How much power does a producer have over a director?

H

harmonica44

I was thinking of breaking into the movie business by directing, but after practicing around with it, the past few months, maybe it's not for me. It's also difficult to learn from other filmmakers since no movies are being shot where I live, and almost no sets to get onto. So I was thinking, instead of directing why not I just write and produce my first feature, to break into the business, and hire a director.

My screenplay though, is extremely dark and controversial, much more than most movies. I told the story to four friends of mine, and they said that most filmmakers probably wouldn't even wanna touch it. And even if they did touch it, the extremely dark ending, would be changed by most producers. I then showed them the 11 page treatment for it, and they said they were impressed, that for such a dark controversial story, it has a lot of substance to it.

If I do hire a director, I will be hiring a newcomer who has probably never done a feature before. Now I'm not saying this is true for everyone, I am just going by observations I have made from movies and what filmmakers have had to say. It seems a lot of young directors, just starting out really prefer style over substance.

But my script needs to be directed with the most substance, cause anything less, will make it exploitative and offensive. So as producer I will probably have to tell him how to do a lot of the shots, just so the material is given as much substance as possible and is done right. So how much control would I have in that area? Thanks.
 
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CamVader said:
A producer micromanaging a project to that extent would have a hard time getting or keeping a decent director.
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The best kind of producer is the one you don't know is there. :) Seriously, dude you may want to one man show it for awhile. And if this material is as sensitive as you say maybe you should shoot a few other shorts first and test them in front of an unbiased audience.

In filmmaking haters are your best friends. :)
 
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I'm talking about people who live in small cities around me, I have seen there work online. Sorry for the confusion. They a few miles around my city, but not in mine. But when I said that before, I only new one who lived near me. Now I know three so far.
 
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jayelowe said:
The best kind of producer is the one you don't know is there.
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Aint that the truth!

You need to learn more about directing by experiencing it for yourself, if you knew about directing there is absolutely no way you'd be commenting so intensely on promoting a "producers dictatorship" :P

Not to say I've ever had a problem with any of the producers I've worked with- they have all been excellent, however I couldnt allow my vision to be changed by a producer, I'm too precious with my work.

Sounds like you need to get the bug for writing/directing. You asked earlier if many directors change scenes scenarios, well I can answer that for you in my experience and say yes. In my last short, I shot everything in a day, a really intense shoot. I ended up tearing bits of the script out, ignoring parts and rewriting areas on the day, not due to time constraints- we were bang on schedule, but its only when youre there behind the camera, interacting with the actors, seeing how the shots are going down, that there is sometimes a difference between reading on paper and seeing a delivery.

I can see youre very precious about your script, thats a great thing and I can relate to that- but the chances are it will change when it comes to the shoot. This is where your knowledge of direction and post production need to improve and I mean that in the nicest way. Stick to directing!
 
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If the script is written well, then all the information the director needs is already there. Most directors I know who are good at what they do collaborate with their DP over how to get the shot. That's why you choose your director wisely. And why the director is usually the one to choose the DP. Shot lists and storyboards are a collaboration between the director, DP, and sometimes the screenwriter (if there is abiquity in the script). The only involvement I've seen from the producer is questions regarding resource requirements and timelines. My experience in filmmaking is that the producer has the least creative job and is there only to see that things get done, not how they are done.

By the way, most producers rise thru the ranks of filmmaking. Some are actors with years of experience in film, but most are filmmakers who have developed their chops over years and years and have, over time, developed a solid reputation with actors and crew who respect the filmmaker enough to commit to their project. Yes, I have been on sets with producers who have little or no experience making films. Those projects usually end up never being finished, or have been so poorly franskensteined together, the final product is not watchable. Either way, I collect my pay from them, smile, and add to my list of "How not to do things."

I think everyone understands you're desire to make films. What has become obvious is that you are suffering from "analysis paralysis", and perhaps are more in love with the "idea" of being a filmmaker, that actually picking up a camera, shooting a short scene, and then putting it out there for critique.

harmonica44 said:
I see. Well I guess I would just have to make sure that the director understands substance over style. Do directors often want or feel they need to change scenes or scenarios at all?
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harmonica44 said:
I was thinking of breaking into the movie business by directing, but after practicing around with it, the past few months, maybe it's not for me. It's also difficult to learn from other filmmakers since no movies are being shot where I live, and almost no sets to get onto. So I was thinking, instead of directing why not I just write and produce my first feature, to break into the business, and hire a director.

My screenplay though, is extremely dark and controversial, much more than most movies. I told the story to four friends of mine, and they said that most filmmakers probably wouldn't even wanna touch it. And even if they did touch it, the extremely dark ending, would be changed by most producers. I then showed them the 11 page treatment for it, and they said they were impressed, that for such a dark controversial story, it has a lot of substance to it.

If I do hire a director, I will be hiring a newcomer who has probably never done a feature before. Now I'm not saying this is true for everyone, I am just going by observations I have made from movies and what filmmakers have had to say. It seems a lot of young directors, just starting out really prefer style over substance.

But my script needs to be directed with the most substance, cause anything less, will make it exploitative and offensive. So as producer I will probably have to tell him how to do a lot of the shots, just so the material is given as much substance as possible and is done right. So how much control would I have in that area? Thanks.
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Stop worrying about job titles and make the damn movie. If you're calling the shots you're directing. If you need help with time management and you need someone to call "Action" get and AD. If you want to give creative control to someone else that is up to you.
 
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indietalk said:
Stop worrying about job titles and make the damn movie. If you're calling the shots you're directing. If you need help with time management and you need someone to call "Action" get and AD. If you want to give creative control to someone else that is up to you.
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Well there you have it folks, the big guy has talked. and so i quote

"Go and make the damn movie!"
 
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