Film producer
Film producers prepare and then supervise the making of a film before presenting the product to a financing entity or a film distributor. [ 1 ] Either employed by a production company or independent, they help the creative people as well as the accounting personnel. [ 2 ] [ 3 ] [ 4 ] [ 5 ] The average Hollywood film made in 2013 had just over 10 producers credits (3.2 producers, 4.4 executive producers, 1.2 co-producers, 0.8 associate producers and 0.5 other types of producer). [ 6 ] During the "discovery stage" the producer has to find and acknowledge promising material. [ 7 ] Then, unless the film is supposed to be based on an original script, the producer has to find an appropriate screenwriter. [ 8 ] For various reasons, producers cannot always personally supervise all parts of their production. As such, the main producer will appoint executive producers. line producers or unit production managers who represent the main producer's interests. [ 9 ] Among other things, the producer has the last word on whether sounds or music have to be changed or scenes have to be cut and they are in charge of selling the film or arranging distribution rights.
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Clarification of term [ edit ]
Whereas historically in television, the primary role of the producer was to oversee all aspects of video production. in film and often in television today, this role is filled by the Line Producer. The line producer may manage a film's budget and maintain a schedule. The Executive Producer oversees the filmmaking with regard to film financing. They liaise with the line producer and report to production companies and distributors. Whether the person credited as "producer" or a person credited as "executive producer" has more input on a production is not always clear, and is subject to change as the film is substantiated. Since filmmaking is a dynamic process, responsibilities can grow or shift in the process and credits for producers can get adjusted retroactively. For example somebody hired as "line producer" might later be credited as "executive producer".
Because of these dynamics, all involved producers must agree on production standards from the start. Negligence in that matter can lead to a domino effect. [ 10 ] Other producers are more involved with the day-to-day workings, participating in activities such as screenwriting. set design. casting, and even directing. Currently, because of the restrictions the Writers Guild of America screenwriting credit system places on writing credits, many scriptwriters are credited as "producers" instead, even though they may not engage in the responsibilities generally associated with that title. In this limited sense, the producer and the screenwriter may be the same person. Producers differ from Production Management (Production and Unit Managers and Production Coordinators) in part because the responsibilities of Production Management are more logistical than creative.
Types [ edit ]
Different types of producers in the industry today include (in order of seniority):
Executive producer The Executive Producer addresses the finances in that they pitch films to the studios, but upon acceptance they may focus on business matters, such as budgets and contracts. Co-executive producer Second in seniority to executive producer. Line producer Manages current staff and day-to-day operations. Finds staff to hire for the production. Most line producers are given the title of produced by.' Supervising producer Supervises the creative process of screenplay development, and often aids in script re-writes. They usually supervise less experienced story editors and staff writers on the writing team. Producer Traditional producers, who are responsible for physical facilities, are given the credit of produced by. ' In U. S. films, a producer can also be a writer who has not written enough of the screenplay to receive approval from the Writers Guild of America to be listed as a screenwriter. Co-producer A writer who may not have written the script, but contributed significantly through table reads or revisions. In the U. S. co-producer credits also often require approval from the Writers Guild of America. Coordinating producer or production coordinator This producer manages the schedule and arranges the staff into teams. Consulting producer These producers are former executive or possibly co-executive producers, or in rare cases directors. They are called upon to assist the writers. Associate producer Runs day-to-day operations. Segment producer Writes or produces one segment of a film. Field producer Selects areas to film (outside of a set) and coordinates production in the field. They also form a trusting relationship with the cast/participants in order to get interviews while in the field. They may fill a number of different roles, including production manager/coordinator, videographer and also Production assistant. Edit producer Oversees the creative and editorial aspects of the program when it is being edited. Post producer Supervises the overall post-production process, including editing, dubbing and grading. Post-producers are typically employed by facilities houses rather than by production companies directly.
In film or video productions, the executive producer is almost always given an opportunity to comment on a rough cut but the amount of attention paid to his/her comments is highly dependent on the overall personnel structure of the production.
