Chapter 1

The Production Team and Who Does What

INTRODUCTION temperament of the production team is going to permeate

the entire project and affect everything and everyone
“Who does what?” is one of the most-often-asked ques- involved. It therefore behooves you to put together the
tions I get from students, interns and production assistants. very best team you can.
Even people who have been in the business for a while are There are six phases to any film. From conception
sometimes unclear as to exactly who performs which through projected finished product, they are: development,
functions on any given project — especially when it pre-production, production, post production, distribution
comes to producers. Although some duties can only be and exhibition. Although some members of the production
performed by individuals who occupy certain positions, team are involved in more than two phases, everyone on
and others can be accomplished by a number of different the team is involved in both pre-production and pro-
people, depending on the parameters of the project — duction. These phases represent the putting together and
there’s no doubt that production requires a team effort. coming together of all elements necessary to shoot a film.
From where I sit, there’s a core group that constitutes The job responsibilities attributed to members of the
the production team, and they are the: production team will vary depending on how the film is
Producers being released and on the project’s budget, schedule,
Director union status and location. The chart at the end of the
Unit Production Manager chapter illustrates job functions (ranging from acquiring
First Assistant Director the rights to a project through the submission of delivery
Production Accountant elements) and indicates which position or positions gene-
Production Supervisor rally fulfill those responsibilities. And though I can’t
Production Coordinator create a chart big enough to include every step taken to prep,
Second Assistant Director make and wrap a film, this one covers key operations
routinely performed on most shows.
Think of casting directors, location managers, travel coor- And the following sections will explain some of these
dinators, post production coordinators and the studio and pivotal positions in more detail.
network executives assigned to your show as auxiliary
team members.
Unfortunately, it doesn’t always happen this way, but PRODUCERS
the ideal is a team that works well together and where
members understand and support each other’s boundaries On a feature film, there will customarily be at least one
and goals. In other words, should you find yourself with executive producer, a producer, possibly a co-producer
a producer and director (or any other members of the and/or a line producer and possibly an associate producer.
team) who don’t see eye-to-eye and can’t find enough On a one-hour episodic television show, you might see as
common ground to get along — you’re cooked! An adver- many as a dozen producers listed in the credits. And when
sarial relationship within this group becomes a problem it comes to Reality — they have their own producer
for everyone. On the other hand, efforts made to collabo- categories (which you’ll find listed in Chapter 24).
rate on shared common objectives, enhanced by a mutual Years ago, everyone understood what a producer did,
respect for one another, will inspire the cooperation and and there weren’t so many of them. In recent years,
loyalty of the cast and crew, will be helpful in promoting however, producer credits are often confusing and
a pleasant working environment and will favorably influ- nebulous — often handed out like candy at a kid’s party.
ence your schedule and budget. Once you have a viable Producing credits of one kind or another have been affor-
script and either a studio deal or outside financing in ded to key performers, the performer’s manager or busi-
place, this is the group of people who will take these ness partner, to financiers or the middlemen who bring
elements and make them into a movie. The mood and financiers into a specific project. Producer duties often

# 2010 Eve Light Honthaner. Published by Elsevier Inc. All rights reserved.
doi: 10.1016/B978-0-240-81150-5.00001-5 1
2 The Complete Film Production Handbook

