Success in Film is the ultimate guide to funding, filming and finishing any independent film. Written by veteran filmmakers Julia Verdin and Matt Dean, Success in Film has been specially designed to help aspiring producers, directors, writers, actors, editors - anyone who wants to know how to take control of their own destiny in the world of film by making their own movies. Success in Film begins by helping the filmmaker define success for their film and in doing so find the best path to achieve that success. Whether you want financial success, awards, peer recognition, or just a great demo reel of what you can do, Success in Film can help you achieve that success one film at a time. Whether a film is intended for the big screen or the small, Internet release or Theatrical, this concise guide will takes the reader from inception to delivery. Topics include: how to find your story, how to find funding, how to deal with investors, how to make a business plan, how to make a budget, how to cast the film, how to find the right crew, how to work with actors, how do you get distribution, how to market the film, how to get into festivals, how to self release on amazon, iTunes or other digital platforms and much more! Success in Film is being called one the best books on the market today for aspiring producers. Written for filmmakers, by filmmakers who know the craft.

In examining the enduring appeal that rags-to-riches stories exert on our collective imagination, this book highlights the central role that films have played in the ongoing cultural discourse about success and work in America.

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Achieving the American Dream became inextricably linked with career/business success after World War II, as an increasingly consumerist America learned to define the dream through possessions and status. Not surprisingly, Hollywood films in the postwar years reflected the country's preoccupation with work and career success, offering both dramatic and comedic visions of the career quest and its effects on personal fulfillment, family relations, women's roles, and the creation (or destruction) of just and caring communities. In this book, Jack Boozer argues that the career/business film achieved such variety and prominence in the years between 1945 and 2001 that it should be considered a legitimate film genre. Analyzing numerous well-known films from the entire period, he defines the genre as one in which a protagonist strives for career success that often proves to be either elusive despite hard work, or unfulfilling despite material rewards and status. Boozer also explores several distinct subgenres of the career movie—the corporate executive films of the 1950s; the career struggles of (single, married, and/or parenting) women; the entrepreneurial film as it is also embodied in texts about immigrants and racial and ethnic minorities and business-oriented femmes fatales; the explosion of promotionalism and the corporatization of employment; and, finally, the blurring of work and private life in the brave new world of the televirtuality film.

The following chapters focus on specific contributions to a film's impact: the script (including writers), the director (or "auteur"), the actors (especially gender differences), and the music (both scores and songs). Finally Simonton addresses the question of whether the same cinematic factors that make some films great also make other films bad: Are bombs the exact opposite of masterpieces? The book closes with an epilogue on future directions in scientific studies of cinematic creativity and aesthetics. What do researchers need to do if we want a complete understanding of what it takes to create a powerful cinematic experience? --

How is it that a patch of flickering light on a wall can produce experiences that engage our imaginations and can feel totally real? From the vertigo of a skydive to the emotional charge of an unexpected victory or defeat, movies give us some of our most vivid experiences and most lasting memories. They reshape our emotions and worldviews--but why? In Flicker, Jeff Zacks delves into the history of cinema and the latest research to explain what happens between your ears when you sit down in the theatre and the lights go out. Some of the questions Flicker answers: Why do we flinch when Rocky takes a punch in Sylvester Stallone's movies, duck when the jet careens towards the tower in Airplane, and tap our toes to the dance numbers in Chicago or Moulin Rouge? Why do so many of us cry at the movies? What's the difference between remembering what happened in a movie and what happened in real life--and can we always tell the difference? To answer these questions and more, Flicker gives us an engaging, fast-paced look at what happens in your head when you watch a movie.

This Business of Film explores all the dimensions of film as a business -- development, financing, production and distribution -- It tells the story of the business from the "inside," drawing on the experiences of Stephen Greenwald and other industry leaders. The book will be constructed around a number of themes that will bring the past, present and future together in a way that will enable readers to understand the underlying dynamics and forces that have shaped -- and will continue to shape -- film as a business. They can use that understanding to discern the future direction of the industry-- the challenges and opportunities that lie ahead.