DEVELOPMENT DIVISION
VP Development Pursuant to the By-Laws of the Company: The officers shall be elected at the first meeting of the Board of Directors after each annual meeting. More than two offices may be held by the same person.
The Board of Directors may appoint such officers and agents as it may deem advisable, who shall hold their offices for such terms and shall exercise power and perform such duties as shall be determined from time to time by the Board of Directors.
Therefore, such Duties and Responsibilities shall be as follows:
This replaces and revised Movie Memo of 31 June 1985.
The VP Development is a writer (with knowledge of directing, editing and production management) who heads up the research & development division of the company and oversees the development and acquisition of screenplays and literary properties. The VP Development reports to the President of Production.
VP DEVELOPMENT MAJOR RESPONSIBILITIES:
o Options and develops screenplays that are viable.o Gets development financing Committed to worthwhile projects.
Product The Acquisition and Sale of Quality Screenplays
Stat: Gross Income from Development or Sale of Screenplays
Custody: Scripts & Treatments and The Script Admin Log
o Determines what types of stories and ideas are marketable by doing public surveying and working closely with the Senior VP Marketing, President of Production and the President.
o Establishes new connections with writers and maintains correspondence with them.
o Procures screenplays and literary properties.
o Receives all completed Reader Reports as soon as they are done.
o Does or delegates hiring and firing in the Development Division.
o Has veto over any personnel or projects in the Development Division.
o Handles or supervises all Script Administration. Maintains (or causes to be maintained) the "Script Admin Log", which is an exact log of all scripts received by the Company, and sent out of the Company (to studios or back to the writer).
o Is ultimately responsible for the safety and logging of any and all literary properties that come into the custody of the Company and is charged with their safe return to the owner or owner's agent.
o Establishes a Reader Pool of at least six as soon as possible.
o Strives to maintain a balance of readers that reflects the demographics of the audiences the Company pictures will be marketed towards.
o Has the Reader Pool elect its Head Reader by majority vote each quarter, then sees to it that the Head Reader executes the standard contract. Casts deciding vote for Head Reader in event of stalemate. Holds Head Reader hat until a Reader Pool is established.
o Works towards seeing every movie that is released theatrically and on video.
o Constantly recommends movies to people to see and then notes whether they liked the movies recommended. This should serve as a quality control function to test matching skill.
o Constantly rents and watches cassettes and television.
o Sees or reads every critical review that comes out whether it is in a periodical or newspaper or on television.
o Reads screenplays of movies that are in release or about to be released, as well as all other screenplays that come his or her way.
o Talks constantly to people of all walks of life to be current on all aspects of life whether here or abroad.
o Holds story conferences and idea sessions per MM 15 FEB 1985, if appropriate or supervises such idea sessions when directed to do so.
o May recommend cast and talent.
o Causes finished treatments, scripts and new drafts to occur on time and on budget.
o Inspires and maintains a light, productive atmosphere at all times so that the creative process will flourish. Protects the spirit of creative personnel and works to minimize any negative or suppressive influences in the development division.
o Is gentle and causative at all times and gains respect from talent and executives because products are occurring more quickly and of finer and finer quality.
o Supervises MPAA Title Registration when appropriate to register titles.
o Works with producer and directors in selecting the correct writers for stories and projects.
o Establishes and maintains a large wall size flow chart consisting of the following stages:
IDEA, TITLE, CONCEPT LINE, STORY IN BRIEF, TREATMENT, STORY, FIRST DRAFT SCREENPLAY, SECOND DRAFT SCREENPLAY, ADDITIONAL DRAFTS, ESTIMATE, PACKAGE, POLISH, BUDGET, FINANCED, IN PRODUCTION, RELEASED.
Tracks projects on this chart.
o Assigns Development Executives to over see projects.
o May rotate Development Executives to any project at any time and for any reason.
o Development Executives should reflect the audience being sought for the project. If the audience is a youth audience, Development Execs should be in that age group. If the audience is for senior citizens, the Development Exec assigned to the Project should be a senior citizen.
o Does not assign more than one Development Exec to a given project.
o Seeks and encourages new talent as appropriate.
o Supervises the Director of Crazy Affairs.
o Does cost research on how much writers, treatments and screenplays cost.
Development Executive Development Executives are assigned by the VP Development to supervise the development of specific projects being developed by the Company and are the main contact person for the producing team working on the project (i.e. writer(s), director, producers). Development Executives report to the VP Development with duties and responsibilities as follows:
DEVELOPMENT EXECUTIVES RESPONSIBILITIES
o Projects supervised from script development through packagingo The nurturing of a good script and package.
Product Supervision of projects in development
o Supervising projects in development. The ideal number of projects to supervise is no more than ten and no less than three.
o Nurturing the creative process, not invalidating or suppressing it.
o Providing feed back for the company and market POV.
o Helping the Dir Creative Affairs and Story Editors organize and carry out their duties and responsibilities.
o Aides the VP Development or anyone assigned by the VP Development as needed.
o Development Executives should reflect the audience being sought for the project. If the audience is a youth audience, Development Execs should be in that age group. If the audience is for senior citizens, the Development Exec assigned to the Project should be a senior citizen.
o No more than one Development Exec may be assigned to a given project.
o Readers and Production Assistants may aid Development Executives as authorized by the VP Development.
o Development Executives do not function as Producer of a project and do not usurp producer duties and responsibilities
o Development Executives may be assigned to a project as Executive Producer as authorized by the President of Production and the VP Development.
o When a script is done and green lighted for production, the Development Executive's job is done unless assigned to the project as Executive Producer.
Director of Creative Affairs The Director of Creative Affairs is the head story editor who works with writers in the development of treatments and screenplays that are marketable and in accordance with the requirements of the Company as set forth by the VP Development. Duties and Responsibilities consist of the following:
DIR CREATIVE AFFAIRS RESPONSIBILITIES:
o Writers matched with the correct projects developing excellent treatments and screenplays.
Product Screenplays and Writers Located
Stat: Number of Screenplays In from Writers & Agents
Custody: Writer Roster
o Works with writers in creating treatments, stories and screenplays in such a way to bring out the highest level of creativity and productivity possible.
o Proposes writers, based upon samples of their past material, and matches them up to the projects at hand in such a manner that the Writer is as interested as possible in the concept to be developed and is stylistically the right man or woman for the job.
o Helps, inspires and serves writers on behalf of the Company in the creation of their works and makes them feel good and welcome about working for the Company.
o Works with each writer in an individualized fashion.
o Assigns Story Editors to projects.
o May rotate Story Editors to any project at any time and for any reason.
o Encourages prompt delivery of what is promised and sets production targets when needed.
o Works with writers to do re-writes and polishes.
o Has as his end product a script that is so good that it is recommended for production, packaged and financed in the shortest amount of time possible.
o Works in cooperation with the Head Reader when the VP Development wants developed material to be cycled through the Reader Pool for suggestions and/or quality control purposes.
o Edits stories by integrating the various recommendations received from the Reader Pool but does not allow material to become bland and homogenized by "committee viewpoint" in the process.
o Recommends or re-assigns new or additional writers projects as necessary.
o Creates a creative, safe atmosphere for writers to write in and sees to it that there is no suppression in the environment or people who are critical in a non-constructive way.
o Makes scripts available for the VP Development to pitch to studios, producers, distributors and talent as expeditiously as possible.
o Does not get involved in conflict of interest situations whereby he or she pushes his or her pet projects to the point whereby other projects are not being treated with the same passion. May always send personal projects through the Reader Pool, under own name or pseudonym, to demonstrate objective viability.
o Locates writers in the field as well as gets referrals from the Dir of Personnel, agents, the MixMaster and Producers and associates.
o Establishes a large roster of Writers with samples of their work unless not authorized.
o Is an accomplished or published Writer him or herself.
o Supervises and nudges for the attainment of daily writing targets.
o Keeps closely abreast of what is being written for the Company and reports accurately to the VP Development verbally and with samples of all or parts of the work as needed.
o Holds story conferences when needed.
o Knows how to type and word process in the accepted company formats and owns both a typewriter and a word processor as prescribed by the VP Development.
o Constantly recommends movies to people to see and then notes whether they liked the movies recommended. This should serve as a quality control function to test matching skill.
o Keeps track of projects that are in development as they go from concept, title, one liner, story in brief, treatment, first draft script, second draft, additional drafts, polish. Provides this information in an easily grasped wall chart (or other means) to the VP Development.
o As a quality control function, reads and researches successful scripts as much as possible then goes to see the movies based on those scripts.
o Sees a lot of movies and balances this by talking to a lot of young and old people who have not seen a lot of movies to discover what is entertaining to them.
o Observes, researches and lives life fully so novel ideas can be recognized from life itself, not just from what has already been done in the art of others, i.e., sees a lot of movies, reads a lot of people.
o Does not get involved with business affairs, terms, negotiating or deals but aides in the selection process of writers.
o Refers all business affairs matters that come up to the VP Development.
o Has scripts and treatments xeroxed as necessary.
o Has a director's viewpoint (or a Master Storyteller viewpoint) and works to get scripts written that can be done at targeted budget levels.
o Edits stories as needed but does not overly influence or force his "stamp" on all writing that comes through, otherwise the creativity of the projects developed by the Company will be "limited" to the Director of Creative Affairs's "taste, awareness and attitude."
o The Director of Personnel maintains the "Writer Roster" for the use of the Director of Creative Affairs who adds to it new writers complete with any letters, samples and/or resumes from writers.
o Teaches this hat to the next person to take the post before moving on to another position.
o Causes the products of this department to occur.