overlap, and the credit has at times been afforded to indi- television show throughout all phases from inception to
viduals who have never set foot on a movie set. If you completion. On a theatrical feature, the person with this
happened to see the movie Narc, you might have noticed title is also referred to as the creative producer, because
the multiple producers listed in the credits — nine execu- he or she will be involved with all creative aspects of
tive producers, five co-executive producers, four produ- the project, and — in conjunction with the director and
cers, one line producer, two associate producers and one the studio and/or financiers — will have significant input
consulting producer — 22 in all. I can’t imagine what all on the script, cast and crew selections, production design,
of them did, but it’s unlikely that all 22 were instrumental wardrobe, location selections, editing, musical score, mar-
in the day-to-day running of the production. keting and so forth. This person will often be the one who
In response to this unacceptable and confusing trend, acquires the rights to the story or screenplay and develops
the Producers Guild of America (PGA) has actively lob- the material until it’s ready to shop. He or she will most
bied to standardize producing credits and to limit them likely be the one who sells the project to a studio or pos-
to the individuals who actually perform the duties of a sibly raises the necessary funding. He or she will establish
producer. They’ve instituted a Code of Credits, which the legal structure of the production entity, sign all union
includes guidelines governing the arbitration of credit agreements and contracts, function as liaison between the
disputes. You can go to the PGA’s website at www. production and the studio and be responsible for delivering
producersguild.org to find out more about the Code of the completed film. Working closely with the director, he
Credits and to access their producer definitions and job or she walks a tightrope — striving to protect the intentions
descriptions. of the writer and the vision of the director while balancing
the fiscal constraints of the production’s schedule and bud-
get. The feature producer is the ultimate buck-stops-here
Executive Producer
person — the one who must answer to everyone for every-
A rudimentary definition of an executive producer is thing, but. . . he or she is also the one who gets to collect the
someone who supervises one or more producers in the Oscar when the film wins an Academy Award. If you’d like
performance of all of his/her/their producer functions on to find out more about the job of a producer, pick up a
single or multiple productions. On theatrical features, the copy of Buck Houghton’s book, What a Producer Does —
executive producer may be the person who raises the fund- The Art of Moviemaking (Silman-James Press, 1992), and/
ing, provides the funding, owns the rights to the screen- or Myrl A. Schreibman’s The Indie Producer’s Handbook
play and/or puts the deal together. It could be one of the — Creative Producing from A to Z (Lone Eagle, 2001).
principal actors whose own production company packaged Television producers come in many varieties. A line
and sold the project or (as has been the trend of late) the producer is the individual responsible for making sure a
line producer. It could also be an established producer show is completed on schedule and on budget and for
who’s lending his or her name (and prestige) to a project, overseeing all physical aspects of the production. Staff
so a lesser-established producer can get a film made — or writers and story editors have for a while now been given
an established producer supervising a production at the producer credits as have (in many instances) post pro-
request of a studio. duction supervisors, who at one time were given the title
On a television show, the executive producer (also of associate producer.
referred to as the “EP”) is often the “showrunner” — the
David E. Kelleys and Dick Wolfs of the industry —
Co-Producer
primary providers of television content — the ones who
create, develop, sell and produce a plethora of the shows On a feature, the co-producer could be another title for the
found on the TV and cable networks. In television, an line producer (the definition of which is stated below).
EP would be equivalent to the producer on a feature — This credit could also denote a lesser-established producer
the ultimate authority and liaison between the production who, the first or second time out, must take a reduced
and the network. It could also be a lead actor whose name credit or share responsibilities with the producer. It could
and/or production entity got the project off the ground to be the lead actor’s business partner or manager who comes
begin with. A co-executive producer may very well be a with the package or the person who sold the rights to the
lesser-established individual who brought his project to property to begin with — even though he or she may have
the showrunner/EP who in turn sold it to the network. never produced before.

Producer Line Producer

A producer is basically the one who initiates, coordinates, A line producer is also referred to as the “nuts and bolts”
supervises and controls all creative, financial, technologi- guy or gal — the producer’s right-hand person and
cal and administrative aspects of a motion picture and/or the budgeting-scheduling expert who supervises all
Chapter |1 The Production Team and Who Does What 3

