Silvers - Secrets of Breaking into the Film Business: Tools and Tricks for Todays Actors, Writers, and Directors

I know how collaborative the process of making a film is, but through writing this book, I came to realize how collaborative the process of writing a book is as well. Its been an incredible journey, and Id like to thank some wonderful people.

First and foremost, I want to thank my wife and collaborator, Marlen Hecht. Without her, this book, from inception to completion, would have never happened. She first came up with the idea of me giving a seminar, How to Break into the Film and TV Industry. She then suggested that I turn it into a book, and she was there, fastidiously and constantly, every step of the way, with her intelligence, passion, beauty, and insight, to make this book better and better.

The DNA of my sons, Forrest and Tyler, is on every page of this book. With their input, knowledge, inspiration, and drive, they made it better than it could have ever been.

If it wasnt for the creative input, love, and support of all three of my family members, I would probably still be in that steam room in Queens.

My remarkable parents, Ben and Sylvia, were always a shining example of how to live and love in life, and for that I am eternally grateful.

My brother, Marc (and his wonderful wife, Ann), both amazing people, who have always been there for me. And growing up with an older brother who was always caring, smart, patient, and loving, and served as my lifelong role model, is a blessing beyond words.

My sister, Shira, and her family, whose constant loyalty and love know no bounds.

Rich Greenberg, a dear friend and collaborator, who spent hours with me on the book, always there, always willing to help, with a grace, intelligence, and good cheer that is so rare to find.

Tina and Kurt Hecht, Stanley and Joan Hecht and their family, Manfred Hecht, Stanley Vincent Pullano, Frank Gruber and Matt Greenberg, for their continued love and support.

My friend and book agent, Laura Yorke, has an integrity, passion, and drive that are just remarkable. Her never-ending commitment and excitement for the book are things I can never thank her enough for. Also to Carol Mann and her whole team at the Carol Mann Agency.

Turning my seminar into a book was an incredibly arduous task, something that would never have happened without the keen intelligence, skill, patience, and experience of Henry Ferris and Cole Hager, my remarkably talented editors at William Morrow/HarperCollins. They challenged me to make this the best book possible, and their work made the book better than I thought it could ever be. And thanks to Matthew Patin and Lelia Mander for such a thoughtful and thorough job of copyediting and overseeing the book, Jessie Edwards and Alaina Waggner for helping get the book out there, and to all the other terrific people at William Morrow/HarperCollins.

Klaus Volkenborn, for being one of the best friends and collaborators a person could ask for. He is missed by everyone who knew him or saw any one of his films.

Ingmar Bergman, for sparking my interest in the film world, Bob Dylan and Bruce Springsteen, whose music always lines the back of my mind and spirit.

Bibby and Prince, and all my dogs from growing up in Brooklyn. I mean actual dogs, not dawgs (part of me still wonders if Bibby is walking around the Bronx right now).

Prince Nigel Soladu, for promising me riches beyond my wildest dreams.

Enrico Palazzo, for his beautiful voice and crime-solving prowess (even though he looks a lot like Frank).

Levain Bakery, for being there through my darkest hours, and Tads Steaks, for the best eleven-dollar steaks in Times Square.

Thanks to everyone in the film and television industry who has made my career possible. Through the good times and the not so good times, the kindness and help that many colleagues have given me over the years has been invaluable and so generous. Again, many thanks.

And most important, to all the past, present, and future filmmakers, this book is for you. There is nothing to stop you now. It is a great industry were in; now make it even better.

And if you, the hesitant or burgeoning filmmaker, still need more support, you can e-mail me at info@deansilvers.com, and I will try my best to respond to all of your questions.

Good luck.

Australia

HarperCollins Publishers (Australia) Pty. Ltd.

Level 13, 201 Elizabeth Street

Sydney, NSW 2000, Australia

http://www.harpercollins.com.au

Canada

HarperCollins Canada

2 Bloor Street East - 20th Floor

Toronto, ON, M4W, 1A8, Canada

http://www.harpercollins.ca

New Zealand

HarperCollins Publishers (New Zealand) Limited

P.O. Box 1

Auckland, New Zealand

http://www.harpercollins.co.nz

United Kingdom

HarperCollins Publishers Ltd.

77-85 Fulham Palace Road

London, W6 8JB, UK

http://www.harpercollins.co.uk

United States

HarperCollins Publishers Inc.

10 East 53rd Street

New York, NY 10022

http://www.harpercollins.com

DEAN SILVERS , JD, MS, PhD, is an award-winning director, producer, and writer of many successful feature films, television shows, short films, and commercials. He has produced numerous acclaimed films, including Flirting with Disaster and Spanking the Monkey , which have made millions of dollars worldwide and starred such actors as Ben Stiller, Scarlett Johansson, Mark Ruffalo, Josh Brolin, and many others. He has worked with such distinguished directors as Academy Award nominees David O. Russell and Bob Balaban, and Academy Award winner Juan Jos Campanella. His films have played at the most prestigious festivals in the world, including Cannes and Sundance. He lives in New York City.

Visit www.AuthorTracker.com for exclusive information on your favorite HarperCollins authors.

Everything You Thought You Knew About the

Film and Television Industry?... Fuhgeddaboudit!

Ive made films. Im making films, not only as a filmmaker, but as a deal maker, marketer, entertainment lawyer, producer, facilitator, distributor, talent evaluator, and more.

I know what its like to be a beginner. To have questions. And to feel uncertain of the right moves to make on pressure-packed movie sets where minutes can mean thousands or millions of dollars. Thats why this book is different. Working closely with major talent and creative mindstaking abstract ideas and story threads and turning them into movieshas exposed me to perspectives, concepts, and inventions of thought that you cant really fathom unless youve been in those trenches.

People love film. Weve all got our favorite movie moments. Iconic scenes that linger in the memory long after the details of the plot and character fade: Natalie Portmans final dance in Black Swan , the title fight in Raging Bull , Steve Carells chest waxing in The 40-Year-Old Virgin , Jessica Chastains look at a dead Osama bin Laden in Zero Dark Thirty , the final lift in Dirty Dancing , E.T. flying a bike against a moon backdrop in E.T. , the way Humphrey Bogart says good-bye to Ingrid Bergman in Casablanca powerful, astonishing sequences that thrill us, move us, and inspire us.

And let us not forget that we are also in a golden age of superb cinematic television. Whether it be Breaking Bad, Mad Men, Homeland, The Office, or Game of Thrones, we are witnessing the sort of high-quality television that we have not seen in years, if ever.

The gravitational pull of such doesnt only spawn celebrity Twitter followers and fawning fan blogsremember, the film and television industry is also an engine of enormous economic horsepower. Over time America has become a nation that imports more goods than it exportsyet the film and television industry is probably our greatest export, so succeeding in this industry can only strengthen our economy. Even in a slow economy, the film and television industry is a soaring American success story, and it continues to experience explosive growth.