Story Editor The Director of Creative Affairs assigns Story Editors to work with writers in the development of treatments with good continuity. Story editors work with Writers only if the Writer wants them to help out. Story Editors do not do the actual writing for the Writer: they provide a sounding board for the writer in his development of the story and treatment. A Story Editor is a highly creative, sensitive and intelligent person who works hard to bring out the best in Writers. A Story Editor does not have to be or even know how to write himself, however he must be able to communicate and articulate clearly and succinctly with a lot of affinity and understanding. If the Company Writers are doing well and are happy, the Story Editor is doing his or her job well.
STORY EDITOR RESPONSIBILITIES:
o Aiding and inspiring Writers to do better work.
o Creation of exciting, interesting, educational treatments and continuity.
o Cooperation with the Writer and Dir of Creative Affairs.
Product Story continuity and accuracy
Stat: Proofed, workable, exciting stories
o Work with writers in creating stories, treatments and screenplays in such a way to bring out the highest level of creativity and productivity possible in the Writer.
o Helps, inspires and serves writers on behalf of the Company in the creation of their works and makes them feel good and welcome about working for the Company.
o Must be able to read swiftly and with few misunderstandings. Being a Reader or a film Editor is good training for Story Editing.
o Works with each writer in an individualized fashion.
o Work with any one writer or several writers.
o Neither the Story Editor nor the Writer are under any pressure to work with each other and must do so only if in mutual agreement to work together.
o If either the Writer or the Story Editor does not want to work together, it is their responsibility to inform the Director of Creative Affairs and it is the Director of Creative Affair's duty to accept this wish with absolutely no questions or attitude problems. It is the Dir Creative Affairs duty to simply place another combination of Writer and Story Editor together or to inform the parties of the change.
o Works with writers to do re-writes and polishes.
o Has as his end product a script that is so good that it is recommended for production, packaged and financed in the shortest amount of time possible.
o Edits stories by integrating the various recommendations received from the Reader Pool but does not allow material to become bland and homogenized by "committee viewpoint" in the process.
o Creates a creative, safe atmosphere for writers to write in and sees to it that there is no suppression in the environment or people who are critical in a non-constructive way.
o Does not get involved in conflict of interest situations whereby he or she pushes his or her pet point of view to the point whereby other points of view are not being treated with the same passion.
o Does not supervise or nudge the Writer in any way.
o Keeps closely abreast of what is being written however does not leak drafts of any material being written until the Writer is ready to present such material or the Writer is not on the project any longer.
o Helps the Writer set up story conferences when needed.
o Does facts research for the Writer when required.
o Helps the writer with his or her admin, taping and notes in so far as it pertains to establishing order for a better continuity.
o Is not the Writer's secretary, messenger or lackey, however the Story Editor, at his own volition may choose to aid the Writer in such manners if he or she so desires. The writer nor any one in the division may not reprimand the Story Editor if he or she does not, wish to be a secretary, messenger or lackey for the Writer.
o Ideally knows how to type and word process in the accepted company formats and owns both a typewriter and a word processor as prescribed by the VP Development.
o Constantly recommends movies to people to see and then notes whether they liked the movies recommended. This should serve as a quality control function to test matching skill.
o As a quality control function, reads and researches successful scripts as much as possible then goes to see the movies based on those scripts.
o Sees a lot of movies and balances this by talking to a lot of young and old people who have not seen a lot of movies to discover what is entertaining to them.
o Observes, researches and lives life fully so novel ideas can be recognized from life itself, not just from what has already been done in the art of others, i.e., sees a lot of movies, reads a lot of people.
o Does not get involved with business affairs, terms, negotiating or deals but may aid in the selection process of other Story Editors.
o Refers all business affairs matters that come up to the VP Development.
o May helps the Writer get xerox copies as necessary.
o Assumes an editor viewpoint and works to get treatments and scripts written that can be done, not only at targeted budget levels, but with a continuity that makes sense.
o Edits stories as needed but does not overly influence or force his "stamp" on all writing that comes through, otherwise the creativity of the projects developed by the Company will be "overly influenced by" to the Story Editor's "taste, awareness and attitude."
o When a script is done or green lighted for production, the Story Editors job is done unless assigned to the project as a Development Executive.
o Teaches this hat to the next person to take the post before moving on to another position.
o Causes the products of his hat to occur.
Research Consultant The Director of Creative Affairs assigns Research Consultants to work with writers in the development of treatments with good continuity. Research Consultants work with Writers only if the Writer wants them to help out. Research Consultants do not do the actual writing for the Writer they provide a sounding board for the writer in his development of the story and treatment. A Research Consultant is a highly intelligent and detail oriented person who does his or her best to bring to the story the effect wanted by the Writers. A Research Consultant does not have to be or even know how to write himself, however he must be able to communicate and articulate very clearly and succinctly with a lot of affinity and understanding.
RESEARCH CONSULTANT RESPONSIBILITIES:
o Providing aid and research so Writers to do better work.
o Creation of exciting, interesting, educational research.
o Cooperation with the Writer and Dir of Creative Affairs.
Product Stories that are viable, exciting, make sense and are accurate in every detail.
o Works with writers in creating stories, treatments and screenplays in such a way to bring out the highest level of accuracy or productivity possible in the Writer without changing the intentions of the Writer.
o Helps, inspires and serves writers on behalf of the Company in the creation of their works and makes them feel good and welcome about working for the Company.
o Must be able to read swiftly and with few misunderstandings. Being a Reader is good training for a Research Consultant.
o Works with each writer in an individualized fashion.
o Works with any one writer or several writers.
o Neither the Research Consultant nor the Writer are under any pressure to work with each other and must do so only if in mutual agreement to work together.
o If either the Writer or the Research Consultant does not want to work together, it is their responsibility to inform the Director of Creative Affairs and it is the Director of Creative Affair's duty to accept this wish with absolutely no questions or attitude problems. It is the Dir Creative Affairs duty to simply place another combination of Writer and Research Consultant together or to inform the parties of the change.
o Works with writers on re-writes and polishes.
o Contributes to the product of a script that is so good that it is recommended for production, packaged and financed in the shortest amount of time possible.
o Notes various recommendations received from the Reader Pool as such pertains to research.
o Creates a creative, safe atmosphere for writers to write in and sees to it that there is no suppression in the environment or people who are critical in a non-constructive way.
o Does not get involved in conflict of interest situations whereby he or she pushes his or her pet point of view to the point whereby the story is being changed.
o Does not supervise or nudge the Writer in any way.
o Does not perform the Writer's hat in any way.
o Keeps closely abreast of what is being written however does not leak drafts of any material being written until the Writer is ready to present such material or the Writer is not on the project any longer.
o Helps the Writer set up story conferences when needed.
o Does facts research for the Writer as required.
o Is not the Writer's secretary, messenger or lackey, however the Story Editor, at his own volition may choose to aid the Writer in such manners if he or she so desires. The writer nor any one in the division may not reprimand the Research Consultant if he or she does not, wish to be a secretary, messenger or lackey for the Writer.
o Ideally knows how to type and word process in the accepted company formats and owns both a typewriter and a word processor as prescribed by the VP Development.
o As a quality control function, reads and researches successful scripts as much as possible then goes to see the movies based on those scripts.
o Sees a lot of movies and balances this by talking to a lot of young and old people who have not seen a lot of movies to discover what is entertaining to them.
o Observes, researches and lives life fully so novel ideas can be recognized from life itself, not just from what has already been done in the art of others, i.e., sees a lot of movies, reads a lot of people.
o Does not get involved with business affairs, terms, negotiating or deals but may aid in the selection process of other Research Consultants.
o Refers all business affairs matters that come up to the VP Development.
o May help the Writer get xerox copies as necessary.
o Assumes a data analysis viewpoint and works to get treatments and scripts written that can be done, not only at targeted budget levels, but with reality that makes sense or fantasy that makes "sense."
o Provided research as needed but does not overly influence or force his "stamp" on all writing that comes through, otherwise the creativity of the projects developed by the Company will be "overly influenced by" the Research Consultant's "taste, awareness and attitude."
o When a script is done or green lighted for production, the Research Consultant's job is done.
o Teaches this hat to the next person to take the post before moving on to another position.
o Causes the products of his hat to occur.
