producing concentration

A PRODUCING BIBLIOGRAPHY The following is not intended to be exhaustive but should give the aspiring producer enough information to get a good foundation beyond the courses offered in the concentration. If you have come across a good title, pass it this way. The bibliography uses five broad groups Production Management, Film Financing, Deals and Legal Issues, Indies, Inside Stories and The First Job. Also, take a look at the Producing Resources page.
PRODUCTION MANAGEMENT

Film Production Management	Bastian Cleve	2000	Focal Press
Describes how a movie is transformed from a screenplay to the screen. Explains how to break down a screenplay, organize a shooting schedule, create a budget, secure locations, find actors, hire crews, and communicate with unions. Includes sample forms and contracts, special tips for low-budget films, and addresses of useful organizations. Lacks a bibliography.
IFP/West Independent Filmmaker's Manual 2nd Edition	Nicole Shay LaLoggia, Eden H. Wurmfeld	2004	Focal Press
A filmmakers low-budget production manual. Using examples from Miramax, it offers coverage on every aspect of making a film, including: script rights and rewrites, financing, breakdown, scheduling and budgeting, pre-production, production, post-production, and distribution. "This nuts-and-bolts manual of filmmaking will prove invaluable to the novice producer or documentary-maker. The step-by-step structure of this book makes it a great, practical tool; also included is a valuable resource guide listing addresses and phone numbers of support organizations, guilds, U.S. distributors and film festivals." - American Cinematographer, April 2000
Script Supervising and Film Continuity	Pat P. Miller	1999	Focal Press
The book teaches all vital script supervising functions, including: how to prepare, or "break down" a script for shooting; maintaining screen direction and progression; matching scenes and shots for editing; cueing actors; recording good takes and prints; preparing time and log sheets for editing. This revision of an industry classic has been updated to reflect changes in the film industry in recent years, including the use of electronic media in the script supervisor's tasks. "Script Supervising and Film Continuity is a must for those would-be directors, writers, and editors who are long on ambition and short on experience. By divulging the techniques and tools of creating continuity this book is a valuable resource for the continuity conscious." - Videomaker, April 2000
Continuity Supervisor, Fourth Edition	Avril Rowlands	2000	Focal Press
'As production techniques become more sophisticated, maintaining continuity becomes a greater challenge. Books like this one can help. Most independent videomakers will find The Continuity Handbook very helpful. The book is both concise and detailed in its coverage of the single-camera production process, making it a good resource for both the newcomer and the intermediate videomaker' US Videomaker magazine
The Art of the Storyboard: Storyboarding for Film, TV, and Animation	John Hart	1999	Focal Press
The Art of the Storyboard shows beginners how to conceptualize and render the drawings that will communicate continuity to the cinematographer, set designer, and special effects supervisor, or to create the skeletal outline around which an animated program is developed. 'While this book seems targeted at professional storyboard artists, beginners who want to take a more professional approach toward productions will find it valuable. It is chock full of valuable advice for anyone who wishes to create a visual representation of a production before rolling tape.' - Videomaker
The Complete Film Production Handbook	Eve Light Honthaner	2001	Lone Eagle
A guide to the day-by-day details of film production, that Honthaner has developed from her notebook as she worked for several companies on many films over the years. Among the topics are pre-production tasks, establishing company policy, insurance, setting up files, dealing with the talent, music clearance, visas and customs, and a little bit of post production. Includes reproducible forms for every conceivable situation. "Concise and complete, book is a how-to, how-not-to, where-to-find, where-to-go and what-to-do on filmmaking. A must for novices." - Variety
Film Production Management 101: The Complete Guide to Production Management for Film and TV	Deborah S. Patz	2002	Michael Wiese Productions
Two books in one, 'Production Management & Coordination 101' is a complete insider's guide to the business of film and television production. Including everything from budgeting to managing the production office to script revisions to cost reporting and audits, Patz shares detailed insights, humorous stories of working on a Hollywood set and the inside scoop on working in show biz. "Details, details, details....the things that determine the effectiveness and efficiency of a production office. Deborah Patz provides us with a concise, well written and wonderfully organized, must-have guide for anyone just entering or working in, the film production office, from PA through PM. An invaluable tool for Producers as well, packed with accurate, step-by-step details!"