administrative, financial and technical details of the PRODUCTION MANAGEMENT

production — a distinct challenge, no matter what the show’s
budget or genre. This individual is responsible for all the Production management is another term for physical pro-
day-to-day matters that go into keeping the show running duction, and it not only encompasses the studio and
smoothly, while striving to make sure it remains on schedule production company execs who supervise the freelancers
and on budget. The line producer functions as liaison working on their shows, but also incorporates those who
between the crew and the producer and is also answerable are “in the trenches” — the line producers, unit production
to the studio exec (or completion bond company rep) assig- managers, assistant directors, production supervisors,
ned to the show. He or she has to have keen people skills production coordinators (also referred to as production
and negotiating skills and be proficient at putting the right office coordinators or POCs) and assistant production
team together, putting out fires, making decisions on a dime coordinators (APOCs).
and walking a tightrope while balancing the director’s vision, In a nutshell, the production department is a “service”
budgetary considerations, the studio’s concerns, union and department that handles the logistics for the entire com-
guild regulations, the cast and crew’s needs, comfort and pany. It’s the ever-so-important spoke of the wheel that
temperament, the weather, the right locations and innume- enables everything else to keep turning and happening.
rable other details. Whether it’s changing and re-changing It’s exhaustingly hard work — fast-paced and challenging.
the schedule to accommodate an actor’s other commitments, And though not considered creative or glamorous by most,
finding ways to keep a tired crew’s morale up, figuring out those of us who know differently understand that there’s
how to fill a stadium full of people when you can’t afford to something pretty amazing about creative problem solving.
pay for that many extras, knowing how to make one location And as in most other freelance positions, there’s always
look like several or attempting to reduce the budget so the something new to learn, new people to meet and work
picture can be shot locally instead of having to take it to with and new locations to travel to. Production is the
another country, it’s an extremely pivotal position. And behind-the-scenes office responsible for dispersing all
although the duties of a line producer are rarely as ambiguous information, making sure everyone involved has what they
as are other producing categories, the exact screen credit a need to do their job and ensuring that everyone and every-
line producer receives can occasionally be confusing,espe- thing arrives to the set each day — on time and prepared.
cially with the recent trend of giving line producers executive They’re responsible for budgeting and scheduling, as well
producer credit. as for negotiating for and securing a crew, locations,
At one time, there was no designation of line producer equipment and all outside services. They generate and
— only a production manager (or unit production manager distribute scripts, script changes, schedules and a plethora
or UPM) who performed most of the same functions. Today, of other essential paperwork (even though less and less of
a UPM can also be a line producer; although on many pic- it is now being distributed in paper form). They make sure
tures, you’ll find a line producer and a production manager all contracts and releases are signed, and handle all
with the production manager reporting to the line producer. manner of issues relating to insurance, unions and guilds,
safety, product placement, aerial work, clearances and
local, distant and foreign locations. Like a band of gypsies,
Post Production Producer they’re used to setting up mobile and/or temporary, full-
The title of Post Production Producer has been popping up functioning units and offices almost anywhere and in no
on feature screen credits lately, but it’s still a rare occu- time — experts at transporting to and accommodating
rrence and is generally only given to those who make a entire shooting companies on just about any location in
significant contribution to a film. Previously, these indi- the world.
viduals would have been given an Associate Producer or Production also tends to the comfort and needs of its
Post Production Supervisor screen credit. cast and arranges for all cast member perks — all those
extra goodies listed in their contracts (some of which
happen to be the size of small phone books) such as extra-
Associate Producer wide “popout” trailers, cell phones, TV/DVD players,
Associate producer is probably the most nebulous title of microwave ovens, specially prepared food, transportable
them all. It could denote someone who makes a significant gyms, personal trainers — and the list goes on.
contribution to the production effort, or it could be the
producer’s nephew. It could be the person who brought
the producer and the financier together or a producer’s
Unit Production Manager
assistant who’s recently been promoted. At one time, an The line producer and the unit production manager have
associate producer credit on a television show signified very similar responsibilities. Generally the one to prepare
that that person supervised the post production, but that’s the first complete schedule and budget, the UPM must
not always the case any longer. function as a troubleshooter and problem-solver, be able
4 The Complete Film Production Handbook

