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Testimonials
Working Title said of the book
"a great achievement" and a "valuable handbook for anyone ... wanting to know how the process of setting up
a film works"
5 star reviews on Amazon
A manual for market led British film production
By Mr. C. R. Williams (UK)
Successful Business Models attempts to get to the core of how to develop film projects that distributers can market. In
tackling the neccesities to do this the book is very direct and easily understandable. One of its most useful elements is
to outline the importance of job roles in production and how a creative team can be managed.
However it is the book's insight into why British productions often fail that makes it so interesting. Using examples
from the history of movies it shows the links between their success and what they provided for the audiences at the time.
This level headed business approach to the most expensive of art forms is utterly refreshing in its honesty, letting the
reader into some of the grittier secrets of what brings people to the movies.
If you want to be part of making British films that people will see then John Sweeney's book is essential reading.
Best Overview of Film Production
By R. Worth (London, UK)
Having a strong interest in getting into film production I have read several books, which mostly concentrate on the US
film business and have attended numerous courses. None of my previous reading or study has given such a practical, concise
and useful guide to the film production in the UK.
The most interesting thing is even though it is both a guide and a reference, it is also a wake-up call for the UK film
industry. It asks 'Why can't Britain have a successful film business?', then goes on to say that it could, should and how
to do it.
There are many practical nuggets including the application of modern management theory to producing and film production,
a technique called Viability Threshold Scoring to determine the potential market for a film and a critical path analysis for
producing a film. The book describes the process of development, pre-production, production and post-production.
In addition it emphasises the importance of distribution and wraps it all around to ensure that the filmmaker is considering
distribution and sales right from the beginning. This gives a very cohesive and complete view of how films are put together.
Far from dismissing art house and speciality films, the book puts them on their proper footing in the spectrum of film. The
Viability Threshold scores gives a filmmaker or producer a way of measuring where on that marketing spectrum their film lies,
before they embark the long, hard process of getting their film made. And if they choose to make it and try to sell it later,
they can do so having made an informed decision. For those who want to make great films and run a successful business too,
I think this book gives them the tools to do it.
If that weren't enough there are templates for a business plan for a new production company along with templates for presenting
a film to investors with a view to how the investor thinks about a film, the kind of returns that need to be made to break
into profit and the amount of investment that needs to be put in to persuade distributors to take the film and thengeneral
public to come and watch it.
It sets out the argument that the UK can compete in the international film marketplace and it gives the means for us to
begin.
A "must read" for anyone interested and/or serious about making films.
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