Emma to be in a Beauty and the Best adaptation?

[Szalka]

no problem 

[cbmac12]

Yes def thanks for news!!!

[Elena]

But not such big news, I'm hugely disappointed they haven't started yet on it. C'mon, don't procrastinate!

[Ashley]

But not such big news, I'm hugely disappointed they haven't started yet on it. C'mon, don't procrastinate!

i know right?! we've been waiting for this forever it seems!

[Szalka]

Welcome in Movie world.

This can be a way why the beauty is still no much alive: 

 

Developent- From idea to signing of contracts

Preproduction- All the trchnical matters that can be sattle before shooting.

Production- The actual schooting of a film.

Postproduction- The technical portion of filmmaking that turns raw film into finished product.

Marketing- The process of getting the finished product to its audience.

 

 

Development

Development includes all stages from the germ of the idea to the hiring of the talent, and includes fundraising, screenplay drafts, and initial location scouting.

Ethel, I Have an Idea: The Story

Typically, a feature film's genesis is the story. The story can come from a variety of places. Sometimes it is the director's own idea. The stars of Good Will Hunting (1997), Matt Damon and Ben Affleck, also wrote the piece. Sometimes studios will vie for the rights to an already-famous book. (The battle for the rights to the phenomenally successful children's book Harry Potter comes to mind.) Some stories come from contemporary headlines, like Boys Don't Cry (1999), which was based on the life of a woman killed in Nebraska for passing as a man.

One favorite Hollywood gambit is the remake. When in doubt, redo an earlier successful filmf someone tries to market an original screenplay, but is not directing it herself, she will probably try to acquire an agent. Agents try to maintain contacts in the film industry so that they can get into studio literary departments to hawk their wares. Often, as a door-opener, the whole script is not submitted. Rather, a 10-page treatment of the script is offered around the studios. If interest remains, the whole script is submitted. The script can go to a director or producer, who then tries to sell the idea to a studio who funds the project; or it can go to the studio first, who then assembles producer and director itself. Still another route is for the agent to actually buy a story and hire someone to do a screenplay. After this point, the original writer may be out, or may be retained to work on the screenplay.

Magic and Mud

 

The next phase involves secret negotiations, insider trading, savage industry back stabbing, and much calling in of favors. This is the negotiating phase, when it's determined which creative team does which film. Hollywood negotiations are murder. Stars scramble to catch plum roles, directors scrabble to land plum films, producers scrabble for plum funding sources, fruit wranglers scrabble to land plums, and so on. The budget is also decided during this negotiation process, and distribution and advertising are considered. During this process, the producer is expected to bring the project together.

 

Postproduction

 

After the dust has settled, the business of making a film actually begins. Preproduction is the stage at which war plans are formed: The rest of the crew and cast are hired, the shooting schedule is planned, and so on. Again, the producer is very active here. The director is now playing an increasingly large role in determining how the film is going to be shot.

Storyboarding

 

Either during or after the negotiations, others—generally the director and writer—are figuring out how to get from script to shooting script. The process can be tighter or looser. Some directors try to leave room for on-site improvisation. Others don't. Alfred Hitchcock, for example, had more or less entirely planned out the shooting of his films before the first camera setup.

The storyboard is an essential part of this process. It is the narrative of the film in pictures, a sort of flow chart showing how one shot derives from the former shot and gets to the next. It can be more or less detailed, perhaps providing cues for sound (dialogue and/or music) and for character motion.

Scripting  

The screenplay will probably have gone through a dozen drafts by this point. (This is why there are sometimes so many writers in the credits.)

Location, Location, Location  

During or after the storyboard stage, the filmmakers consider the best locations to shoot. In the studio or on location? If on location, which city? If San Francisco, which locales? Does the director want to shoot famous landmarks (as in just about any Hitchcock film), or does the filmmaker want a location one block away from the tourist traps (Jim Jarmusch's Stranger Than Paradise [1984], for example, which takes place a couple blocks off of Memphis's Beale Street, on a very seedy street)? At some point, the location scout is sent out to figure out the best places to set up camp.

