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Is TV MA Worse Than R? (An In-Depth Look)

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Is TV MA Worse Than R? (An In-Depth Look)

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When you watch TV or movies, you see little letters at the corner of the screen that seems pretty irrelevant to the content you’re watching. But the thing is they’re …

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The Business Web Genre: A Genre Analysis on the Websites of Selected Malaysian Small and Medium Enterprises (SMEs)

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Abstract

Websites are another form of service provided to the public to help improve information sharing of a particular discourse community. Selection of a website is influenced by the persuasiveness of the website's content. As the power of the Internet grows, so do the opportunities for small businesses. In fact, the Internet is already contributing 4.1 % a year to Malaysia's economy, and that's set to rise even more over the next 3 years. With the upsurge of E-entrepreneurs in Malaysia, business websites demonstrate a variety of styles in web writing and design, indicating a creative yet bold sense of marketing and advertising of products and services. Hence, the purpose of this study was to establish the common moves and steps found in a corpus of selected Malaysian SME business websites. This study used Swales (Genre analysis: English in academic and research settings. Cambridge University Press, Cambridge, 1990) CARS model and the two-dimensional genre model (Askehave and Nielsen, Proc 38th Hawaii Int Conf Syst Sci 00(C):1-8, 2005) to analyse the data. The study has revealed that there are obligatory and optional moves in the business web genre. The goal of this genre is to inform and to promote the company's product and services via its website. Findings from this study may be a good resource for students and practitioners to design and write for the web.

Keywords

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References

1. Nielsen, J. (2005). Mental models for search are getting firmer. Jakob Nielsen's Alertbox. OneSource. http://www.onesource.com/

2. Guojian, S., Qianfei, W., & Hongrui, C. (2011). Investigation and analysis and optimizing countermeasures of current website construction of top third-class hospital in Shandong Province. 2011 6th International Conference on Computer Science & Education (ICCSE), (Iccse), pp. 1307-1310. doi: 10.1109/ICCSE.2011.6028873

3. Spiteri, L. F. (2001). Information architecture of business-to-consumer e-commerce websites. Part I: The online catalogue of selected video retailers. Journal of Information Science, 27(4), 239-248. doi: 10.1177/016555150102700407.

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6. Finnemann, N. O. (1999). Hypertext and the representational capacities of the binary alphabet. www.hum.au.dk/ckulturf/pages/publications/nof/hypertext.htm

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8. Chandler, D. (1997). An introduction to genre theory. Media and Communication Studies. http://www.aber.ac.uk/media/Documents/intgenre/intgenre1.html

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Authors and Affiliations

Faculty of Modern Languages and Communication, University Putra Malaysia, Serdang, Selangor, Malaysia

Muhammad Danish Mohd Johari & Afida Mohamad Ali

Corresponding author

Correspondence to Muhammad Danish Mohd Johari .

Editor information

Editors and Affiliations

1. Universiti Teknologi MARA, Alor Gajah, Melaka, Malaysia

Roaimah Omar

2. Universiti Teknologi MARA, Shah Alam, Malaysia

Hasan Bahrom

3. Universiti Teknologi MARA, Alor Gajah, Melaka, Malaysia

Geraldine de Mello

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© 2015 Springer Science+Business Media Singapore

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Johari, M.D.M., Ali, A.M. (2015). The Business Web Genre: A Genre Analysis on the Websites of Selected Malaysian Small and Medium Enterprises (SMEs). In: Omar, R., Bahrom, H., de Mello, G. (eds) Islamic perspectives relating to business, arts, culture and communication. Springer, Singapore. https://doi.org/10.1007/978-981-287-429-0_36

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The Business Web Genre: A Genre Analysis on the Websites of Selected Malaysian Small and Medium Enterprises (SMEs)

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Websites are another form of service provided to the public to help improve information sharing of a particular discourse community. Selection of a website is influenced by the persuasiveness of the website's content. As the power of the Internet grows, so do...

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The word’s roots lie all the way back in ancient Greek

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A blog for romance readers written by romance authors

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Where Do Movies Get Money and Financing From?

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Another way to get money for movies are from government funding, product placement,pre sale  crow funding

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Executive producers, private funders/investors, crowdfunding, banks, Department of Trade and Industry, etc.

That was my son, Sonny's response after "asking Prof. Google" where movies get money and financing from?

Sonny, his best friend Tommy, and I had just finished watching Avengers: Age of Ultron when the topic soon turned to how much it had cost to make the movie? However, before he could even say,

"Hey, dad, how much did it....",

I cut him short by responding, "Ask Professor Google son, and while you are at it, also find out where movies get money and financing from?

Well, if you have ever wondered where movies get money and financing from, wonder no more.

Usually, executive producers spearhead the sourcing of finance for a film. As an executive producer, it is your responsibility to explore financing, secure talent, hire producers, and set a budget. Once a firm projection is determined as to how much a movie is likely to gross at the box office, there are different avenues that executive producers go about sourcing funding for their projects.

One way, as an executive producer, you can finance a film is by doing so yourself from your resources.

Alternatively, you can spread the financial risk and look for private investors.

If, as an executive producer, you want to spread the financial risk or genuinely do not have enough capital to finance a movie seek out financing from other individuals or financial entities, like production companies or film investment firms. These are usually wealthy individuals who might just have a love of film or just looking to diversify their investment portfolio.

However, due to the high-risk nature of the movie industry, private investors are rare-unless you have the reputation of such executive producers as Jerry Bruckheimer, Steven Spielberg, or Quentin Tarantino. According to Stephen Follows, "27% of film financing (comes) from private finance / high net worth individuals" Alternatively, you can spread the risk even thinner and approach a studio.

As the phrase suggests, this is when you get a film studio company to fund the movie. In such cases, the onus is on the studio to find investors to fund the movie. To secure funding from a studio company, you need to start with a movie proposal.

This usually involves presenting a business plan, which is the breakdown of how much you are going to need for the production of the movie. In the business plan, you also need to include your revenue projections. Doing so will provide the investors with the incentive to invest if it promises a clear return on their investment.

When a studio(s) fund(s) a film, it is the executive producer's responsibility to present the budget to the studio, with potential overage and projected profit, to get funding approval.

Profitable moviemaking has become such a lucrative business that many governments now have special investment and tax incentives for filmmakers.

Aside from the foreign currency movies can gross when exported abroad, most governments' Departments of Trade and Industry or Arts and Culture will avail funds for movie production to promote creative, cultural, professional, and artistic exchange between citizens and the national or global audience.

The U.S. government has movie production incentives in the form of tax benefits. In Catalonia, Spain, movie producers can also access funding on several levels and criteria that are mutually beneficial. They also have a program for a 30% tax rebate for international production and a minority coproduction feature film fund that aims to support films with a minority Catalan share.

Basically, this is when manufacturers and service providers pay lots of money in return for their goods or services' exposure in a film. Reportedly, the Dutch beer company, Heineken, paid an eyewatering sum of 45 million dollars for their product placement on the James Bond movie Skyfall.

This constituted nearly a third of the entire movie's budget. However, for product placement to be an option, your movie must promise to have a big audience before you can even dream about a substantial offer for product placement from big branded companies.

As a moviemaker, you can also raise money for your movie before it is finished by pre-selling discounted distribution rights. The idea of pre-sales started in the 80s and 90s.

Then, if you had an idea for a film with a potential cast, you could get financing from distributors and buyers who would give you a specified amount of money when the film is delivered or provide financing upfront to go and make the movie.

Nowadays, it is much more difficult to strike pre-sales deals- unless you have approached and secured the commitment of legitimate A-list stars to the project with enough clout to give buyers the confidence that they will be able to recoup their investment.

Okay, let's assume you have a $10 million film you would like to make but have only managed to raise $6 million of it; this is when bank gap financing can come in handy. In such cases, the $4million gap can be covered by a development-orientated bank and asking for a low-interest loan.

Then again, You can fill up that gap through equity financing or tax subsidies which in some cases can provide adequate gap financing. However, if everything else fails, you can always go the crowdfunding route.

This is a way to raise money for a particular business or project from a large group of people.

For instance, movie producer Ryan Polly decided to use the crowdfunding route for the movie project "Pizza Time". He raised $19000 on kickstarter.com and with the addition of personal funds and funds from the production company, he ended up having a budget of $35000.

Crowdfunding campaigns are usually all or nothing, which means that whatever money you set at the beginning of the campaign, you must reach the targeted amount to access the money. The most important thing to remember about funding a movie through crowdfunding is that you must pull it off the way that you said you would and deliver what you said you could to your contributors.

Low Budget vs. Big Budget Movie Funding

The amount of funding required for a movie will depend on its scope and genre. Scope and genre sometimes mean the difference between a low-budget small production and a big-budget blockbuster epic. Movies classified as low budget often require funding for not much, at most just a small cast, production crew, post-production crew, and some marketing.

Examples of low-budget movies that have been successful in the past include, "Moonlight" (2016), "The Conjuring" (2013), and "Get Out" (2017). Although low-budget films, the three low-budget movies mentioned above are, financially, the top three box office hits.

As for big-budget movies, a significant part of their budgets goes towards grand locations, A-list actors, a big production crew, extensive post-production with quality CGI, and unrelenting marketing. Past examples of successful big-budget movies have included "Pirates of the Caribbean: On Stranger Tides" (2011), "Avengers: Age of Ultron" (2015), and Avengers: Endgame" (2019).

Despite having budgets of over $400 million, these big-budget movies went on to gross well over $1billion at the box office.

But with COVID-19, streaming, and the rise of Netflix, just how do movies finally repay the money that went into making them?

How do movies repay the money invested to produce them?

As the saying goes, "nobody knows anything in Hollywood." Although the film industry has most recently been in a state of flux, and, due to COVID-19 protocols, ticket sales alone can't drive revenue, movies are still able to make money! But how?!

Well, there's merchandising, VOD, streaming video, foreign sales, and a plethora of other distribution channels that can help filmmakers, producers, and studios turn a profit.

Traditionally, movies have made their money from ticket sales at the box office or in theaters. A studio might make about 60% of a film's ticket sales in the United States, and around 20% to 40% of that on overseas ticket sales. The percentage of revenue an exhibitor gets depends on the contract for each film.

As such, as many contracts as possible are made to help a theater hedge against films that flop at the box office.

So, who gets the most money from the box office/movie revenue?

Typically, the investors are repaid in full, and then the money is split 50:50 between the Investors' Pool (i.e. profit for the investors) and the Producers' Pool (i.e. the money shared with certain members of the cast and crew who were assigned a share of profits).
Sources:

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Where Do Movies Get Money and Financing From?