Responsibilities [ edit ]
Development (film rights) [ edit ]
During the "discovery stage" the producer has to find and acknowledge promising material. [ 7 ] Often a producer must then retrieve the film rights or an option. [ 11 ] If the rights owner is worried about preserving the integrity, voice and vision of their work, the producer might have to comply with a variety of demands concerning the screenplay. the film director. the casts or other topics. [ 12 ] Thus it occasionally takes a lot of time and effort before the actual pre-production can begin. Late German producer Bernd Eichinger is said to have worked 15 years on convincing novelist Patrick Suskind just to agree to a film adaptation of his book Perfume . [ 13 ] However, sometimes all effort is futile. J. D. Salinger. for example, refused all film producers as long as he lived. [ 14 ]
Pre-production [ edit ]
Unless the film is supposed to be based on an original script, the producer has to find an appropriate screenwriter. [ 15 ] [ 16 ] If an existing script is considered flawed, they are able to order a new version or make the decision to hire a script doctor. [ 17 ] [ 18 ] [ 19 ] The producer also has the final say on which film director gets hired. [ 20 ] [ 21 ] In some cases they also have the last word when it comes to casting questions. [ 22 ]
Production [ edit ]
For various reasons, producers cannot always personally supervise all parts of their production. For example some producers run a company which also deals with film distribution. [ 23 ] [ 24 ] Also cast and film crew often work at different times and places and certain films even require a second unit. Consequently it is normal that the main producer will appoint executive producers. line producers or unit production managers who represent the main producer's interests. [ 9 ] The executive producer for Star Wars Episode IV: A New Hope . Star Wars Episode V: The Empire Strikes Back and Star Wars Episode VI: Return of the Jedi was George Lucas himself, the creator of the Star Wars universe. [ 25 ]
Post-production [ edit ]
Among other things, the producer has the last word on whether sounds or music have to be changed or scenes have to be cut. Even if the shooting has officially been finished, the producers can still demand that additional scenes be filmed. In case of a negative test screening producers may even demand and get an alternative film ending. This happened for example with First Blood . in which the test audience reacted very negatively to having Rambo dies, so the producers re-shot a new ending. [ 26 ] Producers are also in charge of selling the film or arranging distribution rights.
Career process [ edit ]
There are different ways to become a film producer. Stanley Kramer started as editor and writer. [ 27 ] Other producers started as actors or directors.
Film schools offer degree courses that include film production knowledge. [ 28 ] [ 29 ] Some courses are especially designed for future film producers, focusing on key topics like pitching. script development, script assessment, shooting schedule design and budgeting. [ 3 ] [ 7 ] [ 30 ] [ 31 ] The students can also expect practical training in regards to post-production. [ 32 ]
On the occasion of announcing his own film school "L’Ecole de la Cite " film producer Luc Besson admitted that at the beginning of his career he would have appreciated the chance to attend a film school. [ 33 ]
The average annual salary for a producer in the US is $109,860. If you look just at the 15,000+ producers in the L. A. area, the average annual salary is $138,640. [ 34 ] Producers also often have an agreement to take a percentage of the movie's sales. [ 35 ]
Notable individuals [ edit ]
L. A. Woman
"Love Her Madly "/"(You Need Meat) Don't Go No Further""
Released: March 1971
"Riders on the Storm "/"The Changeling"
Released: June 1971
L. A. Woman is the sixth studio album by The Doors. and the last recorded with lead singer Jim Morrison. who died in July 1971, less than 3 months after the album's release. Its style signified a return to blues, following in the footsteps of Morrison Hotel .
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Production [ edit ]
Following the departure of their record producer Paul A. Rothchild (who, contrary to popular myth, loved "Riders on the Storm" but dismissed the group's differing style on "Love Her Madly" as "cocktail music") [ 1 ] around November 1970, the band fell in to a state of depression and Jim Morrison was obviously bored with Sunset Sound. the studio in which their first two albums were recorded.
Bruce Botnick. their engineer, suggested they record at the Doors' workshop. He and the band began production on the album at The Doors Workshop in Los Angeles. Most of the tracks were recorded live, except for a few overdubbed keyboard parts by Ray Manzarek. Morrison recorded his singing in the studio's bathroom to get a fuller sound. Elvis Presley 's bass player Jerry Scheff was brought in to play bass on the album, and rhythm guitarist Marc Benno was brought in so that Robbie Krieger could focus on playing lead guitar during live takes.
Botnick later produced and mixed a new 5.1 Surround version of the album, which was released on DVD-Audio on December 19, 2000. It was produced from the original eight-track analog 1" master tapes. [ 2 ]
Early LP editions of the album were uniquely packaged: the album's cover was die-cut to remove a near-rectangular piece of it, with a sheet of transparent plastic on which the cover photo of the Doors was printed, glued in place in its stead. Later pressings featured a conventional cover without the die-cut hole and plastic window, and with the group photo printed on the cover itself.
