The Film Producer

Jobs such as directing, writing and acting are all well defined in the entertainment
industry. Producing on the other hand is a different story, and adding titles such as
associate, executive and supervising just make it even more confusing. Richard Zanuck
once stated, "The producer is like the conductor of an orchestra. Maybe he can't play
every instrument, but he knows what every instrument should sound like."

In general, the producer is responsible for turning creative ideas into practical or
marketable concepts. They are also the person(s) who get studios to finance projects.
Because producers are essentially supervisors at whatever level they produce, there is no
union or guild that governs the jurisdiction of producing like what is seen in other
professions such as writing, directing or acting. There is also no special school one can
attend to learn the skills of being a successful and effective producer like there is for the
other professions in the entertainment industry.

In most cases, the producer is in charge of bringing the production together, bringing in
the creative elements and taking care of the numerous and frequent problems that may
occur with film development and production. For those that actively produce, this can
mean any number of activities including but not limited to: hiring the writer to write the
original screenplay, selling the script to a studio, signing the major actors, doing the
budget, hiring the crew, and making sure the set gets made on time. It is very clear that a
single person cannot perform all these tasks. Likewise, different people prefer to do
different tasks, but all perform some facet of a producer's overall responsibility; getting
the motion picture developed, mounted and sold.

Those who take on all three tasks: writer-producer-directors, immerse themselves in the
project, and almost totally control the quality of the final product

In movie credits, there are a lot of titles with the word producer (or some variation) listed.
They can be typed into many different categories according to the nature and extent of
their responsibilities. Some of these categories are Staff Producers, Independent
Producers, Executive Producers, Associate Producers and "producer hyphenates."
Production companies and or organizations employ Staff producers on continual bases.
Often, they are assigned to specific projects, and often specialize in specific types of
films. Independent producers are responsible for the bulk of theatrically released films,
and will be discussed in more detail later.

An Executive Producer title is invariably the least descriptive. Generally, unless a person
is directly involved in the film, you will not know exactly what task this person has
performed. This title could be used to describe the person who raised every last cent to
get the film made, or could be a person who made one phone call to a studio and then had
nothing further to do with the project. The title could be for a person who was on the set
constantly making sure the budge t was kept intact, or simply for an actor who wants a
little more credit for the film.
Associate Producer on the other hand often refers to a person who physically produced
the project, making sure everything happens according to schedule and handling all
production difficulties and problems that may come about once the money is allotted.
Producer hyphenates combine the role of producer with other roles such as writing and or
directing. Those who take on all three tasks: writer-producer-directors, immerse
themselves in the project, and almost totally control the quality of the final product
(along, of course, with the studio itself).

Finding and Acquiring a Property

The producer is almost always the first person on the project, even before the writer. It is
very likely that the producer does not come up with the original idea for the screenplay,
but they may see a play or read a book and believe that it would make a wonderful film.
The first decision of a producer (and probably the most crucial) is to get involved. Once a
commitment is made, a screenwriter needs to be found.

Ideally, a producer would find a ready-to-shoot script that could be taken directly to the
studio, but this rarely occurs. Normally (if the screenplay is prewritten), the ideas will be
there and the elements will be good, the script just needs a little work to become
outstanding. In any case, the producer must obtain the rights of the material before they
can proceed with making a film.

Rights are obtained by purchasing the material or by an option agreement (which

provides the producer the exclusive right to purchase the material). The reason for this is
that most published material is copyrighted and any use of the material without the
author's consent could bring about major lawsuits. There are exceptions however, such as
the works of Shakespeare or Charles Dickens. These works exist in the public domain
and may be used to make a motion picture without having to acquire any rights to them.
These days, at the time of publication most novels are automatically offered for
production. Although this is the case, very few are actually optioned or purchased by a
studio.

If a producer wants to find out where the picture rights currently stand for a piece of
material, they can easily ha ve a copyright search performed. Such firms as Thompson
and Thompson Copyright Research Group (located in Washington DC) specialize in such
searches. Performing such a search would reveal the entire chain of title of the material in
question.

