Producer?

M

MistaDobalina

Ok so what the hell does a producer do besides market the finished product?

This is in regard to a short film in development. My producer hasn't done jack shit but tell me what I need to change in the script.

I'm perfectly capable of understanding what's marketable and not so why the hell do I have him on board? What's his role?

Should I get my film copyrighted? Should I let him go?
 
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If you don't know what a producer does why did you hire one? If you are doing everything to get the film made you are currently producing. A producer wants a line changed?. You, the director, should be making the creative decisions. This is indie film.
In the most simplistic terms:
Director = Creative
Producer = Business
 
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Hmm...good question. He hasn't done much besides tell me the initial script that I didn't write was immature, which I agreed with. So I rewrote it. It's a much bigger production now and so I need him but...for what I don't really know. We've had communication issues since we're in different cities.

I think I'm just going to put the production on stand still for now. It's too big for me to handle right now all by myself.

Problem is...I made I mistake in creating a casting call and everything. Auditions are supposed to be set for this weekend but now I'll have to tell all these actors that it's going on the backburner? I feel like a jerk. Is that a shitty thing to do?

FURTHERMORE, the producer is mailing me the script with suggestions he wrote on it. Honestly, I feel like telling him to fuck off. Not that I'm unhappy with receiving suggestions on it because...the whole theme of the short is pretty cliche. (It's the only script I got right now, I just want production experience). I'm just upset that he hasn't done shit for me besides tell me what to do about the script.
 
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From: celebrity-network.net

What does a Producer do?

A Producer initiates, co-ordinates, supervises and controls, either on his own authority (entrepreneur producer) or subject to the authority of an employer (employee producer) all aspects of the motion-picture and/or television production process, creative, financial, technological and administrative, throughout all phases from inception to completion, including coordination, supervision and control of all other talents and crafts, subject to the provisions of their collective bargaining agreements and personal service contracts.

There are several different kinds of producers: Executive Producer, Associate Producer, Producer, Production Manager, Line-Producer, Production Coordinator and Production Assistant.
Executive Producer
An Executive Producer supervises, either on his own authority (entrepreneur executive producer) or subject to the authority of an employer (employee executive producer) one or more producers in the performance of all of his/her/their producer functions on single or multiple productions.

Producer - Showrunner
There have been a number of great show-runners in the history of television probably starting with the likes of Milton Berle and moving into the 60's with Carl Reiner and then into the 70's with Aaron Spelling and Stephen Cannell and the 80's and 90's with Darren Star and David E. Kelley. These individuals represent some of the outstanding creators of television shows in the history of television. They're not just writers and producers of television ideas, they are individuals who have proven their weight in the television industry by providing consistently well received, well written and highly rated shows season after season. In the television universe, show-runners have absolute power on the set just as in the feature film arena, directors are in command on their set. Networks generally tend to kowtow to well established show-runners in the hopes of doing an exclusive deal with them. Show-runners have power in the television industry.

The show-runner also has a responsibility to provide the Network with ideas - ideas that will prove worthy of high ratings. As long as an individual generates high ratings, he/she will be a hot commodity.

Associate Producer
An Associate Producer performs one or more producer functions delegated to him/her by a producer, under the supervision of such producer.

THEATRICAL MOTION PICTURES

DEVELOPMENT / PRE PRODUCTION

Conceives of the underlying concept upon which the production is based
Selects the material upon which the production is based
Selects the writer(s)
Secures necessary rights for development and production of the material
Supervises and oversees the development process (i.e. overall process of how the concept was developed into the screenplay)
Secures the initial financing (e.g. studio or independent funding, license fees, loans, etc.)
Serves as the primary point of contact for the financing entity Selects the unit production manager
Supervises the preparation of the preliminary budget
Selects the director
Selects the principal cast
Selects the production designer
Selects the cinematographer
Selects the editor
Approves final shooting schedule
Approves and signs the final budget
Approves and signs the final shooting script

PRODUCTION
Oversees and approves deals for theprincipal components of the production
Supervises the unit production manager
Provides in-person consultation with the director
Provides in-person consultation with the principal cast
Provides in-person consultation with the production designer
Selects the composer
Provides in-person consultation on the set design, set dressings, locations and props
Provides in-person consultation on visual and mechanical effects (if applicable)
Provides in-person consultation on wardrobe, make-up and hair
Manages and approves the weekly cost report
Supervises "on-set" and on a regular basis the day-to-day operation of the shooting company and of all talents and crafts
Supervises "on location" the operations of the location shoot and of talent and crafts
Views the "dailies" and provides in-person consultation with the director and editor