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Executive producers, private funders/investors, crowdfunding, banks, Department of Trade and Industry, etc. That was my son, Sonny's response after "asking Prof. Google" where movies get money and financing from? Sonny, his best friend Tommy, and I had just finished watching Avengers: Age of Ultron when the topic soon turned to how much it had cost to make the movie?

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The name “genre” is French

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Do you know where the word GENRE comes from?

We hear the word genre a lot these days, whether it's in relation to films, music or literature, this singular word is enough to tell us an incredible amount of information about something, before we even experienced it. There are two main categories within literary genre; fiction and non-fiction, and within these are numerous sub-categories, which we know as genres.

The Oxford English Dictionary describes genre as:

" Genre from French genre, "kind" or "sort", from Latin genus ( stem gener-), Greek γένος, génos) is any category of literature, music or other forms of art or entertainment, whether written or spoken, audio or visual, based on some set of stylistic criteria. Genres are formed by conventions that change over time as new genres are invented and the use of old ones are discontinued. Often, works fit into multiple genres by way of borrowing and recombining these conventions."

So, we know that genres tell us about the nature of something, but where does the word originate?

The word's roots lie all the way back in ancient Greek, when the now famous Greek philosophers, Aristotle and Plato devised a system for classifying literature. They felt that as more and more literature was being produced it was essential to divide it into 'genres' in order to simplify and keep track of them all. Literature originally only had three genres: poetry, drama and prose, which is obviously a whole lot less than the number of genres we have today! As even more literature was produced, with wider themes, more in-depth styles and specific speech and language patterns, there became the need for more genres to be introduced and so we have the following list of genres today (of which I am sure I have missed some out, there is that many!):

Drama

Poetry

Fantasy

Comedy

Fable

Romance

Horror

Fairy Tale

Science Fiction

Short Story

Real Life

Folklore

History

Tall Tale

Legend

Mystery

Mythology

Adventure

Classic

Crime

Magical Realism

Metafiction

Western

Tragedy

These genres can also combine to form sub-genres, for example a comedy may have tragic elements to it and would therefore be categorised with the sub-genre of 'tragicomedy'.

Genres continue to be reassessed, reordered and redefined as audience tastes change. As the world around us continue to evolve and experience new things, so too do the books we read.

Over the next few weeks I am going to be taking a much closer look at each genre to discover what style, language, themes and characters they have in common and to give you some examples of literature that falls into a particular category.

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We hear the word genre a lot these days, whether it's in relation to films, music or literature, this singular word is enough to tell us an incredible amount of information about something, before we even experienced it. There are two main categories within literary genre; fiction and non-fiction, and within these are numerous sub-categories, which we know as genres.

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How to Finance a Film: 9 Ways to Get Funding for Your Film - 2023 - MasterClass

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Way to fund movie

Through studio

Independently

grants

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Hollywood is a big business

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The movie business is a big business, garnering around $450 billion in 2007 globally. But even that huge number doesn't mean that all movies are money makers. Although there are thousands of movies made every year, only a percentage of those become feature films with the big budgets we often associate with the Hollywood movie-making business. And though the occasional independent, low-budget film will break out and become a runaway hit ("Napoleon Dynamite," "Super Size Me" and "Paranormal Activity" are all fairly recent examples), most blockbusters are on the high-budget end.

TUTORIAL: Budgeting Basics

In 2007, for example, the average cost to produce a major studio movie was around $65 million. But the production costs don't cover distribution and marketing, which was another $35 million or so, on average, in 2007, bringing the total cost to produce and market a major movie right at $100 million. Those kind of numbers are a long way from the lowly $400,000 it cost to make "Napoleon Dynamite." (For related reading, seeMovie Genres That Make The Most Money.)

Mega Movie Budgets
And $100 million is just an average. "The Lord of the Rings: The Return of the King" (2003) cost just over $100 million and made over $1 billion worldwide. Back in 1993, "Jurassic Park" was on the lower end of the average movie budget, costing $63 million; over 10 years later, in 2004, "Shrek 2" had a similar budget of over $70 million. Both "Jurassic Park" and "Shrek 2" grossed over $900 million worldwide. Then you've got the higher end of the movie budget spectrum: "Avatar" (2009) is a great example, with a mind-blowing budget of $237 million. The high investment paid off, though, with the movie grossing well over $2 billion.

Those are high-budget examples of movies that made enough to justify the expense, but not all movies do. Some costly flops include 2002's "The Adventures of Pluto Nash," which had a $100 million budget and managed to gross just a bit over $7 million. Then there was "How Do You Know?" in 2010, with a $120 million dollar price tag and a return of just under $50 million. Ouch.

Whether a movie makes or loses money, though, one question that seems to reappear often is just why it costs so much to make a movie. What magic potion must be acquired that brings the cost so high? (For related reading, seeThe Economics Of Summer Blockbuster Movies.)

The Costs of Making a Movie
According to an article by The Guardian, movie costs can be broken down into some broad categories, including script and development (around 5% of the budget), licensing, and salaries of the big-name players, which usually includes the producer, the director and the big-name actors or actresses. Then there are the actual production costs, which include the ongoing salaries of all the people needed to make production happen; production costs eat up a big chunk of the budget, easily taking 25% of the total. And production isn't the end of the story: special effects, depending on the type of movie, can be an enormous cost, and music has to be composed and performed as well.

Then, when the whole movie is made and ready to go, it's time to start in on the work of marketing and distributing. After all that money invested, you can be sure that marketing is not an overlooked part of the process. There's no point in making a $100 or $200 million dollar movie if no one knows about it. "Spiderman 2," which had a production cost of $200 million, racked up another $75 million in expenses for marketing.

The fact that marketing expense is not included in production cost figures is why studios may claim to have lost movie on a money that grossed more than its negative, or production, cost. If a movie cost $100 million to produce, and grossed $130 million, then they've got a $30 million profit ... unless there was also a $50 million dollar outlay in marketing and distribution, in which case the profit turns to a $20 million negative on the balance sheet. (For related reading, see 6 Money Myths You Learned From The Movies.)

The Bottom Line
Even with all those big numbers, and potential for huge losses, the movies keep coming. There must be some sense in it, though; despite the average cost of a movie ticket in the United States shooting up to almost $8 in 2010, we keep lining up to buy the tickets, eat the popcorn and watch those expensive movies. (For related reading, see Betting On The Entertainment Industry.)

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The movie business is a big business, garnering around $450 billion in 2007 globally. But even that huge number doesn't mean that all movies are money makers. Although there are thousands of movies made every year, only a percentage of those become feature films with the big budgets we often associate with the Hollywood movie-making business.

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How Does Movie Financing Work? Our Complete Guide * Filmmaking Lifestyle

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equity financing: is where the investor give the the capital but in return the get a party of the company

Debt financing: is where the visitor lend them the but with interest

Various forms: are grants or taxes break it financial assistance

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People frequently wonder, "Who finances a film?" Filmmaking is an expensive business, with budgets ranging from $1 million to $400 million.

The answer is that film financing can come from a variety of sources, including studios, distributors, production houses, and even private investors.

This article examines the complexities of filmmaking and how financing plays a significant role.

Many various investors, including Marvel Studios, Disney, and Converse, helped make the most recent Hollywood blockbuster, Black Panther, a reality.

Hollywood has been operating since the early 1900s, and making a film takes a lot of money.

What Is Movie Financing?

Movie financing is the process of raising money to produce a movie.

The most common way to raise money for movies - and the one that has been used by Hollywood since its inception - is through film studios.

In this model, the studio provides funding in exchange for distribution rights (meaning they get to sell it).

Who Finances A Film?

There are three primary ways to fund a film:

equity financing (in which an investor provides capital in exchange for a stake in the company),

debt financing (in which an investor lends money with interest), and

various forms of financial assistance such as tax breaks or grants.

Private investors, friends, and family members, or a combination of the two are the most prevalent financing sources for indie films.

However, there are various additional ways to fund an independent film that involve more money than just the filmmaker's personal funds.

What is the difference between a film investor and a studio?

What Are Film Financing Companies?

Film finance companies are a form of business entity that provides funding towards businesses in order for them to produce films.

These entities can be private or public, and they can be formed as corporations, partnerships, limited liability companies (LLCs), or other legal entities.

In exchange for their investment in your film project, you will typically acquire a percentage of ownership in the finished product.

With so many funding options accessible these days, it's difficult to determine which one is ideal for you.

This article will assist you in navigating the process by answering common queries about film finance businesses and offering links to useful resources where you can launch your own fundraising efforts!

A film financing corporation is a business that contributes to the financing of film production. Financing companies come in a variety of shapes and sizes, and each one operates in a unique way.

Some provide loans to filmmakers in exchange for a percentage of the final product's income, while others provide equity investments by purchasing project shares.

The film industry is a cutthroat one. It might be tough to obtain the funds and resources you require for your next project, especially if you do not have a proven track record in the industry. That is where film financing companies come in!

Film funding companies are organizations that give funds for the production of a film. They will often invest in a project and receive stock or profit shares.

The dangers they face while investing differ based on the sort of organization, but their investment is nearly always big and significant.

In exchange, they usually get first dibs on distributing the film internationally, but they also have other rights attached, such as merchandising partnerships with the studio or stars, as well as distribution agreements with cable providers.

How Are Studio Films Financed?

Studios finance their films in a variety of methods. There is no one way to finance a studio film, however, it is common for the production company to invest with an outside investor or financial backer.

This can be done through equity financing (investment in exchange for shares) or debt financing (investment with the expectation that it will be repaid).

This can be accomplished through either equity financing (investment in exchange for stock) or debt financing (investment with the expectation that it will be repaid).

Studio films are frequently financed by prominent film studios such as Warner Bros. Pictures or Paramount Pictures, with investments ranging from $1 million to $10 million.

Studios will spend anywhere from 30% to 50% of the total production budget, while international distributors can invest 10% to 20%.

The rest is usually covered by pre-sales agreements with foreign distributors and TV networks that want to air them in their homeland.

Many films have been labeled as "Studio Films" over the years. These films usually have budgets of at least $100 million and are distributed by major studios including Disney or Universal Studios.

This article looks at how these studios fund their projects and why they do so.

With over one billion people going to the theaters each year, the film industry is a multibillion-dollar industry.

However, most of us are unaware of how studio films are funded and produced. This guide will go into great detail on this matter.

How Are Independent Films Financed?

If you're anything like me, you've probably been curious about how indie films are funded.

I have a few filmmaker friends who frequently discuss the financial challenges of making their art accessible to the public. Keep on reading since this blog post will answer that question for you!

Independent films are movies that are neither produced nor released by a major Hollywood company such as Disney or Warner Bros.

These independent filmmakers may still be sponsored by studios, but they are typically little and independently owned firms.

They may also be funded through crowdsourcing platforms like Kickstarter and Indiegogo, where a community of investors contributes towards the funding of projects in exchange for prizes such as an early version of the film or movie merchandise.