Film Scheduling	Ralph S. Singleton	1995	Lone Eagle
If you want to be a production manager, you must have this book.
Film Budgeting : Or, How Much It Will Cost to Shoot Your Movie?	Ralph S. Singleton	1996	Lone Eagle
If you want to be a production manager, you must have this book.
Film Scheduling/Film Budgeting Workbook	Ralph S. Singleton	1995	Lone Eagle
Great practice. Uses Coppola's The Conversation as the example production.
Film & Video Budgets - 3rd Edition	Michael Wiese	2001	Michael Wiese Productions
"...if you follow the guidelines here, you'll wield a finely-honed financial weapon rather than a blunt instrument when you meet with bankers, lawyers and completion bon companies. This book lowers your stress level by altering your perception of the budgeting process." DGA (Director's Guild of America) Magazine
Location Scouting and Management Handbook : Television, Film, Still Photography	Robert G. Maier	1994	Focal Press
A handbook on scouting for, acquiring, and managing a successful location shoot. Discusses how to work with producers, directors, and still photographers, and covers location accessibility and support services, securing releases and contracts, neighbor relations, hidden costs, and documenting locations.
What an Art Director Does : An Introduction to Motion Picture Production Design	Ward Preston	1994	Silman-James Press
A unique resource that deftly reveals a vastly important yet underappreciated aspect of the filmmaking process. David E. Williams, The Hollywood Reporter
The Industry Flip Book 2002 ed.	Henschel/Kaufman	2002	Re:generation Publishing
The Industry Flip Book is a Film Production Resource Directory for Los Angeles and beyond. The 2001 edition is fully updated with new listings, revised area code changes, new categories, and comes with the 2nd edition of THE CREW BOOK, our pocket sized guide to industry personnel. The Industry Flip Book is the definitive reference guide to the Hollywood, Los Angeles, Southern California area film, video, television, and commercial community.
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PRODUCING: FILM FINANCING, DEALS & LEGAL ISSUES

Producing For Hollywood	Paul Mason	2000	Allworth Press
Budding filmmakers, television producers, directors, writers, and students get a career-building crash course on independent production in this riveting account of the business and its key players. Savvy insiders discuss the pivotal role the producer plays as the mastermind who brings a film or television pilot to the screen. From first pitch to final cut, all aspects of the job are examined: how to develop a winning prospectus; draft a realistic timeline, budget, and raise money; assemble and manage a talented ensemble of writers, directors, actors, and crew members; oversee three phases of production; distribute and market the finished film. Current contacts for film festivals and foreign distribution, as well as sample budgets, partnership proposals, and other forms, complete this guide to success.
The Producer's Business Handbook	John J. Lee, Jr	2000	Focal Press
"If you've ever wondered how most films can "lose" money while the studios remain in business, you'll find the answers here. This is a comprehensive and revealing examination of how distribution works and how the money flows." - Robert Goodman, Videography, July 2000
Marketing & Selling your Film Around the World	John Durie, Annika Pham, Neil Watson	2000	Silman-James
Good, solid introduction to world-wide marketing and distribution.
Contracts for the Film & Television Industry	Mark Litwak	1999	Focal Press
Loaded with contracts. Be careful!
Dealmaking in the Film and Television Industry From Negotiations Through Final Contracts: 2nd Edition	Mark Litwak	2002	Focal Press
Dealmaking is the first self-defense book for everyone working in the film and television industry, Addressing a general, non-attorney readership, it is a fascinating, highly accessible and practical guide to current entertainment laws peculiarities and "creative" practices. Armed with this book, filmmakers can save themselves thousands of dollars in legal fees as they navigate the entertainment business's shark-infested waters. Whether you are a professional or wannabe producer, writer, director, or actor, Litwak can help you make the most of your business dealings while steering you clear of contractual traps.
