{"product_id":"focal-press-producing-for-the-screen","title":"Focal Press Producing for the Screen","description":"\u003cdiv\u003e\n \u003ch2\u003eFocal Press Producing for the Screen Overview\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n \u003cdiv\u003e\n  \u003cdiv\u003e\n   \u003cdiv\u003e\n    \u003cp\u003e\u003cb\u003eProducing for the Screen\u003c\/b\u003e from \u003cb\u003eFocal Press\u003c\/b\u003e is a collection of essays written by and interviews with working producers, directors, writers, and professors, exploring the business side of producing for film and television. In this book, over 30 industry professionals dispel myths about the industry and provide practical advice on topics such as how to break into the field; how to develop, nurture, and navigate business relationships; and how to do creative work under pressure. Readers will also learn about the entrepreneurial expectations in relation to marketing, strategies for contending with the emotional highs and lows of producing, and money management while pursuing producing as a profession.\u003c\/p\u003e\n    \u003cp\u003eWritten for undergraduates and graduates studying filmmaking, aspiring producers, and working producers looking to reinvent themselves, Producing for the Screen provides readers with a wealth of first-hand information that will help them create their own opportunities and pursue a career in film and television.\u003c\/p\u003e\n   \u003c\/div\u003e\n  \u003c\/div\u003e\n \u003c\/div\u003e\n \u003cdiv\u003e\n  \u003cdiv\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       Table of Contents\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       \u003cul\u003e\n        \u003cli\u003eINTRODUCTION: WHAT IS PRODUCING?\u003c\/li\u003e\n        \u003cli\u003eCHAPTER 1: GETTING STARTED\u003c\/li\u003e\n        \u003cli\u003eTHE CURTAIN-RAISER: FINDING THE FLAME, FANNING THE FLAME\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Lianne Halfon By Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eMOVING TOWARDS A CAREER: WHAT ARE THE DOORWAYS?\u003c\/li\u003e\n        \u003cli\u003eJUMPING INTO LOW-BUDGET PRODUCING: THE WRITER AS WEB-SERIES PRODUCER: DRIVING THE INDEPENDENT WEBISODE\n         \u003cul\u003e\n          \u003cli\u003eBy Lydia Yeoman\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eWATCH YOUR METRICS, CHANGE YOUR WORK, AND JUST KEEP PRODUCING! A QUICK GUIDE TO PRODUCING FOR YOUTUBE\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Bruna Capozzoli By Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eCASE STUDY: THE SMALL PRODUCTION COMPANY\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Graziano Chiscuzzu of 5e6\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eSTORY PASS: HOW TO HELP A WRITER MOVE FROM A PITCH OR STORY IDEA TO A FULL STORY: PART ONE� CHARACTER AND CHARACTER ARCS\n         \u003cul\u003e\n          \u003cli\u003eBy Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n       \u003c\/ul\u003e\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       \u003cul\u003e\n        \u003cli\u003eCHAPTER 2: STICKING IT OUTSTORY RADAR AND GENIUS-SPOTTING: ON WORKING WITH DIRECTORS\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Jack Lechner\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eWORKSHEET: TEN STEPS TO PRODUCING YOUR FIRST FEATURE: YOUR INITIAL PRODUCING PACKAGE\u003c\/li\u003e\n        \u003cli\u003eMEDIA LABS: THE NEW DEVELOPMENT DEAL: A WAY TO CREATE BUZZ, RAISE YOUR PROFILE, NETWORK AND IMPROVE YOUR STORY\n         \u003cul\u003e\n          \u003cli\u003eBy Gabrielle Kelly\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003e\"ARE WE ALL MAKING THE SAME MOVIE?\": THE DIRECTOR-PRODUCER RELATIONSHIP\n         \u003cul\u003e\n          \u003cli\u003eAn interview with director Adam Salky, head of the AFI�s directing concentration By Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eKNOW YOUR PRIORITIES:THE ART OF THE BUDGET: WHERE TO SPEND, WHERE TO SAVE\n         \u003cul\u003e\n          \u003cli\u003eBy Peggy Rajski\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eWELCOME TO POST-PRODUCTION: HOW TO WORK WITH THE EXPERTS\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Niko Remus\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eTHE COST OF DISTRIBUTION: HOW TO KNOW WHAT YOU WANT\n         \u003cul\u003e\n          \u003cli\u003eBy Avril Speaks\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eSTORY PASS: HOW TO HELP A WRITER MOVE FROM STORY TO SCRIPT: PART TWO� CHARACTER OBJECTIVES AND RELATIONSHIPS\n         \u003cul\u003e\n          \u003cli\u003eBy Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eGOING �ROUND THE TABLE: STICKING IT OUT\u003c\/li\u003e\n        \u003cli\u003eA conversation on dealing with rejection \u003c\/li\u003e\n       \u003c\/ul\u003e\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       \u003cul\u003e\n        \u003cli\u003eCHAPTER 3: FINDING SUCCESS\u003c\/li\u003e\n        \u003cli\u003eWHEN GOVERNMENTS GIVE YOU MONEY TO MAKE YOUR MOVIE: COMPARING THE US AND EU PRODUCING ENVIRONMENTS\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Nevina Satta\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eFINDING YOUR AUDIENCE: CREATING THE WRITER-DIRECTOR-PRODUCER TRIANGLE\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Roshi Nedjad\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eGETTING THE BEST FROM YOUR TEAM: HOW DO YOU COLLABORATE?: THE 2-TO-1 RULE FOR ARTISTIC COLLABORATION\n         \u003cul\u003e\n          \u003cli\u003eBy Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eON BEING FOCUSED, HONEST AND PREPARED: HANDLING THE COMPLICATED DYNAMICS BETWEEN PRODUCERS AND DIRECTORS\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Joost de Vries By Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eWHAT KIND OF PRODUCER WILL YOU BE? ON ISRAEL�S CO-PRODUCTION LANDSCAPE\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Katriel Schory By Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eSCREEN PRODUCING \"DOWNUNDER\": THE MEDIA-PRODUCING LANDSCAPE IN AUSTRALIA\n         \u003cul\u003e\n          \u003cli\u003eBy Ian Dixon\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eWORKSHEET: TAKING CHARGE OF YOUR MARKETING CAMPAIGN: WHAT ARE THE MARKETING HOOKS OF YOUR FILM?\n         \u003cul\u003e\n          \u003cli\u003eBy Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eGOING �ROUND THE TABLE\u003c\/li\u003e\n        \u003cli\u003eA conversation on coping with risk \u003c\/li\u003e\n       \u003c\/ul\u003e\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       \u003cul\u003e\n        \u003cli\u003eCHAPTER 4: GETTING AHEADTHE PATH INTO THE STUDIO: GOOD DRAMA MAKES GREAT HORROR, AND OTHER TIPS ON MOVIEMAKING\n         \u003cul\u003e\n          \u003cli\u003eAn interview with producer Jason Blum By Chris Green\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eESCAPING THE ALAMO: HOW DIRECTORS SURVIVE PRODUCING\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Director Kimberly Peirce By Amedeo D�Adamo \u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003e\"A HIGH CALLING IN A LOW PLACE\": ON RUNNING A STUDIO\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Thom Mount By Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003ePRODUCER TIPS: FINDING YOUR AUDIENCE: A SHORT PRIMER ON MARKETING DEMOGRAPHICS\n         \u003cul\u003e\n          \u003cli\u003eBy Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eNATIVE AMERICANS STORM THE SYSTEM: A PRODUCER�S APPROACH TO RACISM\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Patricia Gomes and Ian SkorodinBy Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eNAVIGATING THROUGH POST: FINDING THE CREATIVE PINCH-POINTS\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Polly Duval By Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eSTORY PASS: \"WHAT WAS THE NAME OF THAT SHOW AGAIN?\": DEVELOPING TITLES THAT SELL\n         \u003cul\u003e\n          \u003cli\u003eBy Amedeo D�Adamo \u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n       \u003c\/ul\u003e\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       \u003cul\u003e\n        \u003cli\u003eCHAPTER 5: STARTING AGAINTHE WRITER-PRODUCER IN TV: COMBINING LUCK, PREPARATION AND OPPORTUNITY\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Miranda Kwok by Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eCASE STUDY: THE SHOW-RUNNERS OF SPAIN: HBO�S PATRIA AND GLOCAL PRODUCING\n         \u003cul\u003e\n          \u003cli\u003eBy Itxaso del Castillo Aira, Marian Gonzalez-Abrisketa and Andoni Iturbe Tolosa\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eSTORY PASS: WHAT IS STORY TONE? HOW CAN IT BE GUIDED AND DEEPENED IN PRE- PRODUCTION? : A TECHNIQUE FOR PRODUCING YOUR PRE-VIS SESSIONS\u003c\/li\u003e\n        \u003cli\u003eON CASTING: \"NEVER CAST ONE CHARACTER AT A TIME\"\n         \u003cul\u003e\n          \u003cli\u003eA short conversation with Lianne Halfon (Producer, Ghostworld, Juno, Perks of Being a Wallflower, Young Adult )\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003e\"ALWAYS COME TO THE TABLE WITH SOMETHING\" : THE ART OF NEGOTIATING, HIRING AND HANDLING PEOPLE\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Carolyn Pfeiffer By Amedeo