The process of financing an independent film differs greatly from those of producing one with the aid of a major Hollywood studio (e.g., Disney, Warner Bros.).

The classification depends on how each kind is financed and who finances it.

Independent films are both a boon and a burden. The disadvantage is that they frequently struggle to finance projects, but the benefit is that when they do, it is typically from people who truly care about what they're doing.

Independent films are funded in several ways. Some films are sponsored by producers or production industries that invest their own money, while others are funded by private investors.

One way to finance your independent film is through crowdfunding where you can use social media sites like Kickstarter and Indiegogo to secure funding for your project from individuals who believe in it.

How Are Films Funded?

What is the aim of film funding? Film productions are primarily funded by three sources:

1. Private investors,

2. Governmental agencies, and

3. The filmmakers themselves.

Private investors often invest in the production company itself or offer equity to a specific project.

Governmental agencies provide funding through their various grant programs that support film projects with a social message.

Filmmakers themselves may utilize personal resources or loans from friends and family to finance their own films.

I have been working in the film industry for many years as a producer. I have seen many people come and go, but one thing that stays consistent is how films are funded.

The fact is that most films are sponsored by affluent individuals or organizations that wish to see their money put to good use rather than squandered on frivolities such as mansions and flashy automobiles.

The film industry is a multi-billion dollar global enterprise that has seen enormous growth in the past few years.

Cinema ticket sales have been gradually growing year after year, and many people are drawn to streaming services such as Netflix for pleasure.

What is the goal of film funding? There is no single solution to this issue, although investors invest in films for a variety of reasons.

Films provide an outlet for investment that, if successful, maybe lucrative, which other avenues of investment cannot give since they do not have the same risk/reward ratio as film investing.

How Are Commercials Funded?

Do you ever wonder how commercials are funded? Whether it's for an advertisement or a public service announcement, most of the time they're paid for by sponsors.

The corporation pays to have its product or service marketed on television, radio, print media, and social media platforms. In exchange, the advertiser gets to showcase their brand while also increasing sales.

Commercials are prominent in our culture and may be viewed as some kind of advertisement. These commercials generally feature catchy music or sound that gets caught in the minds of viewers, and before you realize it, you're singing along to whatever song is playing.

Companies who wish to promote their products and services finance commercials. For example, if I wanted to produce an advertisement for my vacuum cleaner company, I would need money to buy TV time or put up billboards throughout town.

The company will pay me back with what they earn from selling the product (my vacuum)

Commercials are a frequent sight on television. They are used to inform us about items and services, as well as to promote them. But how well do you understand how ads are funded?

There is no one source of funding for advertising in the United States. Some commercial spots are sponsored through advertising in periodicals, newspapers, radio, and television, while others are paid for by corporate sponsorship or ad income produced by the TV station that airs them.

Many consumers are unaware that ads are paid for by advertisers rather than TV networks. When an ad agency contacts a network about airing advertisements on their shows, they present a media strategy.

This media strategy includes details such as how many times the commercial will be displayed each day and for how long each time.

The network will next determine whether or not to accept the advertiser's offer and air their advertisements.

Film Financing - Soft vs. Hard Money

What do you need to finance your film?

To be successful in the film industry, you need to know about film financing. The two main categories are soft money and hard money.

You may have heard that the easiest method to acquire finance is to locate a wealthy individual who is interested in your business - this is known as "soft money."

However, there are several alternative methods to collect funds for your film, including public sources such as Kickstarter or Indiegogo campaigns, private equity organizations, friends and family with deep pockets (or deep enough), or even investors who specialize in exchange-traded funds.

A film production's financing is typically divided into two categories: hard money and soft money.

Hard money is investment from outside investors, whereas soft money is funding from within the business, such as a studio or distributor.

In the entertainment industry, film financing can be divided into two types: soft money and hard money.

Hard money is generally obtained from a bank or other lending institution, but soft money can take the form of tax credits, equity investments (from both private investors and venture capitalists), grants, loans from friends/family members, or crowdfunding.

Film Financing Soft Money Examples

The film industry is one of the world's most competitive and demanding industries. To be a part of this profession, you must have strong contacts and understand how to get your foot in the door.

For individuals who lack these qualifications, it may appear hard to get into this industry without prior experience or relationships.

The article is about how film financing soft money examples are often used when it comes to putting a movie together.

It goes through the many forms of film funding and what they entail, as well as the rewards they provide for filmmakers.

When filmmakers need to raise money for their films, they often turn to a variety of different sources. One common source is called "soft money" or "non-union" financing.

Soft money is when an investor agrees to participate in a project but then waits until the film is completed and released before profiting from it.

What exactly is soft money? Soft money is a term used to describe a contribution made to a political party or candidate that is not obliged to be declared on campaign finance reports.

This sort of funding has recently been in the headlines due to the revelation that Donald Trump and Hillary Clinton received donations from foreign nationals.

Film Financing Hard Money Examples

Film production may be a difficult industry to navigate. The industry is very competitive, and getting successful in Hollywood requires more than just brilliant ideas.

You'll need connections, contacts, and, most importantly, money. This is where hard cash comes into play.

Many smaller independent producers are trying to get their ideas off the ground in the film and television industry.

Finding hard money loans is one of the many pitfalls that filmmakers might face when attempting to fund films independently.

Hard money lenders sometimes require little or no security from borrowers and charge higher interest rates so they do not have to worry about whether or not the borrower will repay them because there's so little risk involved for them.

Filmmakers are constantly on the lookout for new methods to support their projects. Filmmakers can seek money from a variety of sources, including crowdsourcing, angel investors, even venture capitalists. However, hard money loans from a private lender are sometimes the best alternative.

Hard money lenders provide funding quickly and without all of the hassles associated with traditional lending options like bank financing or government grants.

There are many different ways to raise funds for your film project, but one of the most popular methods is through hard money loans.

Hard money lending is a type of private financing that doesn't require the borrower to have any collateral or credit history.

It is granted on an individual basis with no formal application procedure and may be utilized for a number of reasons such as property development, construction projects, commercial real estate, and others.

Gap Financing

Gap financing is the term used to describe the short-term loans that are necessary for a company during an interim period.

These loans are often secured against assets and may be repaid with interest, or they may be written off if the business cannot become profitable.

Gap financing is a type of loan or capital that is used to bridge the gap between what you need and what you have.

Gap Financing can be obtained from family, friends, banks, credit unions and even private investors.

While many people have heard of venture capital, they may not be fully aware of what it is. Venture capitalists provide funding for new and emerging companies with high growth potential.

Gap financing is a form of financing that occurs when the company has reached some level of success but needs additional funds to reach its next milestone in order to grow.

One of the most popular types of loans for small-business entrepreneurs is gap finance. Gap financing is essentially a loan that bridges the gap between what you need and what your bank or credit union will offer you.

Gap finance may be a valuable source of funding for businesses wanting to expand their operations by purchasing new equipment, entering new markets, creating more physical locations, or making significant modifications to the existing facility(s).

Slate Financing

Slate Financing is a firm that provides small business financing in the United States.

They offer loans, lines of credit, and more. So what does this mean for you? Well, if you are looking for funding to start or grow your business then Slate Financing might be able to help!

It may seem like a simple concept, but the idea of "slate financing" is actually quite complex.

This form of funding enables an individual with a project in mind to obtain the cash needed from investors without having to worry about payback until the idea becomes lucrative.

The Slate Financing team consists of seasoned marketers, engineers, and designers with years of industry experience. They understand how to build a game-changing experience that will propel your company forward.

A new type of startup financing is on the increase. It's known as "slate financing," and it includes a group of investors pooling their resources to offer cash for a company in exchange for ownership stakes.

Slate financing is becoming more popular among venture capitalists, angel investors, and other sources seeking to enter the early-stage investment market as an alternative to typical seed rounds that need more comprehensive due diligence.

Tax Credits & Incentives

There is no question that you want to find the finest approach to thrive as a business owner. One of the most critical decisions you will make as an entrepreneur is where to locate your company and what type of entity structure to use.

Tax breaks and incentives are instruments that may be utilized to incentivize societal actions. Tax credits are not subsidies for specific businesses; rather, they represent reductions in taxes owing, whereas tax incentives give unique benefits to those who qualify.

"Tax breaks and incentives are not new ideas. They have been around for decades, yet the general public frequently misunderstands them.

The objective of tax credits and incentives is to give a financial benefit in exchange for societally good conduct."

Do you know your tax credits and incentives? If not, then don't worry.

This blog post will help you grasp what these are a bit better so that the next time you file taxes, you'll have a better idea of the deductions and credits to take advantage of.

Private Equity Film Financing

Private equity companies have witnessed tremendous expansion in recent years, resulting in an infusion of new investors. The growing demand for private equity investments, as well as the necessity for additional capital, is fueling a renaissance in film financing.

Audience: Private Equity Film Financing

For years, private equity film funding has been a hot subject in the entertainment business. This is because it allows films to be sponsored from a variety of sources, which may lead to more innovative ideas being created.

One way that private equity funding works is through pre-selling distribution rights and other ancillary content like merchandise or sequels before production begins.

Private equity firms are becoming more common in film funding. How do they function? Private equity firms give money to filmmakers in exchange for a percentage of earnings and an investment in their company.

With private equity funds, investors have ownership stakes and often receive dividends from the profits that come with these films.

This sort of financial support may be extremely beneficial to indie filmmakers seeking outside money without giving up too much control over their vision or product placement chances.

Learn more about how this type of financing works!

Crowdfunding

Crowdfunding is a term that has come to mean seeking donations from the public for funding projects.

Crowdfunding can take many different forms, including donation-based crowdfunding, reward-based crowdfunding (also known as equity or patronage), lending-based crowdfunding, and many more.

Crowdfunding, in its simplest form, is the process of raising money for a cause or venture by soliciting various people to make donations.

Crowdfunding has been used as a way for entrepreneurs to raise funds in order to get their ventures off the ground.

The use of crowdfunding has also helped many individuals create opportunities that would not have existed otherwise.

In the United States, crowdfunding is a relatively new notion. Crowdfunding has been around for decades, but it wasn't until later that it realized its full potential.

Nowadays, you can find crowdfunding campaigns for just about anything under the sun - from creative projects to medical expenses.

Crowdfunding platforms such as Kickstarter have provided a channel for people with creative ideas to obtain money without having to go through traditional sources of finance such as banks and angel investors.

It is unsurprising that, following the success of Kickstarter and Indiegogo, crowdfunding has become a popular option for entrepreneurs to fund their businesses.

Crowdfunding enables anyone with an idea to get funding from investors all over the world.

It's an amazing time to be alive since you can now get your ideas off the ground without knowing how to start a business or even what sort of business is ideal for you.