43 Ways to Finance Your Feature Film : A Comprehensive Analysis of Film Finance (2nd Ed.)	John W. Cones	1998	Southern Illinois Univ.Press
Under the four broad categories of industry, lender, investor, and foreign financing, Cones a securities and entertainment attorney, suggests and explains 43 specific routes to that pot of gold that must precede the cinematic rainbow. He summarizes the benefits and drawbacks of each without advocating any one over others. His focus is on feature films but his information is also relevant to short films, documentaries, videos, multimedia projects, and theatrical endeavors. Includes an extensive bibliography for each approach.
Movie Money: Understanding Hollywood's (Creative) Accounting Practices	Bill Daniels, et al	1998	Silman-James
This book will help anyone who desires to learn how their box office ticket dollars are spent. The authors take you step by step through a standard profit participation agreement. I feel the authors are not as aggressive as they should be hollywood's unethical "creative accounting". The distributors and the audit firms would like artists to believe that the lack of knowledge is why many artist are "cheated" out of their net profits or as Eddie Murphy stated "monkey profits". All net profit participants should read this before they listen to their lawyers and auditors. Many auditors and attorneys are willing participants in the "net profit scam"!
Filmmakers and Financing: Business Plans for Independents - 3rd Edition	Louise Levison	2004	Focal Press
The third edition of Filmmakers and Financing: Business Plans for Independents contains completely revised and updated financial and industry data. With its easy-to-follow format and its step-by-step approach, this book teaches readers how to create a business plan that can be presented to a potential investor. Whether you want to create a plan for one film or multiple films, this unique guide bridges the gap between the filmmaker and the business.
Independent Filmmaker's Guide to Writing a Business Plan for Investors	Gabriel Campisi	2004	McFarland & Company
Independent filmmakers by nature are creative individuals whose primary tools are their imaginations and ingenuity. They are cinematic storytellers. While some independent films take the film festivals by storm—distribution deals, sales to video outlets and cable television—others fall short. Luck and timing play roles in most success stories, but many independent filmmakers have taken the next step: They have carved out a clear-cut plan of action—a business plan—for their projects and careers, analyzing them for what they truly are: businesses.
Producer's and Distributor's Guide to Product Delivery	Michael Appleby	1998	American Film Marketing Association
A real nuts and bolts guide to what a producer must do to meet delivery requirements. Producers need to think about this during development -- not post.
The Feature Film Distribution Deal : A Critical Analysis of the Single Most Important Film Industry Agreement	John W. Cones	1996	Southern Illinois Univ.Press
If you are mystified by "Hollywood accounting," this legal expose outlines over 80 clauses commonly found in feature film distribution contracts that might be considered unconscionable or immoral, revealing the formidible odds facing the "talent" side of the industry. A thorough explanation of why there's no "net" profit, and a sobering dose of reality for any creative person who believes they should be paid for making a good product. The introduction lists the LA DA's Office among those who should read it.
Film Finance & Distribution : A Dictionary of Terms	John W. Cones	1992	Silman-James
Covers it all from A to Z. A tad bit dated.
What a Producer Does : The Art of Moviemaking (Not the Business)	Buck Houghton	1992	Silman-James Press
The title of this book explains exactly the content of it. It deliveres what it promises.
AFMA Member Profile - Aquisition, Production & Development Practices	William A. Anderson	Annual	AFMA
As the voice of the independent motion picture and television industry, the AFMA Member Profile includes over 100 independent motion picture and television companies. Each profile includes the company's preferred product, genre and budget information as well as submission and development practices. An excellent source for filmmakers searching for the right company to elevate their film toward box office or television success. Expensive
The Biz: The Basic Business, Legal, and Financial Aspects of the Film Industry	Schuyler M. Moore	2003	Silman-James Press
Mr. Moore teaches at UCLA, and his course is extraordinarily well attended. His book is considered a must-have for lawyers working in Entertainment, and although the focus is law, I think it would be a handy reference for anyone new to the creative side of Entertainment, especially those seeking to protect themselves and their interests when making deals and such.
Clearance and Copyright	Michael C. Donaldson	2003	Silman-James Press
Straight forward legal book written for producers to explain everything you need to know about protecting your copyright and not infringing others'. Explainshow what appears in the frame gets cleared prior to exhibition.
