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[chinese]

…. ..无论您是投资者、制片人、发行商还是利润分成参与者,您都希望您的项目拥有国际娱乐行业使用的最卓越、最值得信赖、最成功的架构标准。如果您缺少视频中呈现的任何一个方面,或者只是需要一个经验丰富的团队来评估您的项目或计划,请联系 One Door Studios 工作室。

我们可以提供您可能缺少的任何东西。每个项目都值得拥有最好的机会来获得成功。….

….One Door Studios provides both hourly and project-based consulting..One Door Studios 工作室可提供按小时计算以及基于项目内容的咨询服务….

….Our work provides motion picture/TV producers strategies for engagement of financing, global distribution and exploitation. ..我们旨在为电影/电视制片人提供参与融资、全球发行和开发的策略。….

….• Directing Global Distributor Presentation materials creation..•跟踪、审计和监督向参与者分配资金的情况….

….• Engaging Completion Bond..•开展脚本阅读、初期融资和发行报告….

….• Engaging Global Collection Relationship..•开展项目“绿灯”分析、文案和报告….

….• Engaging Production Bank Loan..•完成电影销售、品牌策略及销售….

….• Global Exploitation Orchestration of Project Ancillary Rights and Products..•规划和撰写单个或多个项目开发公司的业务计划….

….• Tracking, auditing and optimizing collections..•开展针对权利收购和人才聘用的商谈和文件编制….

….• Tracking, auditing and oversight of distributing funds disbursements to participants..•制片资金的架构、策略和参与….

….• Script read and initial finance and distribution report..•指导全球发行商如何制作演示物料….

….• Project Greenlight Analysis, Documentation and Report..•执行完片担保….

….• Completed Motion Picture Distribution, Branding Strategies and Sales..•参与维护全球采集关系….

….• Planning and Authoring of Single or Multiple Project Development Company Funding Strategies and Business Plans..•参与银行制作贷款服务….

….• Negotiation and Documentation for Rights Acquisitions and talent engagement..•项目附属权利和衍生品的全球开发协调….

….• Production Funding Architecture, Strategies and Engagement..•跟踪、审计和优化采集过程….


….Multiple Motion Picture Development Company Confidential Investment Memorandum (CIM) Planning and Authoring..多部电影开发公司的机密投资备忘录(CIM)策划和撰写….

….This is the business plan narrative and partnership agreement used to engage private financing for motion picture development. ..这是一份用于为电影开发提供私人融资的商业计划陈述和合作协议。….

….Each memorandum includes: ..每份备忘录包括: ….

….1. planning and preparing of the company’s activity and cash flow projections;..1. 策划和筹备公司活动以及现金流预测;….

….2. origination and authoring the development company’s plan and offering;..2. 发起并编写开发公司的方案和资金募集;….

….3. preparation company history and management biographies;..3. 准备公司历史和管理传记;….

….4. state and federal securities declarations and compliances;..4. 州和联邦证券声明和合规;….

….5. tax commentaries;..5. 税务评论;….

….6. Partnership Agreement and Certificate; and..6. 合伙协议和证书;以及….

….7. offeree questionnaires and subscription documents. ..7. 受要约人问卷及认购文件。….

….Each offering is delivered complete, ready for engagement by sophisticated investors. ..每次募集资金的过程都是完整的,随时欢迎经验丰富的投资者参与进来。….

….Each offering’s cost is determined by the scope of business objectives, country in which the production company is based, and the variable securities venues with which the offering must comply. ..每次募集资金的成本取决于业务目标的范围、制片公司所在的国家以及募集资金必须遵守的可变证券场所的规定。….


….Motion Picture Internal Greenlight..电影的内部绿灯系统….

….This discovers each picture’s vital information upon which studios and major international distributors principally base their decisions relative to distribution and related licensing. It includes a breakdown of each picture’s campaign elements, at least one :30 second television/internet commercial or theatrical trailer script, the picture’s target audience(s) definition, comparable pictures and their campaigns and global earnings, the picture’s estimated global gross earnings, the producer’s share of these earnings and its relationship to the picture’s budget, plus other related business and creative data. ..绿灯系统旨在发现每部影片的关键信息,制片公司和大型国际发行商主要根据这些信息做出发行和相关授权的决定。它包括分解每部电影的竞争元素,至少占以下一点:30秒电视/互联网广告或院线预告片脚本、影片目标受众的确定、同类型影片和它们的竞争元素和全球票房、这部影片预计的全球总票房、制片人的收入份额及其占影片预算的比例、以及其它相关业务和创意数据。….