Do Producers Finance Movies?

"Have you ever wondered how movies are funded? The answer is that producers often finance movies.

In Hollywood, there are many well-known producers, but there are also a lot of modest independent film production businesses.

Producers can be found investing anywhere from $200,000 to $5 million for a single movie project."

Financing is required for the production of a film. The Producer's role is not to raise funds for the film, but rather to identify and secure the finance required for filmmaking.

There are many ways to finance a film, including:

Traditional Film Financing (bank loans or private equity).

Creative Financing (bonds with high-interest rates, riskier investments like stocks).

Government Funding (public funds from tax credits).

As a film producer, you may be wondering if producers finance movies. The answer is yes and no.

Yes, because producers are typically given the option to fund their own initiatives through other means, such as banks or private investors.

No, because many of the films produced today are made with investments from studios that back them financially.

Do producers finance movies?

The simple answer is no. Producers are not solely responsible for financing a film's production, but they do have a significant influence on how money is spent on set.

Producers are responsible for numerous tasks, including directing the creative and financial elements of the filmmaking process, bringing together all required partners to execute a movie from start to end, and managing funds during filming and post-production.

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How Does Movie Financing Work? Our Complete Guide * Filmmaking Lifestyle

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People frequently wonder, "Who finances a film?" Filmmaking is an expensive business, with budgets ranging from $1 million to $400 million. The answer is that film financing can come from a variety of sources, including studios, distributors, production houses, and even private investors. This article examines the complexities of filmmaking and how financing plays a significant role.

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How rating evolves over the years

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Today's voluntary movie rating system is aimed at giving parents the information they need to decide whether a film is appropriate for their family.

The current rating system emerged in 1968, when MPAA chairman Jack Valenti replaced the earlier moral censorship guidelines, known as the Hays Code, with a revolutionary new parent-focused rating system. While the Hays Code authorized a movie for distribution based on whether it was deemed "moral" according to an exhaustive list of rules, the current movie rating system was born out of the simple notion that the movie industry wouldn't approve or disapprove what audiences should see, but instead would focus on "freeing the screen" and educating parents to help them make movie-going decisions for their family. The current Classification & Ratings Administration (CARA), with a rating board made up of an independent group of parents, gives advance cautionary warnings to families about a movie's content. CARA's mission is to afford parents the tools they need to make informed decisions about what their children watch.

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Today's voluntary movie rating system is aimed at giving parents the information they need to decide whether a film is appropriate for their family. The current rating system emerged in 1968, when MPAA chairman Jack Valenti replaced the earlier moral censorship guidelines, known as the Hays Code, with a revolutionary new parent-focused rating system.

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THE TRUTH ABOUT RATINGS - Premiere Theatres

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The parent rate the movie

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What is the purpose of the rating system?

Movie ratings provide parents with advance information about the content of movies to help them determine what movies are appropriate for their children at any age. After all, parents are best suited to knowing each of their children's individual sensitivities and sensibilities to pick movies for them. Ratings are assigned by a board of parents who consider factors such as violence, sex, language and drug use, then assign a rating they believe the majority of American parents would give a movie.

Do ratings indicate if a movie is good or bad?

No. Audiences and film critics make these determinations. The ratings are not intended to approve, disapprove or censor any movie. Rather, ratings offer guidance to parents regarding the level of content in a movie.​

Who rates movies?

Parents do. Film ratings are determined by a Board of parents who are selected to represent a diversity of American parents. Their job is to reflect what they believe would be the majority view of their fellow parents in rating a film. Raters have no prior affiliation with the movie industry and are employed to work for the Classification and Rating Administration (CARA), which is independently financed.

What criteria do they use?

In conducting their work, raters consider the same factors parents might in making a judgment about a film's appropriateness for their kids, including themes and content such as language, violence, nudity, sex and drug use. All these factors are considered in context when a final rating and ratings descriptor are assigned to a film.

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THE TRUTH ABOUT RATINGS - Premiere Theatres

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What is the purpose of the rating system? Movie ratings provide parents with advance information about the content of movies to help them determine what movies are appropriate for their children at any age. After all, parents are best suited to knowing each of their children's individual sensitivities and sensibilities to pick movies for them.

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Pg-13 movie can use another cuss words more then but not the f bomb it can only use it one time or else it will be move to R

CARA are in evolve too as pg 13 movie can say mother fucker once and still be pg 13m

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Film Ratings | Motion Picture Association

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Rating was to make parents to feel better seeing a movies or wanting to see it’s gives them information that helps with decisioning if there kid can see it

The rating are g,pg, pg-13,R, NC-17 no under 17 can see this rating

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Informing Parents Since 1968

Established in 1968, the film rating system provides parents with the information needed to determine if a film is appropriate for their children.

Ratings are determined by the Classification and Ratings Administration (CARA), via a board comprised of an independent group of parents. Follow @FilmRatings on Twitter for daily updates on film ratings.

Looking for more information on how the film rating system works? Check out FilmRatings.com to learn the history of the film rating program, and to download additional film rating resources.

The History of the Ratings

Established by Motion Picture Association in 1968, the rating system was created to help parents make informed viewing choices for their children. Learn the facts, history, and evolution behind more than 50 years of ratings.

Learn More

Understanding Film Ratings

Looking for more information on how the film ratings system works? Check out FilmRatings.com to learn the history of the film ratings program, and to download additional film ratings resources.

Visit the Website

Submit a Film for Rating

Are you a filmmaker looking to have your film rated? Start the submission process with the Classification and Rating Administration.

Visit the Website

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For Updates

To stay up to date with the Motion Picture Association, please sign up for our newsletter.

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Established in 1968, the film rating system provides parents with the information needed to determine if a film is appropriate for their children.

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Rating have been around since 1968.

Rating was invented because the first amendment had limits to how much they can censor.

In 1968 Motion Picture Association of America (MPAA) was made they came up with a way to rate movie.

MPAA came with a new way to rate and replaced the old ideas

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The First Amendment limits the degree to which governments can censor or ban movies. In 1968 the Motion Picture Association of America (MPAA) established a system of movie ratings for parents to use as a guide to determine the appropriateness of a film's content for children and teenagers. The ratings system is voluntary, and there is no legal requirement that filmmakers submit their films for rating. Director Steven Spielberg was responsible for the PG-13 after his movies Jaws and Indiana Jones and the Temple of Doom were rated PG. Spielberg felt that the PG rating was too broad for the violence in these movies and suggested a PG-14 rating. In this photo, Spielberg poses with alien character E.T. in London, Dec. 1982. (AP Photo/Press Association, used with permission from the Associated Press)

The First Amendment limits the degree to which governments can censor or ban movies. In 1968 the Motion Picture Association of America (MPAA) established a system of movie ratings for parents to use as a guide to determine the appropriateness of a film's content for children and teenagers. The ratings system is voluntary, and there is no legal requirement that filmmakers submit their films for rating. However, there are potentially significant economic sanctions for those filmmakers unwilling to accept the ratings system. For example, many theater chains will not run films without ratings, and numerous publications will not run ads for unrated films.

MPAA ratings replaced the Hay's Production Code

The MPAA rating system replaced the older Hay's Production Code, used from the 1930s through 1966, in which the U.S. motion picture industry had adopted a policy of self-censorship. The Production Code listed specifics about what would not be permitted in films and a vague imperative that films should not lower the moral standards of viewers.

There were several reasons why the Production Code was replaced, including a 1968 opinion in Interstate Circuit, Inc. v Dallas, in which the Supreme Court forbade local governments from banning movies shown to adults but permitted officials to pass laws preventing children from being exposed to certain material. In addition, as the hierarchical studio system died, studios executives lost their iron grip over the content of films, which made the Production Code unenforceable. Finally, the social norms of the 1960s allowed for more candid depictions of adult matter, and during this period there was a greater acceptance of more explicit degrees of nudity, sexuality, and violence.

MPAA has five rating categories

The new ratings system began with four categories: G (general audiences), M (mature audiences, changed in 1969 to PG, parental guidance suggested), R (restricted, no children under 17 allowed without parents or adult guardians), and X (no one under 17 admitted). The ratings were revised several times over the years, to include in 1984 a new PG-13 label, and in 1990 a new NC-17 rating (which stands for no one 17 and under admitted). The NC-17 rating replaced the X rating, which came to signify pornography.

MPAA Board has been mired in controversy

Since its inception, the Ratings Board of the MPAA-an eleven-member board made up of parents who are not employed by the entertainment industry-has been mired in controversy. The board has been accused of being more lenient to major studios, granting them more acceptable ratings compared to those given to independent and foreign films. The board is charged with considering a given film in its entirety, rather than taking questionable scenes out of context, but additional charges have been made that the Ratings Board looks more harshly on individual depictions of sexuality and nudity than on violence. There is an appeals system for studios who want to contest a rating.
This article was originally published in 2009. Douglas C. Dow, Ph.D., is a professor at the University of Texas at Dallas specializing in political theory, public law, legal theory and history, and American politics.
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The First Amendment limits the degree to which governments can censor or ban movies. In 1968 the Motion Picture Association of America (MPAA) established a system of movie ratings for parents to use as a guide to determine the appropriateness of a film's content for children and teenagers.

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Blurb-A lot of questions come with the idea of auteur theory, but we feel the most important one to answer is how can it make you better at making movies. It's a term used to articulate how the great directors molded their films on every level to reflect their perspectives and visions.

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Auteur Theory came about to describe the impact a director can have on a movie. What does it mean, does it need to be updated, and how can it help you on your projects?

A lot of questions come with the idea of auteur theory, but we feel the most important one to answer is how can it make you better at making movies. It's a term used to articulate how the great directors molded their films on every level to reflect their perspectives and visions. Sure, it needs some updating and a little background, but the idea of it can still help guide the modern "one-man-band" filmmaker to getting their projects seen.

How?

Well we know there is one thing festivals, executives and industry gate-keepers harp on time and again. A story with a unique POV; a vision specific to the storyteller. We hear people in development, as well as programmers, talk about this a lot.

How you develop your POV is one thing. How you implement it into your work... well that in large part comes down to understand auteur theory.

So let's start with the basics, but by the end of this post you'll be well prepared to "author" your own films.

What is Auteur Theory and What Does Auteur Mean?

The auteur definition is "author"; it's just the French term for it.

The auteur meaning (when it comes to film and cinema) is a specific kind of director who has such a strong signature sensibility that you know his or her film without seeing their name on it. They authored the film.

The director's fingerprints are on everything.

Filmmaker IQ released a video hosted by John P. Hess to explain the the theory, where it came from, how it affected the cinematic culture, and why it's still important today:

Video is no longer available: vimeo.com/121703754

The topic has ruffled plenty of feathers over the years.

Why?

