Producer Agreement – Short Form
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Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders. -
The Business of Making Movies
Cover Story THE BUSINESS OF MAKING MOVIES B Y S. MARK Y OUNG,JAMES J. GONG, AND W IM A. V AN DER S TEDE The U.S. motion picture industry generates close to $100 billion in revenues, is one of the country’s largest exporters, and exerts enormous cultural influence worldwide. But today it also faces enormous pressures. 26 STRATEGIC FINANCE I F ebruary 2008 oing to the movies has always been one of ney Pictures, Warner Brothers Pictures, Paramount Pic- society’s most pleasurable pastimes. Over tures, Columbia Pictures, and Universal Pictures. The the past few years, though, enormous MPAA represents these studios internationally and plays a changes have occurred in the movie- number of roles: It advocates for the U.S. film industry, making business: escalating production protects producers from copyright theft, and fights pira- and marketing costs, the significant impact cy. In 2006, the MPAA studios released 203 films (34%), of increased piracy, the uncertainty in film and other, independent distributors released 396 (66%). financing, the proliferation of digital tech- Even though major studios have made their name in Gnology, and the increase in available entertainment Hollywood, large, vertically integrated conglomerates options for consumers. These and other factors have own them today. These conglomerates also incorporate a implications for the motion picture business, the types of number of other forms of entertainment and media, such movies it will produce, and how and where people will as radio stations, cable and network television stations, view them. Based on research sponsored by the Foundation for Applied Research (FAR) of the Institute of Management THE LARGEST DISTRIBUTORS OF Accountants (IMA®), this is the first in a series of articles on the U.S. -
Evidence from the Film Industry
Expected Returns on Real Investments: Evidence from the Film Industry Thomas Y. Powers∗ October 21, 2015 Abstract Using a proprietary, project-level dataset on the film industry, I study a cross-section of expected returns on real investments. Expected returns are in- creasing and concave in the idiosyncratic dollar variance of a film’s payoff, unlike in markets where such risk can be diversified. Expected returns are approxi- mately linear in dollar volatility. A $1 MM increase in volatility raises expected return by at least 43 basis points. I discuss theories from corporate finance that can rationalize the pricing of idiosyncratic risk, and I build a matching model between studios and films in which costly external finance can explain the facts. JEL Codes: G12, G32, L22. Keywords: Cross-sectional asset pricing, pricing real investments, project choice, managerial risk aversion, risk management ∗Harvard University, [email protected]. I am very grateful to John Campbell, Robin Greenwood, Victoria Ivashina, Diane Kahng, Steve Kovacs, Ari Levinson, Jean-Marie Meier, Filippo Mezzanotti, Vijay Narasiman, Jonathan Rhinesmith, David Scharfstein, Neil Shephard, Manpreet Singh, Erik Stafford, Luis Viceira, John Zhou, Eric Zwick, and the participants at the Harvard Finance Workshop and at the LBS Trans-Atlantic Doctoral Conference for their helpful comments. Additionally, I would like to thank Bruce Nash and OpusData for generously providing data and for feedback on my project. Introduction Businesses expect different returns on different projects, and these differences deter- mine which innovations are developed, which jobs are created, and which investments are available to savers. Nevertheless, despite its relevance, we know relatively little about which factors drive the cross-sectional variation in expected returns for real projects. -
Social Media Engagement and Film Box Office
Running head: SOCIAL MEDIA ENGAGEMENT & B.O. 1 Social Media Engagement and Film Box Office Kimberly De Jesus University of Miami School of Communication COM 409: Honors Thesis Dr. Mitchell Shapiro May 1, 2020 SOCIAL MEDIA ENGAGEMENT & B.O. 2 Abstract This paper examines the effect of social media, specifically engagement rates for Facebook, Instagram, and Twitter on box office revenue. Larger engagement rates lead to greater brand awareness, word of mouth marketing, and better relationships with customers and so we believe engagement rates can be an effective metric to help predict box office performance. We calculated Pearson correlation coefficients for daily engagement rates across the aforementioned platforms and daily domestic box office for 12 films