Release and reception [ edit ]
Guest Post: Interview with Precious Executive Producer Lisa Cortes By L. A. Collins
At the SAG Awards, critics darling and Oscar front-runner Mo’Nique flipped the script. She took a special, unexpected moment to give a nod to the dedicated and not-so-visible ‘sistren’ collaborators behind-the-scenes of Precious . the women whose focused energy came together in perfect parts to bring the little film that could to life.
One such fierce woman, Lisa Cortes, the film’s executive producer, is all about the power of harnessing and circling energy in the art world: from film to music; corporate to non-profit; high art to folk. “In my mind producing films and supporting other arts are intertwined because the big picture intention is to increase the well-being of woman and mankind. Art opens the door to possibility …”
For a film that has truly sparked dialogue and opened many unlikely doors within the industry, Mo’Nique knew to ‘recognize’ — as do we. Let’s take a moment then, shall we . to get to know the triple-threat producer behind the six-time Academy Award nominated Precious .
L. A. Collins: They say an actor who can also sing and dance is a triple threat. But what about a producer who can ‘do’: art, music and film? You’re certainly a triple threat, no?
Lisa Cortes: Why, thank you!
COLLINS: Can you discuss your roots in the music business and how that naturally transitioned into producing films?
CORTES: In 1987 I was fresh out of Yale and part of the original team at Def Jam records/Rush Artist Management. There were no titles — we just got “whatever was assigned to you” done. Or if you wanted to take a project on, you could. In the A. M. I worked for the management company, and in P. M. for the label. It was an environment where you had to constantly find creative solutions. From the inane (‘How can I get LL Cool J to take his hat off for his passport photo?’) to culture changing (convincing corporate entities like Adidas to endorse the artists). As the “smart girl” it was assumed that I could figure it out; and I came to love my time there because I got to exercise the commercial and creative sides of my brain.
COLLINS: So it paid to have that education under-your-belt, so to speak?
CORTES: Yeah. By the time I ended up running my own label, Loose Cannon, at Polygram I had become an executive who actively found artists, made records, marketed and distributed them. So when I made the transition to producing I felt that process was the same. It’s about the having a broad overview, problem solving, translating and facilitating a vision — and keeping it on track.
COLLINS: We always hear the upside of producing after the pros have had time to exhale, but can you take us back to the most trying day for you on set? And how, as a producer, did you negotiate your way out of it?
CORTES: The development, production and post of Precious presented many challenges. Honoring the work, finding the talent, and creating a believable New York circa 1987 had me constantly relying on my ability to improvise. I remember one day where we showed up at a location and there was dog crap all over the sidewalk. All you can do is start shoveling.
COLLINS: As a female producer did you find your authority/judgment, at times, in question? Do you think your femaleness gave you less or more leverage in situations you encountered?
CORTES: In our daily lives we sometimes encounter forces that don’t appreciate what we bring to the mix as women, but that’s not my problem; I gracefully power through and get the job done. Each day brings different obstacles and I think it’s all about not getting stuck in the problem loop and being able to have strong convictions, while looking to compromise when needed.
COLLINS: Your favorite film growing up?
CORTES: Hmmm, my favorite film growing up was The Wizard of Oz . I loved the story, mythic characters, music and visuals. It delighted my senses on all levels.
COLLINS: From TV to stage to the movies — was there an African-American ensemble whose work left a major impression on you? … I ask this in light of the stellar work by the Precious team!
CORTES: The African-American ensemble whose work left a major impression on me was The Cosby Show . I loved seeing this family each week on TV. They were memorable loving characters and had classic scenes that still move you. Who can ever forget Rudy Huxtable singing ‘The Night Time (Is the Right Time)’?
COLLINS: Some audiences, particularly black, are disturbed about Precious noting that it can enhance stereotypes of ghetto, urban life while telling its “truths.” How do you respond to such inquiries?
CORTES: Precious is a very balanced film. There is pathos and humor. Good Samaritans and villains. We shouldn’t close our eyes to the truths it shows. That’s part of the reason as to why it was made. I’ve always thought that films are so potent because they can entertain, educate and open us up to worlds beyond our everyday existence.
COLLINS: You have both a male writer (Geoffrey Fletcher) and director (Lee Daniels) interpreting Sapphire’s novel Push . Why do you feel these two filmmaking men were able to adroitly and effectively translate this world told from a young female’s POV?
CORTES: The writer, Geoffrey Fletcher and director, Lee Daniels, were able to translate Precious’ world because of their considerable talents and because they embraced the vividness and scope of the world created by Sapphire in the book, Push . She created complex and lyrical characters and allowed us to gaze through the looking glass at a distinctive world.
