Course Information Page

Total Page:16

File Type:pdf, Size:1020Kb

Course Information Page Dr. William H. Moore, Jr. Craig Gordon Assistant Professor, Finance Senior Managing Director [email protected] Frontside Research LLC 415-442-6573 Entrepreneur Edward S. Ageno School of Business GOLDEN GATE UNIVERSITY Fall Term, 2008 San Francisco Campus Thursday 4:00 PM FI 318 – VENTURE CAPITAL & START-UP FINANCING Preliminary Course Outline Course Description This course is designed to provide each student with a comprehensive overview of the entrepreneur and the entrepreneurial process with an emphasis on financial decision-making. Specifically, students will explore these basic questions: what is a start-up, who gets start-up financing and who provides it, what types of start-ups do capital markets finance and why, what are the expectations of entrepreneurs and investors in the financing process, how do entrepreneurs and investors work together to create mutually beneficial financing strategies, how are start-up’s valued and why valuation is an important step in the start-up financing process, and what strategies can be employed to harvest the value of the start-up once it has matured. Additional topics to be touched on include ethics, managing failing ventures, franchising, the Internet as a new venture vehicle and business planning. During the first few weeks of the trimester, students will explore the nature of the entrepreneur, the entrepreneurial process and a number of related “background” topics. The business planning process will also be discussed during the first few weeks. This material provides an excellent framework for the finance specific material that is the focus of the balance of the trimester. During the balance of the trimester, students will focus on the financing objective. Topics to be explored include obtaining capital (debt and equity), valuing the venture, structuring and negotiating a financing deal, managing rapid growth and a troubled company and harvesting the successful new venture. Through short case studies (written mini-assignments) and an individual project, each student will have an opportunity to personalize the learning process by applying key analytical tools of finance and by selecting and studying a highly entrepreneurial industry of personal interest. Finally, all of the course material is based on this key underlying premise: it’s important for each student to understand the perspective of both the entrepreneur and the entity providing capital. To that end, in this class each student will develop a balanced and complete understanding of both perspectives. Course Objectives Upon successful completion of this course, each student will have good appreciation for the following: • Why is entrepreneurial activity important to the economic well being of a country? • What does it take to be a successful entrepreneur? • How does the role of an entrepreneur change as the firm grows? • How can you distinguish between a good opportunity and a good idea? • What are the key factors that drive continuous growth? • How do I marshal the resources necessary to start and grow the business? Why are teams important? • What are the critical tasks and hurdles is seizing an opportunity and building the business? • How much money do I need to start the business and when, where, and how can I get it on acceptable terms? • What financing sources, strategies, and mechanisms can I use? • Why is a business plan important? What are the key features of a good business plan? • How can I evaluate the quality of a business plan? • How do I identify customers for whom I must create or add value to achieve a positive cash flow and to develop harvest options? • What is the business worth and how do I negotiate what portion to sell? • What are some of the issues, problems, and ethical dilemmas I need to anticipate, prepare for, and respond to? Course Prerequisites Students are expected to have completed at least one finance course (equivalent to FI 100, FI 203, FI 300 or FI 300A) which should provide a basic understanding of the important techniques of financial analysis including risk assessment, calculating rates of return, cash flow analysis, the cost of capital, capital structure, and valuation. Reasonable math skills (algebra is fine) and an understanding of accounting concepts (primarily the structure of an income statement, a cash flow statement and the balance sheet) will also be very helpful. A financial calculator will also be needed. 