Technical Concerns

Preproduction is also the moment at which many of the various creative technicians begin work: costume designers, production designers, modelers, sound designer, and so on. Sets are now constructed. The music director will begin working on a score and incidental music for the film, though this job may still be going on straight through postproduction, because it is intimately tied to the sound "mixing" process. The special effects department must begin creating effects before, alongside, and after the principal photography has taken place. These days that department is often a digital effects crew.

Production

Okay, this is the part that budding thespians dream about: the moment when the movie is actually filmed. As it turns out, this part can be incredibly boring for actors, who are sometimes surprised to see how exciting their movie can be, when their only memory was of sitting around and waiting. A lot.

Actually, this is the director's big scene. With any luck, her studio and producer have bowed out of the process at this point and remain simply presences who provide material and solve administrative problems.

 

The Breakdown Script

After the storyboard and shooting script, the breakdown script is probably the most important document the director has on hand. Generally assembled by the assistant director, it lists all the equipment, props, and other paraphernalia necessary for shooting each scene in the film. It helps the director figure out how to schedule the shooting schedule in advance, and to be completely prepared as each scene comes up, so that she can stay within the shooting schedule.

Principal and Other Photography

Really another name for the whole course of production itself, principal photography is the actual process of shooting the major sequences. It is called principal photography because, after the roughly assembled film is examined, the filmmakers may decide that ancillary photography may have to be done.

Before, after, or at the same time the principal action is being filmed, the second unit is filming establishing and other accompanying shots, perhaps with doubles for the principal actors.

This is the moment in which seemingly minor but key decisions are made moment to moment about how to shoot a sequence, scene, or shot. We believe that the tautest drama is behind—not in front of—the camera. Where does the lighting go? How are actors supposed to move in relation to the camera, the set, and each other? How intimate or grand is the set supposed to be? What last-minute additions will not later spoil the continuity?

Production ends when the director says, "That's a wrap. Go home."

Postproduction

Postproduction takes place in the time from "That's a wrap" to "delivery" of the finished film print. It includes the various kinds of editing—in sound and celluloid—we discuss in the more technical chapters.

Editing diting

Film Editing details the technical process of editing. Here we are just going to mention that the director and editor do not normally decide on the final cut. Probably the best-known example of the studio's prerogative is Blade Runner (1982). The studio decided that the story was too difficult to follow, so they added a film-noirish voice-over narrative by Deckard, the futuristic detective (Harrison Ford). The studio also tacked on a kind of happy ending after the more ambiguous one created by director Ridley Scott. We know this because the "director's cut" of Blade Runner was released on laser disc a few years ago, so that fans of the film could decide which they liked best. Since then, there has been an avalanche of "director's cut" video releases, often simply proving that the director and the studio are equally insipid and clueless.

Independent filmmakers, of course, have much more control over the final cut.

Sound Mix

After the music is composed and recorded, the postproduction dubbing is finished, and the special sound effects are created, the sound mixer assembles all these tracks together so that they sound right when projected to an audience. The sound mixer cleans up the various tracks, making absolutely sure there is no audible ambient noise (unless such noise is part of the plan). The crowd noise decreases in volume as the romantic couple speaks to each other on a crowded street. The music swells and peaks as the space cowboys defeat the bad guys.

To Market, to Market, to Market We Go

This stage of filmmaking is the one that people consider the least, but that is precisely as important as the others.

Part of the marketing process is testing the film with audiences, to make any changes that might be necessary. The most famous method is the sneak preview, in which, after viewing a film, audiences will be asked questions about how much they enjoyed the film. If the audience response is lukewarm or negative, the film goes back to the editing room, or even back for additional shooting.

Hopefully, the producer has lined up a distributor in the preproduction stage. If not then, this is often the last moment at which distribution can be obtained, when a film is freshly made. It is the unfortunate fate for most independent films to end up on the shelf without ever having had a real shot at a large—or even a small—audience.