Spring Term 1999

508-645-3256

[email protected]

The entertainment industry is a "gut" business with high risks and high rewards. This course covers the nuts and bolts of making movies and television programs from the point of view of the person with ultimate P&L responsibility: the producer. It goes beyond the structure of the industry and focuses on the economics and management issues of different product lines, with primary emphasis on theatrical films and network TV dramas and sitcoms. The student will act as a producer, an entrepreneur who constantly monitors popular culture looking for ideas that can be turned into money making properties while minimizing his/her own risk through creative deal structuring and the use of outside financing. In addition to the course syllabus, students will be required to read Weekly Variety to gain an understanding of current market conditions, and a portion of each seminar will be devoted to a review of them. During the semester, each student will participate in an interactive exercise that parallels the course content. Acting as a producer, they will develop two properties for the current market and pitch them in a role playing exercise. Then, working as teams/production companies, the producer will "package" a property by first making deals with a writer, lead talent, and a director and then negotiating a production finance and distribution agreement with a major studio.

The course is divided into two parts. The first part analyzes the market for Film/TV properties: Who buys, how do they make their money, what type of product do they want, and what will they pay for it? This section will analyze theatrical film, home video, pay-per-view, pay cable, network TV, syndicated TV, basic cable, foreign, and licensing as discrete businesses, and as "windows" for sequential releasing. In each case we will follow the flow of cash from the ultimate consumer back to the producer: how much of what you pay for tickets and popcorn makes it back to the producer and who takes what along the way? The second part of the course focuses on development and the production process. The primary emphasis here is on development, packaging, dealmaking, creative control, and financing from the perspective of both the producer-dealmaker and the producer-filmaker. It is in this second half that the interactive/role playing exercise takes place. The goal is to produce a quality product on the most favorable terms possible for the producer.

Unit 1. The Role of the Producer. What does a producer really do, why would anyone want to do it, and what does it take to succeed? PLEASE NOTE THAT THERE IS A READING ASSIGNMENT FOR THE FIRST UNIT!!!

Unit 2. Domestic Theatrical Film Distribution. Who goes to movies and why, who makes what money when a movie is released, and what films do well and why?

Unit 3. Domestic Theatrical Film Marketing. How do release strategies, scheduling, advertising, PR, word of mouth, and awards effect the success of a film?

Unit 4. Foreign Theatrical Distribution, Home Video, Pay Per View, and Licensing. Who makes what money in these markets, how is revenue maximized, what sells and why, and are these really ancillary markets?

Unit 5. Broadcast and Network Television. Who makes money in the TV business and how, what types of programming do they buy, what do they pay for it, and how does a producer make a profit and maximize revenue? Anatomy of a prime deal network deal.

Unit 6. Syndication, Cable, and Pay Cable. Who makes money in these parts of the TV business, what types of programming do they buy, what do they pay for it, and how does a producer make a profit and maximize revenue? Branding.

Unit 7. The Art of the Pitch: Selling your Idea. Salesmen make great producers. Each production team will be required to write and submit pitches for two different entertainment properties for the current marketplace. At least one pitch must be for an original Theatrical Film.

Unit 8. Release models, valuing individual properties and libraries. Entertainment industry economic trends and studio strategies. What�s a property worth over its life, is this a good business, and what does it take to succeed? What are the key economic concepts driving the industry and how do they explain current industry trends and specific company global strategies? This unit caps the first section of the course. The interactive development exercise starts with this unit as the background case "Triple-Witching Hour" is prepared.

Unit 9. . Development Part One: Turning your Idea into a Script/Screenplay. What does a writer do and how important are they to the success of a project? How to hire and negotiate a deal with one. Buying book and life story rights. Copyright law. The "Triple-Witching Hour" exercise continues as the production teams submit written responses to "The Writer" case at the start of the class.

Unit 10. Development Part Two: Creating A Bankable Package; Film & TV Financing. Hiring and negotiating deals with lead talent. How important are they to the success of a project? An analysis of the many options available for financing production. The "Triple-Witching Hour" exercise continues as the production teams submit written responses to "A Bankable Star" case at the start of the class.

Unit 11. Film and TV Production. What is the role of the producer during production. Analysis of production budgets. Project based management. The "Triple-Witching Hour" exercise continues as the production teams submit written responses to "The Director" case at the start of the class.

Unit 12. The Art of the Deal: Negotiating a PFD. Putting it all together with case studies of specific film, TV, and video deals. Turn around. The "Triple-Witching Hour" exercise concludes here as the production teams submit written responses to "The Deal" case at the start of the class.

