Making Chicago Price Theory: Friedman-Stigler Correspondence 1945-1957

Cover......Page 0
Title......Page 4
Copyright......Page 5
Contents......Page 8
Foreword......Page 14
Acknowledgments......Page 18
Introduction......Page 20
Part One: Development......Page 24
Where Do Documentary Ideas Come From?......Page 26
Is the Idea Fundable?......Page 27
What Are Funders Looking For?......Page 28
Is It a Worthy Subject?......Page 30
Is the Subject Important?......Page 32
Is It a Good Story?......Page 33
Are There Strong, Interesting Characters?......Page 35
Is There Conflict?......Page 36
How Good Is Your Access?......Page 38
Are There Strong Visual Elements to Tell the Story?......Page 40
Case Study: The Times of Harvey Milk......Page 41
Conclusion......Page 42
Read Everything, Talk to Everyone (within Reason)......Page 44
Rights and Licenses......Page 46
Researching a Historical Film: Paragraph 175......Page 47
Researching an Archival Film: The Celluloid Closet......Page 48
Archival Research......Page 49
Researching an Observational Film: Crime & Punishment......Page 50
Researching an Essay Film: Where Are We?......Page 51
Using Research to Determine the Form: Common Threads......Page 52
Conclusion......Page 55
Find the Story Arc......Page 56
Define the Storytelling Elements......Page 59
"Objective" Elements......Page 60
"Subjective" Elements......Page 61
"Directorial" Elements......Page 63
Reenactments......Page 64
Music......Page 65
The Proposal......Page 66
Case Study: Paragraph 175......Page 68
Case Study: Where Are We?......Page 71
Outreach/Distribution Plan......Page 73
Conclusion......Page 75
4. The Treatment......Page 76
Case Study: Common Threads......Page 77
Case Study: The Celluloid Closet......Page 82
Case Study: Paragraph 175......Page 84
Case Study: Taking HOWL from Documentary Treatment to Nonfiction Feature Screenplay......Page 89
Conclusion......Page 90
Production Schedule......Page 92
Case Study: Filming Common Threads......Page 94
Budget Notes......Page 96
Create a Sample Reel......Page 109
Case Study: The Sample Reel as a Creative Tool for The Celluloid Closet......Page 110
Conclusion......Page 113
Part Two: Preproduction......Page 114
Development Funding versus Production Funding......Page 116
Foundations......Page 117
Broadcast Partners......Page 119
Presales......Page 120
International Opportunities......Page 121
Pitch Markets......Page 122
Targeted Fundraising Campaigns......Page 124
Fundraising Events......Page 125
Cocktail Parties......Page 126
Individual Contributions......Page 127
Conclusion......Page 128
7. Casting the Nonfiction Film......Page 130
Can They Tell a Good Story?......Page 131
Casting Historians and Other Experts......Page 132
Preinterviews......Page 133
Casting an Interview-Driven Documentary: Common Threads......Page 134
Casting a Vérité Documentary: Crime & Punishment......Page 136
Reluctant Storytellers: Paragraph 175......Page 137
Celebrity Storytellers: The Celluloid Closet......Page 139
Casting Actors for a Nonfiction Movie: HOWL......Page 140
Casting Tools......Page 141
Conclusion......Page 143
8. Legal Headaches: Releases, Rights, and Licenses......Page 144
Personal Releases......Page 145
Story Rights......Page 146
Book and Magazine Rights......Page 147
Music Rights......Page 148
Footage and Photo Rights......Page 149
Fair Use......Page 150
Case Study: Licensing Clips for The Celluloid Closet......Page 151
Conclusion......Page 153
Part Three: Production......Page 154
9. Assemble a Team......Page 156
The Chain of Command......Page 157
Producers......Page 158
The Creative Team......Page 161
Camera......Page 162
Individual Supporters......Page 164
Sound......Page 165
Editor......Page 168
Making Deals......Page 171
The Business Team......Page 172
Get a Lawyer!......Page 173
Accounting: The Bookkeeper......Page 174
Do-It-Yourself Filmmaking......Page 175
Conclusion......Page 177
10. Directing Documentaries......Page 178
Directing Observational Scenes......Page 180
Case Study: Unexpected Observational Scenes in Paragraph 175......Page 182
The Setup and Stylistic Choices......Page 183
Preparation and Spontaneity......Page 185
Conclusion......Page 190
Part Four: Postproduction......Page 192
11. Editing......Page 194
Screening Dailies, Making Selects......Page 195
First Assembly......Page 197
Rough Cut......Page 198
Defining the Style......Page 199
The Art of Narration......Page 200
Narration Case Study: Paragraph 175......Page 204
Second Version......Page 205
Narration Case Study: The Celluloid Closet......Page 206
Screening the Rough Cut......Page 207
Fine Cut......Page 209
Final Music and Narration......Page 210
Locking Picture and Final Touches......Page 212
First Assembly......Page 213
Rough Cut......Page 215
Fine Cut......Page 216
Conclusion......Page 220
12. Launch Your Film......Page 222
Film Festivals......Page 223
Case Study: What Worked and What Didn't with The Times of Harvey Milk......Page 224
Sundance and Beyond......Page 225
The Small—and Smaller—Screen......Page 227
Conclusion......Page 228
Appendix 1 Sample On-Camera Release......Page 230
Appendix 2 Sample Deal Memo......Page 232
Appendix 3 The Pink Triangle......Page 234
Appendix 4 HOWL Treatment and Script Excerpts......Page 240
Filmography......Page 246
Notes......Page 248
C......Page 258
H......Page 259
N......Page 260
S......Page 261
Z......Page 262