….The first step delivers a campaign breakdown, campaign script, preliminary comparative picture and audience composition analyses, and initial global earnings summary. ..第一步是分解竞争元素、制作竞争元素脚本、初步分析同类影片和观众构成、以及初步预测汇总全球票房。….

….The second step delivers finalized comparable pictures and audience compositions analyses, comparable picture campaigns, the picture’s finalized global liquidation breakdown (including Producers Share and Greenlight ratio), and the picture’s final global business narrative. ..第二步包括最终确定同类影片和观众构成分析、同类影片竞争元素、影片最终的全球清算细分(包括制片人份额和绿光比率)、以及最终确定的全球商业陈诉。….

….Client provides the below-the-line and above-the-line budget estimates. ..客户提供线下和线上预算。….


….Portfolio..资产组合:….

….Managing Director John Lee has conducted business, distribution, and finance services on over 20 studio released films, including… ..董事总经理 John Lee 为超过 20 部已上映电影提供了商务、发行和金融服务,包括… ….

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….The Producer’s Business Handbook..《制片人商业手册》….

by john j. lee, jr.

….“This is the single blest work on financing independent films. The landscape of the film business is changing rapidly, and this is one of the only books addressing two of the most difficult aspects: financing and distribution. There is more to financing a film than developing a business plan. This book shows practical, in-depth information, efficiently written and presented.” ..“本书在独立电影融资方面提供了很好的参考。电影行业日新月异,融资和发行是两大难点。制作一份商业计划书简单,之后的电影融资却很难。本书恰好是少数介绍这两点的书籍之一。内容深刻实用,语言简洁有力。”….

….—Don Smith, Associate Chair & Associate Professor, Film & Video Dept. Columbia College..——唐·史密斯,哥伦比亚学院电影电视系副主任,副教授….


….Additional Services..额外服务….

….For Producers..向制片人提供….

….Reverse Greenlights for completed pictures, studio, international territory distributor, and motion picture rights negotiation, documentation and management, talent negotiations and documentation, presale planning and negotiations, bank memorandum preparation, submittal and management, and organization restructuring. ..针对已完成的影片、电影公司、国际地区发行商、电影版权谈判、文件记录和管理、演职员的商谈和文件编制、预售计划和谈判、银行备忘录的准备、提交和管理、以及组织调整重建的反向绿灯服务。….

….For U.S. StudioS..向的电影公司提供….

….Independent producer screenings and report; pre-release target audience profiles; and reverse Greenlights for completed pictures. ..独立制片人筛选;预发布目标观众的描述;并为已完成影片提供反向绿灯服务。….

….For Banks..提供给银行….

….Global picture valuations; establishing or refining International Valuation Matrix or gap financing models; and setting up or improving US and international entertainment lending programs. ..影片全球估值;建立或完善缺口融资模式;协调美国和国际娱乐公司的借贷项目。….

….For Investors..向投资商提供….

….Entertainment investment analysis; portfolio management; special investment project negotiations and documentation; and resolution of media investment disputes. ..娱乐产品组合管理;媒体投资分析;特别投资项目谈判和文件编制;解决媒体投资纠纷。….

….The Seven Major Principles and Practices Common Among the Most Successful Producers..最成功的制片人广泛使用的七个主要原则和做法….

….There are seven key principles and practices consistently employed by the most successful independent motion picture producers for all screens. It is assumed that you have solid story sense, deep producing craft and a nose for the audience. These seven are in addition, they are all business related and are substantially easier to implement as a part of your life and your production empire than the creative talent you have already hard won. Engaging these seven principles and practices will dramatically increase your creative freedom, packaging power, and profits share. ..这是最成功的独立电影制片人在所有屏幕上一贯采用的七个关键原则和做法。假设您有扎实的故事基础、成熟的制片技术和对观众喜好的敏锐嗅觉。这七个原则可谓是锦上天花,它们与商业息息相关,与您努力挖到的创作人才相比,这些原则已成为你生活和制片帝国的一部分,更容易得到执行贯彻。这七个原则和惯例将极大释放您的创作自由、增加您的包装能力、并扩大您的利润份额。….

….These seven principles may be reviewed more completely in “The Producer’s Business Handbook,” available here and at major book outlets and libraries. If you want to receive more personalized help organizing, or more importantly engaging them into your production organization you are invited to schedule a meeting. ..《制片人商业手册》中更全面地回顾了这七个原则,可在此处以及主要的书店和图书馆阅读此书。如果您想获得更为个性化的帮助,或者更重要的是,让他们参与到您的制片组织架构中来,我们邀请您安排一次会面。….

