Dictionary Of Film Finance And Distribution

This dictionary is an aid to anyone involved in seeking to finance a feature film project, especially independents. It covers terms used in film production and distribution, marketing, accounting, insurance, securities, corporate structures and general financial arenas. All of the principal forms of feature film finance are covered, including studio/distributors, production companies, lending institutions, co-financing, pre-sales, grants, foreign and passive investor financing involving the sale of a security.

Film Finance and Distribution defines those thorny legal and financial terms that often elude novice filmmakers and impede their attempts to secure financing and distribution. The entries provide commentary on approaches to film finance and distribution, definitions of production and post-production technical terms, definitions of unique film-industry practices and procedures in a variety of areas, and an extensive cross-referencing of terms. Cones offers definitions and advice.This dictionary's harrowing journey through the depths of studio 'creative accounting' is both revealing and frightening -- a must read for all filmmakers. -- Richard F. Brophy, producer

On film finance

In covering the scope of film financing, Cones ranges from a discussion of studio-based independent production company methods to an examination of lender financing without distributor contracts to a detailed analysis of active and passive investor vehicles and foreign tax shelters and incentives.

A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.

John W. Cones, whose real goal is to stimulate a long-term film industry reform movement, shows how the financial control of the film industry in the hands of the major studios and distributors actually translates into creative control of the industry. Cones discusses the pros and cons of the debate relating to the industry's so-called net profit problem and the way in which the distribution deal plays an integral part in that problem. He then breaks down five major film finance/distribution scenarios, explaining various distribution deals and suggesting ways of negotiating distribution. Critically examining the specific terms of the distribution deal itself, Cones covers gross receipts exclusions, distributor fees, and distribution expenses. He also investigates the various forms of interest, issues of production costs, matters of creative control, and general contractual provisions. For handy reference, Cones includes an extensive checklist for negotiating any feature film distribution deal. The list deals with distribution fees, distribution expenses, interest, production costs, creative control issues, general contractual provisions, distributor commitments, and the limits of negotiating. His nine appendixes present a "Motion Picture Industry Overview," "Profit Participation Audit Firms," "ADI (Top 50) Market Rankings," an "AFMA Member List, 1992-1993," a "Production-Financing/Distribution Agreement," a "Negative Pickup Distribution Agreement," a "Distribution Rights Acquisition Agreement," a "Distribution Agreement (Rent-a-Distributor Deal)," and a "Foreign Distribution Agreement." Cones wrote this book for independent producers, executive and associate producers and their representatives, directors, actors, screenwriters, members of talent guilds, distributors, and entertainment, antitrust, and securities attorneys. Securities issuers and dealers, investment bankers, and money finders, investors, and financiers of every sort also will be interested. In addition, Cones suggests and hopes that the book will interest "Congress, their research staff, government regulators at the Internal Revenue Service, the Securities and Exchange Commission, the Federal Trade Commission, and law enforcement officials such as the Los Angeles District Attorney and the U.S. Justice Department."

Author Cones breaks financing options down into six main areas: gifts and grants, investor financing, domestic government subsidies and tax incentive programs, lender financing, international finance options, and studio or industry financing. Beginning with the forms of financing most likely to be accessible to independent feature film producers, Cones proceeds to other forms that become increasingly available as the producer's career matures. He provides specific, concise information regarding the many possible strategies and lists the distinct pros and cons of each strategy. Cones also counters much of the bad advice being provided by pseudoprofessional film finance consultants and points out scams that may separate unwary film producers from their money. Although the book focuses on financing feature films, much of its information is relevant to the financing of other kinds of projects, such as short films, documentaries, videos, and multimedia and theatrical endeavors.--From publisher description.

The original edition of this book, long out of print, was published almost 20 years ago. The decades since then have brought enormous changes to the business side of moviemaking, requiring that the new edition be totally rewritten. This is, then, a brand new book and one that has been most eagerly awaited. In it, three experts in entertainment law carefully explain the complex procedures involved in bringing a film to the screen, from acquiring rights and financing, to negotiating workable agreements with artists and craftspeople, to distributing and exhibiting the finished motion picture. Clear, concise, and - above all - authoritative, this book cuts a pathway through a jungle and is an essential reference for the teacher of film, the independent producer, the would-be filmmaker, and anyone interested in the business of making movies.