On Being a Producer

by Eric Sherman on February 22, 2012

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 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 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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Eric Sherman  
PO Box 41-1688  
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On Being a Director

by Eric Sherman on February 12, 2012

“Director” comes from a Latin word in the “rex,” or “king” family. So, a director is the king (or queen) of a movie set – no kiddin’, for real.

Benevolent kings tend to be loved by their people. Bad kings do not.

Directors manipulate space, time, energy and matter to create universes. Kind of like Gods!

In fact, when I worked with Orson Welles in 1970, he’d walk by and we’d say, “There, but for the grace of God, goes God!”

Now for many people, they think they want to be directors, but when they find out the amount of responsibility heaped on their shoulders, they can back off. The aggressive types dive right in, and, if they make good decisions, they are applauded and supported by their producers. If they make bad ones (i.e., costly , inefficient), they can be fired – over “creative differences.”

I coached many a first-time director – one went on to win an Oscar; some have made a number of films, and some have decided it just wasn’t for them. Either way, they benefited from knowing what was expected of them.

One actress has directed a short and a pilot episode for a comedy series. She wanted to assure she’d have a career in addition to acting! She’s doing very well.

One actor tried it out, and said, “Uh-oh. . .I didn’t realize I’d have to do ALL THAT!” So he’s back to being an actor only.

Another actor (star of a tv series) prepared himself with me, and was told by the producer that he was the “best-prepared first-time director I’ve ever seen.”

One amusing (perhaps) statistic: common denominator for directors – they are asked 1000 questions per day (based on a 10-hour day, that’s 100 questions per hour) that they don’t originate. They have to answer those, as well as get their own questions answered!

So, being a director includes the capability of tolerating a TREMENDOUS amount of random motion.

Best training ground, other than a good film study program and some coaching, is: work six months in an insane asylum; six months in a prison; and six months in a home for “troubled kids.” If you’re still on your feet, you’ll probably make it as a director!

It’s not physical toughness that makes a director (though it helps to be in good shape – sleep, vitamins, nutrition, exercise); but mental awareness.

And it really helps to pre-think all your images and prepare shot lists and/or sketches, for yourself as well as for your principal crew members.

The techniques for doing this are simple to teach, and I love doing it.

Let me know when you create your first opportunity to direct!

Best,
Eric Sherman

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What is an Expert Witness?

November 25, 2011

Some of you have asked, “What is an expert witness?” since this is a service I offer. According to the legal dictionary, an expert witness is, “a witness who has knowledge beyond that of the ordinary lay person enabling him/her to give testimony regarding an issue that requires expertise to understand. “Experts are allowed to [...]

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The dictionary says that a consultant is one who provides expert or professional advice. When I decided to dedicate my life to films – making them and assisting others to make them – I discovered that there were VERY few, if any, stable pieces of information. I read more than 100 biographies and autobiographies of [...]

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INTERVIEW WITH PETER DEKOM – PART 3

November 7, 2011

Here is the much-awaited third part of my interview with Peter Dekom, entertainment attorney extraordinaire.  Make sure to read Parts 1 and 2 on my website, www.ericsherman.com.   Q.  Do you think you can design movies for audience segments other than the most usual ticket-buyers, 15-25 years old?   A.  There’s a big problem today.  It used [...]

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