How to Work the Film & TV Markets
Routledge (Verlag)
978-1-138-80065-6 (ISBN)
Heather Hale demystifies these markets, making them less intimidating, less confusing and less overwhelming. She shows you how to navigate these events, making them far more accessible, productive — and fun!
This creative guide offers:
An in-depth survey of the most significant film, TV and digital content trade shows around the world;
An overview of the co-production market circuit that offers financing and development support to independent producers;
An outline of the market-like festivals and key awards shows;
A breakdown of who’s who at all these events — and how to network with them;
Hot Tips on how to prepare for, execute and follow up on these prime opportunities;
Low-budget key art samples and game plans;
A social media speed tour with a wealth of audience engagement ideas.
Visit the book’s space on www.HeatherHale.com for additional resources and up-to-date information on all these events.
Heather Hale is a film and TV director, producer and screenwriter of original programming, including the indie comedy Rolling Romance (2018), the thriller Absolute Killers (2011), the Lifetime Original Movie The Courage to Love (2000), as well as several award-winning syndicated series and two Emmy-winning PBS series. She was the Independent Film and Television Alliance’s Industry Liaison for the 2013 American Film Market as well as the Vice President of Event Programming for the National Association of Television Program Executives, where she helped design and launch the TV Producers' Boot Camp. She often serves as NATPE’s official pitch prep consultant, preparing producers to pitch to financiers and distribution executives. Heather speaks and consults around the world, customizing retreats and workshops and is always writing, producing, directing and raising funds for film and television projects. Stay up-to-date with Heather and Heather Hale Productions at www.HeatherHale.com
Introduction
This Guidebook = Orientation + Compendium + Almanac + "How-To" Manual
Who this Book Is For
The Goal of this Book
PART I THE MARKETS
Chapter 1 What Is a Market?
Market Establishing Shot
Exhibition Space
Screenings
Educational and Networking Opportunities
What’s the Difference Between a Market and a Festival?
Confusion Abounds
Festivals Versus Markets
Should You Go to Either? Both? Why?
Aren’t Film and Television Totally Different Industries?
You Might Be an Independent If . . .
PART II THE GLOBAL FILM INDUSTRY
Chapter 2 To Hollywood, Bollywood, Nollywood — and Beyond!
Hollywood
Bollywood
Nollywood
Hollywood’s Oligopoly
The Big Six
The Mini Majors
Fierce Film Competition
Chapter 3 The Players on the Film Market Stage
Film Distributors
International (Film) Sales Agents (ISAs)
Aggregators
Producer’s Representatives
Collection Agents
Exhibitors
Market Makers
THE FILM MARKETS
Chapter 4 Le Marché du Film (The Cannes Film Market)
International Profile
The Producers Workshop
The Producers Network
"Goes to Cannes" Works in Progress Screenings
Cannes Investors Club
The Village International
NEXT Pavilion
Marché Mixers
Doc Corner
Cinando
Chapter 5 The European Film Market (EFM)
Venues
Potsdamer Platz
First Timers
EFM Industry Debates
EFM Drama Series Days
American Independents in Berlin
Creative Europe Media (Media-stands.eu)
EFM Asia
LOLA at Berlinale
EFM Startups
Meet the Docs
Meet the Festivals
Chapter 6 The American Film Market (AFM)
AFM Conference Series
Roundtables
MyAFM
Exhibitors
The Film Catalogue
Buyers
The Independent Film & Television Alliance® (IFTA)
Don’t Be a Lobby Lizard
Chapter 7 Regional Film Markets
Hong Kong FILMART
Hong Kong-Asia Film Financing Forum
Business of IP (BIP) Zone
Expo Hong Kong
Asian Film Market
Korean Blockbusters
Tokyo International Film Festival Content
Market (TIFFCOM)
Ventana Sur
London Screenings
PART III THE WORLDWIDE TELEVISION AND DIGITAL MEDIA BUSINESS
Chapter 8 Mise en Scène
The UK and the US
Germany
The BRIC Block
Brazil
Russia
India
China
Turkey
Africa
Chapter 9 The Studio Scene: LA Screenings, the Upfronts (and NewFronts)
The LA Screenings
The Upfronts
The NewFronts
Staggering Odds of Scripted TV
Chapter 10 The Players on the TV Market Stage
Distributors
Broadcast Networks
Cable Networks
Satellite TV
Telcos and ISPs
Over the Top Television (OTT)/Internet Networks
Syndicators
The Coveted 100th Episode
Strip Shows
Deficit Financing
Time Buy or Barter Syndication (Client Supplied Programming)
Station Groups
Aggregators
Exhibitors
Market Makers
THE TV MARKETS
Chapter 11 The MIP Markets
The MIPs
Back at the Palais
Access to it all via MyMIP and Mobile Apps
MIPTV
Welcome to the Club(s)!