If a producer is serious about optioning or purchasing the material, this type of search is
crucial. Once a producer has determined what material he would like to pursue and the
rights status has been ascertained, the next step is to try and option those rights. By
optioning the material, the producer is gaining the right to acquire something by the
subsequent payment of additional money. In most cases, a purchase agreement is
negotiated at the same time as the material is optioned. At this time, numerous rights
(including publication, television, videocassette, dramatic and merchandising) are
discussed which all pertain to the future prospects of the material.

The producer will find out quickly that to option and purchase a script, a lot of legal
matters will be involved. Option and purchase agreements are far from casual documents,
and a lawyer's involvement may prove very helpful. Lawyers are obviously not cheap,
but in the long run having a lawyer negotiate the contracts for you will save the producer
a lot of time, confusion and frustration. An experienced entertainment lawyer will know
exactly how to state things on paper and will be able to offer the producer many business
guidelines to follow.

To protect the film and its supporters from claims of copyright infringement that may
result after the film is made, an insurance policy known as an errors and omissions policy
(E and O policy) is normally drawn up by an attorney and carried by the picture. In most
cases, if a claim of infringement is brought forth, it can be successfully defended without
ever going to trial. The leading firm involved in reviews of such material is de Forest
Research, Inc, based out of Hollywood California. Not only do they review your work,
but also they have an extensive library that can prove useful to the writer during the
initial scriptwriting.

It is crucial to either have the option renewed or the option exercised. If the option
expires, all rights to the material will be lost.

For the producer, protection of their work can be provided by several different means.
One way is to copyright the material the producer himself is working on. Another option
is to join the Writer's Guild of America, which allows for registration of written material.
Either way, the date that the material was within the control of the producer will be
established and may prove crucial later if a claim is brought about. One last way to
protect one's own material is to mail your material to yourself by registered mail that
establishes a date that the material was controlled.

One important thing for a producer to remember when optioning material is the date in
which the option expires. Because it normally takes a long time for the motion picture
process to get underway, it is crucial to either have the option renewed or the option
exercised. If the option expires, all rights to the material will be lost.

Because the term "producer" is so vague in the industry today, an option agreement is
crucial in demonstrating the producer's drive, determination and belief in the project at
hand. The most important first step is, once again, to find material that is believed in, gain
a hold of the rights to that material, and start the process of development.

Working with Agents

One of the key players for a producer to be successful is the agent. In the motion picture
industry there are very few pictures that have been put together without an agent being
involved. Some of the major talent agencies today are International Creative Management
(ICM), the William Morris Age ncy, TRIAD and Creative Artists Agency (CAA). Due to
the close relationships they have with both studio executives and independent producers,
the head of the motion picture department of these agencies are one of the greatest forces
to getting pictures made today.

Agencies generally commission a maximum of 10% of their client's gross income, which
they justify for work done on behalf of the client. These agencies are licensed (by the
state) and are franchised by various professional guilds including the Screen Actors Guild
(SAG), the Directors Guild of America (DGA) and the American Federation of
Television and Radio Artists (AFTRA).

Agents are considered the middlemen between those trying to sell their material and
those trying to buy it. Although they are not necessary in making any particular deal they
are almost always involved. To find out who is represented by whom in the business,
SAG offers a service that will furnish the names and telephone numbers of agents of its
members. This service can prove very useful to a producer because much of the time an
actor will only be able to be reached through their representative agent.

It is not necessary for a producer to have an agent of their own to make a film, but agents
are needed to gain access to individuals that the producers need to make the film.

For any producer attempting to get their project off the ground, the enthusiasm of an
agent can be of great assistance. If the agent feels good about the project they are more
apt to suggest it to their clients. The problem is, sometimes just getting an agent to listen
to you is difficult. For the new producer or someone whose name is unknown in the
industry, an agent may not even take the time to answer your phone call. The key to this
problem is persistence.

Agents are very busy people and do not have the time to listen to everyone, but if you
keep pursuing them they may eventually listen. Because agencies are made up of many
individuals, it is best for a producer to establish relationships with at least one agent from
every agency they can. That way, there is more than one outlet that a producer has to
choose from when trying to make a film. It is not necessary for a producer to have an
agent of their own to make a film, but agents are needed to gain access to individuals that
the producers need to make the film.

