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year with a fairly identifiable staff." Under the new system which replaced it after 1955, filmmaking became a "short-term film-by-film arrangement" in which a producer is expected to assemble an entirely new cast and crew for each project, and rent the means of production from contractors only as needed.
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in which a studio owned all the means of production (that is, reusable physical assets like sound stages, costumes, sets, and props) and carried large numbers of cast and crew on its payroll under long-term contracts. Under the old system, "a producer had a commitment to make six to eight films per
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Therefore, if a film does well at the box office and appears to have established a winning formula with a particular cast, crew and storyline, one way to minimize these transaction costs on sequels is to reassemble as much of the team as soon as possible (before anyone dies, retires, or commits to
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in their human resources. Studios shifted from a emphasis on "speed in production" to "more cooperative pre-shooting planning." But now, when they want a particular person for a film, that person may be unavailable because they are already committed to another film for another production company
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because they not only have to get the right person at the right price, but at the right time, and if they cannot get that person, they have to scramble to locate a satisfactory substitute. All successful directors and producers have certain favorite cast and crew members whom they prefer to work
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with, but that is of no help to the studio if that perfect character actor, costume designer, or music composer is already fully booked. Compared to the previous system, directors and stars spend a much "larger part of their time negotiating each new film deal."
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The advantage of the current system is that film studios no longer have to bother either with paying people who are not involved in a current film production, or with green-lighting films very frequently so as to efficiently exploit
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a second and a third film at the same time and film them back-to-back. In a case where a lengthy novel is split into multiple installments for its film adaptation, those installments will usually be filmed back-to-back.
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Filming back-to-back also minimizes the problem of actors visibly aging between sequels which do not have significant time gaps written in between them.
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for that particular time slot. In turn, for every single film, studios (and ultimately their investors, shareholders, or backers) end up bearing massive
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are played by actors who appear to be a decade older—in order to explain why he filmed the second, third, and part of the fourth film of the
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other possible scheduling conflicts) and sign them to a single production that will be edited, released, and promoted as multiple films.
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156:(1974). The cast was quite unhappy to be informed after the fact they had been working on two films, not one. As a result, the
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84:, who move easily from one project to the next and do not have much loyalty to any particular studio, as long as they get paid.
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80:, employment is now project-based, transitory, and "based on a film not a firm." Almost all participants in the industry are
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introduced the "Salkind clause," which specifies that actors will be paid for each film they make. Salkind and his son
310:"James Cameron says he shot the Avatar sequels at the same time to avoid the 'Stranger Things effect'"
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is the practice of shooting two or more films as one production, thus reducing costs and time.
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genres. Production companies may choose, if the first film is a financial success, to
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The
Classical Hollywood Cinema: Film Style & Mode of Production to 1960
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The
Classical Hollywood Cinema: Film Style & Mode of Production to 1960
336:"Has Filming A Movie And Its Sequel Back-to-Back Ever Had a Good Result?"
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150:(1973) to split the project in two; the second film was released as
269:"Chapter 26: The package-unit system: unit management after 1955"
222:"Chapter 26: The package-unit system: unit management after 1955"
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The pioneer of modern back-to-back filmmaking was producer
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Jackson, Gordon; Anders, Charlie Jane (31 July 2015).
369:"Film View: The Salkind Heroes Wear Red and Fly High"
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are common in the film industry, particularly in the
287:. New York: Columbia University Press. p. 334.
240:. New York: Columbia University Press. p. 330.
127:effect"—where characters who are supposed to be in
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405:. Jefferson, NC: McFarland. p. 77.
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191:List of films split into multiple parts
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144:, who decided during the filming of
308:Wang, Jessica (December 20, 2022).
186:List of films produced back-to-back
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121:referred to this problem as the "
367:Salmans, Sandra (17 July 1983).
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18:Back to back film production
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433:Film and video terminology
87:This differs from the old
27:Filming two movies at once
399:Scivally, Bruce (2008).
137:series back to back.
314:Entertainment Weekly
147:The Three Musketeers
31:Back-to-back filming
164:went on to produce
158:Screen Actors Guild
153:The Four Musketeers
373:The New York Times
281:Thompson, Kristin
234:Thompson, Kristin
142:Alexander Salkind
107:transaction costs
16:(Redirected from
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319:January 30,
173:Superman II
129:high school
82:freelancers
65:green-light
197:References
102:sunk costs
78:filmmaking
76:In modern
72:Rationale
61:adventure
37:Trilogies
427:Category
283:(eds.).
267:(1985).
236:(eds.).
220:(1985).
180:See also
167:Superman
57:thriller
340:Gizmodo
45:fantasy
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379:26 May
345:26 May
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134:Avatar
59:, and
53:horror
49:action
271:. In
224:. In
407:ISBN
381:2020
347:2020
321:2023
289:ISBN
242:ISBN
170:and
162:Ilya
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