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EntertainmentIndustry.name
Above-the-line — Creative talent (actors, directors, producers, and writers) OR the part of the budget which includes costs and fees associated with the above talent.
Act — A collection of scenes forming one of the main sections of a script. In teleplays, acts are explicitly indicated in the script (e.g. “end of act one”); in features, they are not. One-hour TV dramas are usually broken into four acts, plus a teaser, coinciding with commercial breaks. Half-hour sitcoms fall into two acts, plus a teaser. Television movies are divided into seven acts. Since screenplays never show act breaks, an “act” is really a theoretical concept. Screenwriters talk about three acts, meaning “the beginning," “the middle,” and “the end.”
Act break — The end of an act. Generally, it’s a highpoint in the story in which something important occurs that thrusts the audience into the next chapter or stage. In television, an act will end just before a commercial break. In stage musicals, the act break is usually preceded by a big song to keep people humming through intermission.
Antagonist — A major character in a screenplay whose values or behavior conflict with those of the protagonist. Sometimes, the antagonist does not have to be personified, but can be the elements, society, etc.
Attachment — A piece of talent (actor, director) that has committed to being in/working on a film.
Back-end — Deferred payment of fees and/or percentage of net profits paid to certain above-the-line players once a film turns a profit.
Base camp — During production, the area where most of the trailers are located. Sometimes base camp is several miles away from the set.
Below-the-line — Collectively refers to all the workers on a film crew that are not considered “above-the-line” (creative) talent; ALSO refers to the part of the budget that includes costs and fees associated with these cast and crew members (as well as materials, props, sets, locations, catering, vehicles, office, legal, etc.)
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