Studio Involvement

Packaging means the combining of two or more elements, such as a writer, actor, or
director into a single project, which is then presented to prospective financiers. When a
package is brought in front of a prospective financier, it has a better chance of approval.
This is because when a buyer is offered a script along with an actor and a director they
can more easily make an intelligent decision on the creative and financial aspects of the
film. A package deal can relieve some of the stress that stems from unknown aspects of
the project.

Motion picture studios are the principal source today for obtaining the funds needed by a
producer to produce and distribute their films. Unfortunately for a new producer finding
backing by a motion picture studio is very difficult. In the past few years there has been a
great deal of films that have been made independently, and this is due in great part to the
fact that a producer had the inability to sell their project to a studio. Some of the major
studios today are Warner Brothers, Fox, MGM, Paramount, and DreamWorks.

There are also many so-called "mini- majors" which are companies that finance films but
then distribute those films through other companies. Examples of these mini- majors are
Castle Rock and Interscope.

The editor is considered a great and valuable ally for the producer because production
executives will normally listen to the editor's suggestions.

There is a tall ladder that must be climbed in order for a producer to gain financial
backing from a studio. The first step is the reader. Production executives normally give
the material they receive to readers to look over and make comments on. The reader gives
a synopsis of the script, describing the plot and the characters in brief detail. The reader
also will state their opinion on whether they think the script will make a worthwhile
movie or not. If the reader gives the script a negative report, there is a good chance that
the script will be rejected and will not even be seen by anyone else.

Above the reader on the ladder is the story editor. The editor generally supervises the
readers and gives some suggestions on scripts and writers. The editor is considered a
great and valuable ally for the producer because production executives will normally
listen to the editor's suggestions.

The next step up on the ladder is the production executives and or vice presidents. These
positions are generally to draw in "good" material to the studios and to supervise it while
it is being developed and while it is in production and postproduction. For a producer to
deal with someone that will actually be receptive to their ideas, they would generally start
at the production executive level. The senior production executive is considered the head
of production. They decide upon which projects are to be produced and when, so that the
studio will have pictures on the market all year round.

There have been many cases where a script was well accepted and then management was
changed, other projects interfered or financial shortcomings occurred...

Unfortunately for a producer, once the script is given to the studio and it begins the
process of hierarchy, there is no way of knowing what is to come of it. Even when it
seems as if everything is going as planned, determining a development deal and a
commitment for the picture may become a detriment of which the producer has little if
any control. There have been many cases where a script was well accepted and then
management was changed, other projects interfered or financial shortcomings occurred
and the script subsequently foundered. By the time the producer hears a response from
the studio a script that was a go at first may be filed away in the end, and the reason is
never fully explained.
Screenwriter William Goldman writes a perfect example of this in his book "Which Lie
did I tell." William talks about an occasion in which he had written a screenplay for
Universal studios, which the producer loved. The producer then presented it to the
powers that be where it was rejected. The producer later left Universal and wanted to buy
the screenplay from them and they refused to sell it. So much occurs behind closed doors
that result in movie rejections. In this case both Goldman (the writer) and that particular
producer felt they had a script that would make a good movie, but for one reason or
another the studio denies the proposal and the script becomes just another file in the
cabinet.

"The Green light" versus "The Turnaround"

Once a project finally becomes a development deal, the next task is to make the material
as perfect as possible in order to get the picture made. Hopefully it is possible for the
producer to work closely with the production executive responsible for their particular
project. It is important to be aggressive and push your film. Together with the production
executive, the hope is that the studio will give the picture a "go" or "the green light."
Often, studios have numerous projects in the works and without the constant efforts of
the producer to keep the project moving it may never get made.

The goal of selling a script to a studio is of course, to get a project made (the green light).
Once the script is purchased, the stud io will usually insist that the producer signs over all
rights they have for the screenplay. At this point, the producer usually has the option to
take the money and hit the road, although they almost always take credit in the final
project. A producer could also decide to remain working on the film and therefore
become involved in the daily process of film production on the script.
The amount of money a producer makes on a film varies greatly depending on their level
of experience and amount of active participation in the film. A first time producer who
does not become actively involved in the production of a film can generally walk away
with between $10,000-$30,000. This is sometimes called a finder's fee, and the producer
will rarely receive any profit participation in the film.