2 FI 318 – Venture Capital & Start-Up Financing San Francisco Campus Fall 2008 September 4, 2008 – December 18, 2008 Required Texts N ew Venture Creation: Entrepreneurship for the 21 st Ce ntury. Jeffry A. Timmons and Stephen Spinelli , 7th ed., McGraw-Hill Irwin (order from the GGU Bookstore, Amazon or an alternative book supplier.) Term Sheets & Valuations: A Line by Line Look at the Intricacies of Term Sheets & Valuations. Alex Wilmerding, Aspatore Books, Inc., 2006 ed., (ISBN number 1-58762-068-5). The Wall Street Journal and/or other business newspapers/periodicals. You will need access to either the print or online version of popular business newspapers and journals. Internet access will also be helpful. (There is no need to purchase subscriptions … non-subscriber access will generally work fine). Course Schedule, Topics and Instructors Unit Week Topic Instructors Due Unit 1 Sept. 4 Welcome, Overview, Instructor’s Bill Moore Philosophy, and Ground Rules; Craig Gordon The Entrepreneurial Mind for an Entrepreneurial Society Unit 2 Sept. 11 New Venture Opportunities Bill Moore Craig Gordon Unit 3 Sept 18 The Founder and Team Bill Moore Craig Gordon Unit 4 Sept. 25 Entrepreneurial Finance v. Corporate Bill Moore Short mini- Finance; Financing Cycle assignment #1 Unit 5 Oct. 2 Deal Structure; Deal Valuation Bill Moore Unit 6 Oct. 9 Capital Structure Planning Bill Moore Unit 7 Oct. 16 Structure of Venture Capital; Guest Speaker (VC) Investor Agreements Bill Moore/Craig Gordon Unit 8 Oct. 23 Midterm Exam Proctor Unit 9 Oct. 30 Investment Timing; Bill Moore Equity Term Sheets Unit 10 Nov. 6 Self-study week – No class meeting Unit 11 Nov. 13 Negotiating a Financing Deal Bill Moore Draft of individual industry case study Unit 12 Nov. 20 Obtaining Debt Capital; Bill Moore Debt Term Sheets Ryan McCalley, Atel Capital Unit 13 Nov. 27 Thanksgiving – No Class Unit 14 Dec. 4 Managing Rapid Growth; Bill Moore Managing a Troubled Company Debbie Richard, Fisher Lynch Capiatl Unit 15 Dec. 11 Harvesting Bill Moore Short mini- Guest Speaker (CFO assignment #2 that’s done an IPO) Unit 16 Dec. 18 Startup.com (movie); Final Exam Bill Moore Final industry case (Take Home) Craig Gordon study; Final due Dec. 22, 2008 3 FI 318 – Venture Capital & Start-Up Financing San Francisco Campus Fall 2008 September 4, 2008 – December 18, 2008 Grading Policy Your grade will be a weighted average of your scores on the written mini-assignments, your participation in the discussions, your scores on the midterm and the final and an industry case study. Weights will be as follows: Participation in Discussions 5% (In class) 2 Written Mini-assignments 10% (5% each) Written Case Summaries 10% (Due at beginning of class on assigned dates) Midterm Exam 20% Industry Case Study Draft 5% Final 20% Final Exam 30% Grades will be based solely on your performance on these activities and I’ll use a standard system to assign grades: 90-100% A 80-89% B 70-79% C 60-69% D < 60% F I’ll also assign +/-‘s based on the position of your scores within these ranges. Late work may be accepted. If it is, it will be marked down 2% per day late. Written Case Summaries will not be accepted late. Exams There will be two exams. The Midterm Exam will test your understanding of the key underlying principles of entrepreneurship that help make the material in the second half of the course relevant. The Final Exam will cover only the material covered after the Midterm Exam and it will focus on testing for an understanding of the market for and process of acquiring capital for start-up ventures. Both exams will be open book, open notes, calculators, etc. Using laptop computers will not be permitted during exams. 4 FI 318 – Venture Capital & Start-Up Financing San Francisco Campus Fall 2008 September 4, 2008 – December 18, 2008 Instructors Please note: Questions concerning course content, attendance, assignments and grades must be directed to Bill. Bill Moore Bill is an Assistant Professor, Finance, Ageno School of Business, Department of Finance & Economics. He also serves as a director of a $1 billion California based chartered credit union, is an advisor to several European based energy investors, and provides strategic, financial, operating, and investment advice to Innovationsgruppe AG, a Liechtenstein based Internet and technology private investment fund. He serves on the investment committees of both funds. Previously, Bill was a partner in NetBusiness Consulting AG, Chief Financial Officer of io- market AG, and Chief Operating Officer of iWorks Capital and Development AG, for whom he set up the European arm of an e-commerce incubator managing all aspects of the operation near Zug, Switzerland. Before this, he was Chief Financial Officer and Treasurer of PG&E Energy Trading, the $9 billion commodities trading subsidiary of PG&E Corporation where he was responsible for gas and power accounting, financial planning, treasury, risk management, credit, and financial reporting. Bill also held positions in corporate finance, risk management, marketing, human resources, operations, customer services, and credit and collections for PG&E Corporation and its utility subsidiary. Bill received his BA in Economics from California State University, Chico and an MBA in Management and MS in Corporate Finance from Golden Gate University in San Francisco, California. He is a graduate of Duke University’s Fuqua School of Management Program for Manager Development. Bill is a lecturer in finance and entrepreneurship at various universities in Switzerland, Liechtenstein, and Estonia and he holds a Doctor of Business Administration from the University of St.