Course Material (PLEASE NOTE THERE IS A READING ASSIGNMENT FOR UNIT 1).

In addition to the course pack, there are two books available at the University Bookstore:

1. "Dealmaking in the Film and Television Industry", Mark Litwak, Silman-James Press, 1994.
2. "The Movie Business Book", Jason Squire, Second Edition, Fireside, 1992.

You are also expected to read Weekly Variety. A 13 week academic subscription is available for about $30 and Sunday home delivery is available at many Manhattan locations. Otherwise copies are delivered to the library on Monday morning. You will need to place your subscription by mid January in order to get your subscription in time for the first class. Details will be e-mailed to all registered students.

This course is 80% qualitative, 20% quantitative, and 100% creative. Only 30%-40% of class time will be spent lecturing. The rest will be discussion/debate/analysis of the readings, weekly Variety, and homework assignments with a lot of class participation. I like a lot of discussion/participation so I know where people�s comprehension levels are. I will cold call on people to answer assigned questions. Many students who take this course have background in the industry and will be called on to share their knowledge and perspective. Students will be asked to submit their resumes and a statement about their interest in the course after they are registered so that I can tailor the material accordingly. Strong writing skills are essential for success in this course.

At the first session, each student must provide the instructor with a copy of his/her "face card". Please include your telephone number and e-mail address.

Attendance is expected and unexcused absences will adversely affect one�s course grade. Please inform me before class if you will be unable to attend.

The course will run no more than 2.5 hours each week, however, unit 7 on March 9 will consist of group presentations so please allow three hours that evening.

1. Class Participation (25%)

A substantial portion of class time will be devoted to analyzing the reading materials. Students will be expected to read the materials thoroughly and integrate them. The professor will regularly ask questions about the reading. To assist in preparation, a list of questions will be distributed in advance. High grades in class participation will result from thorough analysis and answers with specific examples.

2. Written Assignments (50%)

There will be two individual written assignments:

a.) At the start of unit 7 (March 9, 1999) each student must submit 2 individually written pitches. One of these must be for an original theatrical film. The pitches must meet the description contained in the syllabus for the production team pitches, but are to be no more than 2 pages each (double-spaced) type written using 12 point font. These individual pitches will form a series of projects for your production team to select from or modify in the group pitch exercise. These pitches will account for 20% of the grade. Submit only your original pitch. If your group modifies and uses your idea, the modified idea will be evaluated as part of the group exercise.

b.) The second written assignment will be due at noon on Thursday April 29, 1999 It will be a written analysis and recommendations of a case to be distributed on April 20, 1999. This assignment will account for 30% of the grade and is an individual exercise.

3. Interactive Exercise (25%)

During units 7-12 the class will be broken into groups of 4 that will act as individual production companies developing a film property. This interactive exercise will have a specific written assignment each week (2-6 typewritten, double spaced pages) plus a verbal pitch during unit 7. Performance will be evaluated on a group basis and will account for 25% of the grade.

NOTE: In addition to reading Variety, there are two course books that need to be purchased. They are available at the University Bookstore:

1.) Litwak, Mark, "Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts" Silman-James Press, 1994.
2.) Squire, Jason, "The Movie Business Book", Second Edition. Fireside, 1992

The Role of the Producer. What does a producer do, why would anyone want to do it, and what does it take to succeed?

1. Obst, Lynda, "Hello, He Lied": And Other Truths from the Hollywood Trenches", Little Brown, 1996. Preface, pp. ix-x, Chapter 1, pp.3-8 and pp.14-19
2. Hirschberg, L.(moderator); "The Producers" (Interview with Lawrence Gordon and Christine Vachon) The New York Times Magazine, Nov. 16, 1997. 5 pages.
3. Cyberspace Film School; "Producer�s Forum, FAQ", Hollywood Film Institute (http://HollywoodU.com, 1-800-366-3465) pages 1-2.
4. Schlesinger, Leonard; Barsh J.; "The Ladd Company" Harvard Business School Publishing Case # 9-482-122, 11/87. 22 pages.
5. Variety, "Hollywood Tightens Wheels on Deals", 6/98.
6. Variety, "Morgan Creek Flows With New Energy", 6/29/98.
7. Fortune, "A Hollywood Hotshot Without A Hit", 9/29/97.
8. Variety, "Hollywood Hunts �The Great Idea�", 2/2/98
9. Variety, "Studios Experience Deja View", 7/27/98

1. Litwak, Mark, "Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts" Silman-James Press, 1994. pp.1-9 (introduction)
2. Squire, Jason, "The Movie Business Book" Second Edition. Fireside, 1992, Introduction pp. 21-30.
3. Puttnam, David, "The Producer" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 33-43.
4. Jaglom, Henry, "The Independent Filmmaker" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 74-81.

