filmmaker Survival Guide Part One: Making the Extreme No Budget Film. For more info go to angryfilmmaker.com.

The must-have guide to traditional, emerging and creative TV funding models that are being developed and exploited by social media-savvy documentary filmmakers. Each chapter covers a different form of funding and combines advice from industry insiders - producers, buyers, specialist media agencies and corporate funding bodies - and entertaining case studies that illustrate the benefits and pitfalls of each method. With practical tips, case studies and advice it reveals what grantors, brands and NGOs are looking for in a pitch (they all have different needs and expectations), and the cultural differences that can trip up the unwary producer. Funding examples range from blue-chip TV documentaries, such as Planet Earth, which was co-funded by the BBC, Discovery NHK and CBC to The TV Book Club (More 4), which is funded by Specsavers opticians; to Lemonade Movie, which harnessed the power of Twitter to source free equipment and post-production resources. Readers will discover: the difference between co-productions, pre-sales and acquisitions; how to develop and pitch advertiser funded programming; the new rules on product placement; where to hunt for foundation and grant funding and how to fill in those fiendish application forms; the power of crowd-funding and how to harness the internet; how to sniff out grants and funds held in non-film focused organisations such as the Wellcome Trust; why corporations are keen to fund your documentary and how to get them to part with their money without giving up your editorial control.

Science fiction is the playground of the imagination. If you are interested in science or fascinated with the future then science fiction is where you explore new ideas and let your dreams and nightmares duke it out on the safety of the page or screen. But what if we could use science fiction to do more than that? What if we could use science fiction based on science fact to not only imagine our future but develop new technologies and products? What if we could use stories, movies and comics as a kind of tool to explore the real world implications and uses of future technologies today? Science Fiction Prototyping is a practical guide to using fiction as a way to imagine our future in a whole new way. Filled with history, real world examples and conversations with experts like best selling science fiction author Cory Doctorow, senior editor at Dark Horse Comics Chris Warner and Hollywood science expert Sidney Perkowitz, Science Fiction Prototyping will give you the tools you need to begin designing the future with science fiction. The future is Brian David Johnson's business. As a futurist at Intel Corporation, his charter is to develop an actionable vision for computing in 2021. His work is called "future casting"-using ethnographic field studies, technology research, trend data, and even science fiction to create a pragmatic vision of consumers and computing. Johnson has been pioneering development in artificial intelligence, robotics, and reinventing TV. He speaks and writes extensively about future technologies in articles and scientific papers as well as science fiction short stories and novels (Fake Plastic Love and Screen Future: The Future of Entertainment, Computing and the Devices We Love). He has directed two feature films and is an illustrator and commissioned painter. Table of Contents: Preface / Foreword / Epilogue / Dedication / Acknowledgments / 1. The Future Is in Your Hands / 2. Religious Robots and Runaway Were-Tigers: A Brief Overview of the Science and the Fiction that Went Into Two SF Prototypes / 3. How to Build Your Own SF Prototype in Five Steps or Less / 4. I, Robot: From Asimov to Doctorow: Exploring Short Fiction as an SF Prototype and a Conversation With Cory Doctorow / 5. The Men in the Moon: Exploring Movies as an SF Prototype and a Conversation with Sidney Perkowitz / 6. Science in the Gutters: Exploring Comics as an SF Prototype and a Conversation With Chris Warner / 7. Making the Future: Now that You Have Developed Your SF Prototype, What's Next? / 8. Einstein's Thought Experiments and Asimov's Second Dream / Appendix A: The SF Prototypes / Notes / Author Biography

This book of parent-to-parent advice aims to encourage, support, and bolster the morale of one of music's most important back-up sections: music parents. Within these pages, more than 150 veteran music parents contribute their experiences, reflections, warnings, and helpful suggestions for how to walk the music-parenting tightrope: how to be supportive but not overbearing, and how to encourage excellence without becoming bogged down in frustration. Among those offering advice are the parents of several top musicians, including the mother of violinist Joshua Bell, the father of trumpeter Wynton Marsalis, the parents of cellist Alisa Weilerstein, and those of violinist Anne Akiko Meyers. The book also features advice from music educators and more than forty professional musicians, including Paula Robison, Sarah Chang, Anthony McGill, Jennifer Koh, Jonathan Biss, Toyin Spellman-Diaz, Marin Alsop, Christian McBride, Miguel Zen?n, Stephanie Blythe, Lawrence Brownlee, Kelli O'Hara, as well as Joshua Bell, Alisa Weilerstein, Wynton Marsalis, Anne Akiko Meyers, and others. The topics they discuss span a wide range of issues faced by the parents of both instrumentalists and singers, from how to get started and encourage effective practice habits, to how to weather the rough spots, cope with the cost of music training, deal with college and career concerns, and help young musicians discover the role that music can play in their lives. The parents who speak here reach a unanimous and overwhelming conclusion that music parenting is well worth the effort, and the experiences that come with it - from sitting in on early lessons and watching their kids perform onstage to tagging along at music conventions as their youngsters try out instruments at exhibitors' booths - enrich family life with a unique joy in music.

Chris Gore reveals how to get a film accepted and what to do after acceptance, from putting together a press kit to putting on a great party.

The guerrilla guide to marketing and selling an indie film. Some people are just there for the loot bags. But most of the people at a film festival are trying to market and sell an independent film. Don’t be just one of the horde. Use Chris Gore’s Ultimate Film Festival Survival Guide to help your indie film stand out! Entertainment Weekly loves Gore’s book, calling it a “treatise on schmoozing, bullying, and otherwise weaseling one's way into the cinematic madness known as film festivals.” The newly revised and updated fourth edition includes full listings for more than 1,000 film festivals, with complete tips and contact information, plus in-depth analysis of the Big Ten festivals. With detailed, fresh how-tos for marketing, distributing, and selling a film and using websites to build buzz, plus interviews with top festival filmmakers, step-by-steps on what to do after your film gets accepted, and explanations of how to distribute a film, Chris Gore’s guide tells filmmakers exactly how to become a player in the indie world. Chris Gore’s Ultimate Film Festival Survival Guide includes complete listings for more than 1,000 festivals—find the best for indie, documentary, short, student, digital, and animation, and a CD-ROM!

Winner of the Reginald Zelnik Book Prize in History Winner of the Marshall D. Shulman Book Prize Finalist for the National Book Critics Circle Award in Nonfiction Finalist for the Ryszard Kapuscinski Award for Literary Reportage "A magisterial blend of historical research, investigative journalism, and poetic reportage…[A]n awe-inspiring journey." —Economist After the Chernobyl nuclear disaster in 1986, international aid organizations sought to help the victims but were stymied by post-Soviet political roadblocks. Efforts to gain access to the site of catastrophic radiation damage were denied, and the residents of Chernobyl were given no answers as their lives hung in the balance. Drawing on a decade of archival research and on-the-ground interviews in Ukraine, Russia, and Belarus, Kate Brown unveils the full breadth of the devastation and the whitewash that followed. Her findings make clear the irreversible impact of man-made radioactivity on every living thing; and hauntingly, they force us to confront the untold legacy of decades of weapons-testing and other catastrophic nuclear incidents.