For a producer that is more experienced and remains actively involved in the film, there
is generally a development fee obtained. This fee is usually compensation for the
producer's input while the studio finds a writer (or writers) and decides whether or not to
give the green light to the project. In this case, the producer can make anywhere from
$15,000-$60,000. If a project does get the green light, the producer can then receive an
additional profit ranging from $100-$400,000 or more with a participation in the profits
from the film.

There is always the chance at this stage of development that the picture will be given the
"turnaround." This means that the studio abandons their support of the project and
therefore the transition from development to production is never achieved. At this point
the producer will be given the chance to take the project to another studio, and once the
project is resold the original financier will be reimbursed.
There are many reasons why a project is given the "turnaround." One of these reasons
may be due to a lack of a screenplay that seems viably profitable. Another reason may be
due to a change in management, which in turn creates a change in studio interest in the
project.

A lack of enthusiasm may also be a cause for turnaround of a project. In any case, a
producer will still have the chance to bring their project into production, but with a
different studio. Once a project finally passes through all the stages of development and
is given the green light by the studio, the producer's next step is to begin a further
inspection into the budget and the casting of the film.

If a producer finds it unlikely or even impossible to gain support in their project from a
studio but still feels as if their project is worthwhile, finding alternate sources of
financing is essential. Because the average cost of a film produced by a studio exceeds
$30 million, studios are not really attracted to films that will only bring in $1-$2 million
profit. In the past few years there has been an extreme increase in what is known as
independent production.

The term independent can have various meanings in the production industry. Usually, the
term independent is applied to any production company that is not directly affiliated with
a major film corporation. Independent can also be used to define a small studio or an
individual producer, as is the case here. An independent producer is someone who works
outside of the studio system and collects funding from private investors. The money
invested can be obtained from such places as banks, business owners, wealthy friends and
even relatives.

The downside of this is that many of these people willing to finance films are doing it for
the wrong reasons. For instance, a lot of people are looking for the glamour and fame of
the movie business. Being independent could also mean that although the producer is
receiving money from a studio, they still retain control over the project.

Working outside of a studio will also bring a producer the benefit of saving a great deal
of money in the production of the movie.

When a project is truly independently financed, the producer can keep more control over
the project and possibly sell off the rights separately to various companies or
organizations. A producer who has retained the rights to project can make separate deals
for distribution of the film to various theaters as well. When these distribution rights are
kept, the producer will then receive more of the profits that are brought in by the film.

Working outside of a studio will also bring a producer the benefit of saving a great deal
of money in the production of the movie. The producer will be able to form his own
opinions and make his own decisions concerning the film, without the constant pressure
of a studio leaning over his shoulder. If a studio were involved, the producer would be in
constant watch of the studio; every monetary decision the producer makes would have to
receive the studios ok. The independent producer will know exactly how much money he
can spend because he makes his own budget depending on how much money he has
received from investors.

For a picture to reach a level where bet profits finally come into play, it must earn back
the cost of production, prints and advertising and any fees that a studio may add along the
way. For a studio picture, the earnings must be anywhere from 3-7 times the initial cost
of the film before a profit is established. On the other hand, an independently financed
film could reap the benefits of a "gross deal." The producer establishes this type of deal
with a distributor in which the producer receives their profit directly from the amount of
revenue brought in by the film. In the later case, the success of the film will be much
more profitable for the producer.

Films that are considered low budget or theater turned motion picture scripts are
generally released as independent films. Studios are always looking for sure-fire hits; the
ones that are going to be major blockbusters. For those who feel that making a film
without the support of a major studio is a lost cause, take a look at the success of such
films as The Blair Witch Project or Boys Don't Cry.

If the producer believes in the film there is a way to get it made without the support of a
studio.

The former was independently produced and was screened at the Sundance film festival
where it received rave reviews as a very original film. To date, the film has grossed over
$100 Million Dollars. The later film, Boys Don't Cry, did not bring in high grossing
profits, but it was critically acclaimed and received several Oscar nominations in the year
2000, along with an award for Best Actress presented to lead actress Hilary Swank. As
proven by these two very different films, whether it is high grossing profits or eye
opening, thought provoking realism that speaks to the soul; if the producer believes in the
film there is a way to get it made without the support of a studio.