Domestic Theatrical Film Distribution. Who goes to movies and why, who makes what money when a movie is released, and what films do well and why?

1. Verter, G.; McGahan, A.; Coming Soon: "A Theater Near You" Harvard Business School Publishing Case #9-797-011. 21 pages.
2. M.P.A.A., "1997 US Economic Review: Theatrical Data". Statistics from 1980-1997. M.P.A.A. Website, 1998. pp. 1-14.
3. Variety, "Poll Details Pic Pickers", 10/26/98.
4. Variety, "Box Office News", 4/20/98 and 4/27/98.
5. Variety; "EDI Box Office News" Oct. 6, 1997.
6. Variety, "Desperate Hours", Oct. 27, 1997.
7. Variety, "In H�Wood, No Gluts No Glory", 8/3/98
8. Variety, "Plexes Flex for Yule Duels", 11/2/98
9. Variety, "Low Deposit, Mo� Return", 2/23/98
10. Variety, "Epics �Titanic,� �Wind� Crush Formulas", 3/2/98.
11. Variety, "Tara torpedoes Titanic as the real B.O. champ", 3/2/98.
12. Variety, "Hollywood on the Battlefield", "�Lion� animation Kingpin", "B.O. From the Hood", "Wag the Dollars", various.
13. Variety, "Summer Box Office, TOP 10", 8/17/98
14. Variety, " Can H�wood Afford Superstars?", 4/20/98.
15. Variety, "Holiday �97: Been there, seen that", 11/24/97
16. Variety, " �Alien� Box Office History", 11/97.
17. Variety, "Cheers, jeers on ratings code birthday", 11/2/98.
18. Variety; "EDI BOX OFFICE NEWS", 10/20/1997 and "Troopers bugs out week�s B.O.", 12/97.

1. Squire, Jason, "Audience Profile" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 388-391.
2. Frieberg, Alan (Chairman of Loews/Sony Theaters),"The Theatrical Exhibitor" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 342-351.
3. Laemmle, Robert, "The Independent Exhibitor" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 360-364.
4. Murphy, A., "Distribution and Exhibition: An Overview" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 276-290.
5. Picker, David, "The Film Company as Financier-Distributor" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 187-192.

If you are unfamiliar with the MPAA ratings system, the following has definitions of the ratings and a history of the system:

Valenti, Jack, "The Voluntary Movie Rating System" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 397-406.

Domestic Theatrical Film Marketing. How do release strategies, scheduling, advertising, PR, word of mouth, and awards effect the success of a film?

1. Bernard Weinraub, "The Hollywood Forecast: A Six-Week Blizzard", The New York Times, 11/15/98.
2. Variety, "Mouse flexes plex muscle with �Mermaid� move", 11/17/97.
3. Variety, "H�Wood Trims Its Tentpoles", 10/5/98.
4. Wiese, Michael; "Film & Video Marketing", Michael Wiese Productions, 1989. Pages 103-115 (Promotion Timeline).
5. Variety, "More B.O. oracles take up trackin�", 10/19/98.
6. Variety, "Pics Go For Wide Angles", 5/25/98.
7. Variety, "The be-all and end-all of film marketing", 6/29/98.
8. Variety, "Wide, Wider, Widest", 1/26/98, and The Wall Street Journal, "Warner Bros. Taps McDonald�s Official To Run Studio�s Movie Marketing in U.S.".
9. Karen Hudes, "Independent Film, but With a Catch: A Corporate Logo", The New York Times, 11/15/98.
10. Weinraub, Bernard; "Fox Stands To Get Its Fill From �The Full Monty�", The New York Times, Sept. 16, 1997. (Plus Variety;"From Humble Beginnings" 10/6/97).
11. Variety, "Box Office News", 11/9/98, and "A Decade of Limited Releases" , 2/23/98.
12. Variety, "Classic Formula", 8/3/98.
13. Variety, "Arthouses Face Empty Seats", 7/13/98, and "Limited Release B.O. On Upswing", 5/25/98.
14. Alison Stateman, ""Indie(n) Summer: How Film Studios Vie For Box-Office Dollars", Tactics Magazine, June 1997.
15. Bernard Weinraub, "Despite Hope, Beloved� Generates Little Heat", The New York Times, 11/9/98.
16. Variety, "Noms Pay Dividends Worldwide", 3/23/98, and "Box Office News" 3/30/98.
17. Variety, " �Private Ryan�s� Saving Grace", 7/98.
18. Variety, " �Waterboy� makes waves in showbiz", 11/16/98.
19. Variety, "Dreamworks displays its Nile guile", 11/23/98.
20. Variety, "Home Fries" review 9/98.
21. Bernard Weinraub, "Avengers Gets A Stealth Opening", The New York Times, 8/125/98.