MIPDigital Fronts
MIPFormats
MIPDoc
MIPCOM
MIPJunior
MIPCancun (the Latam TV Buyers Summit)
Asia TV Forum & Market (ATF)
Chapter 12 National Association of Television Program Executives (NATPE)
Professional Pitch Opportunities
First Show of the Year
NAPTE Hotels
Live Stream Virtual NATPE
Content Without Borders: NATPE Europe
Awards
Chapter 13 Realscreen
Realscreen Summit
Luncheon Roundtables
Meet a Mentor
Meet an Expert
Speed Pitching: Now You’re Talking — FAST!
30 Minutes With . . .
Master Classes
Summit Showdown Pitching Contest
Awards
Realscreen West
Realscreen London
Realscreen Magazine
RealXchange
Kidscreen Summit
BCON Expo
Stream Market
Chapter 14 Regional TV and Serialized Video Content Markets
Bogota Audiovisual Market (BAM)
DISCOPs 115
DISCOP Africa
DISCOP Abidjan
DISCOP Johannesburg
DISCOP Istanbul
DISCOP Dubai
Hong Kong FILMART
MYCONTENT
TIFFCOM
World Content Market
PART IV CO-PRODUCTION MARKETS
Chapter 15 CineMart (IFF Rotterdam Co-Production Market)
Rotterdam Lab
Chapter 16 Berlinale Co-Production Market
Berlinale Co-Production Market Producer’s Lounge
Berlinale Directors
Rotterdam-Berlinale Express
CoPro Series (Drama Days)
Books at Berlinale
World Cinema Fund
Countries in Focus
Chapter 17 Other Major Co-Production Markets
Asian Project Market
Beijing Film Market
Boat Meeting
CPH:FORUM
CineLink Co-Production Market
DISCOPRO
Europe–Latin America Co-Production Forum
Frontières International Co-Production Market
Holland Film Meeting Co-Production Platform
IFP No Borders International Co-Production Market
IDFA Forum (Docs for Sale/IDF Amsterdam)
Moscow Business Square
Paris Co-Production Village
Arc 1950 Coproduction Village
Sofia Meetings and Balkan Screenings
TorinoFilmLab
PART V BEFORE: PREPARATION
Chapter 18 Start with the End in Mind
Why Are You Going?
What Can You Realistically Accomplish at This Market?
But What If I’m Not Really Ready Yet?
Chapter 19 Know Your Product
High Concept
Format, Genre and Subgenre
Sitcoms, One-Hour Dramas and Dramedies
Scripted Serial Renaissance
Reality Formats
Protect Your Reality Format
Chapter 20 Know Your Target Audience(s)
But my film/TV show is for everyone . . .
Demographics
Four-Quadrant Film
Psychographics
Binge Watching and Time Shifting
Chapter 21 Polish Your Pitch and Marketing Materials
Great Title
Terrific Logline
Additive Tagline
Succinct Synopsis
Excellent Script
Should I Bring Scripts to the Market?
"Send the Script" Edutainment Story: The Courage to Love
Chapter 22 Develop Key Art
Key Art Versus Concept Art
Placeholder Key Art
Low-Budget Key Art Strategies
Teasers vs. Payoffs
Key Art Before Actors Are Attached
Raw Assets
Key Art Comps
Focus Groups and Gender Preferences
Good, Fast, Cheap: Pick Two
Facebook and Twitter Banners and Avatars
One Sheets
Market Catalog
Video
Trailers
Screeners
Sizzle Reels
Talent Reels
Presentation Tape/Completed Scenes
Proof of Concept Pilot
Rip-O-Matics
Animatics
Vision Statement
Awesome Verbal Pitch
Share Your Passion
Pitch Perfect: Water Cooler 101
Chapter 23 What Goes Into a Pitch Package?
Cast Wish Lists
Bios
Executive Summary
Let’s Talk about Comps, Man
Analyze Your Comps
Schedule
Budget
Production Budget has Zero Correlation to Box Office
Prints and Advertising
Think Outside the Schedule and Budget Box
Sales Estimates
Pre-Sales
Waterfalls
Production Budget has No Correlation to Box Office
TV Cash Flow Analysis
The Do’s and Don’ts of Reality Show Pitch Proposals
Chapter 24 Gearing Up For Each Event
Research the Event
Who Are You Looking to Meet?