For the independent film, it is obvious that word of mout h is essential for the success of
the film. Because the budget of the film is a major factor in production, it is safe to
assume that the millions of dollars a studio may spend to promote their feature will not be
available for independently produced films. The Blair Witch Project was a very
successful film at the Sundance film festival where the word spread like wildfire. It was
considered one of the scariest and most original film to be released in recent years.

Due to this praise and the creative Internet marketing by the production team, the film
was sold and when it hit theaters the success was overwhelming. As for Boys Don't Cry,
the film was not released into that many theaters and did not bring in that much money
from the box office. After receiving several Oscar nominations and an award, the shelf
life and gross profits the movie will obtain from rentals should prove much more
lucrative.

Preproduction
Paul Lazarus, a long time Hollywood producer states, "Everything begins with the
written word. An idea may spring up in a number of ways, but a movie begins to take
shape when words are put on paper." Keeping this in mind, it is not a hard realization that
one of the most significant responsibilities that a producer has is selecting a screenwriter
for their film.

To find out what writers have written which projects in the past, such organizations as the
Writers Guild of America, The Academy of Motion Picture Arts and Sciences and The
Academy of Television Arts and Sciences have current listings of writing credits that
they all publish annually. Of course more popular writers require a larger fee, and
therefore if the producer is independently financed they will have to narrow their search
in terms of affordability.

Much of the time, a writer will be hired by a producer because that particular producer is
familiar with their work. In any case, once a writer is chosen and all deals are set, the
writing of the script can finally begin. First and foremost, the fundamental parameters
must be clearly understood by both the writer and the producer so as not to create
problems later on in the project. Next, it is important for the writer to be given the
freedom to explore various options that may arise within the script that concern both the
plot and the characters. The producer must of course remain involved in this process, but
the level of involvement must be decided upon mutually between the writer and the
producer.

Normally the first draft of the script will be completed approximately 16 weeks after the
writer begins. Once the first draft is completed, it is then handed over to the producer for
review. The task of the producer is to read the script and make suggestions on how to
improve the story. In addition to making suggestions about the plot or characters, it is the
producer's job to be the financial supervisor of the script. It may be necessary for the
producer to make suggestions to the writer on how to trim down certain scenes in order to
reduce the expenses that the script will incur.

After the completion of the final draft of the script, most writers will move on to another
project. There have been many exceptions of course, especially when the screenplay is an
original work. There may also be cases where the director asks for continued
collaboration with the writer. This can prove to be either beneficial or disastrous
depending on the persons involved.

Estimating the size and demographics of the potential audience may be very helpful in
determining the financial outcome of the film.

Preproduction may just be the most important period resulting in the success of a film. At
this time, a producer will perform a wide variety of managerial responsibilities
Preproduction is the precursor for production of a film, and lays the foundation for both
the creative and financial aspects of the film. During this period of preproduction it is
also crucial for the producer to maintain a high moral and a happy working environment
for all crewmembers.

It is wise for the producer to come up with some sort of production strategy for the film.
This strategy should consist of at least (but not limited to) three steps. The first is
defining the goals and objectives of the project. It is important to specify the goals and
objectives of the project during preproduction to ensure that all members of the
production team agree on the purpose of the project.

The second step is assessing the potential of the audience. Although audience appeal will
be discussed in more detail later, it is important to note that estimating the size and
demographics of the potential audience may be very helpful in determining the financial
outcome of the film. These estimations can be quite complicated and are never
completely foolproof, estimations can help to determine the best format for conveying
information to reach target audiences and assuring program effectiveness.

Another step in production strategies is researching the topic. As stated by Gorham

Kindem, careful research can make the difference between promoting and exploiting
misinformation versus carefully examining the key issues and stimulating a reasonable
debate.

Scenes in a movie are rarely shot in sequence, but rather are shot in an order that will be
the most cost efficient.

Some producers have had experience in production management and are known as "Line
Producers." These producers are generally interested in daily operations rather than
putting the projects together. Line producers are responsible for such tasks as making
sure things are built on time, making sure all the costumes are made, etc.

Studios generally hire them and independent producers to run things to make sure daily
processes are on time and within budget. The production manager will break down the
script and lay out the blueprint for the film on a production board. Scenes in a movie are
rarely shot in sequence, but rather are shot in an order that will be the most cost efficient.
Determining this sequence is a job of both the production manager and the producer
himself. Upon completion of the production board, the producer will be able to determine
when each actor will be working during the course of the filming.