1. Friedman, Robert (Warner Brothers), "Motion Picture Marketing" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 292-305.
2. Deutchman, Ira (New Line Cinema), "Independent Distribution and Marketing" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp.321-27.

Foreign Theatrical Distribution, Home Video, PPV, and Licensing. Who makes what money in these markets, how is revenue maximized, what sells and why, and are these really ancillary markets?

1. Horowitz, Mark; "How to Make a Blockbuster" The New York Times Magazine, Nov.16, 1997. 3 pages.
2. Variety, "The Top 125", 2/9/98.
3. Variety; "World B.O. Clicks" 11/6/95, "�Monty� Challenges �Men� in UK", 11/97, and "Home Court Advantage",12/97. (One page)
4. Variety; "Producing in English key for Global Acceptance", Oct. 13, 1997, pages M8 and M 46.
5. Variety, "Euro Pix Revel In Plextasy", 4/27/98.
6. Linda Lee, "U.S. Theme Can Make a Film a Tough Sell Abroad" The New York Times, 4/98.
7. Variety, "Majors lean on minors", 11/2/98.
8. Variety; "Film Markets Go To War", Oct. 13, 1997, pages M3 and M14.
9. Variety, "Indies Fasten Their Seatbelts", 10/27/97
10. Variety; "Sogecable Inks Par", Oct. 1997.
11. Variety, "Playdate Poker" 5/11/98.
12. Variety, "New Line schools o�seas pic partners", 6/29/98
13. Variety, "�Mary� gels with overseas auds", 11/9/98.
14. James Sterngold, "Lost, and Gained, in the Translation", The New York Times, 11/15/98.
15. Variety, Various Foreign Market Profiles, various dates.
16. M.P.A.A., "1997 US Economic Review: VCR and Cable Data". Statistics from 1980-1997. M.P.A.A. Website, 1998. pp. 1-6.
17. Variety; "�Men in Black� heads home for holidays", Oct. 1997.
18. Variety, "Sell-through or rental? The Rules Have changed", 10/5/98.
19. Variety, "Majors Sharing, Indies Paring", 9/14/98.
20. Variety, "Output Deals Heavy Hitters", 6/1/98.
21. Variety, "Bottom Line Of Film Industry", 6/22/98.
22. Variety, "Vid Biz Trips In O�Seas Travels", 4/20/98/
23. Broadcasting & Cable, "PPV boxing down, movies up", 11/23/98.
24. Variety, "DBS Slicing A Bigger Share of Ancillary Pie", 2/16/98.
25. Variety, "Pay-Per-View Fight: Studios Vs. Cable Ops", 6/4/98.
26. Variety, " �Godzilla� opens bigger windows", 9/98.
27. Quelch, John, "Jurassic Park", Harvard Business School Publishing Case #9-596-014, 11/15/96. 18 pages.
28. Stuart Elliot, "Advertising: How Merchants Register a Middling �Godzilla�", The New York Times"6/10/98.
29. Variety, " �Wars� sparks summer toy stories", 10/5/98.
30. Variety, "Hasbro, Galoob get �Star Wars� Goodies", Oct. 1997.
31. The New York Times, "Nintendo Beats Sony for Star Wars", 11/3/98.
32. Bernard Weinraub, "Studio Disappointed Over �Babe� Sequel", The New York Times, 11/30/98 and Variety, "Hitch could steal Xmas from licensees", 11/16/98.
33. Variety, "As Ancillaries vary, film biz gets wary", Oct. 28, 1996.
34. Variety, "Forging A New Ancillary Trail", 4/6/98.

1. Dekom, Peter, "The Global Market" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 417-430.
2. Boyle, Barbara, " An Independent With a Global Approach: Sovereign Pictures" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 443-448.
3. Wallach, Van, "The Home Video Retailer" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 365-373.
4. Childs, Richard, "Home Video" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 329-337.
5. Blum, Stanford, "Merchandising" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 407-413.

Broadcast and Network Television. Who makes money in the TV business and how, what types of programming do they buy, what do they pay for it, and how does a producer make a profit and maximize revenue? Anatomy of a prime deal network deal.

