Click on the course name for a PDF of the syllabus (where
available).
Required Course all first year students in the film division.
An exploration of the various roles that are fulfilled by
Producers in the film and television businesses. Includes
historical perspective and contrasts the various types of
producers from “line” producers to “creative” producers,
“studio-based producers to independents, domestically based
producers to producers based in other countries. The
course uses guest lecturers in order to
best represent the entire
spectrum and to stress the variety of
perspectives. The first two hours of each session are
lectures, and the final hour is a workshop in which students
divide into smaller groups and work on projects that are
presented in the last three weeks of class.
Required Course all first year students in the
film division. This course is a preparation class for the
production of the 8-12 projects over the summer. An exploration
of the key aspects of line producing for the short film genre.
Topics include script breakdowns, budget creation, production
agreements, DP reel selection, crew hiring, location and tech
scouting, SAG paperwork, Mayor’s Office of Film, Theatre and
Broadcasting permits, release forms, shooting ratio, set
protocols, shot lists and scheduling for films. Students will
create a script breakdown and budget for the project they will
produce by utilizing professional industry standard computer
software.
- W4220Y -The History of the
Producer in the American Film Industry
Leon Falk
A survey of the history of producing in the
U.S. from pre-Hollywood filmmaking to the poststudio era of
independent producers, agency packaging, and industry
conglomerates. Hollywood producers such as Thomas Ince, Jesse
Lasky, Irving Thalberg, David O. Selznick, and Dore Schary are
considered. Emphasis is also placed on independent productions
as an alternative method of filmmaking.
Prerequisite: permission of the Division. An
overview of the business side of theatrical motion pictures,
from the Hollywood major studios to small independents and
self-distribution. Covers all the ancillary markets (cable, home
video) and their relationship both to the theatrical success of
the film and to its bottom line.
Prerequisite: Film R6004 and permission of the
Division. Using Emir Kusturica's first American feature, Arizona
Dream, as a case study, students work from selected contents of
production notebooks plus the shooting script. They prepare
breakdowns, production strip boards, and call sheets from short
screenplays to develop pre- production skills.
Prerequisite: Film R6004, permission of the
Division, and classes in production as well as film theory. An
intensive workshop for the active film producer as well as a
collective critical inquiry into the relationship between
no-budget modes of production and their aesthetic and political
implications. Particular attention is paid to the legal and
business aspects of independent filmmaking as well as to the
industrialization of narrative in Hollywood.
Prerequisite: Film R6004 and permission of the
Division. An exploration of the various options for developing
feature films, such as option deals, copyrights, dealing with
agencies, and the selling process. Examines how these different
deal structures affect the films that are made.
Prerequisite: Film R6004 and the permission of
the Division. Creative independent producers explore the process
of producing a theatrical feature film from the acquisition of a
property through the distribution deal: selling an idea, working
with screenwriters, and assembling the financing, casting, and
production of the picture. Key people involved in these aspects
of the process appear as guest lecturers.
- R8992 - Producing Thesis Advisement
Ira Deutchman
Supervised preparation for
Producing Thesis and fulfillment of internship requirement for
producing concentrates. Course is divided into two parts:
Thesis preparation: one on
one meetings with Professor to make sure students have fulfilled
necessary requirements before embarking on a thesis; and to make
sure proposed thesis fits within the required guidelines of the
concentration. Regular meetings are held with all thesis
candidates, and observed by prospective candidates to allow
students to hear about problems and solutions. After submission
of theses, each student is required to do an oral presentation
of their thesis to the group before they can graduate.
Internship: Students will be
exposed to real-life industry situations by working inside a
production company. Students will be matched up according to
interests and skills with development or physical production
companies, and expected to work for a full semester on a regular
part-time basis. Work will be monitored by means of weekly
reports that must be submitted to the Professor, and a final
report at the end of the semester that sums up the value of the
internship. Information will be shared among students at the
regular class meetings as described above.
Research Arts:
|