POST-PRODUCTION
Provides in-person consultation with the editor
Views and appraises the director's cut
Participates in-person in the attainment and approval of the final cut
Provides in-person consultation with the composer
Supervises the music recording sessions
Supervises the re-recording sessions
Supervises the titles and opticals process
Provides in-person consultation on the answer print or edited master
Provides in-person consultation on marketing plan and materials
Provides in-person consultation on the plan of distribution/exploitation
Participates in-person in the publicity process
Participates in-person in the exploitation of the production in ancillary markets
 
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Seems you want to get the film done but that you're having one chaos to many. If you want one problem less you can mail the script to me and I'll make sure you have one that is okay when the weekend arrives.

One time offer from me just to help you out.
 
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Touched on in multiple posts, but one of the primary roles (and what this guy should be doing) of the producer (in film) is handle all the business matters. They make the budget, they update the budget, they examine all decisions that involve spending money in relation to the budget.

"well you're going to have to cut the scenes in that location down some because we can't afford to rent it for 3 days".

"Sorry you're going to have to figure out another way to shoot that scene because we can't afford that effect"

etc...

They stop the movie you budgeted at 20K from costing 35K.
 
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From the four posts here, it seem you are the one with a
misunderstanding. You feel this guy with the nice equipment
should be doing more work than he wants to do.

You want him to take care of finding the location for the
audition, he wants to offer script suggestions. You want him do
do specific duties but you don’t want to tell him what those
duties are. The fact is you don’t need this guy as a producer.
You need someone who will take on specific duties. So tell this
guy that you are happy to read his script suggestions and when it
comes time to shoot you would love to use his equipment. Work out
a deal for what the credits will read.

Then forget the thought that he is a “producer”. Find yourself
someone who wants to be a producer. Since YOU have specific ideas
of what a producer should do for your project, make sure you make
all the duties (ALL of them) clear from the start.

MistaDobalina said:
Problem is...I made I mistake in creating a casting call and everything. Auditions are supposed to be set for this weekend but now I'll have to tell all these actors that it's going on the backburner? I feel like a jerk. Is that a shitty thing to do?
Click to expand...

This is all too common. A filmmaker gets so excited about their
movie that they are eager to involve other people. Long before
that’s a good idea. Yep, you’re going to look like a jerk to the
people who are planning to audition. Stuff happens. Cancel the
audition and start looking for someone to be the producer you
need. Then wait to post audition notices (and crew calls) until
you have firm shoot dates.

Making a movie is tough. As you know. Working with other people
is tough. Most of the time the biggest challenge is finding the
right people. The actual shooting of a movie is easy by comparison.
 
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Also, you didn't say -- not that you have to -- how big a production is this? Maybe you don't need a producer in the normal sense. Maybe YOU are the producer.

Who's script is it? Did you write it? Is this 'producer' a screenwriter? Is this part of what you want him to do? I have re-read scripts for friends of mine and I don't call myself their producers. Did you hire this guy? If you did, then he does what you tell him. Like indie said, this is indie film.

If you are doing all the work and your 'producer' isn't doing anything, then the way I see it -- from my independent filmmaker standpoint and all -- YOU ARE THE PRODUCER. If you are the one with final say: YOU ARE THE PRODUCER. If you are the one who will take the hits if everything goes wrong: YOU ARE THE PRODUCER.

You've written the script, you've scouted locations, you've scheduled casting calls. What is this guy doing? As the one who seems to be running things, you have to ask him. If he can't tell you, dump the guy. Yes, be a good guy about it, but if he isn't more involved -- in independent film, everyone wears more than one hat -- then he is just taking up space. Don't accept: "well, I'm thinking about whatever".

In independent film, the last thing you need is people just taking up space. If he can't DO something or doesn't want to do something, cut him loose. Because ultimately when the final product is done, I don't know about you but it would piss me off to have some guy slap me on the back saying: "Yeah, we worked hard on this and we really pulled it off," when in fact "WE" didn't do anything.

