From Publishers Weekly
Labeled the "godmother to the politically committed film" by the New York Times, producer Vachon, head of NYC's Killer Films, emerged as one of the key players in the current independent film movement with such movies as Kids, Safe, Go Fish, I Shot Andy Warhol and Velvet Goldmine, scheduled by Miramax for November. For this guided tour through the world of low-budget independent filmmaking, Vachon teamed with Slate film critic Edelstein to "tell you what producers do and how you can do it too." With 15 years of experience, she's writing about what she knows?the full filmmaking process from the pitch and story rights to script development and financing through casting, costs, crews, computer schedules and storyboards, scouting locations and constructing sets, editing and postproduction, deals and distribution, film fests and marketing. Covering all aspects, she outlines factors that make "the difference between a dream shoot and a campfire-ready tale of terror." This is no dry textbook, since even chapters crammed with facts and information communicate a kinetic enthusiasm. Diary excerpts and 50 b&w photos punctuate the blitz on budgets and breakdowns, and other industry pros toss in short sidebar observations. Entertaining, emotional anecdotes abound, contrasting negotiation nightmares with Vachon's desire to protect her directors, actors and associates. Although the prose style's jump-cut jumble might leave some yearning for a more conventional chronological structure, Vachon reaches readers on such a level of intimate intensity it's evident that her future books will be green-lighted. Copyright 1998 Reed Business Information, Inc.


From Library Journal
This hybrid book works exceptionally well on two levels: as a memoir of an artist and as a brass-tacks instruction manual. In her first book, co-written with film critic Edelstein, Vachon offers insights into her work on such indie films as Safe, I Shot Andy Warhol, and Velvet Goldmine and provides practical advice for aspiring film producers. Excerpts from her diary describe the myriad problems that crop up when shooting on a shoestring budget. But Vachon remains savvy and committed. Her tone is one of determination; in fact, she seems to relish her position away from the bright lights and high-stakes pressure of Hollywood. Highly recommended for most collections.?Thomas J. Wiener, Editor, "Satellite DIRECT," Vienna, VACopyright 1998 Reed Business Information, Inc.


Book Description
Complete with behind-the-scenes diary entries from the set of Vachon's best-known fillms, Shooting to Kill offers all the satisfaction of an intimate memoir from the frontlines of independent filmmakins, from one of its most successful agent provocateurs -- and survivors. Hailed by the New York Times as the "godmother to the politically committed film" and by Interview as a true "auteur producer," Christine Vachon has made her name with such bold, controversial, and commercially successful films as "Poison," "Swoon," Kids," "Safe," "I Shot Andy Warhol," and "Velvet Goldmine."Over the last decade, she has become a driving force behind the most daring and strikingly original independent filmmakers-from Todd Haynes to Tom Kalin and Mary Harron-and helped put them on the map.So what do producers do? "What don't they do?" she responds. In this savagely witty and straight-shooting guide, Vachon reveals trheguts of the filmmaking process--rom developing a script, nurturing a director's vision, getting financed, and drafting talent to holding hands, stoking egos, stretching every resource to the limit and pushing that limit. Along the way, she offers shrewd practical insights and troubleshooting tips on handling everything from hysterical actors and disgruntled teamsters to obtuse marketing executives.Complete with behind-the-scenes diary entries from the sets of Vachon's best-known films, Shooting To Kill offers all the satisfactions of an intimate memoir from the frontlines of independent filmmaking, from one of its most successful agent provocateurs-and survivors.


About the Author
Christine Vachon has emerged over the last ten years as one of the key leaders of the New York independent film movement. She lives in New York City, where she heads her own company, Killer Films.

FROM THE PUBLISHER

Hailed by The New York Times as the "godmother to the politically committed film" and by Interview as a true "auteur producer," Christine Vachon has made her name with such bold, controversial, and commercially successful films as 'Poison,' 'Swoon,' 'Kids,' 'Safe,' 'I Shot Andy Warhol,' and 'Velvet Goldmine,' Over the last decade, she has become a driving force behind the most daring and strikingly original independent filmmakers -- from Todd Haynes to Tom Kalin and Mary Harron -- and helped put them on the map.

So what do producers do? "What don't they do?" she responds. In this savagely witty and straight-shooting guide, Vachon reveals the guts of the filmmaking process -- from developing a script, nurturing a director's vision, getting financed, and drafting talent to holding hands, stroking egos, stretching every resource to the limit and pushing that limit. Along the way, she offers shrewd practical insights and troubleshooting tips on handling everything from hysterical actors and disgruntled teamsters to obtuse marketing executives. Complete with behind-the-scenes diary entries from the sets of Vachon's best-known films, Shooting to Kill offers all the satisfactions of an intimate memoir from the frontlines of independent filmmaking, from one of its most successful agent provocateurs -- and survivors.