Because it suggests that a director has more responsibility for the quality of the movie than anyone else. That doesn't always leave cinematographers and editors feeling very valued. As we know from countless anecdotes, but also personal experience, a great editor can save a scene. A great DP can bring visual magnificence where none existed. And these are just two of the many critical artists and craftspeople working on a project.

Let's not ignore the technical author of a film...

Isn't A Screenwriter the Auteur By Definition?

Yes and no.

I mean, sure. The screenwriter is the author of the script. But...

Consider this: Casablanca, often considered one of the top three movies ever made, had 5 credited writers. At least one more was uncredited.

Not to take away from the excellent work of those writers, credited and uncredited, but the reality is that attributing the final result of a movie to a writer is complex. They often have their work overwritten by others before it even gets greenlit.

Studios also used to have a much bigger influence on what a movie was. Producers and moguls like Irving Thalberg had their hands in every element of the process.

Writers, producers, studio moguls... add them all to the list of people who help shape what a movie is.

So who was the one steering the ship? The person that all the other collaborator's efforts were synthesized through?

Auteur Directors

Yep, you knew we were headed here eventually.

The auteur is the director because that's the closest thing the filmmaking process has to a singular dominant voice. That's what people are talking about when they define auteur.

But wait... not every director is an auteur. They have to fit into a special box as outlined by... auteur theory.

Over time some of the details that define this idea have been set aside or forgotten. So we're going to get back to the very original concept so you know the whole picture.

The Origins of The Theory

It started with a French publication in 1954 of Cahiers Du Cinema. Of course, "cahiers" definition in English is "book".

Groundbreaking director-to-be Francious Truffaut railed against the current state of French cinema and pointed to the work of certain American directors as being a model for better work.

(And yes, Truffaut also starred in Close Encounters of the Third Kind.)

That's where this idea about a movie having an auteur really comes from. It was a rallying cry for directors as artists to say "we can influence what these movies are."

In his writing, Truffaut zeroed in on the movies of Alfred Hitchcock and Howard Hawks.

Why?

Because these directors signature qualities came through in every movie they made. Hawks arguably more than Hitchcock.

What made Hawks such a perfect auteur by definition?

Well, he made every kind of movie. When you think about Hitchcock, he made a particular kind of movie. You know a Hitchcock movie from the moment it begins, and from almost any moment even out of context. But aren't they all suspenseful thrillers?

Hawks, on the other hand, slipped between genre with ease. Let's go down the list of Howard Hawks movies and you'll see quickly what makes him king of auteur filmmakers.

Scarface (1932) is one of the earliest and most influential gangster movies. Yes, it's the original for THAT .

Bringing Up Baby (1938) is the quintessential screwball comedy, which would later morph into the romantic comedy, starring Cary Grant and resurrecting the career of Katherine Hepburn.

A year later he made Only Angels Have Wings (1939) a classic adventure movie about flying aces. Then His Girl Friday(1940), a fast-talking newsroom comedy. Both also starring Grant.

Sergeant York(1941), a war movie and a true story.

The Big Sleep(1946), one of the great detective film noirs starring Bogart.

Red River(1948), a John Wayne western.

In the 50's he'd made a few Marilyn Monroe movies.

Hawks made movies in every genre, with every major star and icon spanning Hollywoods golden era. And yet they were all easily identifiable as Howard Hawks movies.

When you stop and consider all that, it's pretty crazy. Consider how much POWER a star had back then over their projects or a studio. Yet this director managed to make all those movies his own.

That's where this idea about a movie having an auteur really comes from. It was a rallying cry for directors as artists to say "we can influence what these movies are."

We can make this an artistic expression.

And so they did.

The Man Behind The Theory

We'd be remiss if we didn't get into a little more granular on this.

Andrew Sarris provided the official definition auteur definition:

"A Filmmaker who's individual style and complete control over all elements of production give a film its personal and unique stamp."

Sarris also gave us some rules.

"A great director has to at least be a good director." Wrote Sarris. Which means you can't be considered an auteur if you directed Manos The Hands Of Fate. You have to have all the basic competency, as he called it, down.

Sarris added, "Over a group of films a director must exhibit certain recurrent characteristics of style which serve as his signature."

Okay, all this means is that you need to know that it's the director's movie by stylistic choices. Is JJ Abrams an auteur because of his use of lens flares?

*RECORD SCRATCH*

Nope, but that's for other reasons we'll get to later.

Last rule from Andrew Sarris?

"Interior meaning is extrapolated from the tension between a directors personality and the material."

Ok whatever you say, Andy.

What we think Sarris is after here is the idea that the director really must come through in his or her work. The way to determine this would be the challenges faced in the process. If the director put their own personality on the screen even if it wasn't the right thing for the movie.

Which maybe even hurts the movie. So what are we even celebrating anymore?

Yeah, this all gets weird and complicated. And it leaves us in a strange place. We don't always really know what is from the director and what is from say the cinematographer, or a writer, or a producer. Or a comment card from a test screening.

Film is collaborative.

But we are all still left to ponder and argue about...

Which Filmmakers Are Considered Auteur Directors?

On guiding principle is that a TRUE auteur in the strictest sense of the auteur definition would be a director who is not also a writer on the project.

This is a weird one and it takes a lot of the greatest talents out of the conversation. Many people would put Billy Wilder, or Quentin Tarantino atop a list of auteur directors.

But the problem is we know those directors have a profound influence over every element of their movies because they wrote AND directed them. And in many instances also produced them!

Billy Wilder managed to ace every genre just like Hawks. So should he be any less celebrated?

The answer is probably that we shouldn't be too strict about how we apply this term, or who we celebrate and why. After all, the original goal of the thing was to celebrate great movie-making and movie making artists.

We should celebrate and honor the contribution of people who become invisible to the process just as much, if not more in some cases, than those who get all the credit. Fair or not.

Fallout and Reactions

Understandably some people don't like this whole thing at all, chief among them was critic Pauline Kael. She and Sarris went at it for some time over the value of this idea.

The end result?

Probably doesn't matter because it's of course inconclusive. A lot of young filmmakers came up around this conversation: Lucas, Speilberg, Scorsese, and Coppola to name a few. This debate had a big influence on them, and they had a big influence on how we make movies now.

It all did sort of lead to an era of the director, which resulted in some crashing and burning in the late 1970's when directors like Michael Cimino and Peter Bogdanovich were perhaps given too much control.

The reality is directors like John Ford, Alfred Hitchcock, and Howard Hawks were straightforward in their efforts.

They were just trying to tell good stories efficiently. They weren't trying to be artists who shaped the culture. In every interview with them, you can tell as much.

Ford almost comes off as insulted that anyone would waste time asking such questions about movie making.

Maybe their focus on simply doing a good job and trying to entertain people is what made them artists in the first place. It's what helped them elevate the craft.

A Modern Approach, or Auteur Theory 2.0

So now that we know full well what this theory is all about, who is considered an OG auteur and who isn't and why... let's talk about updating it. Because cinema has changed a lot since Truffaut and Sarris were writing about this idea.

If we use Howard Hawks as the template, we can take a look at filmmakers and storytellers who aren't just directors to see if they fit into the box as well. After all, maybe there are some cinematographers who have this type of impact. Maybe some producers.

We're all about inclusiveness and highlighting the work of the collective on a project. Let's make a new list of what might qualify someone for being an auteur. And then after we do this we'll talk about why it might actually be helpful.

Let's propose that to be an auteur you should have 1. at least 5 projects within different genres that also 2. employ varying key collaborators AND YET... here comes the tricky part... 3. feature a consistent world view and style.

Let us know in the comments if you can think of any good examples (non-directors).

One possible example would be the screenwriter Paddy Chayevsky.

Chayevsky is perhaps best known for the prophetic newsroom/media epic Network. But looking at the rest of his career, it does seem like as a screenwriter he had enough impact that you could make a case that he is an auteur. Network, Altered States, Marty, The Americanization of Emily, and The Goddess all had different directors and stars within different genres.

How about producers? Does Jerry Bruckheimer qualify?

How about cinematographers? Roger Deakins? Robert Richardson?

How about editors? Walter Murch? Arthur Schmidt?

The list could go on. The idea being that at various high levels in the process and creative person can have a personal impact on the project that becomes their fingerprint.

Auteur Theory and You

What does any of this have to do with someone shooting a project today?

It's a valid question. The truth is that being an auteur is a lot more realistic now that it ever was before. The technology available has made it that way.

We now talk about a filmmaker as a 'one-man-band'. On this site, we've covered all manner of tech for years that allows ONE storyteller to use very little money to craft visual stories at a pretty high level.

In the early days, such a thing was truly unthinkable.

You'd need a massive group working together to create the cinematic works of Hawks and Hitchcock, to say nothing of the required budget.

Now you need a smartphone and an idea. Do you have both of those things?

The value in understanding this theory in its origins is in understanding how the elements of cinema come together to reflect a singular vision, and point of view.

How can your ideas be reflected in your work? From lens choices to costumes to backgrounds.

Can you be intentional in what you do?

Wrapping Up

Without wanting to start WWIII right here in an article on an indie filmmaking website, I'll just say that of course directors have an incredible influence in their films, and of course they couldn't do it all on their own.

Of course a director is an artist, and of course the writers, cinematographers, and editors are too.

Perhaps at the end of the day, it's not directors, necessarily, that make great movies, but artists. That's the spirit of the theory -- it's not to put a crown on a hierarchical figure but to celebrate and honor those who love, respect, and create movies.

Whether you are working as a one-man-band or working with a substantial crew, as a director or as a PA, you'll need to align the work to some intentionality, some point of view, for it to impact audiences and leave a lasting impression that counts.

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Auteur Theory: What Does it Mean and How You Can 'Author' Your Films

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Auteur Theory came about to describe the impact a director can have on a movie. What does it mean, does it need to be updated, and how can it help you on your projects? A lot of questions come with the idea of auteur theory, but we feel the most important one to answer is how can it make you better at making movies.

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"It's really about sticking to your guns" | Christopher Nolan on Directing

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Blurb-A film director is responsible for bringing a script to life and overseeing the creative and technical aspects of the filmmaking process. They are the visionary behind the film, responsible for the overall artistic vision of the project. The director works closely with the production team, including writers, producers, actors, and crew, to ensure that the film meets their creative vision.

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What is a Film Director?

A film director is someone who is in charge of making sure that every component of a movie runs smoothly. Generally, these directors work on a movie from its conception stage to its delivery stage. They have a say in how the scenes unfold, what props are going to be used, how the characters should look, and who should play specific parts. Directors also work with individuals in charge of lighting, scenery, writing, and so forth, to make sure that all of the elements come together. The director is in charge of the three main phases, which are pre-production, production and post-production. Generally, he or she does not actually do the work for post-production, but is in charge of overseeing it.