Because there is such a wide range of prices asked for by different actors in today's film
industry, the casting of the film is a great factor in determining a films budget and visa
versa. In an ideal situation, a producer and director will pick the best actor for the part.

The Production Process

Production is the time when all the collaborative efforts of the crew start to become
visualized and concrete. This is the time of greatest opportunity for those making the
film. Unfortunately, it is also the time when most of the cost of the picture is incurred,
and therefore the time when those who have put their money behind the film are most at
risk.

Production management is crucial in maintaining an effective film production.

Production management includes the supervision, acquisition and scheduling of staff,
equipment, and facilities for the production. Part of production management includes the
script breakdown. This helps the producer to estimate the budget and time needed to
shoot specific scenes of the film.

The breakdown will tell the producer such things as when certain props are needed and
when the actors need to be on set. After the breakdown is complete, breakdown sheets are
filled out which lists in more detail props, costumes, actors, and equipment needed for
each scene. A producer will further be able to determine a shooting schedule in which the
total number of days needed to shoot the project can be determined.

Once the production begins, it is not uncommon to see some producers leave the project.
As touched upon previously however, there are other producers who continue to keep
their presence felt throughout the production process. These producers find themselves
filling a number of roles with in the project, but try to focus their efforts evenly between
the business and the creative aspects of the film in progress.

In all actuality, the producer is not needed on the set. Everyone on the set has a
designated role to perform except the producer. Because of this, there is a question of
why the producer would stay on the set if they do not have a specific function.

There is a tremendous difference between the producer that is always present on the set
and the producer that is rarely if ever seen. It is inevitable that a producer who is never on
the set will be treated like a stranger from the crew if they do in fact show up one day. If,
on the other hand, the producer is always on the set and is making himself known to the
crew, they are more apt to treat the producer as one of their own, even opening up and
expressing concerns to the producer which otherwise may go unspoken.

The producer is very often treated like the middleman between the crew and the director,
cinematographer, etc. They will also receive many suggestions and insights from the
crew that may prove lucrative in the filmmaking process. For any producer who is
looking to become more involved in the production process as a whole, establishing a
good relationship with the crew is vital.

It is important that the producer coordinate the activities of the press throughout the
course of the making of the film.

Another important function that the producer can provide during the production process
is that of public relations supervisor and or supervisor of publicity for the film. It is very
important for the producer to oversee all material being written about the project as not to
allow false or strayed insights of the production to go published.
Much of the time, the intentions of the filmmaker are misconstrued and the portrayal of
the film by someone who is not directly related to the project will not do it justice. It is
important that the producer coordinate the activities of the press throughout the course of
the making of the film. By maintaining control and keeping one step ahead of the
material to be published, any offending or "off the mark" material can be corrected before
it makes its way into public eye.

Throughout production the producer will be in constant contact with the studio. It is
important for the producer to keep the studio informed of the progress of the film, and to
keep them off the directors' back. It is much easier for the director to do their job when
they do not have to deal with the constant pressures of the studio. In this respect, if the
producer can assure the studio that all is going as planned and within budget, the director
will be able to keep their concentration on the film itself.

The Producer/Director Relationship

It is obvious that the relationship between the producer and the director is an extremely
important one in the making of a successful picture. Although the producer appears to be
a crucial role in getting a pic ture made, the studio does not necessarily believe so. As a
matter of fact, the producer is paid far less than the director of the film, and is not a big
consideration when deciding whether a film receives the "green light" or not. Due to this,
one of the greatest tasks of the producer is to find a director that is affordable and
acceptable to the studio.

There are a handful of directors that are considered "bankable," meaning that many
studios are more than happy to have then on a project because of the almost guaranteed
success the film will have with their name on the project. However, not every director
can direct every type of film, no matter how talented or accredited they are. The producer
must take into high consideration how the director relates to the particular project in
mind. A great deal of persistence and enthusiasm in the project are once again key roles
the producer must play in trying to bring a director to the project.