….1 Each uses an Internal Greenlight System..1 每位制片人都使用内部绿灯系统….

….Understanding how networks and studios green light projects allows production entities to replicate this process. The internal Greenlight system allows producers to evaluate the strength of project before a studio or distributor meeting. ..了解网络和电影公司的绿灯项目如何使制片机构复制这个过程。内部绿灯系统使制片人在电影公司或发行商会议之前可以评估项目的优势。….

….The discoveries from this absolutely critical process becomes the center of each project’s financial future in their territory and rights category(ies). ..在这个至关重要的过程中,所有的发现都将成为每个项目融资前景的核心因素,无论在项目所在地区,或是其所属的权益类别,都发挥了重要的作用。….

….2 Each operates with Fully Funded Development. ..2 每位制片人都有充足的开发资金。….

….Without question, under capitalization is the primary reason for production company failure. Development is sophisticated, time-consuming, and expensive. It should be approached with similar planning and funding as production. Producers should have separate development planning and funding, sufficient to develop a slate of pictures. ..毫无疑问,资金不足是制片公司失败的主要原因。电影开发是复杂、耗时且昂贵的。应该像生产所需的一样,用类似的规划和资金来解决这个问题。制片人应有独立的开发计划和足以开发一系列电影的资金。….

….This is the foundational practice, allowing each picture to predictably, unshakably move through development and into production and distribution. ..这是基本做法,确保有预见性地、不可动摇地使每部影片通过开发阶段进入拍摄和发行阶段。….

….3 Each Engages U.S. and International Territory Distribution Relationships for Each Project During its Development. ..3在每个项目的开发过程中,每位制片人都发展美国和国际地区的发行分配关系。….

….Internal Greenlights are confirmed first with a US studio and subsequently with a major distributor in each major international territory. These confirmations are crucial in each picture’s development and the beginning of highly beneficial creative and marketing collaboration. ..首先与美国的电影公司确定通过内部绿灯会,然后与各主要国际地区的发行商确认。这些确认对开发每部影片以及启动非常有益的创意和营销合作都是至关重要的。….

….As globalization and media convergence accelerate, international markets provide ever-greater income. Each picture’s early establishment of these relationships contribute a broad array of essential elements, including casting and location considerations, cover-shot clarification and early teaser/PR branding. This process defines and clears the pathway to each picture’s optimized global audiences and income. ..随着全球化和媒体融合的加速,国际市场提供了越来越多的票房收入。在早期建立好每部影片的这些关系有助于达成一系列广泛的重要元素,包括选角和地点的考虑,确定封面海报和先行预告/品牌公关。这个过程能清晰地指出每部影片如何取得全球观众的青睐并获得高票房。….

….4 Each primarily or exclusively uses Bank Production Financing. ..4 每位制片人都使用银行制作融资来筹集大部分乃至全部经费。….

….The primary importance of this practice is not the obvious advantages of low bank interest and possible copyright ownership of each picture. These are both valuable, but even more beneficial is that bank production financing pushes the producer into global distribution relationships for each picture during development. These relationships enable the exploration of pre-sale collateral relationships and virtually insures every picture produced has solid, global distribution, including at least the US and six major international territories with collaborative maturity from commencement of after-Greenlight development, months preceding production. ..这种做法的头号重要性并不在于银行利息低和每部影片可能拥有版权等一些明显优势。这些优势都是有经济价值的,但更为重要的是,在开发过程中,银行的制作融资能推动制片商进入每张影片的全球发行分配关系中。这使我们能够探索预售前的抵押关系,并几乎确保了每部影片都具有强力的全球发行渠道,从绿灯通过后的开发阶段起,到开拍前的数月内,包括至少在美国和六个主要国际地区的发行合作都已成熟。….

….This is the catalyst that solidifies each picture’s business integrity. ..银行融资就像是催化剂,能巩固每部影片的商业信誉。….

….5 Each Plans the Rights Liquidation and either Sells Some Rights directly or participates in these sales. ..5每位制片人都计划清算权益,要么直接出售部分权益,要么参与这些出售。….

….This is beginning with the end in mind. Understanding the vast array of highly profitable ancillary sales areas, planning these rights sales with the producer negotiating and closing some of these sales, substantially increases the producer’s profitability and advances each picture’s distribution power. ..这是一开始直到最后都要在脑中考虑的做法。了解大量高利润的衍生销售领域,与制片人规划、协商这些权益销售并完成其中的一些,能极大地提高制片人的盈利能力,增强每部影片的发行能力。….

