| Foreword | p. xiv |
| Acknowledgments | p. xvii |
| Preface | p. xviii |
| Introduction | p. xx |
| Commit or be Committed | p. 1 |
| Secrets to Success | p. 3 |
| The Journey | p. 4 |
| The Power of Sound and Words | p. 7 |
| Tips on Production with Xackery Irving | p. 9 |
| The Perfect Pitch | p. 17 |
| Visually Describe Your Film | p. 18 |
| A Sticky Story Pitch | p. 19 |
| The Winning Pitch by John McKeel | p. 20 |
| Know Who's Who | p. 22 |
| Become the Film | p. 23 |
| The Wind-up and Delivery | p. 25 |
| Perfecting Your Pitch | p. 26 |
| The Proposal | p. 29 |
| More Information to Include | p. 30 |
| Understanding Proposal Writing: A Conversation with Writer/Filmmaker JanEva Hombaker McKeel | p. 31 |
| Proposal Outline | p. 36 |
| Log Line and Title | p. 36 |
| Log Line Examples | p. 37 |
| Log Line Construction by Rodney Vance | p. 38 |
| Introduction/Synopsis | p. 40 |
| Background and Need | p. 41 |
| Approach, Structure, and Style | p. 41 |
| Theme | p. 43 |
| Audience, Marketing, and Distribution | p. 43 |
| Budget | p. 44 |
| Filmmaker's Statement and Biography | p. 45 |
| Tips from a Grantor | p. 46 |
| The Plan: From an Idea to a Trailer | p. 49 |
| Building the Foundation for Fundraising Trailers | |
| A Conversation with Story Consultant Fernanda Rossi | p. 55 |
| Creating Your Trailer | |
| By Bill Woolery, Editor of E.T. and the Usual Suspects | p. 67 |
| Tricks to Trailer Editing | p. 67 |
| Fundraising Trailers | p. 67 |
| Fundraising Trailers-Things to Consider | p. 69 |
| Different Types of Trailers | p. 70 |
| Feature Trailers | p. 71 |
| Three-Act Structure | p. 72 |
| Music for Trailers | p. 73 |
| Loading the Bases | p. 77 |
| Rules of the Games | p. 77 |
| Scouting the Majors: Researching Funders | p. 79 |
| Organizing Your Search | p. 80 |
| Winning the Mind Game | p. 83 |
| Attracting Success | p. 83 |
| Releasing a Potential | p. 84 |
| First Law in Manifesting | p. 84 |
| How Do You Do This? | p. 85 |
| Daydreaming Is In! | p. 86 |
| The Feature Film Game | |
| By Tom Malloy, Actor/Producer/Writer | p. 89 |
| Finding Vested Investors | p. 90 |
| Closing the Deal | p. 90 |
| The Script | p. 91 |
| Make Films | p. 97 |
| Synopsis for Feature Films The Alphabet Killer | p. 98 |
| The Roar of Crowdfunding | |
| Interview with Danea Ringlemann, co-founder of IndieGoGo | p. 99 |
| Crowdfunding for Cash | p. 100 |
| Tips for Success | p. 101 |
| Average Contributions | p. 102 |
| Crowdfunding for Features | p. 103 |
| Creating a Successful Campaign, Outlined by Carole Dean | p. 105 |
| Networking for Crowdfunding | p. 107 |
| Money | p. 108 |
| Crowdfunding Trailer | p. 109 |
| Are You Ready to Receive? | p. 110 |
| Create a Team and Get Moving | p. 110 |
| Launch Date Check List | p. 111 |
| Internet Marketing | |
| Interview with Peter Broderick of Paradigm Consulting | p. 113 |
| Creating a Distribution Strategy | p. 114 |
| Theatrical Distribution | p. 115 |
| Digital Revenue | p. 116 |
| Internet Distribution | p. 117 |
| Distribution Pitfalls | p. 118 |
| Raising Funds From Individuals and Businesses | p. 121 |
| Raising Funds from Individuals | p. 125 |
| Popping the Big Question | p. 131 |
| Funding Parties, Instant Cash | p. 133 |
| Funding Extravaganza Outline | p. 135 |
| Your Fundraising Toolbox | p. 139 |
| Archival Footage | |
| A Conversation with Rosemary Rotondi | p. 143 |
| Betty Blankenbaker's Experience | p. 143 |
| Archival Footage for Low Budgets | p. 145 |
| Foundations and Grants | p. 149 |
| Fiscal Sponsorship | p. 149 |
| Making a Movie That Matters | p. 150 |
| Finding the Grantor to Match Your Film | p. 153 |
| Contacting Your Potential Grantor | p. 155 |
| Listening Is an Art | p. 157 |
| Tenacity Pays Off | |
| Interview with Jilann Spitzmiller of Philomath Films | p. 161 |
| Winning Sundance Grants | p. 164 |
| BBC License Fees | p. 165 |