Note the difference between a film director and a producer: A film director controls a film's artistic and dramatic aspects, and visualizes the script while guiding the technical crew and actors in the fulfillment of that vision. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors.

What does a Film Director do?

In addition to having control over nearly every aspect of the movie, film directors also have a large role in technical aspects. They read over the script to make sure that it makes sense, and they decide where the actors are going to stand and how they will move. Directors also help the actors to truly understand the characters. They might explain the characters' motivation for a particular action or their back-story. One of the goals of a director is to push the actors to do their best work.

Once the editing team gets to work, the film director has the final say as to how the shots look and how they should be blended together. The movie director can also decide that the crew needs to do another take of a particular scene or scenes. They also decide when one scene should fade into the next.

A film director also has the responsibility of handling most of the budgetary concerns of a film. He or she will have to figure out how to make the movie work on the allowable budget. This might involve hiring actors who will work for lower pay, asking family members or friends to help out with some of the behind-the-scenes work, or coming up with less expensive strategies for executing an idea.

Are you suited to be a film director?

Film directors have distinct personalities. They tend to be artistic individuals, which means they're creative, intuitive, sensitive, articulate, and expressive. They are unstructured, original, nonconforming, and innovative. Some of them are also enterprising, meaning they're adventurous, ambitious, assertive, extroverted, energetic, enthusiastic, confident, and optimistic.

Does this sound like you? Take our free career test to find out if film director is one of your top career matches.

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What is the workplace of a Film Director like?

There is often a lot of pressure in the work environment of a film director. Film directors need to make most of the decisions; therefore, the success of the movie depends on them. Furthermore, while film directors are working on a movie, they also need to be looking for their next movie. Many film directors have to hop from one job to the next.

The entire production process of a film can take over a year. When the movie is in the production phase, the director is very busy. When the movie is in post-production and the director just has to oversee things, there may be a bit more spare time.

When on a job, a film director's schedule can vary considerably. For example, he or she might work for ten hours on Monday and then an entirely different set of hours on Tuesday. It is not rare for a film director to work on weekends, evenings and holidays.

Film Directors are also known as:
Television Director TV Director Movie Director Dramatic Director Director

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A film director is someone who is in charge of making sure that every component of a movie runs smoothly. Generally, these directors work on a movie from its conception stage to its delivery stage. They have a say in how the scenes unfold, what props are going to be used, how the characters should look, and who should play specific parts.

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Blurb-What Does a Director Do During Production?  It’s your job to help inform and shape their performances, so give the actors positive but specific (and short) praise and/or notes after every take.

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Blurb-

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What Does A Film Director Do: Everything You Need To Know - NFI

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Film directors make creative decisions to determine the look of a movie, including those that impact the special effects and film locations

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They are employed by the executive producer or producer, who is ultimately in charge of a production. Directors start with a script, and work with a screenwriter and sometimes a script editing team.

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The entertainment industry offers creative individuals a variety of career paths, and filmmaking combines many of these elements. Filmmaking is an artistic and technical process where people conceptualize, write, direct and edit elements that go into the final product of a movie.

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People who finance are studios, distributors, production houses, and even private investors.

equity financing: is where the investor give the the capital but in return the get a party of the company

Debt financing: is where the visitor lend them the but with interest

Various forms: are grants or taxes break it financial assistance

In the YouTube it broke down how the 28 films maker how they financed there own movies

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In the late 1960s the concept of genre became a significant part of film theory. A movie genre is a category of movies based on narrative elements, aesthetics, or emotions. Different movie categories help viewers select movies based on the type of content they can expect to see. For example, people wanting excitement may choose a movie from the action genre. If you want an emotional response, you may browse dramas. Genres ultimately existed as a way to convey what the film was to the general public.

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Rating have been around since 1968.

Rating was invented because the first amendment had limits to how much they can censor.

In 1968 Motion Picture Association of America (MPAA) was made they came up with a way to rate movie.

MPAA came with a new way to rate and replaced the old ideas

Rating was to make parents to feel better seeing a movies or wanting to see it’s gives them information that helps with decisioning if there kid can see it

The rating are g,pg, pg-13,R, NC-17 no under 17 can see this rating

Pg-13 movie can use another cuss words more then but not the f bomb it can only use it one time or else it will be move to R

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- blurb
They create jobs for thousands of people involved in production, screening, distribution, and other related activities.

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I would say that film is vital to society. We've all watched movies or comedy programs such as The Simpsons, South Park, and Family Guy. Yes, these are fictional shows, but they can be influential to some people. They have pushed the envelope of what is acceptable in television, and many people worldwide love them. But I think film is so vital to society because it gives us a chance to reflect on our own lives and the lives of others who are different and can offer us a new perspective on life.

The Impacts of Film on Society

Most film lovers are fond of motion pictures, but they may find it challenging to articulate why they're also so important to society.

For the movie lover: there are many reasons why movies are an essential art form, but movie lovers may find it difficult to articulate them in detail. "Movies are just fun to watch on the weekend" doesn't quite cut it. They know that movies mean more than just an entertaining weekend pastime. They identify with the world they've created in their hearts and minds.

For popular culture: today, film is considered one of America's most popular art forms and perhaps even its most significant contribution to world culture. It's hard to imagine what our lives would be like without motion pictures - those flickering images projected on a screen that have become iconic representations of our inner and outer realities, conveying ideas and feelings from one person or culture to another through space and time.

For those working in the film industry, motion pictures have become a significant industry in America and other leading production centers over the last century. They create jobs for thousands of people involved in production, screening, distribution, and other related activities. They indirectly create hundreds, if not thousands, of jobs by creating new markets for staples such as popcorn kernels or celluloid raw material used to print films on reels... and much more! Movies also create economic opportunities through tourism (think Hollywood Boulevard) that benefit all kinds of people, like hoteliers, restaurateurs, shopkeepers, and so on...

Entertainment and Pleasure

For some, it's simply a matter of entertainment and pleasure. Most people go to the movies to have a good time. They want to be transported to another world for two hours, to forget the stress of their job or other worries.
That's one of the reasons why film is so important as an art form - it offers people a momentary escape from reality, regardless of what kind of movie they're watching.

Cinema is the most beautiful fraud in the world.
Jean-Luc Godard

Of course, a film can also captivate an audience in ways that TV and other media cannot. It may sound obvious, but a film can engage the senses at once in a way that no other medium can.

The sights and sounds, combined with the experience of being in a darkened movie theater with dozens (or even hundreds) of similarly enthralled viewers, make for an immersive experience that's quite different from watching TV or playing video games alone at home.

Identification and Identity

For others, identifying with the characters in the films they see or a fascination with the craftsmanship that makes high-quality movies possible.
People love their movies, and for good reason. Movies are the only art form that allows us to identify with the characters on an emotional level. We see them as people struggling with real problems and facing real challenges. We live vicariously through them and find our fears, desires, hopes, and aspirations.
Consequently, film can influence public opinion on social issues and change how we perceive ourselves - and sometimes even how we feel about ourselves.

For me, the cinema is not a slice of life, but a piece of cake.
Alfred Hitchcock

For many of us, film is an escape from the monotony of everyday life; it provides entertainment that makes us laugh or cry (or both!). For others, it's about being able to identify with the characters in the movies or being fascinated by the craftsmanship that makes movies possible.

Some see movies as art, while others enjoy watching actors portray fictional characters living their lives in epic adventure stories or romantic comedies.

Even More Effective Today

Movies have always changed the world, but they've never been as effective as in our time.

At the end of the 19th century, the motion picture camera and the projector were invented. The first motion pictures, known as "silent movies," hit theaters in the 1890s. Not long after, film and television became dominant forces in American popular culture.

Film has changed history repeatedly, but it's never been as influential as it's today.

Movies have always been an effective way to reflect the world around us. Through comedies and dramas, through stories of love, hope, triumph, and tragedy, films show who we're as people through the lives of the characters on screen - not just the ones we identify with, but all of them, portrayed by actors who draw us into their world.
The best films encourage us to think about ourselves and how we can improve our lives and society; they show us how to better understand one another through compassion and empathy while encouraging critical thinking about how we got here and the direction we're headed.
Movies have always been an effective way to change the world around you because they're mirrors that give viewers from all walks of life insights into their own lives - or at least fictionalized versions of them.

That's what makes them entertaining, both for viewers at home (or at the movies) and for those who make these cinematic masterpieces possible behind the scenes at every step of this journey called life.

Tools for Social Change

When films about war reflect the real world with gritty realism rather than stylized depictions of soldiers marching into battle under waving flags, they can be used as tools for social change.

As you know, film is a potent medium and can be used for social change.
When films about war reflect the real world with gritty realism, rather than showing stylized depictions of soldiers marching into battle under waving flags, they can profoundly affect how viewers think about issues of war and peace. For example, the movie Saving Private Ryan depicted the horrors of World War II with gruesome special effects; the opening scene focused on the gruesome deaths of several characters-many viewers couldn't watch it!
In contrast, old-fashioned films often showed patriotic feelings about the war. In Sands of Iwo Jima, for example, John Wayne plays an American soldier who wants to defend his country against enemies.

When viewers see realistic depictions of combat on screen, they may be less inclined to support armed conflict to solve problems. This is an excellent example of how movies shape society!

Broaden Horizons

Films can give viewers a different view of society than they're used to, broadening their horizons and making them think about problems in new ways.
They can offer a different perspective on the lives of people in other societies, providing insight into the lives and cultures of other people. Films can educate us about other societies that are very different from our own.
Films can also serve to change the way people think about specific issues. For example, films like An Inconvenient Truth have been used to educate viewers about climate change and move them to action.

Art Form and Tool

In this way, film is both an art form and a tool for social change.

It can entertain, educate, or explore critical social issues.
Films can make us sit up and take notice, learn about a new culture, experience a different perspective, or open our eyes to a world we know nothing about. We watch movies because they're entertaining and make us think about issues in new ways.
They don't just reflect our culture; they change it!

Mirrors of Society

Movies are essential to society because they reflect culture, change culture, and spur economic growth.

Cinema is a reflection of its own society.
Shohreh Aghdashloo

Movies reflect a culture in so many ways. Think about the messages of your favorite movies and how those messages have influenced you. In this way, film reflects culture. For example, a movie that calls for forgiveness will resonate with people who forgive but not with people who don't forgive.

Movies also change culture by influencing the beliefs, opinions, and behaviors of the people who see them. For example, a documentary about child abuse may move you to take action against child abuse in your community, whether by volunteering for an organization or donating money. This is how films change a culture.

Movies promote economic growth by creating jobs for thousands of people from all walks of life and generating billions of dollars in revenue each year that's returned to the economy through taxes and other expenditures on goods and services related to film production (e.g., construction workers building a set).