….This is the key to protecting each picture and maximizing its profitability. ..这是保护每部影片并使其盈利最大化的关键。….

….6 Each Participates in the Campaign Management of their projects in the US and the major international markets. ..6每位制片人都参与其在美国及主要国际市场项目的宣传活动管理。….

….Campaign creative, media planning and media buying exists in a highly sophisticated world of their own. Few producers even understand the semantics. However, knowing target audiences must have a minimum pre-opening reach and frequency from all sources (media buys, viral campaigns and PR) to deliver minimally acceptable box office gross, allows producers to anticipate each picture’s opening week-end with more understanding than trepidation. Opening weekend GBO rarely surprise studio distribution chiefs. They know fairly closely what box office results each campaign will deliver. ..竞争创意构建、媒体策划和媒体购买都非常复杂。甚至很少有制片人理解这些词的含义。然而,探究目标观众必须在上映前从所有渠道(媒体购买、洗脑式宣传和公关)至少获取最小的影响范围和频率,才能获得可接受的最低票房总收入,这让制片商在每部影片上映的首个周末更理解票房预期的构成,而不是惴惴不安。上映首周末的票房收入很少能让制片公司的发行主管们感到意外。他们非常清楚每次宣传取得的票房结果。….

….This is the ultimate topspin for each picture’s profits. ..这是促进每部影片利润上升的最终手段。….

….7 Each is a Balanced Producer, giving equal weight to creative, audience and profits. ..7每个项目都需要一个注重平衡的制片人,给予创作、观众和利润同等的权重。….

….Production of the story only seems like the producer’s primary objective. When the picture is completed, especially if it fulfills the producer’s creative objective, is when it is inescapably clear that the picture’s capacity to play to its audiences, and return a profit to the producer are equally important with its creation. Balanced producers sustain an EQUAL check and balance between these three. Producers should: understand their creative craft and remember that audiences experiencing their creations determine each picture’s income. ..故事的制作似乎只是制作人的首要目标。当一部电影完成时,尤其是当它实现了制片人的创作目标时,就要不可避免地、清楚地认识到,这部影片向观众呈现的效果,以及给制片人带来利润的能力,与它的创作同样重要。注重平衡的制片人在这三者之间保持着平等的制衡。制片人应:理解他们的创作手法,并牢记观众如何体验他们的创作决定了每部影片的收入。….

….This creative, audience and profits balance assure the stability of each picture as it passes through the processes of development, production and distribution. ..这种创作、观众和利润的平衡确保了每部影片在经过开发、制作和发行过程时的稳定性。….

….Motion picture investors typically finance distribution, production and/or development. There are massive differences between these opportunities in risk, return of investment timing, and historical performance. The next few paragraphs reveal some of the differences between development and production funding, explain their performance dynamics and offer pragmatic counsel that can help investors qualify viable investment opportunities and optimize returns. ..电影投资者通常为发行、制作和/或开发提供融资。这些投资机会在风险、投资时机回报和历史表现方面存在巨大差异。接下来的几段文字揭示了开发和制作融资之间的一些差异,解释了它们的表现动态,并提供了实用的建议,可以帮助投资者找到可行的投资机会并优化回报。….

….The very nature of each private offering affirms there is risk. Key questions are whether the risks are reasonable in relation to one’s portfolio and the possible reward. ..每次私人募资在本质上肯定都存在风险。关键问题在于,这些风险与一个项目的投资组合和可能的回报之间是否存在合理的关系。….

….Approximately ninety percent (90%) of all US motion picture investments fund production. In 2010 there were approximately 1,900 private US motion picture production offerings funded. This total financing exceeded a stunning $2 billion. Historically, well over half of these investments are not returned to their funders, and most of these do not return any investor capital. The reason these investments predominate is that they flood the marketplace, with over 8,000 on the street annually, and they are pitched passionately by mostly well-meaning producers and their representatives. ..大约 90% 的美国电影的制作依赖投资基金。2010 年,大约有 1900 部美国电影的制作获得了私人募资支持。这些融资总额惊人地超过了 20 亿美元。从历史上看,这些投资中有一半以上没有回到资助者手中,而且其中大多数也没有帮投资者回本。这些投资占主导地位的原因是,需要融资的影片充斥着市场,每年有8000多个这样的项目出现,而且善意的制片商及其代表十分热情地推销大部分项目。….