The Independent Filmmaker's Law and Business Guide: Financing, Shooting, and Distributing Independent and Digital Films	Jon M. Garon	2002	Chicago Review Press
Today's explosion of independent and digital filmmaking demands a brass-tacks guide to the business and legal aspects of the process. What fundraising options are available to a filmmaker? When should a filmmaker establish a corporation or limited liability company? How do screenwriters protect their work? What are a director's legal obligations to the producer, cast, and crew-and what are their obligations in return? This indispensable guide answers the legal, financial, and organizational questions that an independent or guerrilla filmmaker must face, problems that will doom a project if left unanswered. It chronologically demystifies issues such as founding a film company, securing locations, casting, shooting, granting screen credits, distributing, exhibiting, and marketing a film. It even anticipates the "problems" generated by a blockbuster hit: sound tracks, merchandizing, and licensing.
Hollywood Dealmaking : Negotiating Talent Agreements	Dina Appleton, Daniel Yankelevits	2002	Allworth Press
Two entertainment attorneys and Hollywood insiders explain all the ins and outs of negotiating in the movie industry, including back ends, gross and adjusted gross profits, deferments, box office bonuses, copyrights, and much more. This easy-to-follow reference–written clearly, without confusing legal jargon–is packed with expert insights on distribution, licensing, and merchandising. The book's invaluable resource section includes definitions of lingo for acquisition agreements and employment deals, twelve ready-to-use sample contracts, and a directory of entertainment attorneys in both New York and Los Angeles. With the negotiating tips in this guide, agents, writers, directors, actors, financiers, and filmmakers will save thousands of dollars in attorney fees.
The Independent Film Producer's Survival Guide: A Business and Legal Sourcebook	Gunnar Erickson, Harris Tulchin, Mark Halloran	2002	Schirmer Books
This seminal book explains the nuts and bolts of the legal and business aspects of independent film productions. Contracts, distribution and financing are explained in down-to-earth language. Basic contracts and other forms used in the industry are included.
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PRODUCING: INDIES

Making Independent Films: Advice from the Filmmakers	Liz Stubbs, Richard Rodriguez	2000	Allworth Press
Making Independent Films reveals the new filmmaker's journey through his first production, from the basic decision on whether or not to attend film school to financing a film, finding deals on equipment, and getting a finished product publicized. Chapters are packed with practical ideas for producing independent films, and follows the careers of seven independent filmmakers on their journey to success.
Making Movies on Your Own : Practical Talk from Independent Filmmakers	Kevin J. Lindenmuth	1998	McFarland & Company
In this work, J.R. Bookwalter, Ronnie Cramer, Mike Gingold, Eric Stanze, Steve Ballot, and 19 others tell what it is really like to make an independent feature. Covering such topics as the script, equipment, actors, publicity, distribution, all facets of production, and budgeting, these indie filmmakers give a virtual how-to for those interested in joining them or just learning more about how those interesting titles end up on video store shelves.
Independent Feature Film Production	Gregory Goodel	1998	St Martin's Griffith
This is a classic. "This book is a must. It is a straightforward, insightful, and articulate account of what it takes to make a successful feature film."--Ridley Scott, director of Alien, Blade Runner, and Thelma & Louise "Saves one from having to learn the hard way."--David Lynch, director of Lost Highway and Blue Velvet "Superb in both its conception and execution."--David Puttnam, producer of Chariots of Fire, Midnight Express, The Killing Fields, and Memphis Belle "The first and most thoroughly researched compilation of information dealing with all aspects of feature films, from financing to production to post-production to distribution and marketing."--Michael Apted, director of Gorillas in the Mist, and Nell "A clear, direct guide. I wish I had had this book when I started."--John Carpenter, director of Halloween, Escape from New York, and Vampires "Absolutely crucial for filmmakers!"--Films in Review
Persistence of Vision : An Impractical Guide to Producing a Feature Film for Under $30,000	John Gaspard, Dale Newton	1995	Michael Wiese Productions
If you're feeling suicidal..... Presents practical information on the processes involved in creating feature films for under $30,000, offering strategies for script writing, budgeting, financing, casting, and dealing with distributors. Includes b&w photos, interviews with ultra-low-budget filmmakers, and an appendix of sample forms and contracts and useful addresses of film commissions, distributors, television networks, film festivals, film labs, and vendors.