Some Filmmakers Who Influenced Society

Alfred Hitchock

Steven Spielberg

Walt Disney

Martin Scorcese

Kathryn Bigelow

Roman Polanski

Jane Campion

George Lucas

Agnés Varda

Brian De Palma

Mira Nair

Quentin Tarantino

Examples of Films That Influenced Society

Some Major Film Production Centers

New York

Indian Cinema: Bollywood

Los Angeles: Hollywood

United Kingdom: Pinewood

Why have films become such an essential part of the arts?

Films have become an essential part of the arts because films produce new thoughts and ideas, provoke new emotions, and stimulate our imagination.

Does film influence society, or does society influence film?

I would argue that art imitates life more than the other way around. Throughout the history of film, society has continually shaped film. When movies first emerged, they were mostly made for entertainment purposes. However, movies later became a way for filmmakers to promote certain values like social tolerance and equality.

How did Hollywood influence American culture?

Hollywood influenced American culture by reflecting the values and ideals of democracy and capitalism. For instance, Hollywood films promote the idea that people can do anything they set their mind to - the so-called 'American Dream.'

How can films help us understand other cultures?

Films can help us to understand other cultures by giving us an up-close and personal look at a foreign culture. Films are an excellent platform for connecting with other people's experiences that are very different from ours.

Why is Hollywood so popular around the world?

Great question! Hollywood became so popular worldwide because of several factors. These factors include:

The glamour and popularity of its stars and directors-these people love to travel around the world and have relationships with many people from different backgrounds

Hollywood films are culturally universal-you don't need to understand any specific language or culture to understand a movie.

Hollywood films are entertaining- they draw in audiences, especially younger people.

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Why Is Film Important to Society - brilliantio

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I would say that film is vital to society. We've all watched movies or comedy programs such as The Simpsons, South Park, and Family Guy. Yes, these are fictional shows, but they can be influential to some people. They have pushed the envelope of what is acceptable in television, and many people worldwide love them.

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Blurb- There are two standout instances of movie fans impacting the production of films through the power of community

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Movie fans are now becoming a powerful force, and they know it, says Jake Fraser, Head of Business Development at Mogul Productions.
Unlike the passive viewers of yesteryear, the modern movie fan is part of a collective whole. They let their voice be heard loud and proud - both online and off. They mobilize with efficiency and fight for what they are passionate about. This is to the point that real changes are actually being made to the big-ticket Hollywood projects. These changes can range from the animation of a character to the film's production design, and so much more.

Movie fans want more involvement

The masses of enthusiastic movie fans who seek greater involvement in movie production, are a surprisingly underserved community. This is because until recently, there has been a lack of a platform. Such a platform would allow the fans to contribute, collaborate, and vote on films to be part of the process and feel a sense of ownership over the content.

There are two standout instances of movie fans impacting the production of films through the power of community. Deadpool grossed $783.1m at the box office, and Sonic the Hedgehog grossed $306.8m at the box office. At Futurist Conference 2020, Deadpool's director Tim Miller spoke with Emmy-Winner and Oscar-Nominated Producer Cindy Cowan. He said that the film was made with actor Ryan Reynolds, largely because of the demands of the comic book's pre-existing community. The community strongly advocated for Reynolds. This is because he demonstrated dedication to making a film that was true to the comic book.

The demands of the fans went beyond the casting call. They were even specific about the eye color of Deadpool being the same as the comic. According to Cowan, "Ryan Reynolds was originally going to wear the mask of Deadpool." But Reynolds has blue eyes. Deadpool's eyes are white in the comic.

Said Cowan, "They said nope, we don't want these blue eyes, we want the white eyes, so they changed it." Just one day after the movie fans pushed Deadpool to Fox, the movie was greenlit. This cemented its status as a fan-driven story which eventually made huge profits at the box office.

Authenticity is key for movie fans

Comic book fans of Sonic the Hedgehog guided the production decisions of the movie, just like in the case of Deadpool. The fans had waited years for the movie to come out. When it finally did, they were disappointed because the Hollywood-version hardly looked like the Sonic character they know and love.

Sonic the Hedgehog cast

Over time, the backlash intensified. Studio chiefs didn't want to disappoint the community. They had to listen. So they went back to the drawing board, and gave everyone the original version of Sonic they all knew and loved.

The fan-driven story of Deadpool, and the fan-driven story of Sonic proved that movie execs absolutely must cater to the demands of the community. That is, if they expect the community to support the project.

Enhancing the script-to-screen process with blockchain

It is already well-known that movie fans are extremely vocal across networks such as Tik Tok, Reddit, and Twitter. Their power becomes exponentially more significant once blockchain gets added into the mix.

Hollywood producer David Cormican was also at the Futurist Conference. He is excited about blockchain's potential to make movies more fan-driven like Deadpool and Sonic. He says the combination of film and decentralized finance is the "quintessential example" of how fans can actually become more involved than ever. The hope is that this will improve the film industry as parties make governance decisions through quadratic voting.

Now is the time for Hollywood and the movie industry to explore ways to bring the film communities together. Blockchain makes it easier than ever before.

About the Author

Jake Fraser is the Head of Business Development at Mogul Productions, a DeFi and NFT marketplace platform for the film and entertainment industry. Jake possesses over 10 years of experience across a variety of industries such as sport, entertainment and crypto. He has helped build several successful businesses and specializes in sales, marketing, product development and strategy.
Got something to say about movie fans or anything else? Write to us or join the discussion in our Telegram channel. You can also catch us on Tik Tok, Facebook, or Twitter.
Disclaimer

In compliance with the Trust Project guidelines, this opinion article presents the author's perspective and may not necessarily reflect the views of BeInCrypto. BeInCrypto remains committed to transparent reporting and upholding the highest standards of journalism. Readers are advised to verify information independently and consult with a professional before making decisions based on this content.

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Movie Fans Are Now Influencing How Movies are Made

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Movie fans are now becoming a powerful force, and they know it, says Jake Fraser, Head of Business Development at Mogul Productions. Unlike the passive viewers of yesteryear, the modern movie fan is part of a collective whole. They let their voice be heard loud and proud - both online and off.

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Blurb-At any rate, the movies on this list are all examples of strange (and sometimes last-minute) changes, often imposed by producers or executives. In some unfortunate cases, the changes haven’t been particularly beneficial, but one alteration turned out to be a rather pioneering moment in cinema history.

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From title changes to the addition of rubber demons, here's a selection of some rather strange movie alterations from cinema history...

The course of film production seldom runs smooth, and even the greatest films can suffer from all sorts of behind-the-scenes problems. For a very recent example, just look at Fantastic Four, a film with which suffered the kind of difficult production that will no doubt inspire books on the subject in the near future.

At any rate, the movies on this list are all examples of strange (and sometimes last-minute) changes, often imposed by producers or executives. In some unfortunate cases, the changes haven't been particularly beneficial, but one alteration turned out to be a rather pioneering moment in cinema history.

In every instance, the changes are unusual, surprising, or sometimes downright baffling ...

The Cabinet Of Dr. Caligari (1921)

A classic of German cinema, Robert Weine's silent horror film is widely credited with having invented the twist ending. This ending, however, was not the one originally intended; its producers were concerned that the conclusion Weine originally envisioned, which suggested that the film's murders were all carried out by the titular Dr. Caligari, was too macabre. Instead, they had Weine film a conclusion where the film's events were all the delusion of the narrator - creating one of the earliest (and at the time, original) rug-pull endings in the movies.

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Night of the Demon (1957)

Based on the short story Casting The Runes by M.R. James, Night of the Demon is a rightly celebrated '50s supernatural movie. Atmospherically shot by director Jacques Tourneur, its otherwise quite subtle story about ancient evil is marred (albeit only slightly) by the full-frontal appearance of the demon itself in two scenes - compared to the restraint displayed elsewhere in the film, these moments seem quite jarring.

These demon sequences, it turns out, were added after shooting had wrapped. Producer Hal Chester decided to add them, much to Tourneur's chagrin. "The scenes where you see the demon were shot without me," Tourneur later said. "The audience should never have been completely certain of having seen the demon."

Ray Harryhausen was originally approached to make the demon, but he was too busy, which explains the rather rubbery look of the thing that swoops out of the shadows at the beginning and end of the finished movie.

Invasion Of The Body Snatchers (1956)

Don Siegel's Invasion of the Body Snatchers is one of the best-made and gripping sci-fi films of the '50s. About a small town in the midst of a quiet invasion, Siegel's film positively crackles with suspense and foreboding from beginning to end.

In fact, the ending the director and his screenwriter Daniel Mainwaring originally had in mind would have been absolutely bone-chilling: the scene where Kevin McCarthy's Dr. Hill is seen crying, "They're here already! You're next!" would have been the movie's last. But studio bosses at Allied Artists considered this conclusion to be too downbeat, and forced a wrap-around story on Siegel where the audience is reassured that everything will be fine in the end.

Philip Kaufman, who directed the similarly brilliant 1978 remake, had no such problems with his movie: His iteration ends on a singularly pessimistic and spine-tingling note.

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Enemy Mine (1985)

Although not a huge box office hit, this unusual '80s sci-fi about a human pilot forced to cooperate with a reptilian alien after they're stranded on a barren planet is an enjoyable watch - not least for the lead performances from Dennis Quaid and Louis Gossett Jr. (the latter under heavy lizard alien make-up).

The film's production wasn't an easy one, however, and having bankrolled the film to the tune of around $17 million, executives at 20th Century Fox began to worry about how they were going to market it. Enemy Mine's initial director was replaced by Wolfgang Petersen one week into production, and its budget spiralled to $30 million (perhaps mounting to as much as $40 million, including marketing).

In the process of filming, executives began to panic about the title, taken from the original story written by Barry B. Longyear. Worried that audiences wouldn't understand the meaning of Enemy Mine ('mine' being possessive, as in 'the alien is my enemy'), Fox decided to add in a new plot strand about cruel interplanetary miners - thus giving the title two potential meanings, one involving a quarry on an alien planet.

Enemy Mine was also saddled with a spectacularly bad tagline: "Enemies because they were taught to be, allies because they had to be, brothers because they dared to be..."

Brazil (1985)

Terry Gilliam's is commonly regarded as one of the most influential and intelligent sci-fi movies ever made. It also happens to be one of the most poorly treated, which is really saying something, considering just how chopped around and mishandled movies such as Metropolis and Blade Runner were.

After filming had wrapped, studio heads tried to have Brazil cut down from just over two hours to a little over 90 minutes, added in some teen-friendly rock music, and gave it a cheerier, romantic ending. Gilliam's subsequent - and very public - battle with Universal is now the stuff of industry legend.

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Universal's chairman Sid Sheinberg was eventually worn down by Gilliam, and a 132-minute version of Brazil was released in theaters - almost intact, but still missing 10 minutes of footage.

