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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Alcove Audio said:
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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You put it perfectly.
 
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There are so many different aspects to being a “producer”. I’m not
convinced that three or four (or even twenty) different
definitions can be accurate for all situations.

2001 Productions says hiring a producer is bass ackwards. But for
me, I often hire a producer. As a writer/director I don’t have
the time to also be the producer, so I hire one to to those jobs.
That’s bass ackwards only if you define “producer” in the big
studio sense. I often bring the financing to the project but that
doesn't mean I don’t need a producer.

In many cases the producer is the person with the vision who finds
a script and hires everyone. But not in ALL cases. Maybe
technically I’m the producer and the person I hire is the line
producer, but I don’t have an issue with this credit.

I sure seems like MistaDobalina had expectations of his “producer”
that weren’t expressed. And that caused stress. To me, no matter
what you call people working with you, clear, open communication
is essential.

But there are as many definitions and expectations as their are
projects.
 
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Didn't mean to offend. I just went through this with my latest feature; teamed up with someone who was lining up locations, dealing with paperwork, writing checks, etc. She was the only person taking a salary. She wanted producer credit, but it was my script, my money, and I said no way in hell am I giving someone that credit who is essentially a hired hand -- we settled on Line Producer. I very much agree with Alcove: a producer should have a vested interest in the project equal to my own. If someone doesn't particularly care about how that credit is awarded, they are by all means free to give it to whomever they please, but I work my ass off and go into debt for my productions and, indy or not, at the end of the day it's the producer who collects the Best Picture Oscar.
 
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No offense was taken - by me anyway.

We each have our own requirements. That's a
good thing. And expressing a different method
is what this place is about.

I, too, work my ass off for my productions - I
spend years putting together the financing and
have often gone into debt, I do all the breakdowns
and most of the scheduling, I handle all the
preproduction paperwork and work with SAG (if
needed). Then I hire a producer.

If my movie ever wins a best picture Oscar I will
watch with great pride as the person I hired accepts
the statue.
 
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