Writer The Writer is responsible for creating or developing a story from nothing or pre-existing material. The story may be in treatment or screenplay form, but ultimately the screenplay becomes the blueprint from which the production will unfold. The writer, works with and cooperates with other writers, and the director in the development of the story and screenplay. Duties and responsibilities include the following:
1. Writing and delivery of written materials on time.
2. Creating rewrites and polish of the script.
3. Not interfering with the Director when he or she deems it necessary to add to, change or delete portions of the script to make it work with the talent, time and materials available.
4. Creating screenplays that fall within the guidelines set by the production, if any.
5. Placing or causing screenplays and treatments to be typed in proper form as follows:
Screenplays for feature length motion pictures should be typed in standard format as described herein. Standard feature length is about an hour and a half. This translates to about 90-110 pages. Of course, some features run longer, some shorter. Low budget scripts should be about 90 pages. "Screenplay" and "script" mean basically the same thing although the word "script" is a more general term that can apply to stage plays, teleplays and television commercials as well.
The reason for a standard format is so the First Assistant Director and the Production Manager can break down the elements in the script (characters, locations, props, vehicles, fx, etc.) for scheduling and budgeting purposes, respectively.
Also so the Director can work with a "blueprint" with which he is familiar. The actors can spot their lines more easily in the center of the page.
Pica or Courier type are both acceptable type fonts so long as they produce 10 characters per inch. This is very important because if the type is 12 characters per inch, what is a longer script will be compressed into fewer pages, hence giving the illusion that the picture is lower budget than represented by the screenplay.
Lastly, you should use standard letter size paper (8-1/2" x 11"). It is wisest to write your screenplay with a word processor so subsequent drafts on the way to the final polish can be done more easily. It is not unusual for a screenplay for a major picture to undergo ten or more drafts.
The next pages describe how a screenplay should be formatted and how it should look on paper. Please understand that, due to imperfections of transmission over the Internet, some of the spacing may be unaligned. Hopefully you will get the idea however.
FADE IN 1 EXT. LOCATION - TIME 1 Description of your action starts here at what should be 18 spaces from the left edge of the paper and goes to form a right border of about 14 spaces (or where your word processor starts its "wrap around"). Action/description should be single spaced, except to separate different ideas or specific blocks of action. Colons (:) have been used to emphasize the spacing in the first part of this sample screenplay. Obviously these are left out when you write the screenplay so long as you use the same spacing. : CHARACTER Dialogue starts about 32 spaces from the edge of the paper and handles 5-7 words per line, no more. The Character's name should be tabbed near center above the dialog as shown. : The story takes us to a new location. : : 2 INT. SINZINDORF CASTLE, PRIVY - NIGHT 2 : A "Reading Script" does not need to have scene number designations. In fact, it is better that it does not as the Director will put them in when he creates a detailed "Shooting Script" based on the Reading Script. : In the Shooting Script, the number will progress consecutively each time the story takes us to a new location, inserted shot, or angle so that each photographic subject and scene may be clearly referred to by number for scheduling and budgeting. In this case, we are now in scene 2. "2" is the scene or scene number. Sometimes scenes are added between existing ones, thus a scene between 165 and 166 would be labeled 165A or A166. A "sequence" is a group of scenes. (CONTINUED) is optional and usually a waste of paper. (CONTINUED)Product
2. Even if the story goes back to the same location, it gets a new scene number because it occurs at a different time. : The FIRST time we are introduced to each character in the action/description paragraph, use capital letters for his or her name. Hence, our character, GEORGE, is a smart guy who knows what a privy is. : GEORGE Let's get out of this privy! : ACTOR Good idea. : GEORGE And let's hurry too. : : 3 INT. SINZINDORF CASTLE, HALLWAY - NIGHT 3 This new location, in the same castle, gets a new scene number. Location descriptions proceed from the general to the specific then to time of day. The basic descriptions used are DAY, NIGHT, DUSK, MORNING with modifiers such as RAINY or FOGGY, i.e., FOGGY NIGHT. Scene numbers may or may not be used to represent ANGLES designated in the shooting script. It is usually a waste of time to designate ANGLES unless particular ones are VITAL to the story. Angles usually get selected by the Director in the editing of the picture and no one really knows which ones will be the most effective until they are actually seen on the screen. 4 ANGLE - A SPY 4 A spy pokes her head out of the privy. She was hiding there all the time. She watches George and the actor, BILL, go down the hall. When continuing dialog, place the word (more) just under the line of dialog to be continued and place the abreviation (cont'd) just after the characher's name
3. Indent page numbers back a little from scene numbers, if any, so the two are not mixed up. Do not put a period after scene numbers but put a period after page numbers. 5 EXT. RAM'S HEAD PUB, ESTABLISHING SHOT - NIGHT 5 When combining types of shot descriptions ("ESTABLISHING SHOT") with location ("RAM'S HEAD PUB"), place such shot description after the location. Keep the EXT. or INT. designation just before the location as this makes it easier to break down the scenes. INT. means interior and EXT. means exterior. Bill and George sit down at a table. BILL George, do you mind if I light one of these fine candles? I cannot see the script so well. Bill quickly leans forward with a lit match. George's eyes follow the flame and in sudden realization: GEORGE (frantically) Those are NOT cand... 6 EXT. RAM'S HEAD PUB, MINIATURE - RAINY NIGHT 6 The whole pub BLOWS UP with an enormous BLASTING sound. Pieces of CRACKING WOOD fall all over the town in sync with the rain. (Note: the sounds should be capitalized so the sound effects editor and the sound mixer can easily pick them out of the script.) DISSOLVE TO:
4. 7 INT. RAM'S HEAD PUB, TABLE - CANDLE LIGHT 7 George and Bill sit amidst the ruin of the pub while pieces of wood, cloth and pebbles drizzle down from the now exposed night sky. A single lit candle sits between them. George looks at the candle and then up at Bill. BILL (perplexed) Well I guess it WAS a candle. Sorry, George. GEORGE Hey, no problem, Bill. CUT TO: 8 EXT. THE OCEAN - DAY 8 A ship sails into frame.
The Writer's PRODUCT is: Excellent, entertaining and well written treatments and screenplays that sell talent and financiers.
This Movie Memo cancels Matrixx Movie Memo of 15 January 1978 entitled, "Screenplay Format" and its 12 June 1987 revision.
Head Reader The Head Reader is the elected senior reader in the Company who seeks, reads and reports on literary properties and locates, with the help of other readers, appropriate screenplays for the Company to produce. The Head Reader reports to the VP of Development and has duties and responsibilities consisting of the following:
HEAD READER RESPONSIBILITIES:
o Qualified and supervised Readers.
o Excellent, viable scripts and treatments found.
Product Qualified Readers reading
Stat: Number of Readers in the Reader Pool
Custody: Reader Roster and Reader Reports
o Supervises all Readers assigned to the Reader Pool.
o Sends new people (and/or their names and phone numbers) that want to be Readers to the VP Development to arrange volunteer or hiring terms.
o Recommends Readers that want to read and are qualified.
o If Readers are reading on an "in training" basis (Reader I/T), helps them learn how to differentiate viable scripts from non-viable scripts and the basics of script analysis, but does not violate Reader Rules in doing this.
o Sees to it that all Readers are supplied with blank Reader Reports and that they are filled out after each script is read.
o Xeroxes copies of Reader Reports as needed.
o Sees to it that the "Reader Rules" are followed.
o Terminates Reader's services when authorized by the VP Development.
o Helps keep careful track of all scripts that go to Readers and come back from Readers in a log, for the VP Development, and sees to it that no scripts are lost, stolen, mutilated or copied.
o Sees to it that all completed Reader Reports are sent to the VP Development as soon as they are done.
o In supervising the Reader Pool, makes sure Readers do not cross-discuss scripts PRIOR to reading, but encourages free discussion AFTER Readers have all read a particular script or scripts.
o Helps the VP Development procure scripts and treatments through various avenues when asked.
o Alerts Readers to be on the lookout for specific types of stories and quality levels when requested by the VP Development and is responsive to such requests.
o Does not get involved in any business affairs, or terms, but refers such, if it comes up, to the VP Development.
o Does not contact the writers and sees to it that the Readers do not either.
o As a quality control function, reads and researches successful scripts as much as possible.
o Recommends excursions to the Academy of Motion Picture Arts & Sciences library, the AFI library and other film libraries for Readers to regularly read scripts of movies that have been successful.
o Goes to see movies based on scripts read as well as many movies as possible and encourages Readers to do so too.
o Constantly recommends movies to people to see and then notes whether they liked the movies recommended. This should serve as a quality control function to test matching skill.
o Observes, researches and lives life fully so novel ideas can be recognized from life itself, not just from what has already been done in the art of others.
o Works in coordination with the Director of Creative Affairs if projects in development need to be sent through Readers as a quality control function.
o Collects and gives all Reader statistics to the Statmaster every week by Thursday afternoon for posting. If there is no Statmaster on post, posts the statistics himself.
o Suggests to this Hat know-how that will improve the operation of this post and assimilates any new information or changes in this hat if they are issued as policy.