to think on his or her feet, and have the ability to antici- background actors and photo doubles — making sure
pate problems before they occur. UPMs need to be good everyone is where they’re needed, when they need to be
negotiators and thoroughly understand the production pro- there. They take care of all on-set paperwork, coordinate
cess, because they’re the ones who make the deals, hire the schooling of minor cast members, work closely with
the crew and approve all expenditures, time cards, call Casting, liaison with the production office, issue work
sheets and production reports. Good people skills are a tre- calls, check cast members in and out, order background
mendous asset to UPMs, as they must routinely interact actors and supervise the second second assistant director,
with the entire cast and crew, a myriad of vendors, agents PAs and interns working under their supervision. A sec-
and managers, union reps, studio executives (or investors ond’s rear rarely sees the top side of a chair. They’re the
and bond company reps), film commissioners, etc. They’re first ones to report to set at the beginning of the day, the
quickly blamed when something goes wrong, not always last to get lunch and the last to leave once wrap is called.
appreciated when things go well and are well known for Second assistant directors usually move up to become
having to say “no” more often than others care to hear it. first assistant directors, and some firsts are perfectly happy
Having to work closely with each department to stay on to retain that position throughout their entire careers,
top of what and how everyone’s doing and to make sure because when working on a fairly regular basis, the salary
they all have what they need; they’re also under constant and benefits are terrific. For those who do move up, they
pressure to control and/or cut costs. It’s quite a balancing tend to become UPM/line producers, producers, second-
act, and one must be diplomatic, creative and adept at unit directors, directors and production executives. Work-
finding compromises to do it well. And although their ing as an AD is a great way to learn while amassing an
capabilities must be multifaceted, the skill most valued extensive network of contacts.
by a studio or bond company is a UPM’s ability to keep
a show on (or under) budget.
Production Supervisor
The production supervisor isn’t a traditionally standard
First Assistant Director position, but one that’s continually becoming more com-
First assistant directors are the director’s right arm and the mon. This person is a step higher on the food chain than
liaison between the director and the crew. They’re the ones a production coordinator but doesn’t work as a UPM for
who, once all final determinations are made during pre- various reasons. Either he or she isn’t a member of the
production, prepare and issue a final shooting schedule Directors Guild of America, or he or she is, and the show
and a selection of breakdowns (schedules of extras, stunts, already has a UPM, or the show’s budget won’t accom-
special equipment, picture vehicles, etc.). The 1st AD (“the modate another DGA salary. On some shows, the line pro-
First”) is instrumental in setting the director’s pre-production ducer and UPM are one and the same, and the supervisor
schedule, and in conjunction with the director and UPM, helps to handle the production manager duties. Other
oversees the survey and selection of shooting locations. shows are busy enough and spread out enough to utilize
During principal photography, the First runs the set, is the talents of both a UPM and a supervisor.
largely responsible for ensuring that each day’s work is
completed, directs background action, supervises crowd
control and is the one who yells “Quiet on the set!” Production Coordinator
On episodic television, where the directors constantly The production coordinator sets up and runs the produc-
change, the 1st AD has a great deal of input and more tion office; hires and supervises the APOC and other
of an opportunity to shape the outcome of a show.
office personnel; interfaces with each department head
and assists them with all their needs; helps the UPM by
checking availabilities and assembling the crew; obtains
Second Assistant Director
bids on equipment and services; places orders for film,
During pre-production, the second assistant director works equipment and special services; handles all distant and
closely with Casting, Extra Casting and Locations; goes foreign location travel (if there isn’t a travel coordinator
on tech scouts (“technical” scouts are when specific on the show), accommodations, shipping, customs and
department heads are taken to selected location sites to immigration matters; makes sure all paperwork and infor-
ascertain requirements needed to prepare for shooting at mation is generated and disseminated in a timely manner;
that location); helps with breakdowns and clarifies all communicates with the set, the studio, the vendors, film
needs in as much detail as possible. He or she makes sure commissions, agents, casting, etc.; handles all production-
everything is ready, call times are issued and all paper- related insurance matters; oversees the “taking care of” the
work is in order and packed for the set. During principal cast, making sure their perks are arranged for and ready
photography, they’re responsible for the cast, stand-ins, on time; coordinates the screening of dailies and prepares
Chapter |1 The Production Team and Who Does What 5

Screen Actors Guild (SAG) contracts for day players, stunt moment’s notice and move to the next location. It’s a tough
players and anyone else whose contract is not generated by and often thankless job, but it can also be rewarding.
the project attorney or casting office. The coordinator defi- For a more in-depth interpretation as to how a production
nitely has to be someone who enjoys multitasking, is super team functions, primarily from the perspective of the pro-
organized, detail-oriented, patient, diplomatic, can antici- duction manager and first assistant director, I recommend a
pate the next step and be prepared, is good at problem solv- book entitled The Film Director’s Team by Alain Silver and
ing and has the ability to pack up one’s life and office on a Elizabeth Ward (Silman-James Press, 1992).