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John W. Cones is a securities and entertainment attorney based in Los Angeles, where he maintains a private solo practice advising independent feature film, video, television and theatrical producer clients. A frequent lecturer on film finance and distribution, his lectures on "Investor Financing of Entertainment Projects" have been presented in Los Angeles, Las Vegas, Dallas, Houston, Boise, Sacramento, Portland, San Francisco, Nashville, Charleston and Washington, D.C. and have been sponsored by the American Film Institute, IFP/West, state film commissions, independent producer organizations and American University. He has also lectured for the USC Cinema-TV School, the UCLA (graduate level) Producer's Program, UCLA Extension and the UCLA Anderson Graduate School of Management.His previous publications include, (a collection of 100 sample film industry agreements, available in hard-copy form or on computer diskettes) , , t, and numerous magazine and journal articles on related topics.
Definitions of some 3,600 terms used in the film industry in the finance and distribution of feature films. In addition, to the definitions, examples of usage and commentary are provided for some terms.A collection of 100 sample film industry agreements relating to acquisition, development, packaging, employment, lender financing, investor financing, production, distribution, exhibition, merchandising and licensing. A comprehensive overview of film finance with a discussion of advantages and disadvantages of forty-three different ways to finance feature films and other entertainment projects. A provision by provision critical analysis of the single most important film industry agreement. The book also provides samples of five different film distribution agreements in its appendix.--An anlayis of the various populations in the diverse U.S. society that have been consistently portrayed in Hollywood films in a negative or stereotypical manner.
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Although there appears to be a tendency for the so-called Hollywood insiders and others who have special knowledge and information about what is really going on in Hollywood to keep quiet, occasionally, someone does step forward to offer limited, but valuable criticism of the business side of the film industry and how that relates to the films that are available to be seen by mass audiences. An honor roll of some of those who have not been intimidated by the Hollywood power structure and who have come forward in recent years to write about their own perspective on the corruption in Hollywood should include Dan Moldea, Kenneth Anger, Pierce O'Donnell, Dennis McDougal, Steven Bach, William Cash, Steven Sills, David McClintick, Michael Medved and Terry Pristin. These are the few who have not kept quiet. Aside from the many quotes included in this book and attributed to such authors and others, the balance of the statements made are my own and represent my opinion only.