Reader Readers read and follow screenplays, treatments, books and other materials to determine whether or not they are entertaining stories suitable for further development or production as they stand. The Reader reads material from the point of view of a Reader acting as an audience and not from any other point of view. Duties and responsibilities include the following:
READER RESPONSIBILITIES:
o Literary properties carefully read and analyzedo Reader Reports carefully filed out.
Product Reader Reports
Stat: Number of Reader Reports DONE
o Following and adhering to the Reader Rules.
o Filling out the Reader Report in as accurate a manner possible.
o Not reading when sleepy, board or there is nothing better to do.
o Generally and carefully reviewing all material that comes into his or her possession, looking for quality rather than looking for flaws.
o Does not miss the next great screenplay or story to come along.
o Analyses writers' ability in answering the question: Does this Writer know how to clearly communicate an entertaining story that keeps me reading to an incredible catharsis.
o Does not care about spelling or grammar in the presence of otherwise clear and entertaining story content.
Director of Acquisitions Product Optioned Screenplays and Hired Writers
Stat: Number of acquired screenplays VS Number of Screenplays developed In-House
Pitchmastertm The Pitchmaster reads the script and looks over the packaged elements and in a masterful way pitches the package to a Producer, Director, Talent, Studio Executive or as required. Pichmasters may deal with either literary properties or packaged projects, as required by the VP Development or Producer. Assistant Pitchmasters may only pitch literary properties which are NOT packaged. A Pitchmaster has the following duties and responsibilities and performs the following items as specifically delegated by the VP Development or Producer working for:
PITCHMASTER RESPONSIBILITIES: o Stories that are pitched in a masterful way such that interest, enthusiasm and recommendations are created.
o Sale and financing for Literary Properties.
Product: Enthusiasm for Company Screenplays
Stat: Number of Screenplays Financed or Sold
Custody: Set of Company owned or Optioned Literary Properties.
o Pitching stories in a way so the person being pitched is very interested in the script or idea. (This may be in person or by phone.)
o Picks up the script(s) or treatment(s) that are to be pitched and reads it through to become totally familiar with the story just prior to the pitching session.
o Knows what he is to pitch cold. Always knows what the priority of projects to be pitched are beforehand.
o Pitches the story in a masterful way, only when given the cue. The "cue" is the following: "John, why don't you go ahead and brief Mr. ____________ on the (name of script) story."
o Helps close funds by promoting the concept, script and merits of the story, not deal factors.
o Is not responsible for packaging, or producing the picture.
o Is not responsible for any delivery of the picture or elements.
o Does not act as the Company's legal agent in any way.
o The Pitchmaster's work may take five minutes at the meeting and it may and should help to close the deal, but the Pitchmaster should realize that it may have taken several years to establish the contacts and trust between the Company and the executive(s) being pitched, and it may take several years to deliver the movie. Therefore, the Pitchmaster agrees and understands that as part of this hat, the Company owes the Pitchmaster nothing beyond payment of the above fee and makes no other expressed or implied obligations. (Other Divisions of the Company carefully train and employ people for different positions.)
o Works on a flat contracted fee (cash and/or deferred cash per pitchmeeting) and does not get involved in business affairs.
o Is very careful not to enter ANY dialogue into a meeting other than the merits of the story as such could jeopardize business affairs.
o Pitchmaster agrees to never, on his or her own volition, call the studio executive(s) met or pitched unless specifically authorized by the VP Development, President or Producer working for, for a period of at least one year, as this would be a conflict of interest.
o Allows the VP or Producer to conduct all meetings attended.
o Is careful to NOT say ANYTHING that could misrepresent the Company or bind it with an implied obligation (such as saying: "This story is so simple and delightful, IT COULD PROBABLY BE DONE FOR LESS THAN A MILLION DOLLARS" The part of this lastquote that is NOT OKAY is CAPITALIZED. Why? Because it may obligate the Company.
o Only talks art and excitement.
o Talks: "unusual and topical concept", "excellent action", "the story ends up quite differently than you might have expected", "this picture has a chase scene that makes Bullet look like swimming in molasses", as an example.
o Doesn't say "never been done" unless he or she has researched it.
o Doesn't use salesman clich‚s or worn jargon.
o The Pitchmaster sees as many movies as possible. Remember the executives you are pitching have not only seen them all, they may have produced or worked on them.
o If the Pitchmaster sees less than three movies per week, he is in serious trouble. (And this does not mean all on the tube. This means a balance between seeing newly released theatrical pictures, renting cassettes and the tube.)
o Reads a lot of literature and should be familiar with, ideally, every novel and script written. (This is so, when the executive says: "Well, that story is just like the novel . . .", the Pitchmaster, rather than looking stupid, can say, "Yes, your comment is astute and well taken, however, if I'm not mistaken, the character in THAT novel was 51 years old and the character in THIS script is only 18, hence their awareness of life causes them to have drastically differing motivations that would of course bring each story to a different catharsis, and it is true, this script DOES accomplish that in an unusual and exciting way.")
o May do anything within his or her powers to cause the person or persons being pitched to want to make a deal with the Company, so long as it is not anything specifically cautioned herein or by the company executive conducting the pitchmeeting.
o The Pitchmaster looks good and looks presentable. He or she lightly "commands" attention with the proper savoir faire but does not ever over push to the point of being a turn off.
o Is VERY sensitive to when some pitch is just not working and is able to immediately segue into new or different material that was brought along, or planned.
o Does not pitch anything personal or not previously arranged and does not use his or her position as a Pitchmaster to hit up the Company Producer(s) or executives with his or her own pet projects. The Pitchmaster, like any other person must submit his or her material to the Reader Pool for consideration.
o If asked to give out information about the Company or its affiliations, makes sure this is cleared and prepared first with the VP Development. In the event it is not, turns this subject smoothly over to the VP or Producer who arranged the meeting.
o When at a meeting and not pitching, takes careful notes of the following:
a) What they liked and did not like about what was pitched.
b) What they want and when.
c) What they have and do not want.
d) Elements that they would be interested in.
e) Any agreements or commitments.
f) Detail data (such as names, phones, addresses, numbers, facts, statistics, etc.).
g) When to get together next or talk.
h) Anything else relevant. o Pitchmaster discreetly turns the a-h notes over to the VP Development right after leaving the meeting, perhaps in the parking lot.
o Pitchmaster, included in his fee, must be willing and able to debrief with the VP Development for at least 20 minutes right after the Pitchmeeting.
o Lightly aides in not overlooking the setting up of a next meeting or talk, if it looks like this is desired by the VP Development.
o Is not awkward or pushy and is VERY sensitive to how and what the VP Development is saying and doing at the meeting.
o Listens when not pitching.
o Is "in present time", and not thinking about something else while at the meeting. Is very relaxed and makes other in the room feel the same.
o If the meeting gets heavy, lightens it up as appropriate.
o NEVER interrupts a train of thought being put forth by the VP, Producer or executive being pitched.
o If asked, introduces himself or herself as the Producer's Assistant, NOT as a "Pitchmaster", "Associate", "Partner" or "Producer" or anything else. Say: "I'm Mr. ___________'s Assistant." and give your name.
o The key note to the function of a Pitchmaster is that he or she is there to help the VP Development or Producer with one aspect of the presentation.
Vp of the Universetm The Vp of the Universe is in charge of the universe of creative thought. He or she establishes and heads up the Dreams in Development Department of the Company.
Duties and irresponsibilities are the following:
Vp OF THE UNIVERSE RESPONSIBILITIES:
o Original, New and Unique ideas for StoriesProduct: Original Ideas
Custody: All Think Tapes
The Vp of the Universe is the Execu-Artist who jumps cliffs for original ideas for stories, such stories to be scripted into screenplays through the Director of Creative Affairs. He or she is in the Dreams in Development Department (D'nD Divtm) of the Company and reports to the Tenth Assistant Grip, if one, or the VP Development, if, Godtm help us, a Tenth Assistant Griptm actually does exist!
The Vp of the Universe heads a sizable, sloppy and uncouth staff with the following three department Missmanagers:
1) The True Artisttm
2) The Chief Fanatictm
3) The GeniAsstm The product of the "D'nD Div" is ORIGINAL IDEAS.
The products of the above individuals and department staffs are as follows:
What How Ways tm; What new ideas can be brought into existence in an infinite universe; Why would it be entertaining to create them; How would they impact on Planet Earth and other universal bodies, Ways they an be made to work in stories and screenplays.
Only impacts that 89.6% of the Humans and 69.8% of the Animals would agree with as "good" are wanted by the Vp of the Universe.
True Artist's Staff
All Night Plottertm - Millionaire stockbroker from NYC.