Recommended publications
  • A Film by Chris Hegedus and D a Pennebaker
    a film by Chris Hegedus and D A Pennebaker 84 minutes, 2010 National Media Contact Julia Pacetti JMP Verdant Communications [email protected] (917) 584-7846 FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] PRAISE FOR KINGS OF PASTRY “The film builds in interest and intrigue as it goes along…You’ll be surprised by how devastating the collapse of a chocolate tower can be.” –Mike Hale, The New York Times Critic’s Pick! “Alluring, irresistible…Everything these men make…looks so mouth-watering that no one should dare watch this film on even a half-empty stomach.” – Kenneth Turan, Los Angeles Times “As the helmers observe the mental, physical and emotional toll the competition exacts on the contestants and their families, the film becomes gripping, even for non-foodies…As their calm camera glides over the chefs' almost-too-beautiful-to-eat creations, viewers share their awe.” – Alissa Simon, Variety “How sweet it is!...Call it the ultimate sugar high.” – VA Musetto, The New York Post “Gripping” – Jay Weston, The Huffington Post “Chris Hegedus and D.A. Pennebaker turn to the highest levels of professional cooking in Kings of Pastry,” a short work whose drama plays like a higher-stakes version of popular cuisine-oriented reality TV shows.” – John DeFore, The Hollywood Reporter “A delectable new documentary…spellbinding demonstrations of pastry-making brilliance, high drama and even light moments of humor.” – Monica Eng, The Chicago Tribune “More substantial than any TV food show…the antidote to Gordon Ramsay.” – Andrea Gronvall, Chicago Reader “This doc is a demonstration that the basics, when done by masters, can be very tasty.” - Hank Sartin, Time Out Chicago “Chris Hegedus and D.A.
    [Show full text]
  • 2017 Highlights
    EIGHTH ANNUAL EDITION November 9-16, 2017 “DOC NYC has quickly become one of the city’s grandest film events.” Spans downtown Hailed as Manhattan from “ambitious” IFC Center to 250+ SVA Theatre and films & events “selective but Cinepolis Chelsea eclectic” ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Thom Powers programs for the Toronto Raphaela Neihausen & Powers run the weekly International Film Festival and hosts the series Stranger Than Fiction at IFC Center and podcast Pure Nonfiction. host WNYC’s “Documentary of the Week.” DOC NYC has welcomed over 50 sponsors through the years, most of which have returned for 3+ years. ACSIL Discovery Image Nation Abu Dhabi Participant Media Technicolor-Postworks NY Brooklyn Roasting Co. Docurama Impact Partners Peru Ministry of Tribeca Grand Hotel Tourism & Culture Chicago Media Project Essentia Water IndieWire VH1 & Logo Documentary Posteritati Films Chicken & Egg Pictures Goose Island JustFilms/Ford Foundation RADiUS Vulcan Cowan DeBaets Half Pops Abrahams & Sheppard Kickstarter The Screening Room Wheelhouse Creative Heineken CNN Films MTV Stoli The World Channel International City of New York Documentary Association NBCUniversal Archives SundanceNow The Yard Mayor’s Office for Doc Club Media & Entertainment Illy New York Magazine ZICO SVA Owl’s Brew DOCNYC.NET DOCNYCFEST Voted by Movie Maker Magazine as one of the top 5 coolest documentary film festivals in the world! DOC NYC 2016 FEATURED: 12k 200+ likes on Facebook 60k special guests visits DOCNYC.net 125k 92 reached by e-mail Largest premieres Documentary
    [Show full text]
  • Exploring Films About Ethical Leadership: Can Lessons Be Learned?
    EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging.
