On Being a Producer

ON BEING A PRODUCER Of all the major jobs on a movie, there are more questions about “producers” than any other.   Who and what, exactly , is a producer?   There are roughly three categories: 1. the “b.s.” artist (i.e., he/she who has never produced anything); 2. the entrepreneur (i.e., he who knows some actors, knows a writer, knows some people with money, and puts them together); 3. the nuts-and-bolts guy, who actually knows how to get a movie made.   (1) constitutes about 70% of those who claim to be producers; (2) constitutes
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about 20%; (3) about 10%.   There IS one agreement, though. If a movie wins the Oscar for best picture, it’s the producer(s) who receives it. This may be a reason why it’s such a desired status.   My definition of a producer is based on the root of the word itself: lead forward.   Therefore, a producer is (or should be) he/she/they who leads a movie project forward to a known and agreed-upon goal – which is a high-quality, on-time and on- or under-budget movie which can be sold.   The producer’s responsibility is to DELIVER THE FILM.   It’s a job of the greatest overview, PLUS the most details imaginable.   The producer must be as willing to host a mayor or local police chief as to calm down an upset actor, or as to assure that cigarette butts and soda cans are removed from a location.   Ideally, in my experience, a producer rarely “hangs out” with the

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crew during shooting. It’s tough to kick the butt of those with whom you’ve been fraternizing. Also, if a producer is omnipresent, it reduces the impact of when he shows up to handle a non-optimum situation.   The producer is the only one who can terminate the director, but he wouldn’t normally do that until gentler persuasive tactics had been tried.   Reasons for terminating a director (or, indeed, a star, a cinematographer, or any department head) could include: falling behind schedule; overshooting; incompetent footage; leaving a trail of upsets.   It is with great caution that a producer would, in fact, fire anyone. But his judgement ought to remain unquestioned.   Some of the great producers in Hollywood history have championed and been “front” people for directors: John Houseman for Orson Welles, David Selznick for Alfred Hitchcock; up to today’s Lawrence Bender for Quentin Tarantino.   I will address who and what is an Executive Producer, a Co-Producer, an Associate Producer, a Production Manager, in future posts.   There is a lot of specific technology to train producers. I know, because I do it!   Best wishes, Eric Sherman  


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