1. Jerry Useem, "This Case Sucks: Beavis, Butt-head, and TV Content (A)", Harvard Business School Publishing Case 0-395-053, Jan. 15, 1997 (21 pages).
2. M.P.A.A.; "1997 US Economic Review: Television Data". Statistics from 1980-1997. M.P.A.A. Website, 1998. pp. 1-2.
3. Broadcasting & Cable, "Ups and Downs in Prime Time", 5/18/98.
4. McCann-Erickson Inc., "Estimated U.S. Advertising Expenditures".
5. Broadcasting & Cable, "Prime prices fall with shares", 9/28/98.
6. Bill Carter, " �E.R. Gamble Pays Off" The New York Times, 9/21/98.
7. Advertising Age, "Wright Bombshell: Cable Switch an Option for NBC", 12/14/98.
8. Variety; " Nielsen Ratings; Oct. 29-Nov. 5 (with �Demo Derby�)". Nov. 10, 1997.
9. Variety, "Demo Derby" various dates, 3 pages.
10. Bill Carter, "Jurassic Banquet or Just a Snack?" The New York Times, 11/4/98.
11. Variety, "Mad. Ave. Bums Out Boomers", 3/23/98.
12. Carter, Bill; "Networks Set for �ER� Bidding War", The New York Times, Nov. 3, 1997. 3 pages.
13. Broadcasting & Cable, "Can The Big 4 Still Make Big Bucks?", 6/8/98.
14. Bill Carter, "Shrinking Network TV Audiences Set Off Alarm and Reassessment" The New York Times, 11/22/98.
15. Broadcasting & Cable, "Networks Roll their own", 5/25/98.
16. Broadcasting & Cable , "Why CBS loves �Raymond�", 12/7/98.
17. Broadcasting & Cable, "The Revenge of the Studios", 6/22/98.
18. Variety, "TV Tries Pay-&-Pray", 3/2/98.
19. Variety, " Nets Burned Out on Stars", 11/6/98.
20. Variety, "Studios work without a net", 11/9/98.
21. Broadcasting & Cable, "Wolf says shows can fly without pilots", 7/6/98.
22. Variety, "Studios, NBC in muscle tussle", 10/12/98.
23. Broadcasting & Cable, "WB, UPN, pitch their plans", 8/3/98.
24. Variety, "UPN shifts target to younger demo", 11/23/98 and "Demo Derby" 11/98.
25. Broadcasting & Cable, "Daniels� dramatic touch builds The WB", 11/9/98.
26. Bill Carter, " �Felicity� May Make an �It� Girl, But Show Still Seeks the Right Viewers", The New York Times, 10/12/98.
27. Variety, "Mickey�s Mad For Made-Fors", Sept. 1, 1997.
28. Variety, "Indies Find �Event� TV A Tough Ticket", 8/17/98.
29. Lawrie Mifflin, "As T.V. Vulgarity Spreads, Ratings and Complaints Rise", The New York Times, 4/6/98.
30. Variety, "Walls between film, TV gone, panelists say", 3/187/98

Syndication, Pay Cable, and Basic Cable. Who makes money in these parts of the TV business, what types of programming do they buy, what do they pay for it, and how does a producer make a profit and maximize revenue? Branding and original programming.