As the preproduction process begins, the producer and the director should work closely
together and collaborate about how the production process and the entire scope of the
film should take place. From the start, the producer and the director should have a shared
vision of the picture. If the director goes into the project with the agenda of making a film
that will promote or benefit his status then the film is bound for disaster.

The producer and the director must share a common goal; to make a picture that they
both believe in. It is inevitable that there will be an overlap of interests and
responsibilities between both players, and they should discuss these areas and try to
figure out the most effective way to deal with them. The producer and director should
work closely together while deciding the cast and crew, as well as location scouting and a
lot of groundwork in preproduction.
During the production process, the producer is very helpful because they can be present
in areas that the director is not. While the director is busy with their specific duties such
as filming, the producer can be dealing with the studio, supervising crewmembers and
their work, handling the press, etc.

The producer is also extremely helpful to the director in providing an objective point of
view on the film as the process moves along. It sho uld be considered helpful to the
director for the producer to look at the dailies and be objective as to what they see. As the
picture begins to take shape, the producers objective point of view will help to siphon out
minor discrepancies that may plague the film in the future if not corrected. Many times,
the director and others who spend countless hours each day with their eyes in a camera do
not see these discrepancies. The point of view of the producer may pertain to both the
performance and the technical aspects of the film.

Postproduction

Once the film is completed, the actors can go home, but the producer stays on. The
amount of time it takes for postproduction varies greatly, but a period of twenty-eight to
thirty two weeks (or even longer) is common. Initially the film editor, hired by the
director and editor (usually with studio approval) will do most of the work in
postproduction.

The film will take on many versions during the postproduction process. It will go through
the editing room where the editor will make their cut and the director will make their cut,
both leaving the scenes that they believe will create the best picture. Differing viewpoints
are common, and when the studio gets involved it may even become quite hectic. The
producer must once again be able to separate the creative and financial considerations of
the film and finds a happy medium.

The producer may work with the director on the editing and some of the composing of
the final picture, but in general the director, editor and composer work together on the
final cut. If asked, the producer should continue to lend his support to both the director
and the editor and offer suggestions to help in the editing process. If the producer is not
requested to give his remarks however, he must temporarily step aside while the other
three work their magic. Once the final cut is complete, the producer will once again step
in and take a look at "his" film.

Throughout postproduction, the producer must maintain a sharp focus on the budget of
the film. Although the bulk of the financial strain will have already been established in
production, postproduction expenses can get out of hand if not carefully observed. Today,
major studio postproduction costs exceed $1 million.

One of the main reasons for this is the increasing wages of the film editor and composer.
Because there are only three (possibly four if the producer is involved) people working
on the final product, more time will be needed to produce the final product. Time is not
the only consideration that increases the budget however. These days, the editor and
composer are considered major creative forces that will help to shape the film into
something spectacular, and they are therefore paid much more for their work than they
were in the past. Producers must keep a close watch on this increasing budget and keep
the studio informed.

Distribution and Advertising

Once a picture has finally been completed and is ready for the viewing public, the
responsibility of selling the film remains. For some reason, distribution of a film has
always been a tough area for a producer to effectively participate in. The views of a
producer are generally not well received by distributors. The best thing a producer can do
in this area is to be honest. Because the producer has been with the film from start to
finish, their knowledge of the film is much greater than that of the marketing agent. In
this respect, the producer can hopefully offer a more effective sales approach for the
market.

Studios normally have numerous films in the works and gaining support for a film even
after it is made may be difficult. Even if it is a wonderful film, if no one hears about it, it
will not be successful at the box office. A producer should do whatever they can to get
their film marketed correctly. It is very important for a producer to remain involved in the
distribution process of the film. The producer is once again the liaison, the middleman
between the people who make the film and the people who market and distribute the film.

Major film distributors (a.k.a. the film studios) receive the bulk of the distribution
receipts from their films. The studios generally negotiate with exhibition chains (such as
AMC or Century theaters) along with independent theaters (privately owned) for a split
of all receipts brought in by their films. One of the most common splits for a major
motion picture is 90/10, in which the studio gets 90% of the receipts brought in, while the
theater receives the remaining 10%.