Restaurant Writertm - Good looking female who smokes cigarettes.
Crazy-Artist-In-Love - Capricorn female who loves to love.
Wide Eyed Kid - Boy under 12 who is receptive to Tesla's ideas.
Assistant Tech Bunnytm - Cute, sexy girl who loved Einstein or Bohr.
Poet with Potential - young man with much unpublished work.
Pretty Paintertm - girl who is very shy, but paints like hell.
Wise Old Wizard - Little old man over 80 who likes to dance.
Waterbed Thinker - Wealthy, idle rich female.
Critical Critic - Slob who eats animal crackers at the Library.
Chief Observertm - Must be astronomer with high I.Q.
Chief Fanatic's StaffRelentless Artisttm - 35-45 male who loves to paint bridges.
Burnt Out Musician - Successful musician just off drugs.
Copy Cat - boy or girl who can imitate anyone's attitude.
Key Perfectionist - girl with perfect make up.
The Dream Weaver - 25 year old Pisces male who knows levitation.
Film Buff - over 50 male who loves to drink beer and watch TV.
Random Organizertm - Rich female divorcee under 39.
Procrastinator - Over 70 male who's never been laid.
Tech Bunnytm - Good looking girl (IQ >160) good at electronics.
Perfect Imbeciletm - Male computer programmer with glasses.
The Assistant Dreamer - 22-25 year old female Virgo w/ glasses.
GeniAss's StaffThe Finite Plannertm - NASA Scientist who would rather make movies.
Optimum Braintm - Pleasant person, smart enough to play dumb.
Sexpottm - Sweet little thing, big boobs, looks great in pink.
Realist - 50 year old gentleman from The Main Line, Philadelphia.
UnKnow-it-All - Wealthy ex-lawyer who hates the system.
Eidetic Organizer - Girl w/ perfectly organized memory and purse.
Walking Encyclopedia - Board wife married to a walkingdictionary.
Electronic Wizard - 12-16 year boy who knows MOS Technology.
Whiz Kidtm - 13 year old girl who drives Wizards crazy.
Tone Poem Composer - Musician who can compose better than Mozart.
The Taddle Tail - Constantly reports on anything that doesn't exist yet, but should.
The personnel and qualifications of the personnel in this department are not subject to change, but must follow the exact guidelines hereinabove.The True Artist can find these people by running an ad in the paper and listing the above list in under "personnel Wanted".
What, Why, HowA screenplay can only be effected by six interrogative: What?, When?, Where?, Who, Why?, and How? and as such, D'nD Division places emphasis on WHAT.
I.e., WHAT subject to make movies on. WHAT???
The producer and director basically answer who.
The executive producer and distributor handle when.
The location manager, art director and director handle where.
No one in the D'nD Division gives a crap about who, when or where until WHAT is determined.
The subject of WHAT is all that is addressed by this department and its staff initially.
And then Why and How are tackled.
Purpose
The Dreams in Development Department basically has no purpose that could be said to be any more or less vital than any of Mankind's other purposes in an infinite universe spinning out
around a quadrillion random stars - but if you have to label it something you could label it a sort of a corporate "think tank".
The Vp of the Universe may sit on the Board of Directors and report back to his or her three department heads, or the whole group, how stupid and stuffy the corporate types in their idiotic suits and ties look and act - if so be the case. Then they, through the Chief Fanatic as writer, may send reports around the company roasting any an all.
No one in the D'nD Div may upset company business, break policy or hurt anyone in the Company, no matter how much fun it would be or what sadistic pleasure may be deprived from such act.
Copyright to "Ideas"Any and all staff, Division Head or Department Heads participating in any of the think sessions, meetings or idea sessions must contractually agree to release the ideas thought up at those times in the Company name. Any or all of the think sessions may be taped, by single track tape or by multi-track tape and will be done so with the express knowledge and legal release from any participants. ABSOLUTELY NO "SCREEN CREDITS" WILL BE ACCORDED anyone (however you may scream out the windows that it was your idea if necessary).
This includes any credits on video tapes, movies or writings that are made during or after the sessions.
Department Isolation
The three departments are not to intermingle but are in competition with each other. Those on staff in the True Artist's Department are never to be present at the session of the Chief Fanatic and vice versa. All sessions are aimed at moving towards the departmental products. It is the Department Heads' responsibility to sort of "chair" these meetings only for the purpose of keeping the meetings moving in the direction of getting the departmental products on tape.
All sessions should be totally disorganized, random and as mellow or crazy as humanly possible. Anyone at them is permitted to say anything or nothing and to do anything or nothing he or she wants (so long as it is legal and hurts no one).
NO SUPPRESSION OR REAL PUT DOWNS OF ANY KIND WILL BE NEEDED THANK YOU. An any person who has a bad attitude will have to drink water until they throw up in the corner.
The idea sessions are not intended to be therapeutic or personally introverting in the least.
Humor, creativity and NEW IDEAS are the keynotes along with ideas on WHAT TO DO, WHY IT SHOULD BE DONE, HOW IT WILL IMPACT and WAYS TO DO IT as these things pertain to stories and motion picture screenplays ONLY.
We are not interested in inventions unless these inventions are part of a story in a motion picture.
Succession
The Division Head, the Vp of the Universe, will be on post for a term of one (1) year and may be re-elected to this post by the majority of all the current contracted staff and the department heads.
The Department Heads, the True Artist, Chief Fanatic and the GeniAss, have three (3) month terms, each coming up for re-election in one month rotations, with respect to each other.
New candidates for the VP position and the Department Heads are voted for by all the contracted staff each year. The post name remains the same in each case.
The only candidates for the VP and Department Heads that can be considered are those who have been in one of the departments for at least three (3) months.
Any staff may propose any other staff for election but there must beat least three other staff members who will stand up and yell:
STAFF MEMBER Ahhhhhh!! No not the All Night Plotter, please NO!!!! Don't let him be the boss. Ahhhhhhhhhhhh!!!
When three staff have stood up and yelled their "horror" at the thought of The All Night Plotter (for instance) being a candidate to lead them, that person then fulfills the nightmare and officially becomes a candidate. Once all candidates are named, a vote amongst the department's staff is taken to determine the new boss.The candidate who most clearly gets the maximum number of Nays, "Oh No!" and "Anybody but . . ." is the new boss and will set the tone of the department for the next three (3) months thus assuming the title of the department head, or the next year assuming the title of Vp of the Universe.
Writers
None of the staff or heads of the Division or Departments may hold writer posts WHILE actively holding a post in the D'nD Div.
Any D'nD Div member may move into writing, but he or she must disconnect from the D'nD Div before assuming the writer position with the company. The reason for this is the Writer must be somewhat structured and organized whereas the members of the D'nD Div must be totally unstructured, chaotic, crazy, nuts, unrealistic, screwy, weird, messed up, a product of our society, or a product of some enlightened society.
Pay
All staff will be paid in play money, deferments, real money, stock or unsigned back checks, at the discretion of the Vp of the Universe and the VP Development. No one is to be cheated or defrauded into thinking they are going to get real money when they are going to get play money or that they are going to get play money when they are only going to get real money.
If the company can afford it, it is perfectly okay for the Vp of the Universe to lay $200,000 real dollars or more on any one in the D'nD Div for creative thinking.
Salaries
Vp of the Universe - 85,000.00 per second True Artist - 3,125.00 per millisecond Chief Fanatic - 3,125.00 per century GeniAss - 3,125.00 per moon Staff Members - 1,666.66 per age ALL SALARIES WILL BE PAID IN REAL PLAY MONEY OR PLAY REAL MONEY HOWEVER THIS IS SUBJECT TO CONFUSION.
Initial Manning Up
The Vp of the Universe is responsible for selecting and appointing each Department Head, INITIALLY, and seeing to it that each Department Head hires the respective staff of his or her department.
It is the responsibility of each Department Head to see to it that his or her department is fully staffed and to choose those staff for his or her department, such selectees to be subject to the final approval of the Vp of the Universe.
Releases
Upon okay by the Vp of the Universe, the Department Head is responsible for seeing to it that a current release and/or contract is signed by the staff member, the Department Head or the Vp of the Universe.
The Department Head is responsible for making sure that any staff in the department understand the conditions relating to the copyright and payment as stipulated in the release and/or agreement.
Meeting Times
The Vp of the Universe, in consultation with the Dept Heads, sets place and times for meetings and makes sure everything is running and that there are tapes being created and these are properly cared for and made available to the VP of Development when done.
Any think meeting may only occur between the hours of 9:30 PM and 6 AM, Thursday, Friday or Saturday and absolutely NO OTHER TIME. The later in the NIGHT the better because there are less 9-5 types up and about on the planet screwing up the air waves with their "sane" thoughts and boring ideas about existence and life.
The Vp of the Universe sees to it that his Department Heads, and their staff, keep these hours as much as possible so they do not go down the tubes like the rest of the 9-5ers.