released between February and March 2020. The results indicate that there exists a positive correlation between social media engagement rates and box office revenues for all three social media platforms being studied, of which Instagram had the strongest correlation. Keywords: Social media, Movies, Box Office, Engagement rate, Instagram SOCIAL MEDIA ENGAGEMENT & B.O. 3 Social Media Engagement and Film Box Office Since Facebook’s launch in 2004 followed by Twitter in 2006 and Instagram in 2010, it is rather obvious that social media has changed the world. From the way we communicate with friends and family to how we make decisions to how information is shared, social media has slid into virtually all facets of society and transformed them. Social media has allowed word-of- mouth to go beyond small group conversations amongst friends, family, and coworkers by the water cooler to a large networked conversation between hundreds, thousands, and even millions of users. -
2017 Schedule of Minimums
SCHEDULE OF MINIMUMS WRITERS GUILD OF AMERICA 2017 THEATRICAL AND TELEVISION BASIC AGREEMENT SCHEDULE OF MINIMUMS WRITERS GUILD OF AMERICA 2017 THEATRICAL AND TELEVISION BASIC AGREEMENT This schedule covers the entire term of the 2017 Basic Agreement, but is not a substitute for the Basic Agreement. If there is any inconsistency between this schedule and the Basic Agreement, the Basic Agreement controls. If you have any questions regarding the application of these provisions or minimums, or relating to categories of minimums not included in this schedule, or if you have a question as to interpretation of the Basic Agreement, contact the Guild. Writers Guild of America, West, Inc. 7000 West Third Street Los Angeles, California 90048-4329 MAIN SWITCHBOARD (323) 951-4000 AGENCY (323) 782-4502 CONTRACTS (323) 782-4501 CREDITS (323) 782-4528 ORGANIZING (323) 782-4511 LEGAL SERVICES (323) 782-4521 MEMBER SERVICES (323) 782-4567 MEMBERSHIP (323) 782-4532 REGISTRATION (323) 782-4500 RESIDUALS (323) 782-4700 SIGNATORIES (323) 782-4514 Writers Guild of America, East, Inc. 250 Hudson Street New York, New York 10013 MAIN SWITCHBOARD (212) 767-7800 AGENCY (212) 767-7837 CLAIMS (212) 767-7852 CONTRACTS (212) 767-7837 (212) 767-7852 CREDITS (212) 767-7804 LEGAL SERVICES (212) 767-7844 MEMBERSHIP (212) 767-7821 ORGANIZING (212) 767-7808 REGISTRATION (212) 767-7801 RESIDUALS (212) 767-7814 SIGNATORIES (212) 767-7837 TABLE OF CONTENTS THEATRICAL ....................................................................................................................................... -
Production Package Application
PRODUCTION PACKAGE APPLICATION APPLICANT 1. Name of applicant: 2. Name of parent company, if any: 3. If applicant is not a corporate entity, indicate whether individual partnership other (specify) 4. Address: PRODUCTION 5. Title of production: 6. Director: Producer(s): 7. Production Manager: Director of Photography: 8. List of prior productions of producers: available on imdb website resume attached (a) Previous Insurer: (b) Describe any previous losses of $10,000 or more (insured or uninsured) sustained by the producer in the last five years: 9. Identify financing source(s): 10. Name of release or distribution organization: 11. Name of completion bond company, if any: film finance other (specify) August ‘09 Front Row Insurance Brokers Inc. T 604-684-FILM (3456) Toll Free: 1-866-690-3456 PRODUCTION PKG Application 604 – 1200 Burrard Street F 604-684-3437 Vancouver BC V6Z 2C7 Initial 1 12. Indicate whether production is: (a) motion picture feature for initial theatrical release (b) motion picture straight to video release (c) television production motion picture feature pilot special documentary other (specify) 13. Indicate running time (30 min, 60 min, 90 min, etc.): 14. If a series, indicate number of episodes: 13 22 other (specify) 15. Are episodes: stand alone (complete story per episode) or continuous storyline 16. (a) Type of story: drama comedy action other: (b) Attach Synopsis 17. (a) Identify all shooting locations (including city, state, province & number of weeks at each) (b) Date of commencement of pre-production: (c) Principal photography period: from: to: (d) Number of shooting days: days per week: (e) Estimated completion of protection print: (f) If series, delivery date of first episode: last episode: 18. -
H:\LEGAL\Sgerse\22 Jump Street\Mrcco
