I think I have the mind of a producer but I've never label myself as one so to those who solely embrace the title, I would like to know what you you are looking for. Do you seek favorable financial projections for a project? Are you looking for a project that reflects your feelings about the way you see life? Are you just an egomaniac that takes someone's idea and change it to show your superiority in all things creative?
We've seen examples of all of these types and the results range from successful to financial failures that have led to the bankruptcy of studios and careers. So what are your goals? As a director and screenwriter, I feel that I have a slight advantage in the case of seeing on the screen what I'm writing with a more practical vision of what can be done with the budget I'm planning to work with. I'm able to see the shots I'll need and almost create the shooting schedule as I write so if I'm selling something, you'll see that I have half the work (if not more) done before you even read the first word of my screenplay. Is that too much for you? Doesn't that make your job easier?
I have had discussions with "producers" that for no specific reasons stated, have said they liked my screenplay but 70% has to be rewritten and the suggestions they did make, made no sense whatsoever. I know we all have our creative differences, but even I know when to walk away if what I'm hearing makes no sense. Have these people gone on to make something special? No, so I guess my instincts are somewhat working.
Bottom line is that I'm here to try and make entertaining material. If I succeed in my main goal, the numbers will favorably reflect my efforts. If you want to give me the 10 page test, I'm up for the challenge so talk to me. I'm more compatible to teamwork if you are out for the same results. Let's make some history before history passes us by.
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Hi Philip,
I enjoyed your post here and resonate with what you are saying. Being a writer, director and producer myself I have an understanding of the industry and how a screenplay one has written can ripped apart by the hands of a producers POV.
I have been caught in a few situations where producers have read my work ‘“love it and it’s really well polished” but then go on to say “get rid of this and that, as it wasn’t needed”.
To then finally rereading the script and it now making no sense at all.
I have had my films and scripts watched and reviewed by Oscar winners which I would consider credible and helpful feedback, however, I have come to learn that this industry is suggestive and opinion based. Yes there are set methods and guideline's we should follow but this is a forever evolving industry.
I often find producers will change a script to reach a wider audience rather than keeping a story authentic. Maybe this is a return of invest scenario and or ego trip for control. For me personally, this is where the problem lays. I would always keep a story authentic first.
That being said there are a great number of producers out there that give credit where credit is due. I have been fortunate to have worked with a small handful of producers who have supported my previous projects.
I guess it’s all about finding the right people for the project.
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A key part of a producer's role is to ensure a project has the foundation to not only be distributed, but to generate revenue as well. If you truly want full creative and financial control, the best approach is to take the reins and produce your own film. It’s honestly the most empowering way to bring your vision to life!
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Stephen Folker Looks like I'm a producer now, because I haven't met a producer yet with a "can do" attitude. So far, they've all had defeatist personalities or were scammers. Thanks, Stephen..
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@Philip David Lee - a real producer should know the market, and the process better than you. A business plan is therefore irrelevant except for those who aren't producers - and they won't understand it because the film industry is different than others. It is important for YOU though, or else you won't be able to assess. Also, consider what your project - or any project - has to an outside producer. Probably not much. It's not realistic to think anyone is going to believe in it or be able to sell it better than you, the creator. As a producer/creator, it's your responsibility to figure it out. Now, you DO NEED certain paid services if you cannot do them yourself - line producer for schedule/budget and production management, or to supervise production, etc. But these are for projects you have decided to move forward with, and naturally you are paying for services rendered. You cannot LEGALLY pay anyone to find and negotiate an investment for you, outside of SEC sanctioned structures. You can pay a referral fee. That's kind of it.
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Shadow Dragu-Mihai, Esq., Ipg The problem with the film industry as a whole is that most everyone in it deals in fantasy from execs down. All of the things that are supposed to look fantastic in a business plan (IE. bankable talent, A-List Talent, Pre-sales in International Markets) are all fantasy numbers brought about by fantasy equations that literally have no basis in reality. The best one can do is come up with a business plan that is as low risk as possible while still falling within certain characteristics that films with great gross revenues have in common. It has absolutely nothing to do with star power because what you spend on egos usually wipes out any profit margin and unleashed directors become megalomaniacs whose "vision" becomes more blinded with success. In the meantime, it still costs the same to light a shot if you're not a dick about it.
As far as a line/Producer goes, depending upon the size of the shoot, most of his job can be handled by a hands-on Producer/Director.. Everyday on a shoot is different with different needs so you just have to figure out your cost per day and then your cost per minute and be a leader. A director that likes to do a lot of takes for one shot is kind of idiot. Your DP can't take 2 hours to set up lights. Once you're on set, it has to move like a military operation.
As far as the market goes, if these "experts" in the industry knew their markets, we wouldn't have movies that lose $100M dollars per film. Distributors wouldn't need $100M to market a film. The system is flooded with a lot of people that want to cheat the cash flow process. Why would you legally fake a loss just because you don't want to pay people their back end deals? Why would you risk a $250M project pushing an ideology that may only be only popular with 1% of a target audience while alienating 99% of a ticket buying public and then insult that 99% by saying they're too stupid to advance their way of thinking to yours? That has nothing to do with marketing. That's shooting yourself in both feet and then expecting to win the Boston Marathon.
I hope I can meet some ethical, honest and fair people to work with in this industry. I recently saw an interview with with Jim Brewer about his time on SNL and he was talking about the backstabbing that went on when he was a cast member. He said Lorne Michaels told him that he was too much a nice guy for this business. I like to think to think I'm a nice guy, but no one should mistake that for a weakness. I've got witnesses that can attest to that being an unfortunate assumption.
Hell of a business this is. You just want to entertain a hard working general public and you have to deal with sooooo many morons. (I wanted to use a harsher term but feel free to put in your own.)
Thanks for you feedback, Shadow. Sounds like you have more scar tissue than me and I appreciate you sharing your wisdom with me.