….By contrast, last year US private investors financed approximately twelve motion picture development offerings for a total low nine figures. Historically, most of these offerings return their investment capital and some profits. ..相比之下,去年美国私人投资者为大约 12 部电影的发行提供了融资,总额仅为9位数。从历史上看,大多数投资都能回本并且获取部分利润。….

….There is a reason for these traditionally high losses and returns. The next few paragraphs explain the dynamics of these processes and will be a convincing dialogue to all who read, to never, unless return of capital is not a primary requirement, participate in the high-risk dynamic associated with production financing that comes entirely from private investors. ..这些传统的高损失和高回报是有原因的。接下来的几段文章解释了这些过程如何发展,并将成为向所有阅读者传递一个很有说服力的信息,除非资本回报不是主要诉求,否则永远不要参与纯私人投资的与制作相关的高风险融资活动。….

….Bank Production Financing..银行制作融资….

….The most successful and powerful production companies chiefly obtain their production financing from banks. The greatest advantage to the picture and its participants is not the retained equity and substantially lower interest. The greatest advantage is derived by the necessity of engaging distributor and other relationships providing the project its earnings relationships prior to production, as well as much of its needed bank loan collateral. ..最成功、最有影响力的制片公司主要从银行处获得制作融资。对这部影片及其参与者来说,这样做最大的好处不是留存股本和相对低很多的利息,最大的优势来自于发行商和其他关系方可以参与进来,为项目建立制作前的收益纽带,并提供其所需的银行贷款抵押品。….

….Simply stated, bank loans drive producers to develop and produce their pictures in close collaboration with major global territory distributors. This collaboration assures each picture’s maturing in the major global markets over several months preceding its production, and importantly almost guarantees sufficient distribution to return all funds to lending and investment sources and at least some profits. ..简单地说,银行贷款促使制片商与主要的全球发行商密切合作,共同开发和制作他们的电影。这种合作确保了每部影片在制作之前的几个月内就能在全球主要市场达到成熟的状态,而且重要的是几乎保证了足够的发行量,使所有贷款和投资都能回本,并至少获得部分利润。….

….Private Production Financing..私人制作融资….

….Producers using non-bank financing can produce their pictures without major territory collaboration. Releasing motion pictures theatrically is sophisticated and costly. The average motion picture US theatrical release expenses are currently $50 million each picture. Motion pictures are slated on studio release schedules twelve to thirty months in advance. Producers may boast low production costs, but distributors demand pictures with sufficient earnings power to offset each picture’s high cost of brand establishment. ..使用非银行融资的制片人可以在没有主要地区合作的情况下制作影片。在院线上映影片既复杂又昂贵。目前,美国院线上映一部电影的平均成本为 5000 万美元。制作公司得在电影上映的 12 到 30 个月之前做出档期决定。制片人可能以低成本而自豪,但发行商需要电影有足够的盈利能力来抵消品牌建立的高成本。….

….Ancillary sales including electronic games, mobile apps, brand tie-ins, books, soundtracks and merchandise must be set seven to twenty-four months in advance of theatrical release. Producers waiting until after their picture is produced to seek distribution, place themselves in the poorest negotiating position and put their pictures earning’s at risk. ..包括电子游戏、移动应用、品牌搭配、图书、音乐和商品在内的衍生品销售必须在电影上映前7至24个月确定。制片人等到自己的影片制作完成后才去寻找发行渠道,会将自己置于最不利的谈判地位,并使影片收入面临风险。….

….Unless they have distribution relationships already set, typically producers seeking full private production financing lack the business capacity and experience to engage the global marketplace and bank financing’s crucial advantages. ..除非他们已经建立了发行关系,否则完全寻求私人制作融资的制片人通常缺乏参与全球市场的业务能力和经验,也缺少了银行融资的关键优势。….

….Private Development Financing ..私人开发融资….

….Producers using bank financing often use private development funding. This funding delivers them a substantial advantage of being able to option literary properties, attach directing and acting talent and culture multi-territory relationships for their pictures. This funding also enables producers to develop and produce multiple picture slates and own the copyrights to their pictures. ..使用银行融资的制片人通常使用私人开发资金。这笔资金为他们提供了一个巨大的优势,他们可以选择文学作品,为他们的电影增添导演和演员,并为影片附加多地域的文化联系。这笔资金也使制片人可以开发和制作一揽子影片项目,并拥有自己的电影版权。….

