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Getting the Money: A Step-By-Step Guide for Writing Business Plans for Film
Filmmakers interested in financing their own films have to start with a business plan. Few know how to put one together. Getting the Money gives a relaxed, step-by-step approach on how to do so. Of particular use are the financial sections where, for the first time, readers are guided on exactly what to do and exactly how to do it, using examples from sample plans. No more vague instructions that amount to hiring someone else. Once finished with the book, readers will have their own plan they ca
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(out of 28 reviews)
List Price: $ 26.95
Price: $ 15.71
- ISBN13: 9780452286788
- Condition: New
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The authoritative guide to funding, preparing, shooting, lighting, editing, finishing and distributing your film or video
Widely acknowledged as the “bible” of film and video production and used in courses around the world, this indispensable guide to making movies is now updated with the latest advances in high- definition formats. For students and teachers, the professional and the novice filmmaker, this clear and comprehensive handbook remains the reliable reference to all
Rating: 
(out of 24 reviews)
List Price: $ 25.00
Price: $ 11.23
Review by Nathanael Coffman for
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Although there’s one or two good books in the market in regards to hardcore fundraising, “Getting The Money” is in a universe of it’s own.
The fluff is kept to a minimal, and, conversely, hard facts, tools, and graphs are the focus of this unusual well of information. This
book is not for the half-hearted/half-committed film school grad, but film-makers who want to see their vision as well as their careers
jump to life. In short, I’m ecstatic about this book and consider this a major breakthrough in this ever-evolving and capital driven industry.
Review by Film Scribe for
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I’m not terribly engrossed in the financing of motion pictures, but I have numerous friends who are. I feel very comfortable recommending this book to them for many reasons, not the least of which being that the author has taken the time to provide free financial spreadsheets to aid readers with their plans (whether they buy the book or not). This book clearly comes from someone whose best interest is that the reader completes a high quality plan with a better-than-average chance of raising funds.
J. Hillard
Sherman Oaks, CA
Review by Xris F. for
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It is no joke when I say
I learned more from this Book than I did in working for 2 years
in a Beverly Hills based International Film-Finance Office!
Jeremy Juuso gets to the meat of the matter and gives nothing but sound usable advice and examples, again and again…
Good simple to understand advice, that you need to hear and remember.
Such as dealings with Financial Projections;
“The more logical and thorough you can be here, the more interest in you an investor will take.”
Don’t fool yourself that you don’t need this information,
because you do.
I would highly recommend this book to any Filmmakers who are truly serious about “GETTING THE MONEY” for their projects!
p.s.
Favorite quote from the Book:
“…obscenity is bad, especially in a business plan.”
Xris F.
Review by PBrown for
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I could not imagine tackling the subject matter of this book without this book! Getting the Money steps through what you need to do as a producer to draft a document that gives you a fighting chance of financing your project. You are told exactly what to do, exactly how to do it, and in many cases where to go for the information. Woe to the filmmaker who tries to figure it out on their own. A great value. Well worth it.
Review by Zachariah E. Moura for
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Umm…it’s good. How good? Real good. I had my JD/MBA friend check it out, as he is working with an independent filmmaker and wasn’t happy with what he’d seen out there in the how-to market. Even his other MBA associates were useless.
After checking out Mr. Juuso’s book, he was off and running. I told him I want a cut of any future earnings for putting him on to the book. I’m not holding my breath.
It’s simple. Wanna fund a movie? Get the book.
Review by Ken Randall for
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I have an entire library of filmmaking books – this one book (esp. the 2008 update) is fantastic – covering every aspect of filmmaking – and not just the technical stuff – even working with actors, directing and some basics of film theory. Of course it is best at the technical side – including HD production and post production editing. Very few of my collection come close to this one for breadth and depth.
Review by Daniel Benson for
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I’ve read a lot of books on cinematography, and this is by far the finest I’ve seen.
This is an extremely well written, comprehensive book on ALL aspects of film making.
