PROGRAM DESIGN

Ready to Create the “Go-To-School” for Film & TV Marketing, Distribution & Exhibition

Currently, there are not many university programs that cater to aspiring film & television marketers, distributors and exhibitors.  Additionally marketing, distribution and exhibition companies do not have a wealth of schools where they can find ready-to-work graduates who don’t need the typical on the job training that most young hires require.

Collis sees this as a unique opportunity for any school ready to serve both these underserved markets; a chance to create a program centered on the vast number of jobs in film and TV marketing, distribution and exhibition. 

ASU’s film program is uniquely suited to take advantage of this opportunity.  With the fastest growing program within the country’s largest university, ASU’s film program has a market who has already arrived at their door.  Many of the ASU film students want to be in the entertainment field but don’t want to be directors, producers, writers, cinematographers, and the other professions typically taught at traditional film schools.  And with such a large influx of students, the program has an imperative to develop in order to accommodate these students and to deliver an exceptional educational value.  This program is the opportunity to do just that.

Still in it’s initial stages, this program is being designed by Collis.  He intends to leverage his extensive industry network to draw top executives to work alongside experienced professors creating a truly exception educational experience that is grounded in professional reality.

An example of this strategy is the centerpiece of the program, a semester long course titled The Life Cycle of a Film / TV Show which Collis is developing with veteran producer Judd Payne of Wind Dancer Films (Roseanne, Home Improvement, What Women Want).

Anatomy of a Film / TV Show - A Semester Long Case Study

Over the course of a semester, students would study each critical aspect of a single film or television show from inception to exploitation.  Each class session would focus on of these one distinct aspects such as writing/development of the script, packaging (i.e. bringing the talent and financing required to move the project forward), directing/creative (i.e. conversations with the director, the cinematographer, etc.), physical production (i.e. shooting and the line producers POV), post-production, the studio executive perspective, distribution, marketing, exhibition, and ancillary (i.e. DVD, online, etc.).

The executive or individual crucial to each area would visit the class to share their perspective on the project, giving students a truly 360 degree view of the entire process of creating and exploiting a film or television property.

Students would have access to materials related to the chosen project such as original treatments and scripts, budgets, marketing materials, details on marketing spends, art work related to the project, rejected trailers, ad campaigns, distribution strategies, etc.

This course would also be strongly recommended, (if not required) for film production students.  This would promote interaction across disciplines within the entertainment studies umbrella, and, hopefully, lead to collaborations between students in these various fields.

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