COLLINS: Many startling scenes of violence chart what Precious endures; and while we know it’s acting, what was it like being on-set, watching Gabby and Mo’Nique play out this raw dynamic? Did it connect the cast and crew in a particular way?
CORTES: When you shoot a scene where violence occurs, a focus and stillness would come upon the entire set. There are deep emotions that have to be accessed, and careful choreography executed to insure the safety of your actors; so everyone pulls together to ensure the execution of the scene. What was great about the set was that as soon as Lee [Daniels] said, “Cut,” it would return to being a warm and loving environment. Mo’Nique always took great care to differentiate from ‘acting’ like Mary when in character, and being Mo’Nique when we broke. When the cameras stopped she was the nicest and brightest person to be around.
COLLINS: Sounds like you’re on a great path to building a rich layered professional life, where do you see yourself five years from now?
CORTES: In five years from now I see myself on a beach where my Kindle reads scripts to me while massaging my feet. On a serious note, I will continue to produce for film, television and my work with art philanthropy. I look forward to helping to redefine the landscape in front of and behind the camera through the stories that are told, and the people who tell them.
COLLINS: Let’s NOT gloss over the very cool fact that a working producer, you tackle quite a wide range of philanthropic pursuits!
CORTES: I currently serve on the boards of Yaddo. ITVS. and Trajal Harrell.
COLLINS: Does it get overwhelming to have all of this happening simultaneously on your slate?
CORTES: It’s a willing choice, really. I fully enjoy working with these various boards because of the communities and narratives that I’m exposed to. During the process of producing, one learns very quickly that community is integral in realizing a project. It really does take a village. I’ve found that the more worlds I connect and help, the greater is the return in aiding the projects I’m involved with …
COLLINS: … In other words, it’s about circling the energy, no?
CORTES: Yes! I look to use the skill sets I’ve learned in one area to benefit another. For example by producing a series of events that showcase the work of Yaddo artists, I can share the benefit of time spent there with diverse groups and concurrently encourage artists to apply for residencies. In my mind producing films and supporting other arts are intertwined because the big picture intention is to increase the well-being of woman and mankind. Art opens the door to possibility — and inspires dialogue and change.
COLLINS: You surround your space with bold, fantastic pieces that have a clear ‘folk art’ leaning. So, you’re drawn to both collaborating with and collecting the works of a varied range of artists?
CORTES: When I first started collecting art it was because of the narrative in the work, itself. I was 13 and I bought a colorful, spirited Haitian market scene. Whether abstract or literal, I’m drawn to an artists’ interpretation of an aspect of their reality. Not mine . These images take me to different places and expand my perception in terms of what it can be like going from ‘A to Z’ from varied angles.
COLLINS: Can you share a bit about some of the upcoming film projects you’re working on?
CORTES: I’ve started my own production company, Cortes Films and my projects include a film version of Pulitzer prize-winner Lynn Nottage’s Mud, River, Stone which will be directed by Tony Gerber. Executive producing Oscar’s Comeback a documentary in post-production that just won a Chicken & Egg grant. The film is directed by Lisa Collins and Mark Schwartzburt and is about a curious festival in South Dakota dedicated to controversial black film pioneer Oscar Micheaux. I’m also collaborating with a few noted visual artists — such as Creative Capital grantee Kalup Linzy. And I’m developing a musical with pretty dresses!
COLLINS: There’s a rise in the number of women directors/producers who’ve gotten their (celebrated) films made in the past year including Kathryn Bigelow ( The Hurt Locker ), Lone Sherfig ( An Education ), and Gina Prince-Bythewood ( The Secret Lives of Bees. ) Can you share any advice for women navigating their way through this business?
CORTES: Women have always had a presence in film — in front of and behind the camera. Take yourself and your craft seriously, keep trying to get better and then hopefully the right people will recognize your talents. If not, keep it moving and make your movies.
Upcoming Airings
Ten years ago avid cyclist and native Californian Andrea Meyerson placed a classified ad looking for other female Los Angeles-area cyclists. (www. womenonaroll. com) Little did she know that this simple ad would eventually inspire her to leave her corporate career to start one of the largest and most active lesbian social organizations in the country. "After being married I understood the inequities, what I had available then in my social life and what was available once I came out," says. Read Full Bio »
Full Biography
Ten years ago avid cyclist and native Californian Andrea Meyerson placed a classified ad looking for other female Los Angeles-area cyclists. (www. womenonaroll. com) Little did she know that this simple ad would eventually inspire her to leave her corporate career to start one of the largest and most active lesbian social organizations in the country. "After being married I understood the inequities, what I had available then in my social life and what was available once I came out," says Andrea. "I knew there must be other women who felt the same way. I wanted what I had before - a fun, active social life - and I wanted to do it freely and openly."