    [Show full text]
  • Doc Nyc Visionaries Tribute to Honor Wim Wenders, Orlando Bagwell, Elizabeth Chai Vasarhelyi & Jimmy Chin, and Tabitha Jacks
    DOC NYC VISIONARIES TRIBUTE TO HONOR WIM WENDERS, ORLANDO BAGWELL, ELIZABETH CHAI VASARHELYI & JIMMY CHIN, AND TABITHA JACKSON ON NOVEMBER 8 NEW YORK, Sept. 24, 2018 – DOC NYC, America’s largest documentary festival, running November 8-15, announced the honorees for the fifth annual Visionaries Tribute, taking place on November 8, 2018 at Manhattan’s Edison Ballroom. Veteran filmmakers Wim Wenders and Orlando Bagwell will receive Lifetime Achievement recognition. TheRobert and Anne Drew Award for Documentary Excellence will go to Elizabeth Chai Vasarhelyi and Jimmy Chin (Meru, Free Solo) and the Leading Light Award will go toTabitha Jackson, Director of the Sundance Institute’s Documentary Film Program. The festival announced Netflix as its Leadership Sponsor supporting the Visionaries Tribute. The NEON Shorts Award will debut at this year’s Visionaries event. The team at NEON will select one short from the DOC NYC lineup to honor with the opportunity for theatrical distribution. The winner will be announced on November 8. “The Visionaries Tribute is known to gather an astonishing array of documentary talent,” said DOC NYC’s Artistic Director Thom Powers. “For our fifth year, we’re dedicated to making it the best version ever.” LIFETIME ACHIEVEMENT AWARD The Lifetime Achievement Award honors individuals with a substantial body of film work. Past recipients are Sheila Nevins, Errol Morris, Stanley Nelson, Jonathan Demme, Barbara Kopple, Jon Alpert, Frederick Wiseman, D.A. Pennebaker, Chris Hegedus and Albert Maysles. The 2018 Lifetime Achievement Award goes to: Wim Wenders has directed the Oscar-nominated documentaries The Salt of the Earth, Pina and Buena Vista Social Club, along with nonfiction titles such as The Blues and Room 666 and celebrated fiction films such as Paris, Texas and Wings of Desire.
    [Show full text]
  • THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
    THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A.
    [Show full text]
  • Tanner ’88, K-Street, and the Fictionalization of News
    Rethinking the Informed Citizen in an Age of Hybrid Media Genres: Tanner ’88, K-Street, and the Fictionalization of News By Robert J. Bain Jr. B.A. Biology B.A. Philosophy Binghamton University, 2000. Submitted to the Program in Comparative Media Studies in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology June 2004 © 2004 Robert J. Bain Jr. All rights reserved The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author………………………………………………………………………… Program in Comparative Media Studies May 17, 2004 Certified by………………………………………………………………………………… Henry Jenkins III Director, Program in Comparative Media Studies Thesis Supervisor Accepted by ……………………………………………………………………………….. Henry Jenkins III Director, Program in Comparative Media Studies 1 PAGE TWO IS BLANK 2 Rethinking the Informed Citizen in an Age of Hybrid Media Genres: Tanner ’88, K-Street, and the Fictionalization of News By Robert J. Bain Jr. Submitted to the Program in Comparative Media Studies on May 17, 2004 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies ABSTRACT A close reading of two television shows, K-Street and Tanner ’88, was performed to examine how one might become informed about real-life political news by viewing entertainment programs that combine fiction with actual current political events, issues, and figures. In his book The Good Citizen, Michael Schudson claims that mere factual recall does not necessarily indicate that one is “informed”, but rather an “informed citizen” is one who actively reads the “information environment”.
    [Show full text]
  • Coming Into Frame
    The Independent Weekly: Coming into Frame http://indyweek.com/durham/2004-04-07/ae.html Advertisement Coming into Frame A conference at Duke Law School looks at how filmmakers and musicians get in trouble with the law B Y F I O N A M O R G A N Documentary films are records of our culture, and as they gain popularity, they're also becoming a hybrid of information and entertainment, a viable venue for alternative ideas and cultural criticism. But documenting a culture full of copyrighted images, sounds, words and ideas can be legally treacherous. April 7, 2004 Duke Law School added another A R T S F E A T U R E dimension to the Full Frame Documentary Film Festival by hosting "Framed!" a day-long conference on "how law constructs and constrains culture." It brought faculty at the law school together with filmmakers, entertainment lawyers, academics and others to discuss how legal issues affect the practical and creative concerns of making films and music. The day reached its climax when a musician cursed out a lawyer in the audience. Chris Hegedus, co-director of The War Room and Startup.com, showed footage from several of the films she made with her husband and creative partner D.A. Pennebaker, who sat in the audience--along with the couple's attorney. A clip from Startup.com captured the enthusiasm of the dotcom boom by following two entrepreneurs to a fast food restaurant, where one sings along with the Billy Joel song "Piano Man." Hegedus loved the scene, but couldn't afford to license the song.