The authors have obviously worked very hard on this book, and it shows. For example, there are EXTENSIVE cross references throughout the book like: “before you read this you should read pages 22-25″. This kind of cross referencing takes a lot of time to do accurately.
The cost is a real STEAL for the amount of information in it. In my opinion it is the only book you need on cinematography. If you don’t think so, at least read this first. I think all your questions will be answered.
I can’t recommend it highly enough.
Daniel O. Benson
Review by The Blood of Roses for
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I would encourage anyone from amateur (photographers committed by passion) to professional (photographers committed by career choice) to include within their ongoing study curriculum source material covering cinematography. And, this book should be first on their reading list! It is a perfect compendium of technique, theory, equipment and practice.
What impresses me is how much more deeply the authors explain basic concepts, beyond what you find in most of the regular digital photography books currently on the market; and, the explanations are so succinct. Take, for instance, when discussing depth of field and distance compression and expansion in perspective, the choice between changing the camera to subject distance or changing focal lenght to control the size of the subject in the frame, pages 142 to 146, makes an enormous difference in the way the image will look. It is explained that,
” … as the camera is moved closer, the relative size of foreground and background objects increase at different rates. [...] Perspective may be thought of as the rate at which objects become smaller the farther they are from the camera.”
This isn’t your ususal dslr concept of camera to subject distance and its effect on the still image, but it goes a great deal further to better conceptualize, visualize and help dslr photographers understand how to consciously and intelligently compose scenes to communicate subject character and thematic content. The authors then go on to explicitly demonstrate this concept through comparing and contrasting different photographs, and diagrams.
Another instance of this succint and analytical style of writing is near by, between pgs. 151-153, concerning applying focusing to the image and determining depth of field:
“In the ideal (theoretical) lens, there is only one subject plane in focus-everything in front of or behind this plane is out of focus. In the case of the portrait, if the man’s eyes were exactly 10 feet from the camera, his nose and ears would be out of focus. Fortunately, with real lenses the area that looks in focus is more generous. A zone (called the depth of field) extends from in front of the subject to behind the subject, delineatiing the area of acceptable sharpness (see Fig. 4-8). In other words, the depth of field is the zone, measured in terms of near distance and far distance from the camera, where the image appears acceptably sharp.”
Illustration follows to assist the visualization. These are just a couple of examples of the analytical and clear vision with which the book in its entirety has been written. These are the kinds of explanations for which I have been searching; and, no doubt, which you would welcome in lieu of sitting in a classroom listening to a professor lecture.
I bought this book after browsing at Borders for something to help me understand how to use cinematography techniques to produce still photos that look more cinematic. I got lucky that night! But you will find even more luck getting it from Amazon, since the price may be about half of what I paid at Borders. It’s a great deal to get so much expert guidance for Amazon prices!
Review by Nathan Andersen for
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For those who love films but don’t really know what’s involved in their getting made, this is an excellent guide. Of course, it’s even more indispensible for those who hope one day to make a film but aren’t currently involved in the business. I emphasize “business” here because this isn’t really a guide to the art of making films; you could imagine a similar book called “The Entrepeneur’s Handbook: A comprehensive guide to establishing your own business in the age of the internet” and it would cover the same types of topics. For a guide to the art of filmmaking/directing, my favorite book is “Film Directing Fundamentals” by Nicholas Proferes. But for the practical and day to day and big picture of the business of filmmaking, “The Filmmaker’s Handbook” is Indispensible: an excellent and thorough introduction and guide to the processes, the people, the arrangements, the contracts, the details that go into making films, especially independent films.
I required this book as one of the textbooks for my film history course on “American Independent Film” because it seemed to me there was no better way to indicate to students how much is involved in getting films made. It’s a very helpful piece of the course and gives students a perspective that they wouldn’t get from my own emphasis on film theory and criticism.
Review by BB Simmons for
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Excellent resource explaining data and software issues for film and digital video. this book was recommended to me by the teacher in my TV media class.