1. Blumenthal, Howard; Goodenough, Oliver; "This Business of Television", Billboard Books, 1991. "Syndication", pages 25-38.
2. Variety, "TV biz savors the growing wages of syn", 10/26/98.
3. Variety, "Billion-Buck Bonanza", 3/23/98.
4. Broadcasting & Cable, "King World locks in Oprah", 9/98.
5. Broadcasting & Cable, "Why we like to watch talk TV", 9/28/98.
6. A.C. Nielsen Syndicated Ratings for week ended Sept. 27, 1998 (Variety).
7. Broadcasting and Cable, "Fox Stepping Up Syndication Efforts" 6/8/98 and "Factoids for Fantasy/Sci-Fi", 10/5/98.
8. Twentieth Century Fox Film Corp. "The X Files" Advertisement in Mediaweek, 11/97.
9. Broadcasting & Cable Magazine; "KW, WB square off over �Squares�", Oct 13, 1997. p. 14.
10. Blumenthal, Howard; Goodenough, Oliver; "This Business of Television", Billboard Books, 1991. "International Television", pages 357-359.
11. Variety, "Mipcom�s minions stand on ceremony" Oct. 6, 1997
12. Variety, "Global TV Price Guide" 9/28/98.
13. Variety; " Mipcom �97: Genres" Sept. 22, 1997. Tv Movies /Minis, and Drama page M19. Gameshows/Talkshows p. M21.
14. Blumenthal, Howard; Goodenough, Oliver; "This Business of Television", Billboard Books, 1991. "Cable Systems, Basic Cable Networks, Pay Cable Networks and Pay-Per-View", pages 49-70.
15. Broadcasting & Cable Magazine; "Cable�s Double Digit Gains", 1/97
16. Broadcasting & Cable, "Basic Breaks More Records", 10/5/98.
17. Broadcasting & Cable, "Cable�s Top 25" 11/23/98, and Miscellaneous Variety "Demo Derbys".
18. Paul Kagan Associates, Inc. "Major Multiple-Network Owners", 1997.
19. Broadcasting & Cable Magazine; "John Sie: All The Right Movies", 11/24/1997, pp.28, 29, 30, 31.
20. Variety, "For Pay Webs, Race Picks Up To Pic Up", 7/20/98.
21. Broadcasting & Cable Magazine; "Special Report: Cable�s Original Programming", 10/20/1997, pp.28,29,32,34,38, 41,42,44,46.
22. Variety, "Cablers Strike Up The Brand", 6/22/98.
23. Broadcasting & Cable, "Fox Chases Disney with high-end movie slate", 5/4/98.
24. Broadcasting & Cable Magazine; "Cable nets do digital", 12/1/1997.
25. Mediaweek; "Where Are They?", 12/1/1997.
26. Lawrie Mifflen, "TBS Banks on �Seinfeld� Reruns", The New York Times 9/16/98.
27. Variety, "FX Sinks Teeth into �Buffy�" and "Court TV sees fresh life in �Homicide".
28. Broadcasting & Cable, "Off-net hours find a home on cable, too", 2/23/98.
29. Variety, "Turner sales into �ER� with Rx to Double-Dip", 3/9/98.
30. Bill Carter, "What Price �E.R.� Syndication?", The New York Times, 11/16/98.
31. Variety, "Cable Glue Mounting For Busted Theatricals", 11/16/98.
32. Variety, "Syndies Rattle The Windows", 6/15/98.
33. Bill Carter, "Why NBC Was Alone at the Helm In Bidding for Rights to �Titanic�", The New York Times, 4/27/98.
34. Variety, Various recent movie deal summaries.
35. Variety, "Networks eager for boffo studio fare", 8/31/98.
36. Variety, "B�busters get double teamed", 12/7/98.

The Art of the Pitch: Selling your Idea. Salesmen make great producers. Each production team will be required to write and submit pitches for three different entertainment properties for the current marketplace. At least one pitch must be for an original Theatrical Film. Each pitch should contain: a title and genre, a headline (not more than 6 words), a logline (a one sentence "TV Guide" type description), and a hook or premise statement (not to exceed 5 sentences). These and the rest of the written pitch should not exceed 2 pages double spaced. The pitch should explain why the property is marketable/commercial, artistically meritorious, and attractive to the potential buyer. During the classroom session each production team will pitch their ideas to a potential buyer; a development executive from a major studio.

1.) Trottier, David, "How Stories Work", "The Low Down on High Concept" and, "The Meeting, The Two Minute Pitch, and The Long Pitch" from The Screenwriter�s Bible, revised edition, Silman-James Press, 1995. pp.3-15, 16-28, 158-162.

Unit 8. Release models, valuing individual properties and libraries. Entertainment industry economic trends and studio strategies. What�s a property worth over its life, is this a good business, and what does it take to succeed? What are the key economic concepts driving the industry and how do they explain current industry trends and specific company global strategies? This unit caps the first section of the course. The interactive development exercise starts with this unit as the background case "Triple-Witching Hour" is prepared.

