I want to start by saying that I don’t take offence to anything anyone is saying here.
I suppose that my motives for attaching myself to TV could be confused as something I've chosen for the sake of getting paid (profit is, as stated a different term in this example) But my motivation is, and always has been driven by a desire to make great material. If I was ever to make the perfect TV show I might as well quit. There would be very little, or nothing, left for me to do in this business.
My work is not weighed in the value of my pay stub, but rather in my ability to tell a story the way it should be told. The fact that I get paid for it means two things to me. 1) I can make a living doing what I love, 2) I get the rare opportunity to do it more often. Number 2 affords me the chance to improve my craft. (read: If I was ever to make the perfect TV show…etc.)
The thing that has made me marketable (as a director) to producers is what I bring to the table creatively. There are plenty of directors who could do it faster than me, and I've worked with some of them. The thing that makes me marketable (as a producer) to producers is derived from exactly the same skill set. I have had debates many times with Exec- producers and PM's, that is, my objective is not to bring the project in for the least amount of money, but rather, how do I cause that money to be spent in the best possible way.
Of course I can only speak for the Canadian perspective but outside of the post TV market sales, producers fees are generally capped here. And outside of the acceptable charge backs in certain line items the incentive is more or less about getting the money on the screen and not in the producers pockets. Of course this does not ignore the fact that profit is a desired outcome for Canadian TV producers ie: compact devices, foreign sales, music compilations etc. but that end of things is always a crap shoot. If I'm included in those proceeds then it's a bonus, but more often than not, that is not the case.