The Film Finance Handbook

This is a complete guide to film finance around the world, from first web short film to mainstream international multi-million dollar co-production.

Financing an independent feature film production is a highly complex process. This book demystifies the legal and commercial implications of a film from start to finish. It provides a detailed survey of each of the processes and players involved, and analyses of the legal and commercial issues faced by all of the participants in a film financing transaction. Packed with legal advice and straight forward explanations this is an essential reference for filmmakers worldwide. With contributions from leading professionals around the world, and an up-to-date international approach, this is an invaluable tool for producers, and others involved in the film industry. Includes: Case studies, Sample Recoupment Schedules, Alternative Financing Models, Glossary of Film Financing and Banking Terms Philip Alberstat is a media finance and production lawyer specialising in film, television and broadcasting. He has worked on films such as The 51st State, Goodbye Mr Steadman, Tooth and numerous television programmes and series. He is on the editorial board of Entertainment Law Review and is the author of The Independent Producers Guide to Film and TV Contracts (2000), and Law and the Media (2002). Philip is involved in raising finance for film and television productions and negotiating and structuring film and television deals. He undertakes corporate and commercial work and handles the intellectual property aspects of broadcasting and finance transactions. He has also executive produced numerous film and television productions. He won an Emmy Award in 2004 as an Executive Producer of the Film, "The Incredible Mrs. Ritchie". Philip joined Osborne Clarke as a partner in February 2002. Prior to that he was Head of Legal and Business Affairs with one of the largest independent TV production companies in the UK. He was previously Head of Media at Baker & McKenzie and began his career at Olswang. He was winner of the Lawyer/Hifal Award for Solicitor of the year in 1997 and is listed in Legal Experts in the area of Film Finance/Media.

The reader - from beginner making their first short film, through to experienced producer packaging an international multi-million pound co-production - is guided through the entire process of raising finance, in a book packed with interviews, case studies, expert tips and details of more than 200 funds.

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.

This book is an analysis of the specificities of public film funding on an international scale. It shows how public funding schemes add value to film-making and other audio-visual productions and provides a comprehensive analysis of today’s global challenges in the film industry such as industry change, digital transformation, and shifting audience tastes. Based on insights from fields such as cultural economics, media economics, media management and media governance studies, the authors illustrate how public spending shapes the financial fitness of national and international film industries. This highly informative book will help both scholars and practitioners in the film industry to understand the complexity of issues and the requirements necessary to preserve the social benefits of film as an important cultural good.

Investing in Movies: Strategies for Investors and Producers is a useful guide for investors and producers looking for an analytical framework to assess the opportunities and pitfalls of film investments. The book traces macroeconomic trends and the globalization of the business, as well as the impact these have on potential returns. It offers a broad range of guidelines on how to source interesting projects and advice on what kinds of projects to avoid, as well as numerous ways to maximize risk-adjusted returns. While focusing primarily on investments in independent films, industry veteran and author Joseph Cohen also provides valuable insights into the studio and independent slate deals that have been marketed to the institutional investment community. Features of this book include: A guide to the minefield of film investing for the potential investor, giving students and aspiring professionals an insider perspective; A detailed explanation of the risk and rewards inherent in the film business and how to evaluate projects; Thorough coverage of the cast of characters that populate the film space, and advice on building relationships to optimize opportunities.

This is the single best work on financing independent films. Mr. Lee presents an overall structure clearly and efficiently. This is not a "war stories" book. The landscape of the film business is changing rapidly and this is one of the only producing books about real producing. Mr. Lee and Ms. Gillen address one of the most difficult aspects of producing - financing---in a direct way that lays out the tasks and challenges an independent producer needs to know; they do not sugar-coat the business - it's all business; they explain the intricacies of financing while making it understandable. There is more to financing a film than developing a business plan and this book shows why. While there are a few, very few, books that are no-nonsense for producers, this is the only producing book that addresses financing with practical, in-depth information geared toward working producers that is efficiently written and presented. You can count on me to continue to use it.---Don Smith, Associate Chair & Associate Professor, Film & Video Department, Columbia College This is a timely book, detailing a proven method for success and providing relevant data for both investors and filmmakers, especially now that the Commodity Futures Trading Commission recently approved trading of film box office performance futures by Cantor Exchange and media derivatives by Trend Exchange.---Jillian Alexander, MBA, CM&AA, CHRC, Managing Director, Corporate Development & Strategy, Conduit Consulting LLC, Former VP-Corporate Development, SONY Pictures Entertainment and member SONY US Ventures team Converging digital media and powerful new monetization models are growing entertainment amidst an overall slipping global economy. In show business, everyone is in love with the show, but it's the business of making significant money that turns on the big boys and girls inside the tent. Learn what they already know by reading this new edition.---Steve Ecclesine, Independent Producer (12 motion pictures and more than 700 Television episodes) It is so sharply focused and so easy to digest, I am going to make it the official textbook for my online course in independent film marketing and sales across all platforms. Regarding internet marketing strategies, Chapter 4 clearly states insights we have all heard about but are often 100 overwhelmed to focus in on. While clearly stating such marketing is not easily done and requires a full-time person, the writers Lee and Gillen make it seem easy enough to use the "most effective social network sites...that specialize in unique communities. There are thousands of these. As of January, 2010, there were 37 global social network sites with 10 million or more members each, plus the following five global social network sites with 100 million or more members". There are also really useful case studies on District 9 and Paranormal Activity. Finally, Chapter 6 makes financing into an almost scientific activity, with clearly written and easily understood descriptions of various financial models which previously seemed veiled in obscure terms.---Sydney Levine, SydneysBuzz on IndieWIRE and IMDb, Online Instructor: UCLA Extension If you've ever wondered how most films can "lose" money while the studios remain in business, you'll find the answers here. This is a comprehensive and revealing examination of how distribution works and how the money flows.---Robert Goodman, Videography