    [Show full text]
  • Unlocking the Cage
    UNLOCKING THE CAGE A film by Chris Hegedus and D A Pennebaker Running Time: 91 minutes filmswelike CANADIAN DISTRIBUTION Films We Like Bookings and Inquries: [email protected] UNLOCKING THE CAGE A film by Chris Hegedus and D A Pennebaker LOGLINE Unlocking the Cage follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans, by filing the first lawsuits that seek to transform a chimpanzee from a “thing” with no rights to a “person” with legal protections. SYNOPSIS Unlocking the Cage follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans. After 30 years of struggling with ineffective animal welfare laws, Steve and his legal team, the Nonhuman Rights Project (NhRP), are making history by filing the first lawsuits that seek to transform an animal from a “thing” with no rights to a “person” with legal protections. Supported by affidavits from primatologists around the world, Steve maintains that, based on scientific evidence, cognitively complex animals such as chimpanzees, whales, dolphins and elephants have the capacity for limited personhood rights (such as bodily liberty) that would protect them from physical abuse. Using writs of habeas corpus (historically used to free humans from unlawful imprisonment), Wise argues on behalf of four captive chimpanzees in New York State. Unlocking the Cage captures a monumental shift in our culture, as the public and judicial system show increasing receptiveness to Steve’s impassioned arguments. It is an intimate look at a lawsuit that could forever transform our legal system, and one man’s lifelong quest to protect “nonhuman” animals.
    [Show full text]
  • Elondocs Docfilmmaker DVD
    Contents Introduction to Documentary Film What is Documentary? (2:37) Why Documentary Matters (4:55) Why they make films (3:45) A Student of Film (2:37) Story Finding Good Stories (4:18) Finding Good People (2:14) Story into film (3:25) First Person Perspective (3:12) Shooting & Editing Sound & Picture (8:32) Editing (5:18) Screening your rough cut (1:08) Legal Issues Releases & Clearances (3:28) Fair Use (1:52) Music (2:38) Ethics General Ethics (4:21) Specific Ethics (7:30) Financial & Distribution Getting Your Film Made (7:30) Getting Your Film Out There (4:06) Documentary Filmmaking: Tips from the Trenches Every year I attend the Full Frame documentary film festival in Durham, North Carolina, bringing a group of students from Elon University. Without fail, we return from the Festival energized by the films and inspired by the expert advice from filmmakers. So I started thinking about ways to recreate that energy in the class- room, eventually arriving at the concept for this DVD. This DVD is a chance to hear from emerging and seasoned filmmakers as they discuss technical, legal, ethical and busi- ness issues of documentary film. It was created to be watched in brief topical sections, although it can also be watched straight through. We’ve organized the subjects as they might be encoun- tered in creating a film, from finding good stories to getting your film out there. This booklet also contains short discussion ques- tions to be used in class or by aspiring filmmakers to think more about the ideas and insights offered by our interviewees.
