Razvoj celovečernega igranega filma do produkcije

Diplomsko delo govori o filmskem ustvarjanju od razvoja ideje filma do začetka produkcijske faze oziroma snemanja filma. Posveča se natančnemu raziskovanju vseh korakov, ki jih je treba opraviti. Na začetku dela predstavimo idejno fazo, sledi faza razvoja, kjer opišemo ključne naloge od pisanja scenarija do načrta distribucije, razčlenitve scenarija, ustvarjanja proračuna in financiranja filma. V naslednjem delu opišemo fazo predprodukcije, kjer raziskujemo osnovne značilnosti sestave produkcijske in tehnične ekipe, izbora lokacij in izbora igralcev. Teoretični del zaključimo z razlago zavarovanj in pravnih dokumentov, potrebnih za ustvarjanje filma. Nadaljujemo s kvalitativno primerjavo, ki je bila opravljena z intervjuvanjem štirih slovenskih producentov nedavnih celovečernih filmov. Intervjuji so bili opravljeni z Marino Gumzi, producentko filma Zgodbe iz kostanjevih gozdov, Andražem Jeričem, producentom filma Posledice, Ido Weiss, producentko filma Ne pozabi dihati, ter Danijelom Hočevarjem in Uršo Menart, producentom in režiserko filma Ne bom več luzerka. Diplomsko delo zaključimo s povzetimi informacijami o ustvarjanju filma do produkcijske faze, ki so bile pridobljene z opravljenimi intervjuji.The diploma thesis deals with filmmaking from the development of the idea for the film to the beginning of the production phase. It focuses on thoroughly exploring all of the steps that need to be taken in the development and pre-production phase. The thesis opens with a study of the conceptual phase, followed by the development phase, where it describes the key tasks, ranging from writing the script to the distribution plan, breaking down the script, creating a budget and financing the film. The next phase is the pre-production phase, where the thesis explores the basic capabilities of the production and technical teams, the selection of locations and casting. The theoretical part concludes with an explanation of the insurance and the legal documents required for making a film. The theoretical part is followed by a qualitative comparison of the pre-production of four recent, successful Slovenian feature fiction films. Interviews were made with Marina Gumzi, producer of the film Stories from Chestnut Woods, Andraž Jerič, producer of the film Consequences, Ida Weiss, producer of the film Don\u27t Forget to Breathe, and Danijel Hočevar and Urša Menart, producer and director of the film My Last Year as a Loser. The thesis concludes with a summary of information on making films up to the production phase, which were obtained through the interviews