1. Wiese, Michael; "Film & Video Marketing", Michael Wiese Productions, 1989. Pages 361-389 (Release Models).
2. Hollywood Reporter, "Net Profits No Myth, But Hard To Get Hands On", pages 1-6.
3. Variety, "Indies throw cash at pix stash", 10/5/98.
4. Variety, "Spyglass focuses rights for Disney", 8/24/98.
5. Silver Screen Partners; " Limited Partnership Prospectus". E. F. Hutton & Co. April 19, 1983. Pages 1-8, and 12-22.
6. Variety Extra, "Pic clunker insurance facing test", 3/16/98.
7. Variety; "What�s Giving H�W�D The Jitters?" and "Studios: Less $$ for movies", 9/21/98.
8. Variety, "Ya Gotta Have Art" 5/4/98.
9. Variety; "Hot-button topics iced", Oct. 13, 1997.
10. Weinraub, Bernard; "Feeling Pain When a Film Fails", The New York Times, Nov. 24, 1997, 3 pages.
11. Variety, "20^th Climbs Out Of Fox Hole" 9/7/98.
12. Variety, " �Antz� Colony Cranks It Up", 10/9/98.
13. Variety, "Sony makes post-lizard leaps", 7/27/98.
14. Variety, " Pegasus put out to pasture by Sony", 4/6/98
15. Variety, "Par raises the bar", 6/15/98.
16. Variety, "WB tries to get the bugs out", 5/4/98.
17. Variety, "U-Turn Dashes Euro Hopes", 12/14/98.
18. Variety, "Bumpy ride at Black Tower", 4/20/98.
19. Variety, "Can Leo Roar Once More?", 11/30/98.
20. Variety; "Miramax pacts cadre into solid niche future", Nov. 6, 1995.
21. Variety, "Bob Takes Mira To The Max", 9/14/98.
22. Variety, "New Line: Sibling Revelry", 3/9/98.
23. Variety, "Fine Line Digs For New Niches", 12/7/98.
24. Variety, "Hollywood Makeover", 4/20/98.
25. Variety, "Machine Cranks Up Pic Output" 5/18/98 and "October Launches Genre Unit Rogue", 4/6/98.
26. Peter Temple, "Triple-Witching Hour" Foul Weather Publications Case TW-1, 1/4/99.

1. Dekom, Peter, "Movies, Money And Madness" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp.126-138.

Development Part One: Turning your Idea into a Script/Screenplay. Development Part One: Turning your Idea into a Script/Screenplay. What does a writer do and how important are they to the success of a project? How to hire and negotiate a deal with one. Buying book and life story rights. Copyright law. The "Triple-Witching Hour" exercise continues as the production teams submit written responses to "The Writer" case at the start of the class.

1. Litwak, Mark, "Dealmaking" pp. 11-30 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
2. Litwak, Mark, "Permission to Portray People and Places", pp. 31-50 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
3. Litwak, Mark, "Clearance of Rights" pp. 51-59 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
4. Litwak, Mark, "Literary Aquisition Agreements" pp. 61-92 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
5. Litwak, Mark, "Employee Contracts: Writers" pp. 93-123 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
6. Litwak, Mark, "Advice for Writers, How Writers are Exploited" pp. 165-185 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
7. Litwak, Mark, "The First Amendment and the Right To Publicity" pp. 289-294 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
8. Litwak, Mark, "Defamation of Persons Depicted in Literary Works " pp. 295-306 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
9. Litwak, Mark, "The Right To Privacy" pp. 307-316 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
10. Litwak, Mark, "Trademarks and Unfair Competition" pp. 317-322 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
11. Goldman, William, "The Screenwriter" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 86-95.
12. Rosenberg, Lee, "The Literary Agent" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 98-105.
13. Breese, Eleanor, "The Story Editor" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 107-112.
14. Kent, R. and Gotler, J., "Exploiting Book-Publishing Rights" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp.114-119.

1. Fleming, Michael: "The Buzz: �Father� Figure$ for Novelist" Variety, Nov. 1997.
2. Variety, Miscellaneous clippings 1997; "Canton Packing" , and "The Director and �The Madman�".
3. Variety, "Scribe Tribe On Warpath", 6/8/98.
4. Variety, "Court allows pix to treat character facts as fiction", 10/19/98.
5. Blumenthal, Howard; Goodenough, Oliver; "This Business of Television", Billboard Books, 1991. "Program Development: Overview/Prime-Time Fiction", pages 167-175.

Development Part Two: Creating A Bankable Package; Film & TV Financing. Hiring and negotiating deals with lead talent. How important are they to the success of a project? An analysis of the many options available for financing production. The "Triple-Witching Hour" exercise continues as the production teams submit written responses to "A Bankable Star" case at the start of the class.

1. Garey, N. , "The Entertainment Lawyer" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 196-203.
2. Weitz, Barry, "The Talent Agent" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp.231-235.
3. Garey, Norman, "Elements of Feature Financing" " in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp.140-149.
4. Litwak, Mark, "Employment Contracts: Directors, Actors, Producers" pp. 123-164 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
5. Litwak, Mark, "Advice For Directors and Actors" pp. 186-202 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.