What They Don't Teach You at Film School : 161 Strategies to Making Your Own Movie No Matter What	Camille Landau, Tiare White	2000	Hyperion
Filmmakers Landau and White believe that "if you want to make films, make films." Since only four students in each class of 45 at the country's top film schools get chosen to direct an advanced narrative film, the authors urge hopefuls to honor the trial-and-error, Blair Witch-approved method: "if you want to be a filmmaker," they advise, "put down this book and pick up a camera." Though some of their imparted wisdom reads like an After School Special dialogue, the authors do project a healthy dose of industry know-how that could prove useful to those who have never entered the cutting rooms and bursar's offices of NYU, USC, UCLA or other prestigious establishments.
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TALES FROM THE FRONT LINES: BOOKS ABOUT BEING IN THE BUSINESS

The Gross	Peter Barth	2000	Griffin Trade
The Gross is an all-access pass to the movers, shakers, and fakers who make Hollywood run. Tinseltown is an edgy place where risk-taking is a way of lifeÂ—and the risks now run into the hundreds of millions of dollars. Summertime, when the studios unfurl their most expensive and effects-laden "tent-pole pictures," has become the only season in which Hollywood makes money, and so, as this book illustrates, the summer season provides an ideal microcosm for scrutinizing the mega-budget-driven revolution that has forever changed the movie business. Bart interviews all the key players, including studio executives, producers, directors, and stars, to show how creativity and commerce hang in a dangerous balance in the new Hollwood.
Who Killed Hollywood…and Put the Tarnish on Tinsletown	Peter Bart	2000	Reneisance
The answer to the title question is not to be found in this juicy collection of essays penned by a former Hollywood player who has more than a few axes to grind. The bitchy, gossipy quality of his "memos" to the various studio chieftains, actors, and celebrities with whom he ever crossed swords is the main appeal of Bart's writings for the industry rag Variety. Tongue lashings the likes of which have never been heard before will make listeners laugh with glee as the power brokers and power elite of Hollywood get a kick in the rear from one who surely suffers from a severe case of sour grapes. Bart's stance on an issue is always sharp and pithy, although his viewpoint waffles from essay to essay. Stephen Spielberg is hailed for being the auteur behind such films as Schindler's List and Saving Private Ryan, but his name also appears on the author's "bad list" of producers who have turned movies into franchises for the merchandizing of tie-ins. Narrator Edward Lewis's voice is perfect for this production, being a cross between Tony Randall and the character of Jack from the television show Will & Grace. Great fun.
Development Girls	Hadley Davis	1999	Main Street Books
Read bestselling books for a living. Watch films for money. Go to see Broadway plays for work. Socialize at premiere parties for pay. I am a movie "development girl," and, believe it or not, this is my job description. Do you think my career sounds fabulous and fun? Well, you aren't alone-- "The William Goldman Hollywood adage (No one knows anything) should now include a parenthesis: (but Hadley Davis). An accurate and hilarious guided tour of the film industry." --Robert Cooper, Head of Production and Development, Feature Division, DreamWorks SKG
Shooting to Kill : How an Independent Producer Blasts Through the Barriers to Make Movies That Matter	Christine Vachon, David Edelstein	1998	Avon Books
This hybrid book works exceptionally well on two levels: as a memoir of an artist and as a brass-tacks instruction manual. In her first book, co-written with film critic Edelstein, Vachon offers insights into her work on such indie films as Safe, I Shot Andy Warhol, and Velvet Goldmine and provides practical advice for aspiring film producers. Excerpts from her diary describe the myriad problems that crop up when shooting on a shoestring budget. But Vachon remains savvy and committed. Her tone is one of determination; in fact, she seems to relish her position away from the bright lights and high-stakes pressure of Hollywood. Highly recommended for most collections. Thomas J. Wiener, Editor, "Satellite DIRECT," Vienna, VA
The Studio	John Gregory Dunne	1998	Vintage Books
Based on his unlimited access to the inner workings of Twentieth Century Fox, Dunne's classic work of Hollywood reportage may still be the most minutely detailed and uproariously funny work of its kind. At once an unblinking critique and unstinting celebration, "The Studio" captures every nuance of the picture business's showmanship, savvy, vulgarity, and hype .