Personally, I am more than willing to give credit where credit is due, but not to someone who didn't help...

-- spinner :cool:
 
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It sounds like the blind leading the blind because they're not sure what each role does. Well, since you don't love the script and just want experience, just shoot it. You may not know titles, but you know what needs to be done right? So what? Figure out the titles when you're doing the credits. Someone might even be a Producer/Gaffer, nothing wrong with that.
 
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One question you might ask, from the sort of hobbyist/no budget end, is "Who does the movie belong to once it's finished?" Not in a legal sense but in a relevant sense. I'm a writer/director who works two ways...on projects that I initiate, manage and promote by myself and on projects in collaboration with a producer. On those, he initiates and manages them (sets up auditions/shooting locations, etc) and promotes them. Those that I initiate I consider mine but those where I'm not the producer I consider his. If you're doing everything to make them happen, you're the producer. You can call him "Equipment Lord" in the credits. Or associate producer. But Indie is right...if you've got a jones to make this film happen, make it happen and wrangle everything at the end.
 
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Through years of trial and error, I've learned the hard way that you're the only person with the drive to actually get a project off the ground and through to completion. Then you must realize you can't do it alone... the two force you to be Tom Sawyer with a paint brush in your hand. You must instigate and make people believe that starting a task was their idea... even though you had to drag them kicking and screaming into it.

The alternative is to get massive funding and hire motivated people. At this level, there's alot of trial and error as you adjust your team cutting loose the people who don't advance a project and clinging desperately to the people who have as much drive as you do.

If it were easy, it'd be baseball and everyone would do it.
 
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Uranium City said:
One question you might ask, from the sort of hobbyist/no budget end, is "Who does the movie belong to once it's finished?" Not in a legal sense but in a relevant sense. I'm a writer/director who works two ways...on projects that I initiate, manage and promote by myself and on projects in collaboration with a producer. On those, he initiates and manages them (sets up auditions/shooting locations, etc) and promotes them. Those that I initiate I consider mine but those where I'm not the producer I consider his. If you're doing everything to make them happen, you're the producer. You can call him "Equipment Lord" in the credits. Or associate producer. But Indie is right...if you've got a jones to make this film happen, make it happen and wrangle everything at the end.
Click to expand...

It belongs to the guy (in my case me) who made everybody else sign agreements.
 
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Maybe I'm off base here, but it seems to me the bottom line is: who's coming up with the cash? Are you funding your own project as well as having final say in all key decisions? If so, you are the producer. You can hire a production manager/line producer and first assistant director to take care of the day-to-day details.

If your partner is lining up financing and spearheading the project from start to finish, then he can take credit as the producer. The whole idea of "hiring a producer" is bass ackwards; the producer is the one that does the hiring.
 
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2001 Productions said:
The whole idea of "hiring a producer" is bass ackwards; the producer is the one that does the hiring.
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Sure, in Hollywood. It's a machine. I thought we were talking indie here. I know that's a loose term these days, but damn, we still hire our producers lol.

In Hollywood, the film is not the director's vision until he's hired and told it's his vision.

In indie film, we start with a vision, and go from there. So we hire a producer, or produce it.
 
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Essentially, who initiates the idea and gets it made? Sometimes in our indie world it's the writer/director all the way. Sometimes its a producer who knows he can't write/direct so seeks one out. Sometimes the writer/director can only competently write/direct and little else and needs the help of a producer to acquire locations/manage compilation of signed release forms/set up auditions/rent equipment/find other crew members/send film to festivals.
 
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In my experience at the low/no/micro budget indie level the producer should be the one who takes the logistical burden off of your shoulders. The producer is also the one who believes in your vision; and unless s/he has a great deal of money ("do what I say or there's no money") s/he should only assist you in bringing your project to fruition. S/he will have input on the script in the form of "we just can't afford it", on the talent and crew you use - "I've got a bad (or good) feeling about this guy" - etc.; in other words, the producer is your sounding board who keeps you fiscally on track, helps you with staffing decisions, scheduling, accounting and the like. In other words s/he takes care of business and keeps you grounded, you take care of the artistry. A solid producer/director relationship is much like a marriage; you share a common love - your project - and nurture it to maturity. There will be many compromises, but the project is your child and the producers step-child.
 
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