Over time the theaters' profits will increase while the studios profits will decrease. In the
initial stages of release, theaters will compete with each other for specific films by
bidding a split amount and showing duration (# of weeks the picture will be shown at the
theater) of the film. Films that are considered major blockbusters will be released in
greater quantities and in more theaters across the country on opening weekend to try and
bring in the maximum gross possible.

As with everything else, the more active and aggressive the producer is in promoting the
advertising the better.

An area of ever increasing importance for negotiations of a film, and an area in which a
producer can become very involved is that of commercial "tie- ins." These tie- ins include
everything from t-shirts to toys to books, records, posters, dolls and games. Producer's
negotiations with these distributors can help to further increase the profits of a successful
film.
For a producer who seeks to assist in the marketing of the film, advertising is one of the
most critical components. The more information the producer knows about the process
the better. As with everything else, the more active and aggressive the producer is in
promoting the advertising the better. From the beginning of the marketing and advertising
process, the producer should have in mind what social groups the film will appeal to
most.

He should be very knowledgeable about the film as a whole, and who will bring about the
biggest response to it. With all this in mind, the advertising of the film can take on a
much more focused approach, which will save both time and money. On the other hand, a
producer must try and find a way to cross the lines drawn by all social groups; the more
people that go and see the film the better. There is a fine line to walk when determining
the advertising that will be most beneficial.

As with all aspects of the film, studios will also try and impose a time deadline on
advertising. Unfortunately time deadlines create restraints on the amount of revising that
can be done. There have been many instances when advertisers have presented their ads
or movie trailers to producers without time to make changes. Producers must try and
work with these deadlines and make sure to oversee the work as it is in progress. This
way, when the deadline arrives, the advertisement will not need revisions.

Foreign distributors can be of great importance to producers even before a film has gone
to production... they will give the producer a cash advance on the film for distribution
rights once the film is released.

One last area that a producer must be well aware of is foreign distribution of their films.
In recent years, foreign revenues (those theaters outside the United States and Canada)
have accounted for greater than 50 percent of the total gross of a film.

Foreign distributors can be of great importance to producers even before a film has gone
to production. In this case, distributors will give the producer a cash advance on the film
for distribution rights once the film is released. Distributors can also make advances after
the film is produced. In either case, the producer can use this money for financing the
film, and the distributor will be reimbursed from the producers' share of the proceeds the
movie will bring in.

Foreign distribution is an ever- increasing benefit for the producer. The producer, whether
independent or studio-based, should maximize whatever foreign means made available
but should make sure to have individual contact with each distributor from each
individual country. This may seem like an overwhelming task, but every country will
have a different approach to distribution and their profit margin, and therefore should be
treated on an individual bases. If done correctly it is possible that foreign distribution
could ultimately account for a majority of the films' profits.

Gorham Kindem, writer of The moving image, sums up the role of the producer in a few
simple words. He states, "Producers are risk takers, who seize an idea, run with it, and
convince others to follow them." Producers are the film industries' building blocks. They
can come from anywhere and don't need any particular training to get in the game (other
than the ability to socialize well).

They are always thinking and trying to sell a product, and always looking for that one
idea, that one script which strikes a chord. Many producers begin their career as
somebody's assistant. Others come from other areas of the industry, such as directing,
acting, managing, law, etc. Others start out with simply a dream of being in the industry
and money they received from family or another source.

In any case, to be a producer means you must have confidence, perseverance and a
willingness to give your all to the project. The producer is the one who is there before the
beginning and after the end.

FilmMakers recommendations

ACTION CUT - This is the most unique series of learning tools in the film industry that
provides an in-depth look inside the directing craft on a step-by-step, shot-by-shot
professional level of production from the written page through the moviemaking process
to the final film.

Which Lie did I Tell? by Goldman, William

The Moving Image. Production Principles and Practices by Kindem, Gorham

The Film Producer by Lazarus, Paul N

Pound of Flesh: Perilous Tales of How to Produce Movies in Hollywood by Linson, Art

Breaking into Film : Making Your Career Search a Blockbuster by Kenna McHugh

So you want to make movies: My Life as an Independent Film Producer by Pink, Sydney

Movies and Money by Random House Inc, NYNY

All you need to know about the Movie and TV Business by Resnik, Gail and Trost, Scott

From Script to Screen : The Collaborative Art of Filmmaking by Linda Seger, Edward
Jay Whetmore