When Hollywood Had a King : The Reign of Lew Wasserman, Who Leveraged Talent into Power and Influence	Connie Bruck	2003	Random House
The Last Mogul	Dennis McDougal	1998	Crown
Two books about Lew Wasserman in part because if you understand his story, you understand Hollywood. When Hollywood was King and MCA ruled through aggressive, imaginative, creative, dirty, underhanded, political ways. Connie Bruck's book is an epic, covering as it does the business careers of Jules Stein and Lew Wassermann from the 1920s into the 21st Century in addition to telling the history of their company MCA and the industry they "ruled". These individuals did not seem to have a personal life that did not revolve around business. There is not much surprising celebrity scandal that unfolds, except some strong hints that Ronald Reagan was a charming empty suit who received many sweetheart deals from the industry and he gave back in return. In some ways the Wasserman life story is one of the rise and fall, the young man's glory being used by younger students against him. And even though MCA associated with the mob and the mob with them Wasserman gave heavily to his industry and charity. A book for anyone interested in the history of Hollywood as a business in the 20th century. Both are epic worsk.
Movies and Money	David Puttnam	1998	Knopf
Ex-Columbia Pictures chief David Puttnam was knighted for making the world safe for British film with hits like Chariots of Fire and The Killing Fields. If any other ex-studio chief wrote a book called Movies and Money, it would be essentially similar to Roger Corman's How I Made a Hundred Movies in Hollywood and Never Lost a Dime. But Puttnam's book grew from his Oxford lectures--it's a scholarly history of the struggle for cultural supremacy between the film establishments of Hollywood and Europe. L.A. won the battle from the first shot. Despite massive totalitarian-government support, Russians shunned the masterpiece The Battleship Potemkin in favor of Douglas Fairbanks's Robin Hood. Today, 80 to 90 percent of Europe's filmgoers go to U.S. films, and Hollywood's influence is everywhere. Warner Bros. offered Puttnam extra money to reshoot Local Hero with a happy ending that would have destroyed its pro-pastoral, anticommercial message. He refused--but he admits it would've earned $20 million more with the Hollywood ending. The Crying Game was a flop in England, then a U.S. smash, thanks to superior Yank marketing. Four Weddings and a Funeral was made in England, cannily released Stateside, then repatriated as "America's No. 1 Smash Hit!" Puttnam yearns to see European film get on its feet and fight back with hits of its own, supported with more savvy marketing. He's not just a film professional and historian. He's a local hero.
Spike, Mike, Slackers & Dykes : A Guided Tour Across a Decade of American Independent Cinema	John Pierson	1997	Talk Miramax Books
Pierson's name may not be a household one, but the filmmakers he's been associated with?Spike Lee, Michael Moore, Jim Jarmusch?are well known to fans of independent films. Pierson has been friend, investor, and, most importantly, business agent to these and lesser talents and has been a fixture on the festival scene for over a decade. His account of that scene is both honest and maddeningly incomplete. He offers immense detail on some of his deals (even reprinting the Roger and Me contract highlights) but is sketchy on others. He's frank in appraising the work and personality of filmmakers but vague about himself, especially his background. Still, within his milieu Pierson is a heavyweight, and his book is a good choice for collections with large film sections. Thomas Wiener, editor, "Satellite DIRECT"
Hello He Lied	Linda Orbst	1996	Broadway
Hollywood producer Lynda Obst (Flashdance, Sleepless in Seattle) recounts her own battles in Hollywood's trenches--from her beginnings as a journalist to her current role as the maker and breaker of careers. Like other "classic" Hollywood books--Hollywood Babylon by Kenneth Anger and You'll Never Eat Lunch in This Town Again by Julia Phillips--Hello, He Lied is saturated with sleaze and proves, once again, that most of Tinseltown's stars are seriously lacking in the upstairs department.