All Staff members are expected to be thinking 24 hours per day - but ONLY release their thinking at the above-specified hours.
Liquor is totally acceptable at any think meetings and as much of it or as little of it are up to the individual. Illegal drugs are not condoned at these meetings because they do not necessarily increase the creativeness of any artist or thinker over the long run, in fact studies are showing that they knock out the creative process in the long run.
Hours
The voluntary hours are: 12 midnight to 5 a.m., Thursday, Friday, Saturday or Sunday and absolutely NO OTHER TIME. The Vp of the Universe will see to it that no other hours are kept by anyone, staff or Department Head.
All staff are, however, expected to be thinking 24 hours per day, with perhaps the exception of one of the staff members who is not capable of thinking at all, The Copy Cat. Such staff are expected to voluntarily "release" their thinking at the above specified hours ONLY, ONLY, ONLY!!!
Strict Rules
1. NO Guests are allowed at the think sessions and staff are NOT permitted to discuss any of what was talked about in any of the sessions with any person who is not apart of the SPECIFIC DEPARTMENT STAFF.
2. CROSS TALK BETWEEN THE DEPARTMENTS IS NOT PERMITTED. It is the responsibility of the Vp of the Universe to continually "police" this with savior faire so no one becomes guilty of breaking either of these rules. Anyone who does violate either of these rules must be kicked out of the D'nD Division for at least six (6) months the first time and permanently upon the next offense, if any.
The Vp of the Universe must see to it that any and all Department Heads and Staff have a signed current contract, which states the two rules.
Fun
Upbeat topics and subjects are preferred, accenting less violence, less war, less but better sex, more aesthetics, more creativity, more apple pies.
The Vp of the Universe, as well as the three department heads, must be positive and in a
good mood AT ALL TIMES as his tone and disposition will set the tone of the division as is true with any executive or leadership. Nothing must get any of the leaders down, or angry no matter what.
MOST OR LEAST OF ALL, HAVE FUN WITH THIS DIVISION - OR TO HELL WITH YOU IN A SHOPPING BASKET!!!
True Artisttm The True Artist heads up one of the three departments in the Dreams in Development Department and is directly irresponsible for the Vp of the Universe.
The True Artist is responsible for heading up his or her Department and staff consisting of the following:
True Artist's Staff
All Night Plottertm - Millionaire stockbroker from NYC.
Restaurant Writertm - Good looking female who smokes cigarettes.
Crazy-Artist-In-Love - Capricorn female who loves to love.
Wide Eyed Kid - Boy under 12 who is receptive to Tesla's ideas.
Assistant Tech Bunnytm - Cute, sexy girl who loved Einstein or Bohr.
Poet with Potential - young man with much unpublished work.
Pretty Paintertm - girl who is very shy, but paints like hell.
Wise Old Wizard - Little old man over 80 who likes to dance.
Waterbed Thinker - Wealthy, idle rich female.
Critical Critic - Slob who eats animal crackers at the Library.
Chief Observertm - Must be astronomer with high I.Q.
The product of the "D'nD Div" is "ORIGINAL IDEAS".
The products of the Department are as follows:
What Why How Ways What new ideas can be brought into existence in an infinite universe; Why would it be entertaining to create them; How would they impact on Planet Earth and other universal bodies, Ways they an be made to work in stories and screenplays.
Only impacts that 89.6% of the Humans and 69.8% of the Animals would agree with as"good" are wanted by the Vp of the Universe.
The True Artist is expected to be familiar with the Vp of the Universe Hat.
Chief Fanatictm The Chief Fanatic heads up one of the three departments in the Dreams in Development Department and is directly irresponsible for the Vp of the Universe.
The Chief Fanatic is responsible for heading up his or her Department and staff consisting of the following:
Chief Fanatic's Staff
Relentless Artisttm - 35-45 male who loves to paint bridges.
Burnt Out Musician - Successful musician just off drugs.
Copy Cat - boy or girl who can imitate anyone's attitude.
Key Perfectionist - girl with perfect make up.
The Dream Weaver - 25 year old Pisces male who knows levitation.
Film Buff - over 50 male who loves to drink beer and watch TV.
Random Organizertm - Rich female divorcee under 39.
Procrastinator - Over 70 male who's never been laid.
Tech Bunnytm - Good looking girl (IQ >160) good at electronics.
Perfect Imbeciletm - Male computer programmer with glasses.
The Assistant Dreamer - 22-25 year old female Virgo w/ glasses.
The product of the "D'nD Div" is "ORIGINAL IDEAS".
The products of the Department are as follows:
What Why How Ways What new ideas can be brought into existence in an infinite universe; Why would it be entertaining to create them; How would they impact on Planet Earth and other universal bodies, Ways they an be made to work in stories and screenplays.
Only impacts that 89.6% of the Humans and 69.8% of the Animals would agree with as "good" are wanted by the Vp of the Universe.
The Chief Fanatic is expected to be familiar with the Vp of the Universe Hat.
GeniAsstm The GeniAss heads up one of the three departments in the Dreams in Development Department and is directly irresponsible for the Vp of the Universe.
The GeniAss is responsible for heading up his or her Department and staff consisting of the following:
GeniAss's Staff
The Finite Plannertm - NASA Scientist who would rather make movies.
Optimum Braintm - Pleasant person, smart enough to play dumb.
Sexpottm - Sweet little thing, big boobs, looks great in pink.
Realist - 50 year old gentleman from The Main Line, Philadelphia.
UnKnow-it-All - Wealthy ex-lawyer who hates the system.
Eidetic Organizer - Girl w/ perfectly organized memory and purse.
Walking Encyclopedia - Board wife married to a walkingdictionary.
Electronic Wizard - 12-16 year boy who knows MOS Technology.
Whiz Kidtm - 13 year old girl who drives Wizards crazy.
Tone Poem Composer - Musician who can compose better than Mozart.
The Taddle Tail - Constantly reports on anything that doesn't exist yet, but should.
The product of the "D'nD Div" is "ORIGINAL IDEAS".
The products of the Department are as follows:
What Why How Ways What new ideas can be brought into existence in an infinite universe; Why would it be entertaining to create them; How would they impact on Planet Earth and other universal bodies, Ways they an be made to work in stories and screenplays.
Only impacts that 89.6% of the Humans and 69.8% of the Animals would agree with as "good" are wanted by the Vp of the Universe.
The GeniAss is expected to be familiar with the Vp of the Universe Hat.
PRODUCTION SERVICES DIVISION
VP Production Services Pursuant to the By-Laws of the Company: The officers shall be elected at the first meeting of the Board of Directors after each annual meeting. More than two offices may be held by the same person.
The Board of Directors may appoint such officers and agents as it may deem advisable, who shall hold their offices for such terms and shall exercise power and perform such duties as shall be determined from time to time by the Board of Directors.
Therefore, such Duties and Responsibilities shall be as follows:
The Vp Production Services is the senior Production Manager of the Company and the executive who oversees all production budgeting and budget allocation from the point of view of the Company. The VP Production Services approves Unit Production Managers hired by Producers or may perform the hat of Unit Production Manager. (See Unit Production Manager Hat)
He or she monitors the work of production managers when several productions are going on at the same time. Approves final production budgets for efficient, unpadded accuracy.
VP PRODUCTION SERVICES MAJOR RESPONSIBILITIES:
o Works out budgets for each picture at the correct price as justified by market research.
o Provides High level assistance and research to Production Managers and First ADs so that they are better able to get their productions DONE on time and on budget.
Product: Coordinated Service to Producers Stats: Percent under budget; Gross Income from products of the Division
Custody: All Production Budgets and Drafts
o Supervises the work of Unit Production Managers, Art Directors and First Assistant directors on any projects being developed for production or in multiple production.
o Knows many Unit Production Managers and First Assistant Directors and is able to perform the functions of both.
o Researches and keeps abreast of all producers' services in the industry and relates such information to the Producers.
o Works with the Statmaster in preparing cost analysis.
o Is very familiar with all "below-the-line" costs and budget items.
o Is computer literate especially for budget and spread sheets.
o Liaise with outside producer services.
o Stays in close communication with the existing film industry and the Director of Technical Affairs to keep up on the latest technical advances. This includes subscribing to trade magazines as well as writing articles for trade magazines.
o Prepares production budgets when called to do so.
o Personally knows the salesmen and owners in as many of the producers services throughout the industry as possible.
o Is totally familiar with facilities and studios throughout the country and world.
o Knows where to get any piece of equipment at any time, 24 hours a day, any place in the world.
o Is very familiar with transportation arrangements and hotel accommodations around the world.
o Is familiar with equipment insurance and all the various types of policies and their costs.
o Works closely with The Tech Bunnytm.
o Knows where to get good Unit Production Managers, Art Directors and First Assistant Directors.
o Is neat and orderly in carrying out administrative functions cause an area that is confused or illogically set up for operation or production to straighten out quickly.
o Knows how to glare - and smile - to get it DONE fast and well.
o Can work well with technicians and other below-the-line talent and gains their respect.
o Is totally familiar and empathetic with the Producer's and the director's problems and challenges relating to production.
o Is responsible for maintaining, repairing and caring for any and all company production equipment as differentiated from office and admin equipment which the VP Admin takes care of.
o If some piece of equipment is not functioning properly, gets authorization to repair it quickly immediately informs the producer, necessary parties and/or the President, if major.
o Is familiar with Location Services and location managers.
o Can negotiate good fair deals with anyone renting or selling production equipment and Crew members.
o Uses a complement of Production Assistants when work load is heavy.
o Recommends Quality Control or Ethics actions as the case may be on personnel who need it.
o Is familiar with renting equipment and space in studios and conditions on studio lots.
o Constantly collects resumes and demo tapes from below-the-line personnel and forwards these to the Director of Personnel for keeping.
o Is accountable for hiring any Unit Production Managers or First ADs who bring a production in over budget or over schedule.
o Causes the product of his division to occur.
o May Hold the Hat of Production Manager.