Research Your Prospects
Research the Other Attendees
Create Your Hit List
Start Doing Research
Study Each Company’s Website
The Right Titles for Your Hit List
Finding the Right Sales Agent for Your Project
Sort, Rank, and Order Your List
Plan and Prioritize Your Market Goals and Schedule in Advance
Badge Buying Advice
Business Cards
PART VI DURING: AT THE MARKET
Chapter 25 Prudent Market Scheduling and Logistics
Review Your Hit List
Pay Attention to Badge Clues
Don’t Ignore Your Own Badge . . .
Ice-Breaking Wardrobe
Ice-Breaking Props
Market First Timers: Don’t Be Nervous
Chapter 26 Taking Meetings at the Market
Respect the Exhibitor’s Space and Time 236
Befriend the Gatekeepers
Establish Your Credibility
Define the Purpose of Each Meeting
Negotiating
A Word of Caution: Bifurcating the Rights
A Word of Caution: Check Those Definitions!
What to Leave Behind (If Anything)
Always Have an Answer For: "What Else Have You Got?"
Post-Meeting Housekeeping
PART VII AFTER: FOLLOW-UP
Chapter 27 Gauging Success
Deal or No Deal?
Year-Round Networking
PART VIII IMPORTANT ANNUAL ANCILLARY EVENTS
Chapter 28 Top Ten Market-Like Film Festivals
Festival de Cannes
Opportunities
Toronto International Film Festival
Opportunities
Market-Like Elements
Support for Canadian Films
Sundance Film Festival
Opportunities
Sundance Institute Labs
Venice Film Festival
Berlinale (Berlin International Film Festival)
Berlinale Talents Market Hub
SXSW (South by Southwest)
Tribeca Film Festival
International Film Festival Rotterdam
Sofia International Film Festival
Palm Springs International Film Festival
Palm Springs Shortfest and Market
Chapter 29 Globally Significant, Pedigree-Building Film Festivals
AFI FEST
Austin International Film Festival
BANFF
Beijing International Film Festival
Buenos Aires International Independent Film Festival (BAFICI)
Busan International Film Festival
Champs-Élysées Film Festival Industry Days
Hong Kong International Film Festival
Les Arcs European Film Festival
Los Angeles Film Festival
Munich Film Festival
New York Film Festival
Raindance
San Sebastian Film Festival
Singapore International Film Festival (SGIFF)
Telluride Film Festival (Colorado, USA)
Tokyo International Film Festival
Chapter 30 Television Festivals
ATX Television Festival
Banff World Media Festival
Celtic Media Festival
Edinburgh International Television Festival
FESPACO (The Festival PanAfricain du Cinéma et de la television de Ouagadougou)
Festival International de Programmes Audiovisuels
FesTVal Spain
ITVFest (Independent Television Festival)
Monte-Carlo Television Festival
New York Television Festival
SCAD’s aTVFest
SeriesFest
VerCiência Brazil
Chapter 31 International Documentary Festivals
Hot Docs
International Documentary Festival Amsterdam
Sunny Side of the Doc
Asian Side
Latin Side
Chapter 32 Awards Shows
Key Film Awards
The Oscars (Academy Awards)
Film Independent’s Spirit Awards
German Film Awards (the Lola; Deutscher Filmpreis)
Asian Film Awards
Hong Kong Film Awards
Spanish Film Awards (the Goya; Los Premios Goya)
The MTV Movie Awards
Key Television Awards
The Emmys
NATPE’s Reality Breakthrough Awards
The Brandon Tartikoff Legacy Awards
Realscreen Awards
Both Film and TV Awards Shows
British Academy Film and Television Awards (BAFTAs)
The Britannia Awards
Golden Globes
The People’s Choice Awards
TV Land Awards
Streamy Awards
Razzies
EGOT
Chapter 33 Overlapping Industries’ Events
Consumer Electronics Show (CES)
CinemaCon (formerly ShoWest)
NAB
PromaxBDA Conference
US–China Film Summit
The World Animation and VFX Summit
Midem
Internet and Television Expo (INTX, formerly The Cable Show)
Chapter 34 Significant Consumer Events
Comic-Con International: San Diego
Entertainment Expo Hong Kong
Chapter 35 Denouement
Index
| Erscheint lt. Verlag | 31.7.2017 |
|---|---|
| Zusatzinfo | 5 Tables, black and white |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 178 x 254 mm |
| Gewicht | 1300 g |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| ISBN-10 | 1-138-80065-1 / 1138800651 |
| ISBN-13 | 978-1-138-80065-6 / 9781138800656 |
| Zustand | Neuware |
| Haben Sie eine Frage zum Produkt? |
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