1. Variety, "Star Powered Pix, Indie Style" January, 1998.
2. Variety, "Fewer Stars Lay Claim To Fame", 2/23/98.
3. Variety, "Best Femme Figures Wear Dollar Signs", 10/19/98.
4. Cyberspace Film School; "Producer�s Forum-1" , Hollywood Film Institute (http://HollywoodU.com, 1-800-366-3465) Actors & Directors pages 2-3.
5. Obst, Lynda, "Hello, He Lied": And Other Truths from the Hollywood Trenches", Little Brown, 1996. Chapter 3, pp. 53-71.
6. Variety, "Rival Reps Ready To Rumble", 10/12/98.
7. Variety, "Sloss gets point accross, he�s boss", 11/23/98.
8. Wiese, Michael, "Film and Video Financing", Michael Wiese Productions, 1991. The Role of Banks pp. 46-54, Risk Capital pp. 57-74, Pre-Sales pp.93-94 & 116-118.

1. Wiese, Michael, "Film and Video Financing", Michael Wiese Productions, 1991. Blocked Currency pp. 121-133.

Film and TV Production. What is the role of the producer during production? Analysis of production budgets. Project based management. The "Triple-Witching Hour" exercise continues as the production teams submit written responses to "The Director" case at the start of the class.

1. Maslansky, Paul, "The Line Producer" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp.240-253.
2. Bridges, James, "The China Syndrome: Shooting Preparation and Paperwork" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp.255-271.
3. Rudman, Norman, "The Finishing Touch: The Completion Guarantee" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp. 216-229.
4. Litwak, Mark, "Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts" Silman-James Press, 1994. Chapter 12, COPYRIGHT pp. 263-288.
5. Litwak, Mark, "Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts" Silman-James Press, 1994. Chapter 8, MUSIC pp. 203-218.

1. Obst, Lynda, "Hello, He Lied": And Other Truths from the Hollywood Trenches", Little Brown, 1996. Chapter 9, pp. 197-222.
2. Morley, E.; Silver, A.; "A Film Director�s Approach to Managing Creativity" Harvard Business Review Article # 77210, March-April 1997. 10 pages (plus a cover sheet).
3. Cyberspace Film School; "Producer�s Forum, FAQ", Hollywood Film Institute (http://HollywoodU.com, 1-800-366-3465) pages 4-6, and Budgets pp. 1-6.
4. Wiese, Michael and Simon, Deke, "Film and Video Budgets" 2^nd Edition, Michael Wiese Productions, 1995. �$5million Feature Film Budget� pp.205-260.
5. Singleton, Ralph; "Film Budgeting", Lone Eagle Publishing, 1996. "$15 million budget; �The Conversation�", pp. 6&7.
6. Linson, Art, "The $75 Million Difference", The New York Times Magazine, 11/16/97,pp.87-89.

OPTIONAL:

7. Lyman, Rick; "Imagining a World That Would Follow an Apocalypse", The New York Times, Nov. 9, 1997, 3 pages.
8. Linda Lee, "Framing A Vision, Invisibly" The New York Times, 12/10/98.
9. Bernard Weinraub, "The Kindest Cuts: Film Editors Start To Emerge From Directors� Shadow" The New York Times, 8/20/98.

The Art of the Deal: Negotiating a PFD. Putting it all together with case studies of specific film, TV, and video deals. Turn around. The "Triple-Witching Hour" exercise concludes here as the production teams submit written responses to "The Deal" case at the start of the class.

1. Litwak, Mark, "The Acquisition/Distribution Agreement" pp. 219-244 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
2. Litwak, Mark, "Negotiating Tactics and Strategies: Techniques to Induce a Studio to Make a Deal" pp. 245-250 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
3. Litwak, Mark, "Creative Accounting: Art Buchwald vs. Paramount" pp. 251-262 in Dealmaking in the Film and Television Industry: From Negotiations to Final Contracts, Silman-James Press, 1994.
4. Kravit, Stephen, "Business Affairs" in Squire, Jason, The Movie Business Book, Second Edition. Fireside, 1992, pp.205-215.

1. Pierson, John, "Spike, Mike, Slackers & Dykes: A guided Tour across a decade of American Independent Cinema". Hyperion, 1997. Chapter 7, "She�s Gotta Have It", pp.45-78. Chapter 15, "Roger and Michael and Me", pp. 137-176. Chapter 28. "Go Fiscal: Anatomy of a Back End", pp.311-318
2. Kolson, Ann, "Fairy Tale Without an Ending" from The New York Times, August 17,1997. 3 pages.
3. Schaefer, Stephen; "Course to stardom is a steady one" USA Today, Nov., 1997.
4. Variety, " �To Live On� - Even in Turnaround", Nov., 1997 & "Baldwin finds a home in �Providence�", October 13, 1997.(2 articles on 1 page).
5. Variety, "Indie Prod�n in Flux, too" October 27, 1997
6. Michele Willens, "New Way to Build a Movie" The New York Times, 11/15/98.