So what began as a hobby filled a huge void in the lesbian community. By the second year of leading Women On A Roll, Andrea came to a crossroads. The club was her passion but it didn't offer the security or income of her 17-year corporate career. Still, she decided to follow her heart and resigned from her corporate job. She devoted all her time to WOAR and StandOut Productions, an event production company she started to help raise money to fund WOAR and to assist other organizations in the gay and lesbian community.
While launching the new career was a risk, the synergy between Women On A Roll and StandOut Productions seemed obvious: she hoped to produce quality events that would benefit the community and would be predominately attended by Women On A Roll members.
With more time available to work with Women On A Roll, Andrea was able to increase the services and variety of events offered to the members in a safe and relaxed environment. The bicycle club with the humble beginnings now offers hiking, skiing, rafting, golfing, cultural outings, parties, dinners and dances, group excursions to concerts and sporting events, book readings, professional networking mixers and overseas travel. Since celebrating its first decade in 2005, Women On A Roll continues to grow.
Through StandOut Productions, Andrea continues to produce concerts and live comedy shows as well as special events and fundraisers. Her production credits include Roseanne's one-woman show in 2005, the annual L. A. Women's Fest (featuring Sophie B. Hawkins and other top lesbian performers) held each year in Hollywood; Divas of Jazz starring Nell Carter; An Evening With Janis Ian; Holly Near and Cris Williamson in Concert; Suzanne Westenhoefer at the Wilshire Ebell, and Kate Clinton's 20th Anniversary Tour kick-off performance.
As an event producer, Andrea's work has included the Human Rights Campaign, Outfest, the LA Gay & Lesbian Center, LA Shanti, the National Center for Lesbian Rights (NCLR), Academy of Dance on Film and Service Members Legal Defense Network (SLDN).
Andrea founded All Out Films (www. alloutfilms. com) in 2002 and produced and directed the award-winning film Laughing Matters starring Suzanne Westenhoefer. The film aired on here! Network, and the DVD is distributed by Wolfe Video. In April 2006, Andrea released the sequel, entitled Laughing Matters. More! The film has won numerous awards and can currently be seen on LOGO. Both films highlighted the talents of several outstanding lesbian comedians.
Andrea's most recent film, L. A. Women's Fest featuring a variety of diverse, talented lesbian performers will premiere on LOGO January 25, 2007. She is currently in post production with Laughing Matters. The Men and Kate Clinton's 25th Anniversary Tour . She will begin production on Suzanne Westenhoefer: Live From the Ladies Room in January 2007.
Andrea has been recognized for her outstanding filmmaking and live entertainment productions by PowerUp, a prestigious lesbian organization for women in television and film. The Los Angeles Gay & Lesbian Center honored her with the L. A.C. E. Award (Lesbians Active in Community Empowerment), for women who have made a significant contribution to the gay and lesbian community. In 2006, Andrea was a finalist in PlanetOut's Entrepreneur of the Year.
Through Andrea's drive, dedication and concern for those in the lesbian community, she has managed not only to fill a void but to bring quality entertainment to the gay and lesbian community and mainstream audiences as well.
Note from the Producer, L. A. Women's Fest Program Guide
Welcome to the Fourth Annual L. A.Women's Fest! I have envisioned producing a women's music and comedy festival in Los Angeles for many years. I wanted to create a communal spirit, a place where we can come together and share some laughs and revel in great music; a celebration of our community, a celebration of our lives! Now in it's fourth year, I am particularly excited to be filming this show, creating an opportunity for so many others to enjoy it in their own living room! I am honored to showcase the exceptional line-up of artists that will perform tonight. Our show includes some of the most talented women, not just in our community but in the entire entertainment industry! These choices were not made hastily. Each and every one brings an extraordinary presence to the stage, as you will soon have the pleasure of experiencing. Look around. It's no wonder why the John Anson Ford Amphitheatre is my favorite venue in Los Angeles. I have been producing shows here for the past six years and I'm so pleased to have this absolutely perfect setting be the home for L. A. Women's Fest! Thank you for coming and enjoy the celebration!
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