Production Manager - in Prep The Production Manager is the Producer's Representative who manages the production of each project in the most efficient manner possible. He or she is behind the scenes expediting and arranging for the equipment, crew and materials necessary for the project and authorized by the producer. The Production Manager is directly responsible to the Line Producer and he or she works in close cooperation with the Director, First Assistant Director and VP Production Services during principal photography.
Duties and responsibilities consist of:
PRODUCTION MANAGER RESPONSIBILITIES:
o Budget well constructed for the amount warranted by market research.
o Qualified staff and crew well managed.
o Production done on budget.
Product: Below-Line Budgets & Qualified UPMs, staff & crew hired
Stat: Budgets DONE
Custody: Current Production Budget - Below Line
o Disburses company checks for payment of cast, crew staff and materials.
o Determines the most efficient and economical sequence to shoot scenes and sequences in.
o Prepares, or causes to be prepared and kept, time sheets for all production employees and talent.
o Is very familiar with transportation arrangements and hotel accommodations around the world.
o If on location, arranges for hotel accommodations and food for all talent, staff and crew.
o Hires and supervises the Food Catering.
o Has sets built and orders props.
o Schedules the production and other productions in cooperation with the Producer.
o Arranges for all talent, staff and crew transportation as required.
o Is very familiar with all "below-the-line" costs and budget items.
o Is computer literate especially for budget and spread sheets.
o Arranges for the rental and purchase of supplies and equipment.
o Works with the Statmaster in preparing cost analysis.
o Researches and keeps abreast of all producers' services in the industry and relates such information to the Producers.
o Sees to it that all rental equipment is returned in good shape and on time.
o Interviews and hires staff and crew as requested and authorized by the Producer.
o Arranges and prepares Locations in cooperation with the Location Manager and Art Director as required by the Director and Producer.
o Signs Location Releases or authorizes the Location Manager to do so, in writing.
o Gets all authorized agreements and releases from General Counsel and sees that they are signed by all talent, staff and crew before they work on the production.
o Enforces and sees that all agreements, contracts and releases are adhered to as agreed.
o Knows how to glare - and smile - to get it DONE fast and well.
o Recommends Quality Control or Ethics actions as the case may be on personnel who need it. Holds the post of Ethics Officer when there is not one posted in the Quality Control division.
o Can work well with technicians and other below-the-line talent and gains their respect.
o Is totally familiar and empathetic with the Producer's and the director's problems and challenges relating to production.
o Is responsible for maintaining, repairing and caring for all company production equipment as differentiated from office and admin equipment which the VP Admin takes care of.
o If some piece of equipment is not functioning properly, gets authorization to repair it quickly immediately informs the producer, necessary parties and/or the President, if major.
o Is familiar with Location Services and location managers.
o Prepares and disseminates the daily Call Sheets to let all talent, staff and crew know what scenes will be the next day's shooting, where they will be shot, who will be needed at what times and with what equipment, etc.
o Coordinates the work of all the production team on a continuing basis and is always present, reachable, calm and stable.
o Does the breakdown and production board for budget purposes.
o Is familiar with renting equipment and space in studios and conditions on studio lots.
o Selects and arranges sound stages and studios and sees to it that they are ready when needed.
o Signs and authorizes all purchase orders.
o Signs and authorizes all other directives.
o Liaise with outside producer services.
o Prepares production budgets.
o Personally knows the salesmen and owners in as many of the producers services throughout the industry as possible.
o Is totally familiar with facilities and studios throughout the country and world.
o Knows where to get any piece of equipment at any time, 24 hours a day, any place in the world.
o Is familiar with equipment insurance and all the various types of policies and their costs.
o Knows where to get good Unit Production Managers, Art Directors and Assistant Directors and Production Assistants.
o Is neat and orderly in carrying out administrative functions cause an area that is confused or illogically set up for operation or production to straighten out quickly.
o Can negotiate good fair deals with anyone renting or selling production equipment and Crew members.
o Uses a complement of Production Assistants when work load is heavy.
o Constantly collects resumes and demo tapes from below-the-line personnel and forwards these to the Director of Personnel for keeping.
o Causes the product of his division to occur.
o May Hold the Hat of VP Production Services
Production Secretary The Production Secretary is directly responsible to the Unit Production Manager but may perform work for the Producer if so required. She is responsible for typing and expediting all office functions that ensure the Unit Production Manager (and/or Producer) get their jobs done.
Custody: Terminals List, Copy of Camera, Sound and Script Supervisor Notes.
Duties and responsibilities are:
o Prepares up-to-date lists of all production personnel and talent with their phone numbers.o Types all call sheets for the following day's shooting as required by the Unit Production Manager. o Does all typing necessary.
o Gets or makes xerox copies as required.
o Helps keep the office of the Unit Production Manager and Producer in an orderly condition and supplied with stationeries. o Does filing as required.
o Handles phone reception, when no receptionist, and sees to it that messages get to the proper parties at all times.
o Records meetings if called to do so.
o Maintains the company rolodex as needed.
o Handles and records petty cash disbursements if required to do so by the Unit Production Manager.
o Generally assists the Production Company, the Producer and Unit Production Manager in any way necessary as well as running errands or causing Production Assistants to do so.
Location Manager The Location Manager is responsible to the Unit Production Manager and works with the Art Director in finding and arranging for unique locations in which the production requirements may be fulfilled within the limitations of the budget. This is done in cooperation with the Unit Production Manager (who is only interested in the cost and logistics of the location) and the Director, who must ultimately approve the location(s) to be used. In the event the Director is not able to survey a location, the Art Director is charged with the responsibility of approving such location in accordance with the overall artistic design of the picture.
Location Scouts work for and report to the Location Manager. The Hat of Location Manger unfolds into the hats of as many Location Scouts are necessary to locate locations for final approval. When there is only a Location Manager, he or she wears the hat of Location Scout as well.
Duties and responsibilities of the Location Manager are:
LOCATION MANAGER RESPONSIBILITIES:
o Photogenic locations to film in at the right price.
Product: Correct Locations in plenty of time.
o Liaising with the Director (and Art Director) and the Unit Production Manager and going over what locations will be required.
o Writing down (or taping) all the specifications of the locations required.
o Hiring the necessary number of Location Scouts and making sure they are coordinated and that each has a hat describing what his functions are.
o Making sure Location Scouts report only to the Location Manager so that they do not develop unnecessary traffic with the Director or the Unit Production Manager.
o Receiving the folders and picture of the locations and verifying that they are correct.
o Going to the locations with the Director once the final places have been narrowed down.
o Maintaining a stable and reliable communication line with any Location Scouts in the field.
o Reporting to the Unit Production Manager all financial and logistical information as it becomes relevant.
o The Location Manager is primarily responsible to the Unit Production Manager but works with the Art Director in matters of aesthetics. The Art Director is ultimately responsible to the Producer for financial matters and responsible to the Director for aesthetic matters.
o Negotiates the cost of the location as authorized by the Unit Production Manager. Contacts the location owner directly or charges the Location Scout with the responsibility.
o MAKES SURE A LOCATION RELEASE IS SIGNED BY THE OWNER (OR LEGAL AGENT) OF THE PROPERTY TO BE FILMED ON. GETS THE RELEASE PRIOR TO FILMING.
o NOISE LEVEL - Reports any loud noises (cars, planes, motors, etc.) to the PM, the Director and Production Sound Mixer.
o When a location is okayed by the Unit Production Manager and the Director, the Location Manager gets the location release signed BY THE Unit Production Manager (only) and gives a copy to the Location Owner (Agent or Representative).
o The Location Manager keeps a file of all locations found for future use. This file becomes the property of the Company.
o Makes sure all insurance requirements are provided for pertaining for the locations to be used.
o If anything at the location is damaged, the Location Manager, in liaison with the Unit Production Manager, makes it right.
o Makes sure that any and all Location Scouts, while scouting locations, do not do anything illegal while at the location.
o Arranges for location guards and police, when necessary.
o Wears the Location Scout Hat also if there are no Location Scouts.