D�Adamo\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eASSOCIATE PRODUCING AND POST SUPERVISING\n         \u003cul\u003e\n          \u003cli\u003eAn interview with Mary Prendergast\u003c\/li\u003e\n         \u003c\/ul\u003e\n\u003c\/li\u003e\n        \u003cli\u003eCASE STUDY\u003c\/li\u003e\n        \u003cli\u003eProducing in the green economy: Emellie O�Brien builds a company where before there was nothing but waste\u003c\/li\u003e\n        \u003cli\u003eGOING �ROUND THE TABLE: A CONVERSATION ON REGRET CONCLUSION\u003c\/li\u003e\n        \u003cli\u003eRECOMMENDED READING AND RESOURCES\u003c\/li\u003e\n        \u003cli\u003eINDEX\u003c\/li\u003e\n       \u003c\/ul\u003e\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       About the Editor\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       Amedeo D�Adamo currently teaches in the Directing discipline at the American Film Institute and filmmaking and producing at Universita Cattolica, Milan: he is also the Lead Teacher for the studio-funded Native American Feature Film Writers Lab in Los Angeles. He was the Scientific Director of the EU-funded Feature Development Program Puglia Experience (2008-2011) and the founding Dean and then President of the original Los Angeles Film School, where he also co-created and ran the Feature Film Development program. He has also taught at many universities and labs including Royal Holloway, Universita Svizzera and the University of Zurich, and with his wife Nevina Satta he designed and ran both the University Feature Development Lab and the University Doc Lab for the Locarno Film Festival. Together they also co-founded The Traveling Film School, a non-profit organization that provides free film and theater training to children in underdeveloped regions; it has built small tuition-free film schools in Cameroon and Sardinia. His book Empathetic Space on Screen (2018: Palgrave Macmillan) is about how character is expressed through production design, cinematography, and soundtrack. His features have been seen in festivals such as Rome, Miami, Austin, Torino, and others.\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n  \u003c\/div\u003e\n \u003c\/div\u003e\n \u003cdiv\u003e\n  \u003cdiv\u003e\n   \u003ch4\u003eIn the Box\u003c\/h4\u003e\n   \u003cul\u003e\n    \u003cli\u003e\u003cspan\u003eFocal Press Producing for the Screen\u003c\/span\u003e\u003c\/li\u003e\n   \u003c\/ul\u003e\n  \u003c\/div\u003e\n \u003c\/div\u003e\n \u003cdiv\u003e\u003c\/div\u003e\n \u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n \u003cdiv\u003e\n  \u003cdiv\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003ch2\u003eFocal Press Producing for the Screen Specs\u003c\/h2\u003e\n     \u003c\/div\u003e\n     \u003cdiv\u003e\n      \u003ctable\u003e\n       \u003ctbody\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eEditor\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003eAmedeo D'Adamo\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003ePublisher\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003eRoutledge\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003ePublication Date\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003eApril 14, 2020\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eEdition\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003e1st\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eISBN Number\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003e9780367024604\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eNumber of Pages\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003e250\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eCover Type\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003eSoft\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eIllustrations\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003e17 Black \u0026amp; White Illustrations\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n       \u003c\/tbody\u003e\n      \u003c\/table\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n  \u003c\/div\u003e\n \u003c\/div\u003e\n\u003c\/div\u003e\u003cbr\u003eAll product and company names are trademarks™ or registered® trademarks of their respective holders. Use of them does not imply any affiliation with or endorsement by them.","brand":"Focal Press-10","offers":[{"title":"Default Title","offer_id":40773878808661,"sku":"FOPRDSCRPB:FOPRDSCRPB:bhpv","price":10225.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1034\/1611\/files\/1678295129_1755058.jpg?v=1707305041","url":"https:\/\/www.tanotis.com\/products\/focal-press-producing-for-the-screen","provider":"Tanotis","version":"1.0","type":"link"}