….Development funding is usually accomplished through subscribing investors in multi-picture development company offerings. The development company is owned by the production company and the investors. These offerings may prescribe a pre-set purchase price for each developed picture, to be paid by each producing company. The number of pictures developed and the purchase price of each picture may be configured in a manner to return the investors capital before the pictures are produced or distributed, and to provide a safety net allowing for one or more of the pictures to not complete development without destabilizing the development company. ..开发资金通常通过向投资者认购一揽子电影开发公司的项目来实现。开发公司由制片公司和投资者共同拥有。这些发行募资可以为每部已开发的影片预先设定购价,并由每个制片公司支付。在影片制作完成或发行之前,影片开发的数量和每部影片的购价已经初具模型,使得投资者能回本,并提供一个安全网,在其中一部或大多数影片未完成开发的情况下,不会影响开发公司的稳定性。….

….There are a variety of development offering structures, but most are designed to return investors capital and some profits from development fees earned by each picture and also to participate in the completed pictures’ earnings. ..目前有各种各样的开发募资结构,但大多数都是为了促进投资者资金回本,为每部影片所获得的开发费用带来部分利润,并参与已完成的影片收益分配。….

….The Most Important Question To Ask Producers or Their Representatives..向制片人或他们的代表提出最重要的问题….

….Are these investment funds principally for production or development? ..这些投资资金主要用于制作还是开发?….

….If the offering is for production funding and they do not have a US theatrical negative pick-up relationship, or license, and/or other agreements that total more than half the picture’s cost, walk away. Consider these statistics: In its highest distributor pick-up year, the Sundance Film Festival odds were one in four hundred. Each year approximately 2,000 pictures in all categories apply, approximately 200 are accepted and five were picked-up. The lowest year was two pick-ups. That was one in a thousand odds. This is simply unreasonable risk. ..如果是为了制作而进行募资,而且他们与美国院线间没有负面的接受关系,或者没有许可证,以及/或者其它协议,而这些协议的总成本超过了影片成本的一半,那就离开吧。看看这些统计数据:在发行商接受能力最高的年份,影片在圣丹斯电影节 (Sundance Film Festival) 的获奖率为四百分之一。约有 2000 部各类别的影片提出申请,大约 200 部入围,其中 5 部被选中。最低的年份仅选中了两部。这是千分之一的几率,风险也是不合理的。….

….There are two uniquely important celebrity producer attributes that are ironically polar-opposites. The first is a star’s high-value position of both being an audience icon, as well as having exceptional entire to other celebrity acting talent, directors, studio heads, commercial and private funding sources. The offsetting quality is a star’s typical lack of global entertainment business experience. The chasm between these two renders star producers uncomfortably vulnerable – although highly sought after. ..明星制片人有两个独特、重要、且截然相反的特质。第一个是明星的高价值地位,他们既是观众偶像,又拥有其他明星演员、导演、制片公司负责人、商业和私人资金来源的整个关系网。与之相对的是,明星通常缺乏全球娱乐行业的业务经验。这两个特质之间的鸿沟让明星制片人们感到脆弱得不堪一击——尽管他们非常受欢迎。….

….Because of this potent combination of power and vulnerability, star producers, more than any others, are benefited via developing a thorough understanding of all the vital aspects of the global business of motion picture development, production, distribution and finance. This understanding will protect them from poor decisions, enable them to move on opportunities with confidence, facilitate their discernment to select and direct a crack development and production team, allow them to establish achievable short and long term goals and financial projections, and empower them to organize their entertainment empire in harmony with their finest vision. ..由于这种影响力与脆弱性的强力结合,明星制片人比其他任何人都更能从对全球电影开发、制作、发行和融资业务的所有重要方面的深入了解中获益。有了这样的理解,他们能避免做出错误的决定,能有信心继续寻找前进的机会,增强洞察力来选择和带领一支支离破碎的开发和制作团队,建立可行的短期和长期目标及财务预测,并能用他们最好的视野来构建他们的娱乐帝国。….

….To know and use the fundamental principles and practices of the motion picture industry’s most successful producers, provides order, confidence and a predictable profitable outcome for every picture. Each project may not be the creative and financial success hoped for- yet, each can be both produced and profitable. ..了解和使用电影行业最成功制片人的基本原则和做法,能让每部电影井然有序、充满信心并具备可预测的盈利结果。每个项目可能并不像人们所希望的那样在创意和经济上都取得成功——然而,每个项目都能完成制作并获得效益。….