| ITVS-Winning Documentary Proposal | p. 167 |
| Transmedia Proposal | p. 181 |
| Music Clearances and Licenses | |
| By Maureen Ryan, author of Producer to Producer | p. 203 |
| Plan for Success | p. 203 |
| Creating a Music Soundtrack | p. 204 |
| What Rights Do You Need? | p. 204 |
| Putting in the License Request | p. 206 |
| Music Rights Request Letter Format | p. 207 |
| Negotiating the Music Rights | p. 209 |
| Most Favored Nation | p. 210 |
| Financing Independent Films | |
| A Conversation with Entertainment Attorney | p. 211 |
| Financing Features | p. 212 |
| Releases & Copyright | p. 213 |
| Private Placement Memorandums (PPM) | p. 214 |
| Gap Financing | p. 214 |
| Benefits of an LLC | p. 215 |
| Independent Film Financing | p. 217 |
| Distribution-What Distributions Want | |
| Interview with | p. 221 |
| When to Contact a Distributor | p. 221 |
| Electronic Film Marketing | p. 223 |
| The Value of a Trailer | p. 225 |
| Documentary Distribution | p. 229 |
| Karen McCann on Self Distribution | p. 231 |
| The Money Maze of Public Funding | |
| Working with ITVS & PBS | p. 233 |
| Producing for Public Broadcasting (PBS) | p. 234 |
| American Public Television (APT) | p. 237 |
| ITVS | p. 237 |
| Independent Lens | p. 240 |
| WNET and Wide Angle | p. 240 |
| Arthur Dong | p. 241 |
| Mission, Vision, and Values | |
| A Conversation with Morrie Warshawski | p. 245 |
| Five-Year Projections | p. 245 |
| Creating a Mission Statement | p. 248 |
| Proposal for a Documentary | p. 249 |
| Testing Your Film Idea | p. 252 |
| Grant Proposal Writers | p. 252 |
| Donations from Small Businesses | p. 254 |
| Raising Money from Corporations | p. 255 |
| Budgets: Production Glue | |
| By Norman C. Berns | p. 259 |
| The Problem | p. 259 |
| The Crux of It All | p. 260 |
| You're in Charge of Your Film | p. 265 |
| Stars. Props. Locations. Action. Talent. Schedules | p. 266 |
| The Cost of Things | p. 268 |
| Budgeting Programs Are Financial Management Tools | p. 269 |
| Legal Considerations | |
| Film Financing | p. 273 |
| Conditional Pay or Play | p. 274 |
| Funding Sources | p. 274 |
| Chain of Title | p. 275 |
| Legal Basics of Filmmaking by Paige Gold | p. 276 |
| Business Entity Formation | p. 277 |
| Insurance | p. 277 |
| Contract Basics | p. 277 |
| Optioning Life Rights | p. 278 |
| Co-Production Deals | p. 279 |
| Negotiating a Good Contract | p. 280 |
| Miscellaneous Advice | p. 280 |
| Stretching Production Dollars Through Fair Use | |
| By Michael C. Donaldson | p. 283 |
| Fair Use Can Save Production Dollars | p. 283 |
| Fair Use Doctrine in the U.S. Copyright Act | p. 284 |
| One Plaintiff, Three Cases, Same Result-The AIP Cases | p. 285 |
| The Grateful Dead Can Still Break New Ground | p. 287 |
| Safe Harbor | p. 288 |
| Insurance to the Rescue | p. 290 |
| Motion Picture Insurance | |
| By Kent Hamilton | p. 293 |
| Overview | p. 294 |
| General Liability | p. 294 |
| Workers' Compensation | p. 295 |
| Errors and Omissions | p. 295 |
| Production Package | p. 296 |
| Lights, Camera, Action! | |
| Studio and Lighting: An Interview with Britt Penrod, Vice President of Business Development, Raleigh Film and Television Studios | p. 301 |
| Economic Incentives for Productions | p. 302 |
| Negotiating with a Studio for Stage and Lights | p. 304 |
| Saving Money on Stage and Lighting Rentals | p. 307 |
| Camera Equipment: An Interview with Mala Kaufman | p. 309 |
| Camera Trends | p. 309 |
| Economical Cameras | p. 310 |
| Savings on Rental Costs | p. 311 |
| Student Discounts and Training | p. 312 |
| Appendix | p. 314 |
| Production Resources for Public Television | p. 314 |
| Internet Search Tools | p. 316 |
| Databases & Resources | p. 316 |
| Print Resources | p. 317 |
| Funders | p. 318 |
| Production List | p. 333 |
| About the Author | p. 339 |
| Table of Contents provided by Ingram. All Rights Reserved. |