The Devil's Candy	Julie Salamon	1992	Delta
Veteran film critic for The Wall Street Journal Julie Salamon presents a juicy inside look at the making of the Hollywood mega-flop Bonfire of the Vanities. Salamon reveals how success, fame, and enormous amounts of money can be catastrophically mismanaged for the sake of ego.
Down and Dirty Pictures : Miramax, Sundance, and the Rise of Independent Film	Peter Biskind	2004	Simon & Schuster
Arrived just in time for the 2004 Sundance Festival. Harvey was not happy. Down and Dirty Pictures chronicles the rise of independent filmmakers and of the twin engines -- Sundance and Miramax -- that have powered them. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind profiles the people who took the independent movement from obscurity to the Oscars, most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax an indie powerhouse. Biskind follows Sundance as it grew from a regional film festival to the premier showcase of independent film, succeeding almost despite the mercurial Redford, whose visionary plans were nearly thwarted by his own quixotic personality.
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ODDS & ENDS: THAT FIRST JOB

Breaking and Entering: Land Your First Job in Film Production	April Fitzsimmons	1999	Lone Eagle
April Fitzsimmons' Breaking & Entering: Land Your First Job in Film Productionis a useful, informative and practical career guide to breaking into film or television production and having a good time along the way. Breaking & Entering is an insider's guide to learning the ropes and gaining the proper tools and information to successfully enter into a fiercely competitive business. Breaking & Entering is also a great introduction for anyone wanting to get their feet wet in the entertainment industry. It is full of hands-on information that pertains day-to-day operations on the "set" during production. Breaking & Entering would usefully augment any theatre and cinema reference and jobs/career day reference collections.
Reading for a Living: How to Be a Professional Story Analyst for Film and Television	Terri Katahn	1991	Blue Arrow Books
What makes a movie great? Perhaps even more crucial, who decides what makes it great - before it gets made into a movie? The entertainment industry's top executive decision-makers are always looking for a great story. But they don't have time to read every screenplay or book themselves. Instead, they often rely on story analysts, or readers, who become the first to read and pass judgment on submissions. Story analysts' reports ("coverages") help form a basis for executive decisions. READING FOR A LIVING reveals all: how to get the job and how to do it well. READERS: Learn what makes a story great. Earn extra income while pursuing another career. Gain valuable insight into the industry. Train to be a story editor, Director of Development, or other high-level executive. DEVELOPMENT EXECS: Make sure your readers are educated. Review your own story analysis skills. WRITERS: Find out what readers and executives want. Review your fundamental writing skills.
Development Girls	Hadley Davis	1999	Main Street Books
This is an odd book. Read bestselling books for a living. Watch films for money. Go to see Broadway plays for work. Socialize at premiere parties for pay. I am a movie "development girl," and, believe it or not, this is my job description. Do you think my career sounds fabulous and fun? Well, you aren't alone-- "The William Goldman Hollywood adage (No one knows anything) should now include a parenthesis: (but Hadley Davis). An accurate and hilarious guided tour of the film industry." --Robert Cooper, Head of Production and Development, Feature Division, DreamWorks SKG
Hollywood 101 : The Film Industry	Frederick Levy	2000	Renaissance Books
By page 47, I graded this book 100...and it went up from there! It's such an informative book about getting in, successfully being in the film industry. It's detailed and casual, with wonderful stories and effective comments and quotes. It does it all!" --Arthur Hiller, former president, Academy of Motion Pictures Arts and Sciences "There's nothing like it in Hollywood...It is Hollywood, from A-to-Z, especially "C"--for career. They only thing better is having an uncle who owns a studio." --Bill Harris, E! Entertainment Television "Hollywood 101 is an essential resource for anyone seeking work in the film business. This amazing book breaks down into steps everything a person needs to know to approach and achieve their dream job in the entertainment industry." --Paul Clinton, Film Reviewer and Entertainment Reporter for CNN

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