具体描述
Drawing from a variety of experts in an industry that has seen major disruptions and technology advancements since the third edition, The Movie Business Book offers a comprehensive, authoritative overview of this fascinating, global business. A must-read for film students and industry newcomers, this new edition features key movers and shakers, such as filmmaker-actor Jay Duplass, (The Puffy Chair, Cyrus), Marvel Studios President Kevin Feige, Walt Disney Studios Chairman Alan Horn, director Doug Liman (Edge of Tomorrow, Mr. and Mrs. Smith, Bourne Identity), National Amusements President Shari E. Redstone, Warner Bros. Pictures Worldwide Marketing Executive Vice President Blair Rich, and many others. A definitive sourcebook, it covers the nuts-and-bolts details about financing, revenue streams, marketing, globalization, micro-budgets and much more.
作者简介
Jason E. Squire is Associate Professor of Practice at the USC School of Cinematic Arts. His longstanding research helped establish "movie business" as a distinct area of academic study. Global honors include Visiting Professor, Beijing Film Academy and Master of Entertainment Studies, DeTao Masters Academy, Shanghai. After an executive career of work with United Artists, 20th Century-Fox, and with producer Alberto Grimaldi (Gangs of New York; Fellini Satyricon; The Good, The Bad and The Ugly), Squire joined the USC faculty. He has lectured in China, Japan and the United Kingdom. Media appearances include CCTV-6; China Daily; CNN Money; La Opinion; Le Monde; Los Angeles Times; Marketplace; NHK Japan; Reuters; The New York Times; Variety; Wall Street Journal.
目录信息
Preface
Introduction - By Jason E. Squire
I. THE CREATORS
The Entrepreneurial Producer - By Michael London (Producer, West Los Angeles, CA)
The Director - By Doug Liman (Director, Producer, New York, NY)
A Filmmaker's Journey - By Jay Duplass (Co-Writer, Co-Director, Actor, Los Angeles, CA)
II. THE PROPERTY
The Screenwriter - By David S. Goyer (Screenwriter, Director, Producer, Los Angeles, CA)
Representing the Screenwriter - By Jewerl Ross (Owner, Silent R Mangement, Los Angeles, CA)
The Story Editor - By Romy Dworman (Senior Vice President, Story Department, Universal Pictures, Universal City, CA)
Exploiting Intellectual Property Rights - By Joel Gotler (CEO, Intellectual Property Group, Los Angeles, CA)
III. THE MONEY
Movies, Money and Madness - By Peter J. Dekom (Entertainment Lawyer, Los Angeles, CA)
Getting Paid! - By Rob Aft (President, Compliance Consulting, Los Angeles, CA)
Analyzing Movie Companies - By Harold L. Vogel (Financial Analyst, Vogel Capital Management, New York, NY)
IV. THE MANAGEMENT
A Chairman's Perspective - By Alan Horn (Chairman, The Walt Disney Studios, Burbank, CA)
Marvel Studios - By Kevin Feige (President, Marvel Studios, Burbank, CA)
The Movie Company as Financier-Distributor - By David V. Picker (Former President, Columbia Pictures, Paramount Pictures, United Artists, New York, NY)
The Independent Spirit - By Barbara Boyle (Professor and Associate Dean, Entrepreneurship, UCLA School of Theater, Film and Television, West Los Angeles, CA)
V. THE DEAL
The Entertainment Lawyer - By Linda Lichter (Partner, Lichter, Grossman, Nichols, Adler & Feldman, Inc., West Hollywood, CA)
Business Affairs - By Stephen M. Kravit (Executive Vice President, Business Affairs, The Gersh Agency, Beverly Hills, CA)
The Completion Guarantee - By Steve Mangel (President, UniFi Completion Guarantors, Los Angeles, CA)
The Talent Agent - By Jessica Tuchinsky (Producer, Former Talent Agent, Creative Artists Agency, Beverly Hills CA)
VI. PRODUCTION
Production Management - By Micahel Grillo (Executive Producer, Los Angeles, CA)
The Social Network: Production Workflow - By Allen Kupetsky (Second Assistant Director, Los Angeles, CA)
VII. MARKETING
Motion Picture Marketing - By Blair Rich (Executive Vice President, Warner Bros. Pictures Worldwide Marketing, Burbank, CA)