CO-FINANCING AND DISTRIBUTION AGREEMENT COLUMBIA PICTURES INDUSTRIES, INC. AND MRC II DISTRIBUTION COMPANY L.P. “22 JUMP STREET” This CO-FINANCING AND DISTRIBUTION AGREEMENT (this “Agreement”) is entered into as of this 25th day of March, 2014 between Columbia Pictures Industries, Inc., a California corporation (“Studio”) and MRC II Distribution Company L.P., a Delaware limited partnership (“Financier”). Studio and Financier shall each be referred to as a “Party” and collectively as the “Parties”. In consideration of the mutual covenants and agreements hereinafter set forth and other good and valuable consideration, the receipt and sufficiency of which are hereby acknowledged, each of the parties hereto hereby agrees as follows: 1. FINANCING COMMITMENT. Financier shall finance an amount equal to 10% of the “Final Direct Cost” (as defined below) of the motion picture tentatively entitled “22 Jump Street” (the “Picture”), provided that for purposes of Financier’s financing, the Final Direct Cost shall not exceed the “Final Cost Cap” (as defined below) . Attached as Exhibit “A” is a summary of the principal elements for the Picture as of the date hereof. Studio represents that the Picture when released will satisfy the following criteria (collectively, the “Picture Criteria”): (1) it will be filmed primarily in the English language; (2) it will be filmed primarily in color; (3) it will have an MPAA rating no more restrictive than “R”; (4) it will have a minimum running time (including end titles) of 90 minutes, (5) it will be directed by Phil Lord and Chris Miller, and (6) it will star Jonah Hill and Channing Tatum. -
Video Production.Pmd
HEALLTHDESIGN MEDIAM D EDUCA M GN management GEOGRAPHY E C USI PHYSICS law O L a ARRTgr O C IOTECHNOLOGY LAN A G i cu w Y TION l ture CHEMISTRRY history GU AGE E C H A N I C S N psychology Video Production and Editing Subject: VIDEO PRODUCTION AND EDITING Credits: 4 SYLLABUS Modes of Production Understanding the Different Modes of Film and Video Production; Studio Process; Individual and Collective. Pre-Production Understanding the Whole Process of Planning a Production from Developing a Concept and Establishing the Program’s Objectives to Approach (Treatment); Writing a Script; Hiring and Meeting the Crew Members. Production Understanding the Production Process; Production Roles of the Key Players in a Production; Hierarchy of the Crew; Production Sound: The Importance of Good Production Sound, Role of the Sound Crew and their Responsibilities. Post Production (Editing) Beginning of Editing: Cut, Shot, Scene and Sequence; the Basics of Grammar of Editing; Transitions; Flash-Forward and Flashbacks; Time, Subjective and Objective Treatments; the Classical Editing Style; Techniques of Continuity Editing; the Early Russian Cinema and the Montage; the Role Played by Kuleshov; Pudovkin and Eisenstein in the Russian Style of Editing; Eisenstein’s Montage Theories; Alternatives to Continuity Editing; Discontinuity Editing; Jump Cuts; Dynamic Cutting; Elliptical Editing; Editing Processes: Logging, EDL, Rough Cut, Final Cuts; Introduction to Nonlinear Editing: Starting with FCP, Learning how to Capture Video and Start Performing Simple Cuts. Suggested Readings: 1. Video Editing and Post-Production: A Professional Guide, Gary H. Anderson, White Plains, NY. 2. Video Production Handbook, Gerald Millerson and Jim Owens, Elsevier Science & Technology Books. -
Net Profit Participations in the Motion Picture Industry
Loyola of Los Angeles Entertainment Law Review Volume 11 Number 1 Article 3 1-1-1991 Net Profit arP ticipations in the Motion Picture Industry Hillary Bibicoff Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Hillary Bibicoff, Net Profit arP ticipations in the Motion Picture Industry, 11 Loy. L.A. Ent. L. Rev. 23 (1991). Available at: https://digitalcommons.lmu.edu/elr/vol11/iss1/3 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. COMMENT NET PROFIT PARTICIPATIONS IN THE MOTION PICTURE INDUSTRY I. INTRODUCTION Why is it that some actors and investors in motion pictures who negotiate to receive a percentage of a film's profits receive nothing, even though the motion pictures they were involved in were very successful?' In addition to a salary, actors often contract to receive a percentage of "net profits" from a movie in which they are involved. Investors also agree to receive a percentage of net profits from the movie as a way of receiving a return on their investments. Often these groups receive little or no remuneration from these agreements. Certainly, receiving a percentage of profits from a commercially suc- cessful feature film like United Artist's Rain Man (1988) is every inves- tor's dream. -
2020 Schedule of Minimums