Location Scout The Location Scout is responsible to the Location Manager in helping him find locations to film in. The Location Scout's duties and responsibilities are as follows:
LOCATION SCOUT RESPONSIBILITIES:
o Assistance to the Location Manager in getting photogenic locations to film in at the right price.
Product: Aid to the Location Manager
o Writing down (or taping) all specifics of the locations needed and when they must be secured.
o Traveling to the location and collecting all relevant information such as, but not limited to, the following:
a. The exact address of the location.
b. The person to contact regarding the location.
c. Phone at the location.
d. Any major cross streets.
e. The fee requested (if any).
f. The availability of the location. o Takes photographs (and/or tape or S/8) of the location and notes the time of day and the direction the camera is pointed.
o Checks existing power sources and notes what they are (such as voltage, amperage, quantity of outlets and phase).
o If the location scout suspects in any way that the current will not be compatible with the type of lights being rented or used, attempts to get as much information regarding the situation as possible and he notifies the Unit Production Manager directly and immediately.
o Checks the access to the location to determine whether large vehicles can enter or not.
o Determines the parking situation.
o Determines whether there are any permits or special rules involved.
o Notes the condition of the location to determine if any work needs to be done prior to filming. Notes if anything has to be removed or covered up on the location.
o Checks out what restaurants or food stores are nearby.
o Measures out all relevant lengths and size of the location including cable runs, etc.
o Checks out what any and all surfaces or floors are like for dolly moves.
o NOISE LEVEL - Reports any loud noises (cars, planes, motors, etc.) to the Location Manager for relay to the PM, Dir and Mixer.
o Routinely calls the production company when arriving at each location so that he can stay in communication.
o Supplies the hand tools required to fulfill his craft. These would include:
a. Thomas Map.
b. Long tape measure (or rolling measuring device).
c. Polaroid camera (gets film from the production company) or digital camera.
d. Compass.
e. Tape, pens, paper.
f. Folders.
g. Company business cards.
h. Car phone (optional)
i. Personal Beeper
j. Video camera (optional) o Does not talk money with the location owner unless specifically authorized to do so by the Location Manager.
o Is courteous and polite to the location owner at all times no matter what.
o Assembles all information pertaining to the location into a folder and turns this over to the Location Manager.
o Does not do, or permit other Scouts, to do anything illegal while scouting at a location and acts as a well-mannered representative of the company at all times.
Key Production Assistant The Key Production Assistant is directly responsible to theProducer and helps coordinate the work of Production Assistants for the Producer. He or she supervises PAs when they are not assisting a producer, director, production manager, first assistant director or any other executive or staff member. The Key PA does not give any orders to other PAs; he or she just supervises their availability to perform tasks when needed by the Producer.
The Key PA and PAs are assigned only by the producer or his or her Assistant to the Producer, if the Producer is not available.
The Key PA may hold the Hat of Assistant to the Producer as well as Key PA, usually if there is only one producer on the show.
Duties and responsibilities may consist of:
KEY PRODUCTION ASSISTANT RESPONSIBILITIES:
o PAs found, recruited, working, being supervised and upgrading happily and effectively. Product: PAs found, working, upgradingCustody: PA Pool Roster
o Communicating and keeping clients and others informed.
o Receiving and delivering telephone communication and messages.
o Arranging meetings and appointments as authorized.
o Making reservations for lunches and dinners.
o Routing and delivering mail, messages and memos per policy.
o Making travel and hotel arrangements.
o Typing.
o Taking and/or transcribing notes and reports.
o Making sure that letters that go out of the office are properly typed and addressed and stamped.
o Xeroxing (see "Getting Xerox Copies" MM 07 NOV 1981).
o Running errands.
o Ordering and picking up office supplies and keeping them properly stocked.
o Filing.
o Picking up people at the airport, hotels and other places.
o Record keeping.
o Preparing packages for mailing and delivery.
o Keeping the office and space neat, clean and orderly per policy.
o Using and encouraging the use of "Cycle Sheets" with other PAs (See MM 05 APR 1981).
o Holding Reception and Greeting associates and new people when called to do so.
o Maintaining standard routing systems and encouraging others to do so.
o Helps recruit Production Assistants
o Doing cost analysis work when called to do so.
o Alerting when supplies are low.
o Writing thank you notes and routine letters for the producer when asked to do so.
o Properly acknowledging DONES by reporting back to the person giving an assignment the fact that it is done. (See "Acknowledgements" MM 09 FEB 1983)
o Encouraging other PAs to acknowledge DONES too.
o Supping coffee and refreshments.
o Updating address books and mailing lists.
o Keeping production reports and logs.
o Data entry and computer operation.
o Making backups.
o Stuffing envelopes.
o In the absence of the Key PA, the Director of Personnel supervises PAs when they are not assisting the producer, director, production manager, first assistant director or any other executive or staff member.
o Studying and becoming familiar with company policies and motion picture production.
o Otherwise providing assistance as needed and wanted but not functioning in any area specifically covered by an individual hat or classification.
Director of Technical Affairs
The head Technical Consultant to the company who heads up the technical research department of the company to provide insight into new technology relating to the following areas:
Video Editing of Film
High Definition Television
Random Access Editing
Computer Technologies
Artificial Intelligence
Transfers (tape to film, tape to tape, film to tape)
Special Effects
Programming and Software Applications
Electric Engineering and Design
Electrical Maintenance Specific duties and responsibilities are as follows, but not limited to such:
DIRECTOR OF TECHNICAL AFFAIRS RESPONSIBILITIES:
o New technology found and invented.Product: New tech discovered & invented
Custody: Electronic schematics
o Supervises and coordinates the work of all other technical personnel.
o Advises the Company on methods of creating new electronic equipment to get work done faster and with better quality.
o Invents new film and video equipment.
o Designs electronic circuits and systems.
o Programs computers for specific applications.
o Reviews and Recommends software.
o Stays in close communication with the existing film industry and video industry regarding the latest technical advances.
o Attends SMPTE and other trade shows constantly.
o Reads every technical periodical that is published.
o Writes articles and gives lectures on aspects of electronics as applied to film and video production and post-production.
o Researches and keeps abreast of all producers' services in the industry.
o Is intimately familiar with below-the-line budget items.
o Operates any PC computer and is familiar with mainframes and mini mainframes.
o Establishes in-house facilities as needed as such as:
a) Video tape editing
b) Laser disc, random access editing
c) Computer systems for the office
d) Digital audio recording systems
e) Research and development facilities
f) Recording studios
g) Projection facilities
h) Maintenance and repair facilities
i) Computer facilities and AI facilities o Laises with outside producers' services.
o Personally knows the technicians and owners of as many of the producers' services as possible. This includes post-production houses, data processing facilities, laboratories, research and development institute, special effects houses, electronic equipment as utilized in film production.
o Knows where to get any piece of electronic equipment at any time, 24 hours a day, any place in the world.
o Works well with outside technicians.
o Analyzes technical proposals to make sure any such proposals will work and are cost effective.
o Budgets electronic systems with the Producer or Unit Production Manager.
o Maintains, repairs and cares for any and all company equipment.
o If some piece of equipment is malfunctioning, informs the Unit Production Manager or Producer of the situation and recommends correction.
o Negotiates equipment rental deals when called on to do so.
o Supervises technical crews during principal photography when needed.
o Supervises post-production activities when needed.
o Coordinates technical aspects of post-production activity when needed.
o Collects technical resumes and makes these available to the Director of Personnel with recommendations if needed.
o Heads up special technical crews when needed.
o Informs the Company of any and all new technology as it is released and reports to the VP Production Services.
Scheduling Director
The Scheduling Director is a First Assistant Director employed fulltime in the Production Services Division to help the VP Production and Production Manager estimate production logistics, schedules and budgets for future productions. He or she is also responsible for researching the schedules of Producers, Talent, Directors as well as UPMs, Staff and Crew. He is responsible for creating or supervising breakdowns and production boards to come up with efficient shooting schedules which the Production Manager and VP Production Services can base budgets upon.
SCHEDULING DIRECTOR RESPONSIBILITIES:
o Drafting production boards and schedules that are realistic and viable for the production at hand.o Researching the availability of Talent, Staff & Crew.
o Scheduling facilities of the Company.
Product: Efficient coordination of personnel and facility scheduling.
Custody: Production Board & Break Down Sheets
o Doing a breakdown of the script.
o Creating a production board and then coordinating it with the one done by the Unit Production Manager and/or Producer to obtain the best, most economical shooting schedule as well as alternate schedules.
o Plans alternate shooting schedules in cooperation with the Unit Production Manager.
o Coordinates the work of Assistant Directors and Production Managers in Prep.
o Estimates the footage that will be shot for each production.
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