Movie-Making & Pre-Production

Movie-Making: Anticipating the Perceived Difficulties

for the Management of Pre-Production

The average cost to produce a studio film has risen dramatically in the last forty years. According to the Motion Picture Association of America (MPAA), in 1960 the figure was $1 million. By 1998, the cost was nearly $40 million. Add to that an average of $20 million for marketing costs and the production of a feature film now averages an investment of $60 million per picture. Further, the combined production and marketing costs for major summer releases average well over $100 million per picture (Goodell, 1998, p. 13).

There are several reasons why studio films are so expensive. First, studio contracts with labor unions can add considerably to a film's budget. Teamsters alone can cost over a million dollars (Goodell, 1998, p. 13). Second, a producer usually must use the studio's production facilities, which are provided to the producer at nonnegotiable top-of-the-market prices. Further, the studio will tack on overhead and surcharges for the use of its facilities and equipment; in essence, paying itself (Goodell, 1998, p. 14). This money is referred to in the budget as 'soft dollars. Generally, studios do this because when the film is distributed, all costs of production, including 'soft dollars,' are paid back to the studio before any money is shared among net profit participants. This explains why studios often make money even when their pictures do not. Third, the he

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work and determining its quality and impact on the finished film. She must have a strong visual sense, an understanding of basic dramatic structure, and the capability to understand and communicate with actors (Harmon & Lawrence, 1997, p. 140). The director, therefore, must be one of the first people the producer hires--and is often part of the 'package' the producer puts forward when raising finance (Bernstein, 1997, p. 244). The Cast The director and the lead actors are usually above-the-line expenses. It should be noted that, as a result of scheduling, most of the actors are needed for only part of the production. The fees necessary for the supporting actors are generally negotiated with their agents, and invariably are below the line, unless the supporting actor is so well known that it is believed he might actually attract box-office. The minimum payments and working conditions are determined by organizations like the Screen Actor's Guild (SAG), and the producer must be aware of the rules of these organizations to prevent strikes or penalties during production. Generally, extras, who provide the background activity you see in most films, are only paid for those days on which they work. Having a great many extras therefore d

Category: Film - M