    [Show full text]
  • Don Alan Pennebaker [*] Kevin Finner
    Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 203 Don Alan Pennebaker [*] Kevin Finner [*] Don Alan Pennebaker, auch nominiert als D.A., Don A. oder Donn A. Pennebaker. Geboren am 15. Juli 1925, dreht der heute vierundachtzigjährige Don Alan Pennebaker, Sohn eines Fotografen, noch immer Filme. Nach seinem Militärdienst und einem Ingenieurstudium in Yale sowie am M.I.T in Cambridge arbeitete er in verschiedenen Berufen, bevor er auf Drew und Leacock stieß. Michael Barchet zufolge verdiente Pennebaker sein Geld zunächst als Werbetexter und entwickelte u.a. ein computergestütztes Buchungssystem für Fluglinien (Barchet 1991, 154). Inspiriert durch den Filmemacher Francis Thompson drehte Pennebaker mit Ende zwanzig mit DAYBREAK EXPRESS (1953) und BABY (1954) seine ersten Filme über die New Yorker U-Bahn und einen Zoobesuch mit seiner Tochter. Letzterer war eigentlich nichts anderes als ein Amateur-Familienfilm. Jedoch wurde ihm während des Schneidens bewusst, dass er nicht seinem Material eine Story aufdrängen, sondern dass er sich Story und Rhythmus später in der Montage aus sich selbst heraus entwickeln lassen sollte (Saunders 2007, 10). Zusammen mit Richard Leacock wurde Pennebaker ein Gründungsmitglied von Drew Associates und arbeite dort für die nächsten drei Jahre. Nach den Erfolgen um PRIMARY (1960, Robert Drew), THE CHAIR (1963, ROBERT DREW) und CRISIS: BEHIND A PRESIDENTIAL COMMITMENT (1963, Robert Drew) sah sich Pennebaker nicht mehr in der Lage, die Forderungen von ABC, Time-Life und Drew zu erfüllen und strebte zusammen mit Leacock nach mehr künstlerischer Freiheit: My decision to quit wasn’t the result of any great moral conflict, I simply wasn’t able to fulfill their demands, because I realized that our process of filming could produce better films.
    [Show full text]
  • An Open Letter in Support of Joe Berlinger and the Documentary Filmmaking Team of "Crude"
    May 12, 2010 An open letter in support of Joe Berlinger and the documentary filmmaking team of "Crude" As members of the documentary film community, we the undersigned strongly object to the Honorable Judge Lewis A. Kaplan's ruling last week in the case involving our colleague Joe Berlinger, the Chevron Corporation, and Berlinger's 600 hours of raw footage shot during production of his documentary film "Crude". Judge Kaplan sided with Chevron and ruled that Berlinger must turn over all of his raw footage to Chevron for their use in the lawsuit discussed in the film. Berlinger and his legal team plan to appeal the ruling. In cases such as these involving access to a journalist's work material, whether they involve a newspaper or online reporter, a radio interviewer, a television news producer, or a documentary filmmaker, it is understood that First Amendment protection of the journalist's privilege is never absolute. Typically, if such privilege is successfully rebutted in court, a turn-over order demanding a document or other thing is issued and the journalist must comply or face the consequences. Therefore, it is astounding to us that Judge Kaplan demanded that all of the footage shot during the production of the film be handed over to the attorneys of Chevron, given that the privilege exists primarily to protect against the wholesale exposure of press files to litigant scrutiny. While we commend Judge Kaplan for stating "that the qualified journalists' privilege applies to Berlinger's raw footage", we are nonetheless dismayed both by Chevron's attempts to go on a "fishing expedition" into the edit rooms and production offices of a fellow documentary filmmaker without any particular cause or agenda, and the judge's allowance of said intentions.
    [Show full text]
  • 365Ink31.Pdf
    Do you ever get caught in a dining-out rut? You The other night when the first two regular stomp- keep eating at the same places all the time, either ing grounds were full because of high school because they are cheap, convenient as possible graduation dinners, I got a wild hair and suggest- or just really good. I’m most definitely guilty of ed we go to Timmerman’s. In my mind, definitely that. And it’s not that I feel bad about eating at a “special occasion” destination. As though I these places repeatedly. In my case, they are had forgotten from my last visit, we were abso- convenient and affordable, but certainly, my re- lutely thrilled with everything about our expe- peat business comes because they are good. the rience: The food was simply stellar, the view is 3265 offices are at the corner of 1st & Main in breathtaking at sunset, and our server Zach was downtown Dubuque. So by our simple presence a spot-on professional. I’m already looking my there, I have healthy doses of Lot One and 180 calendar of holidays (including religious holi- Main. And they never get old. It’s just plain good days that aren’t my religion) to create excuses to food in good atmospheres. And when you work celebrate special occasions. I’m looking forward as much as we do, wasting time by traveling far to Festivus already. But man, why wait for the to eat is just not an option. Luckily for us, we next special occasion for a return visit? have some of the area’s best food right outside our front door, not to mention Cafe Manna Java, There are more.
    [Show full text]