Market Research - By Kevin Goetz (Founder and CEO, Screen Engine/ASI, Los Angeles, CA)
Film Festivals and Markets - By Steve Montal (Film Festival Consultant, Los Angeles, CA)
VIII. REVENUE STREAMS
Release Windows and Revenue Streams - By Linda Benjamin (Former Executive Vice President, Business and Legal Affairs, Relativity Media, Beverly Hills, CA)
Studio Accounting - By Ilan Haimoff (Partner, Green Hasson Janks Accountants, Leader, Contract Compliance and Forensics Department, Los Angeles CA)
IX. THEATRICAL DISTRIBUTION
Studio Distribution - By Daniel R. Fellman (President, Warner Bros. Pictures Domestic Distribution, Burbank, CA)
Independent Distribution - By Tom Quinn (Former Co-President, RADiUS, The Weinstein Company, New York, NY)
X. THEATRICAL EXHIBITION
The Exhibition Business - By Shari E. Redstone (President, National Amusements, Norwood, MA)
The Independent Exhibitor - By Robert Laemmle and Greg Laemmle (Laemmle Fine Arts Theatres, Los Angeles, CA)
XI. HOME ENTERTAINMENT AND SELF-DISTRIBUTION
Home Entertainment - By Ronald J. Sanders (President, Warner Bros. Worldwide Home Entertainment Distribution, Burbank, CA)
Online Self-Distribution - By Jamie Wilkinson (Co-Founder and CEO, VHX Corporation, Brooklyn, NY)
XII. THE DIY MODEL
DIY: An Introduction - By Jason E. Squire (USC School of Cinematic Arts, Los Angeles, CA)
Producing in the DIY Model - By Eric B. Fleischman (Producer, Los Angeles, CA)
XIII. CONSUMER PRODUCTS
Consumer Products - By Al Ovadia (President, Al Ovadia & Associates; Former Executive Vice President, Sony Pictures Consumer Products, Los Angeles, CA)
XIV. INTERNATIONAL
Global Markets - By Rob Aft (President, Compliance Consulting, Los Angeles, CA)
An Overview of the Chinese Film Industry - By Shaoyi Sun (Professor of Film and Media Studies, Shanghai Theatre Academy, Shanghai, China)
XV. THE FUTURE
Entertainment Technologies: Past, Present and Future - By Dan Ochiva (Founder and President, NYC Production and Post News, New York, NY)
Index
About the Editor
· · · · · · (收起)
读后感
用户评价
这本书的第四版果然名不虚传，它成功地捕捉到了数字时代对传统电影业带来的颠覆性冲击。我一直在寻找一本能解释流媒体战争如何重塑发行格局的书，而这本书正好提供了精准的答案。从院线窗口期的瓦解到全球同步发行的挑战，作者对当前市场动态的分析敏锐而深刻。它并没有沉溺于怀旧，而是直面行业正在经历的结构性转变，例如如何评估一部原本为影院制作的电影在流媒体上的价值，以及观众习惯的变迁如何影响内容创作的决策。这种前瞻性和对技术驱动变革的深入剖析，使得本书不仅仅是一部历史回顾，更是一份面向未来的操作手册。对于我们这些关注媒体产业发展趋势的人来说，其价值无可估量。
这部书简直就是为我量身定做的指南！我一直对好莱坞背后的运作机制感到好奇，这本书提供了令人难以置信的深入见解。从剧本开发到市场营销，再到发行的复杂流程，作者似乎把所有“幕后花絮”都摊开来讲解了。我尤其欣赏它在财务模型构建方面的细致入微，这对于任何想理解电影制片预算和投资回报的人来说都是宝贵的财富。读完之后，我感觉自己对“大片”的诞生过程有了全新的认识，不再仅仅是一个被动的观众，而是一个能理解其商业逻辑的观察者。那种清晰的逻辑结构和详实的数据支撑，让复杂的商业概念变得易于消化，真正体现了第四版的与时俱进和内容沉淀的深度。它不是那种空泛的理论说教，而是充满了实战经验的案例分析，读起来酣畅淋漓，让人迫不及待想知道下一页会揭示什么秘密。
这本书的组织结构简直是艺术品级别的。它不是简单地罗列事实，而是构建了一个完整的生态系统视图。当你读到关于国际联合制片的章节时，你会清晰地看到资金流、版权分配和文化差异是如何交织在一起形成一个复杂的全球网络。我特别欣赏作者在处理“风险管理”这一主题时的全面性——从选角的潜在灾难到拍摄延期的财务后果，几乎涵盖了制片过程中所有可能出错的地方。通过阅读这些详尽的案例研究，我学会了如何从一个更宏观、更审慎的角度去看待电影的商业可行性。它教会我，好的电影不一定是个好的生意，而好的生意也不一定需要艺术性，理解这两者的平衡才是成功的关键。
我必须承认，这本书的厚度一度让我有些望而却步，但一旦深入阅读，那种求知欲就被牢牢抓住了。它最强大的地方在于其多层次的解释能力。一方面，它能给高层管理者提供战略性的决策框架；另一方面，它又能为初入行的制片助理提供具体可操作的工作流程指导。例如，它对“预售”机制的剖析，不仅解释了资金是如何到位的，还揭示了不同国家市场对版权的偏好差异。这种同时满足不同知识层次读者的能力，是很多同类书籍难以企及的。读完之后，我感觉自己像是获得了一张进入好莱坞决策核心圈的“通行证”，对这个行业的复杂性、残酷性与迷人之处都有了全新的、立体的认知。
说实话，我原以为这会是一本晦涩难懂的教科书，但阅读体验完全超出了预期。作者的叙事风格非常引人入胜，就像听一位行业资深人士在娓娓道来他的职业生涯经验一样。它成功地平衡了学术的严谨性和行业故事的趣味性。我最喜欢的部分是关于人才签约和谈判策略的探讨，那些关于经纪人、制片人和演员之间微妙博弈的描述，简直比电影本身还要精彩。每次我拿起这本书，都感觉自己仿佛置身于米高梅或华纳兄弟的会议室里，亲历着那些决定一部电影命运的瞬间。这种沉浸式的阅读体验，让那些枯燥的法律条文和商业术语都活了起来，充满了张力与戏剧性。对于想进入影视行业，或者仅仅是想更聪明地消费电影内容的人来说，这本书提供了无法替代的视角。
过了一个寒假终于把这本书啃完了。对于电影行业的新人来说这是一本非常详尽的guidebook，涉及从creation到exhibition的各个环节，讲解所有概念、行话和规则。有些章节的部分内容略有重复。
非常old school但是极力想跟紧潮流不愿落伍的可爱老头。
非常old school但是极力想跟紧潮流不愿落伍的可爱老头。
过了一个寒假终于把这本书啃完了。对于电影行业的新人来说这是一本非常详尽的guidebook，涉及从creation到exhibition的各个环节，讲解所有概念、行话和规则。有些章节的部分内容略有重复。
过了一个寒假终于把这本书啃完了。对于电影行业的新人来说这是一本非常详尽的guidebook，涉及从creation到exhibition的各个环节，讲解所有概念、行话和规则。有些章节的部分内容略有重复。
