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Fund. of Producing > Midterm > Flashcards

Midterm Flashcards

1
Q

everything where the camera is not; serves purpose of delivering everything that is needed for the set to exist and the capturing of what is on set

A

unit

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2
Q

arm

A

ambiguity removal meeting

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3
Q

where the camera is

A

set

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4
Q

short summary of film to pitch

A

logline

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5
Q

what the story is, protagonist flaws, protagonist desires, obstacles, stakes

A

key elements of logline

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6
Q

leadership ability determines a person’s level of effectiveness

A

law of the lid

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7
Q

the true measure of leadership is influence, nothing more, nothing less.

A

law of influence

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8
Q

leadership develops daily, not in a day

A

law of process

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9
Q

anyone can steer the ship, but it takes a leader to chart the course

A

law of navigation

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10
Q

leaders add value by serving others

A

law of addition

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11
Q

person who provides funding necessary to produce a film

A

executive producer

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12
Q

the one who initiates, coordinates, supervises, and controls all creative, financial, technological and administrative aspects of a motion picture/television show throughout all phases from inception to completion

A

producer

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13
Q

producer’s right hand person and the budgeting, scheduling expert who supervises all administrative, financial, and technical details of the production

A

line producer

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14
Q

the person who acts as the liason between a production company and the various personnel involved in the post production process

A

associate producer

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15
Q

person who prepares first complete schedule and budget, troubleshooter and problem solver

A

unit production manager

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16
Q

liaison between director and crew

A

first ass. director

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17
Q

works closely with casting, extra casting and locations, goes on tech scouts, helps wherever possible

A

sec. ass. director

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18
Q

sets up and runs production office, hires and supervises APOC and other office personnel, helps UPM by checking availabilities and assembling crew, places orders for film, equipment, and special services

A

production coordinator

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19
Q

Based upon my protagonist’s decision

A

theme

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20
Q

ptich

A 
Who is the story about?
What is their flaw?
What is their desire?
What are the obstacles of that desire?
What is at stake?
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21
Q

___________ only work if I care about my character

A

stakes

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22
Q

Trust. Ways to earn trust:
Exemplify competence
Exemplify character
Exemplify connection

A

law of solid ground

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23
Q

People will naturally follow a leader who is stronger than themselves.

A

law of respect

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24
Q

Leader’s evaluate everything with leadership bias. Leaders are readers of:
Their situation
Trends
Resources
People
Themselves
Without this they get blindsided. Obey this law to lead well.

A

law of intuition

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25
Q

You are who you attract.

A

law of mag.

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26
Q

Leaders touch a heart before they ask for a hand

A

law of connections

27
Q

A leaders potential is determined by those closest to him

A

law of the inner circle

28
Q

Only secure leaders give power to others

A

law of empowerment

29
Q

Three main barriers to empowerment

A

desire for job security, resistance to change, lack of self-worth

30
Q

Why do you need others as a leader?

A

One person can’t do it all, you need a team that reflects what you value

31
Q

How do you connect with someone?

A

Connect with yourself, communicate openly and sincerely, know your audience, practice what you preach, adapt to help others, focus on others not you, believe in others, offer direction and hope

32
Q

How to gain someones respect as a leader?

A

Possess natural leadership ability, respect others, have courage, work to accomplish things, be loyal, add value to others

33
Q

How to build trust as a leader?

A

Exemplify competence, connection and character - people will forgive you but won’t forgive a lapse in character

34
Q

What are the guidelines for adding value to others?

A

Truly value others, make yourself more valuable to others, know and relate to what others value, be kind

35
Q

What are the steps of the leadership process?

A
  1. You don’ts know what you don’t know
  2. You know what you need to know
  3. You know what you don’t know
  4. You know and grow and it starts to show
  5. You simply go because of what you know
36
Q

Five major myths of leadership

A
  1. Leading and managing are the same thing (they’re not)
  2. Entrepreneurs are automatically leaders (they’re not)
  3. The one who is out in front of a crowd is the leader (a leader needs people willing to follow them)
  4. The position defines a leader (it doesn’t)
37
Q

Protagonist, central conflict, antagonist, stakes, motivation, goal, world, inciting incident, escalating obstacles, twists, turns, climax, resolution, story, character arc, theme

A

story DNA

38
Q

the central character who actively attempts to solve a conflict

A

protagonist

39
Q

the difficult situation the protagonist is trying to solve

A

central conflict

40
Q

the person or situation that is the main source of conflict

A

antagonist

41
Q

the risk

A

stakes

42
Q

the emotional reasons for trying to achieve the goal

A

motivation

43
Q

the specific outcome the protagonist thinks will solve the conflict

A

goal

44
Q

the reality in which the conflict occurs

A

world

45
Q

the event which shakes up the status quo and starts the protagonists journey

A

inciting incident

46
Q

The progression of challenges which become more and more difficult as the protagonist tries to solve the problem

A

escalating obsticles

47
Q

new info which forces characters, audience, or both to reevaluate the dilemma

A

twists

48
Q

key moments in every scene which change the energy

A

turns

49
Q

the ultimate confrontation between the protagonist and the opposition

A

climax

50
Q

the final outcome of the conflic

A

resolution

51
Q

story is the emotional issues explored by the protagonist; the plot is the sequence of events producing the conflict

A

story vs. plot

52
Q

the sequence of change in the protagonist’s emotions, realizations, values and priorities culminating at the least the beginning of a meaningful change

A

character ardc

53
Q

The cumulative “statement” reflected by how the storyteller wants the audience to ultimately feel about the issues as emphasized by the character arc.

A

theme

54
Q

What your film is about.

A

premise

55
Q

This means the overall Concept must be something with wide appeal. It should be familiar with a new
twist. Ideally, the material would be, what the industry calls, “four quadrant”.

A

concept

56
Q 
Men under 25
Men over 25
Women under 25
Women over 25
Buyers are interested if a movie can appeal to all four groups
A

four quadrent

57
Q

Works directly with director on script. Gathers key creative collaborators for the director that will be crucial for the success of the movie.

A

creative producer

58
Q

the category of the movie. (Drama, comedy, action, horror, romance, fantasy)

A

genre

59
Q

You have x# of months to set up someone to buy the script

A

shoping agreement

60
Q

Give money to the writer for temporary rights

A

option agreement

61
Q

Buy scripts straight up

A

purchase agreement

62
Q

a discrete story segment in which your characters engage in conflict and take significant actions that you portray memorably. There is a beginning, middle and end to each scene.

A

scene

63
Q

A scene is built on beats, individual units of action and reaction. The last beat must end with a turning point. Once you’ve highlighted the core issue, state the value at the start of the scene. This outcome is the turning point of the scene—the moment where your character’s value changes polarity.

A

turning point

Fund. of Producing (3 decks)

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