SCHEDULE OF MINIMUMS WRITERS GUILD OF AMERICA 2020 THEATRICAL AND TELEVISION BASIC AGREEMENT REVISED OCTOBER 2020 SCHEDULE OF MINIMUMS WRITERS GUILD OF AMERICA 2020 THEATRICAL AND TELEVISION BASIC AGREEMENT This schedule covers the entire term of the 2020 Basic Agreement, but is not a substitute for the Basic Agreement. If there is any inconsistency between this schedule and the Basic Agreement, the Basic Agreement controls. If you have any questions regarding the application of these provisions or minimums, or relating to categories of minimums not included in this schedule, or if you have a question as to interpretation of the Basic Agreement, contact the Guild. Writers Guild of America, West, Inc. 7000 West Third Street Los Angeles, California 90048-4329 MAIN SWITCHBOARD (323) 951-4000 AGENCY (323) 782-4502 CONTRACTS (323) 782-4501 CREDITS (323) 782-4528 MEMBER ORGANIZING (323) 782-4567 LEGAL SERVICES (323) 782-4521 MEMBERSHIP (323) 782-4532 REGISTRATION (323) 782-4500 RESIDUALS (323) 782-4700 SIGNATORIES (323) 782-4514 Writers Guild of America, East, Inc. 250 Hudson Street New York, New York 10013 MAIN SWITCHBOARD (212) 767-7800 AGENCY (212) 767-7837 CLAIMS (212) 767-7852 CONTRACTS (212) 767-7852 CREDITS (212) 767-7852 LEGAL SERVICES (212) 767-7844 MEMBERSHIP (212) 767-7821 ORGANIZING (212) 767-7808 REGISTRATION (212) 767-7801 RESIDUALS (212) 767-7814 SIGNATORIES (212) 767-7837 TABLE OF CONTENTS Theatrical ............................................................................................................................................ -
Article 13 - Compensation
ARTICLE 13 - COMPENSATION A. THEATRICAL Company agrees that the minimum basic compensation to be paid a writer who is employed for a feature length photoplay on a so-called flat deal basis shall be as herein set forth. For the purpose of this Article 13.A.1.a., "High Budget" photoplay shall be a photoplay the cost of which equals or exceeds five million dollars ($5,000,000.00); a photoplay the cost of which is less than five million dollars ($5,000,000.00) shall be referred to as a "Low Budget" photoplay. The Company may option to purchase or license from a professional writer literary material, which would be covered by this Basic Agreement, for a period of eighteen (18) months upon payment of ten percent (10%) of the applicable minimum compensation for such literary material. Company may renew or extend such option for subsequent eighteen (18) month periods upon payment of an additional ten percent (10%) of the applicable minimum compensation for such literary material for each such eighteen (18) month period. Notwithstanding anything in this Basic Agreement to the contrary, the option payment(s) shall be credited against the purchase price or other compensation payable to the writer. ARTICLE 13 - COMPENSATION 68 A - THEATRICAL 1. a. Minimum Compensation FLAT DEAL SCREEN MINIMUMS EFFECTIVE HIGH BUDGET 5/02/11- 5/02/12- 5/02/13- 5/01/12 5/01/132 5/01/142 (1) Screenplay, including treatment $103,975 $105,795 $107,646 (2) Screenplay, excluding treatment 71,899 73,157 74,437 (3) Final Draft Screenplay or Rewrite 31,961 32,520 33,089 (4) -
Big Score Productions Is a Limited Liability Corporation, Consisting of the General Partners and the Limited Partners
B IG S CORE P RODUCTIONS T HE B USINESS P LAN FOR "BIG S CORE" Big Score Business Plan Page 2 Bigger Score Productions TABLE OF CONTENTS CATEGORY PAGE EXECUTIVE SUMMARY 3 OVERVIEW OF COMPANY 4 THE PROJECT 6 THE INDUSTRY 7 THE MARKET 10 DISTRIBUTION STRATEGY 12 INVESTMENT OPPORTUNITY AND FINANCIAL HIGHLIGHTS 15 Big Score Business Plan Page 3 Bigger Score Productions EXECUTIVE SUMMARY OVERVIEW OF COMPANY Big Score Productions is a Limited Liability Corporation, consisting of the General Partners and the Limited Partners. The Company is an independent motion picture production company assembled from creative and business professionals with a common goal of producing the feature length, independent film "Big Score." THE PROJECT "Big Score" is a motion picture budgeted to be produced at $500 thousand dollars, and for theatrical exhibition in the United States and abroad. The film falls into the category of two genres, these being blah blah blah and blah blah blah films. The Production Company desires to hire name talent for roles in the picture, thereby adding to the film's commercial value and audience appeal. THE INDUSTRY The U.S. box office totaled $5.3 billion in 1995. Analysts project a $20 billion worldwide box office for films in 1996, growing to $30 billion by 2001. The market for independent films has expanded tremendously in the last few years with worldwide grosses of one billion dollars in 1995. THE MARKET The strategy of making films in well-established genres has been proven time and time again to be a smart and sound choice for production.