Nevertheless, a 94-minute version of dubbed the Love Conquers All cut and which was assembled without Gilliam's knowledge, was once put out for television. Unsurprisingly, it's a travesty.

Predator (1987)

The production of Predator was famously challenging with its on-location jungle filming bringing about all manner of illnesses and technical problems (not least being an early alien outfit which looked awful). One of the finished film's standout sequences, which sees its macho platoon of soldiers firing their machine guns at nothing but trees, could be taken as a sign of a cast and crew taking their frustrations out on the foliage - but actually, its inclusion was an indirect result of a request from producers.

Executives suggested that Predator needed more images of guns firing, so McTiernan created a scene that gently subverted the idea - something designed to thwart what he saw as the "pornographic desire to market images of gunfire."

"The whole point is the impotence of all the guns," McTiernan later explained on Predator's DVD commentary. "I didn't want to advertize to little kids how wonderful guns were."

The Exorcist III (1990)

Although directed by the writer of The Exorcist novel, William Peter Blatty, The Exorcist III was never originally planned to be a direct sequel. Instead, it was shot as a thriller with a few of the same side characters from the original exploring their own chilling mystery, and its original title was .

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Despite the absence of any hint of an actual exorcism, executives at Morgan Creek sensed a sequel opportunity in the offing; last-minute reshoots were ordered (including an exorcism), and the title was changed to The Exorcist III.

"I foolishly thought: I can do a good exorcism," Blatty later said of the studio-enforced addition. "I'll turn this pig's ear into a silk purse. So I did it."

The resulting film wasn't as big a disaster at the box office as the infamous Exorcist II: The Heretic, but it wasn't a hit, either. Blatty blamed its failure on its attachment to the by-then tainted name, insisting that a movie simply titled may have fared better. A search for the deleted footage from Blatty's original cut - which Morgan Creek says has long since been lost - is still ongoing.

The Puppet Masters (1994)

Like Jack Finney's more famous novel The Body Snatchers, Robert Heinlein's 1951 novel The Puppet Masters sees its alien invaders take over the bodies of humans. But unlike The Body Snatchers, the aliens in The Puppet Masters are a race of slug-like parasites which control humans by attaching themselves to their spines.

When it came to the '90s film adaptation, the novel was considered by screenwriter Terry Rossio to be a simple, lean, and direct alien invasion story that was perfect for a sci-fi movie. But the studio, Hollywood Pictures, had never read the novel and knew little about it other than it had something to do with an alien invasion. When Rossio turned in his script, a fairly accurate adaptation of the book's characters and events, executives hated it.

Instead, the studio advised that the story's setting be scaled down from a global scale to a small town, that its female lead be written as a male, that its flying saucer ships should be ditched, and that its slug aliens should be changed to floating spores - making it identical in premise to Invasion of the Body Snatchers.

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Numerous drafts were written by scriptwriters in the months that followed, as the location of the film changed from a small town to an airforce base, and then the American Midwest. The parasites were written back in, but the studio maintained its strange aversion to space ships - a scene from the book set on board a UFO was rewritten as a goo-filled hive a subsequent writer called 'the brain coral.'

"I've come to believe that making a film is like a massive version of throwing a dinner party," Terry Rossio later observed in his column, Building the Bomb. "You invite a lot of people and hope that it turns out good, but you can't really control it."

The Santa Clause (1994)

In the otherwise wholesome festive movie The Santa Clause, a throwaway line ("1-800-SPANK-ME? I know that number!") from Tim Allen resulted in a hurried edit. The story goes that a young boy decided to ring the number up, and reached a phone sex line. The boy's angry mother complained, and the line was snipped out for subsequent releases.

Mimic (1997)

Although the Director's Cut of Mimic gave us a version of the film which was closer to Guillermo del Toro's initial ideas, there are some elements which will remain forever lost. One was his initial notion of what the mutant creatures in the movie should be. Del Toro wanted a type of tiny tree beetle to ultimately transform and feed on humans in the New York underground. The studio's executives, however, wanted cockroaches.

"I felt the world had exploded in a wave of horror for me and right then and there," del Toro later recalled on the Director's Cut commentary track. "I said, 'Listen guys, we shouldn't do that because from now on, we're going to be the giant cockroach movie and there is no way you can go past that absolutely Z-movie conceit.'"

The studio wouldn't budge, and del Toro was "condemned to doing the best giant cockroach movie ever made." But still, the demands for changes kept coming. After the animatronic creatures had already been built, executives complained that the mutant cockroaches looked "too much like bugs."

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"Can you make them look more like aliens?" they asked. "Can you make their teeth bigger? Can you give them hair?"

The studio, it seems, just didn't understand what del Toro was trying to make, and when second unit directors came in to shoot additional scenes without his involvement, the director disowned the resulting movie for several years. Considering just how much meddling went on throughout the production, it's remarkable that the film - in either of its incarnations - is as good as it is.

The League Of Extraordinary Gentlemen (2003)

It's fair to say that Sean Connery didn't have the most pleasant experience while making The League of Extraordinary Gentlemen. A flood engulfed Europe, destroying $7 million worth of sets and engulfing Connery's hotel suite. As pressure on the production mounted, Connery reportedly had a furious row with director Stephen Norrington - over an elephant gun prop of all things. The process of making the movie was so grim that it appeared to contribute to Connery's retirement; when he announced his plans to leave the industry, he said he'd grown weary of the "idiots now making films in Hollywood."

Still, we should also spare a thought for actress Winter Ave Zoli. She was cast as a character named Eva, the daughter of a German scientist. It wasn't a huge part, but she would have enjoyed a fight scene with one of the main characters in the film's ensemble - the dashing Tom Sawyer, played by Shane West. Strangely, Zoli's appearances were excised from the final cut entirely - despite her presence in the movie's advertising.

More bizarrely still, Zoli's fight with Tom Sawyer remained in the movie, but Zoli was digitally replaced by another actor. Zoli was another casualty, it seems, of an unusually fraught production.

Red Dawn (2012)

A remake of the '80s action film of the same name, Red Dawn caused controversy when it emerged that it depicted China as the invaders of America. As fears grew that the negative publicity could harm its box office potential in the far east, MGM began the process of changing the film's invading army from Chinese to North Korean. This involved an extensive (and probably very expensive) use of digital effects to erase or alter various flags and slogans dotted throughout the film.

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Despite the disruption this must have caused, producer Tripp Vinson remained upbeat. "After careful consideration, we constructed a way to make a scarier, smarter, and more dangerous that we believe improves the movie," he said back in 2011. When finally emerged in 2012 after two years on the shelf (MGM's financial woes being the culprit), audiences didn't exactly agree with Vinson's assessment. Where the original made around $38 million on a lean $4 million budget, the $65 million remake was a critical and financial misfire.

Inside Out (2015)

Here's evidence that Pixar really does agonize over even the smallest details in its movies. In one brief scene in Inside Out, we see young protagonist Riley refusing to eat a bowl broccoli. But in the Japanese version of the movie, the vegetable Riley shrinks away from is a chopped up bell pepper. The reason for the change? Because kids in Japan actually really like broccoli, so the notion of a toddler throwing a tantrum over a bowl of the stuff wouldn't have made sense.

"We learned that some of our content wouldn't make sense in other countries," explains director Pete Docter. "For example, in Japan, broccoli is not considered gross. Kids love it. So we asked them, 'What's gross to you?' They said green bell peppers, so we remodelled and reanimated three separate scenes replacing our broccoli with green peppers."

So green peppers it was. We suspect that, had Docter and his team consulted with British kids, Brussels Sprouts would have topped the list of tantrum-worthy vegetables.

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13 Strange Changes Made to Movies During Production

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From title changes to the addition of rubber demons, here's a selection of some rather strange movie alterations from cinema history... The course of film production seldom runs smooth, and even the greatest films can suffer from all sorts of behind-the-scenes problems. For a very recent example, just look at Fantastic Four, a film with which suffered the kind of difficult production that will no doubt inspire books on the subject in the near future.

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Blurb-All movies start as just an idea. Many writers, producers, actors, and directors carry around notebooks to jot down ideas that come to them during the day. The best ideas grow in their minds until they’re big enough to become a film.

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You've spent hours getting into costume and makeup. Now, you're trying to see past all the bright lights. It's almost time. Your nerves are getting to you. What's your character's name again? Do you remember your lines? Too soon, you hear those three words from the director: "Lights. Camera. Action."

But the of making a movie began long before the cameras started rolling. Anyone who works in film can tell you that a lot of work goes on behind the scenes. However, movie fans rarely get to peek behind the curtain. This leaves many WONDERing: How are movies made?

All movies start as just an idea. Many writers, , actors, and directors carry around notebooks to down ideas that come to them during the day. The best ideas grow in their minds until they're big enough to become a film.

Once an idea has had some time to grow, the next step is to write a . Also called a screenplay, the breaks up the story into scenes. It lays out the action and dialogue for the characters in the story. It guides everyone who works on the movie, from the designer to the leading actor. The is written long before filming starts, but it will change throughout the movie-making .

In most cases, the next step is to make a storyboard. This is a guide for what scenes of the movie will look like. Many people draw storyboards by hand, but others photograph their storyboards instead. This step helps writers, , and directors decide what the movie will look like.

Is it time to film yet? Not quite! It takes many people to make a movie. Before filming, movie makers need to find the right cast and crew members. They need actors, builders, and costume . They also need people to work the camera and audio , makeup artists, and prop masters. For major films, hundreds (or even thousands!) of people will need to be hired.

After the cast and crew are in place, it's time to get the cameras rolling. Everyone involved in the film travels to the chosen location. There, they shoot each scene until they get it just right. In many cases, movie makers will shoot different versions of every scene. That way, they'll have many options to choose from in the final cut.

After filming, the job continues. Film editing software is used to stitch the footage together. Editors add music, effects, and anything else needed to complete the film. When they're done, the movie is finally ready for the big screen.

All-in-all, shooting a feature-length film often takes between six and eight months. However, if you're interested in filmmaking, you'll probably start a lot smaller. You just need the right and help from a few friends. You might be able to complete the in just a few weeks.

Do you dream of writing or directing a blockbuster hit? Would you rather help build the or work with audio ? Maybe you'd be a great film editor or help with other post-production tasks! Filmmaking is a long, difficult , but it can be so much fun to see your hard work pay off.

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You've spent hours getting into costume and makeup. Now, you're trying to see past all the bright lights. It's almost time. Your nerves are getting to you. What's your character's name again? Do you remember your lines? Too soon, you hear those three words from the director: "Lights. Camera. Action."

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1977: Sylvester Stallone on making ROCKY | Film 77 | Classic Movie Interviews | BBC Archive

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Sidney Lumet interview on "Making Movies" (1995)