FROM THE CRITICS

Publishers Weekly

Labeled the "godmother to the politically committed film" by The New York Times, producer Vachon id head of NYC's Killer Films. For this guided tour through the world of low-budget independent filmmaking, Vachon teamed with Slate film critic Edelstein to "tell you what producers do and how you can do it too." With 15 years of experience, she's writing about what she knows--the full filmmaking process from the pitch and story rights to script development and financing through casting, costs, crews, computer schedules and storyboards, scouting locations and constructing sets, editing and postproduction, deals and distribution, film fests and marketing. Covering all aspects, she outlines factors that make "the difference between a dream shoot and a campfire-ready tale of terror." This is no dry textbook, since even chapters crammed with facts and information communicate a kinetic enthusiasm. Diary excerpts and 50 b&w photos punctuate the blitz on budgets and breakdowns, and other industry pros toss in short sidebar observations. Entertaining, emotional anecdotes abound, contrasting negotiation nightmares with Vachon's desire to protect her directors, actors and associates. Although the prose style's jump-cut jumble might leave some yearning for a more conventional chronological structure, Vachon reaches readers on such a level of intimate intensity it's evident that her future books will be greenlighted.

Library Journal

This hybrid book works exceptionally well on two levels: as a memoir of an artist and as a brass-tacks instruction manual. In her first book, co-written with film critic Edelstein, Vachon offers insights into her work on such indie films as Safe, I Shot Andy Warhol, and Velvet Goldmine and provides practical advice for aspiring film producers. Excerpts from her diary describe the myriad problems that crop up when shooting on a shoestring budget. But Vachon remains savvy and committed. Her tone is one of determination; in fact, she seems to relish her position away from the bright lights and high-stakes pressure of Hollywood. Highly recommended for most collections.--Thomas J. Wiener, Editor, "Satellite DIRECT," Vienna, VA

Caren Weiner Campbell

. . .[A] hard-nosed guide to filmmaking. . . .If what you really want to do is produce, this book can help you. . . -- Entertainment Weekly

Steve Kandell

Everyone loves a rebel, the brash young outsider who spits in the face of the establishment. It's an image promoted by the movies and happily co-opted by filmmakers themselves. Indie film producer Christine Vachon's new book, Shooting to Kill, is a self-congratulatory cautionary tale, but she can be forgiven a little bit of gloating. Like "punk," the word "independent" has lost its meaning, but Vachon deserves the label as much as anyone. She has produced such low-budget, taboo-busting films as Todd Solondz's "Happiness," Larry Clark's "Kids" and Todd Haynes' upcoming glam-rock epic, "Velvet Goldmine."

When you compare Vachon with the filmmakers of the late '60s and '70s -- as witnessed in Peter Biskind's recent bestseller Easy Riders, Raging Bulls -- their agendas are similar: Both needed to work outside the system to maintain their artistic integrity. Today, however, Vachon makes entire films for the amount of money that Francis Ford Coppola spends at Chez Panisse.

Vachon's allegiance to the indie scene is the product of sheer necessity. "Unless someone gives me forty million dollars to make a film about bisexual rockers, or a sympathetic pedophile, or a woman who wakes up one day and realizes that modern society is poisoning her to death," she writes, "it's the world in which I'll stay." Given the recent flap over the distribution of "Happiness," it's doubtful that $40 million will arrive anytime soon.

The book itself is somewhat schizophrenic, as if Vachon and co-author David Edelstein -- film critic for Slate -- weren't sure whether they were writing for the cognoscenti who patronize Vachon's movies or for neophytes who can't tell a dolly grip from a best boy. The book often serves as a how-to (and how-not-to) manual for aspiring producers, and Shooting to Kill doesn't gloss over the less-than-glamorous reality of making films. (I know this reality firsthand, having worked for Vachon as an assistant director on "Kiss Me Guido.") Interspersed are diary excerpts detailing more esoteric problems with the financing and production of "Velvet Goldmine," Vachon's most ambitious work to date. The nightmares that Vachon illustrates -- everything from scheduling snafus to ego conflicts to damaged negatives -- are not unique; they occur on every film set, a fact she does a commendable job of stressing. Vachon's book might do more to dissuade aspiring filmmakers than encourage them, and given the glut of subpar low-budget films out there, this could be its most valuable service.