I contribute to the script but take no credit -- yet people comment how "my body of work" has common themes and threads. I help design the production, from the look, to the cast, to the crew, to the rhythm, to the tone, to the marketing -- yet people don't think my credit is a creative one (because it has been undervalued by all those that glom on to it). I strategize how to make the film go from an idea or concept into reality -- I make the film inevitable, with attachments, with financing, with distribution, with an audience, yet somehow the industry thinks producers are interchangeable. The industry encourages that I do a volume business so that they can "service" their clients, yet they give me no support, be it financial or just reinforcement (if a project is not ready or a collaborator not a financial asset, I am the one that must deliver the news -- and even if they agree with me, they take the side of the client).
Six years ago I was one of two key witnesses in the successful anti-trust suit against the MPAA and Studios' Screener Ban. One of the reasons we won was that the judge recognized that my livelihood was dependent not on singular films, but on the perception of my key creative role in a string of films that had a critical, commercial, and cultural impact (and how the added boost screeners gave my films was essential). Since that time, I have witnessed the devaluing of the producer credit as never before.
We are in incredibly tough times for "quality" projects. Fewer get released. Fewer get financed. The budgets come down, and with them come lower fees. It has never been this hard over the last twenty years. When I ask myself "how am I going to survive making the kind of films I do, the kind of films I love?" my one real hope is a deepening understanding of what I bring to a project. And to me that is a deepening understanding of what it is to produce.
Producing for me is not contributing to the producing process -- it is doing the entire process. If someone needs to receive additional credit because of their contribution it should not just reflect their contribution, but it also should not diminish the contribution of others. It is my job to do a lot of other people's job, but it is not my place to take any credit for that. When someone takes producer credit and is not there from beginning to the end, involved in all aspects of the development, funding, prep, production, post, marketing, and distribution, they diminish my work and the value of my credit. When the producer credit is devalued, it becomes harder to get movies made and to respect the process by which good movies are made.
I also firmly believe that the producer is in service to both the director and the film. The producer and director are both there to make the best film within their means and circumstances, and hopefully they have a mutual understanding as to what that means. I have been surprised by those out there who pitch themselves as "filmmaker friendly" but don't have faith in their team's vision. Similarly, I am surprised by those who go looking for "collaborators" but truly don't want to engage in the discussion about how to make the best the film within the context of their project. To produce means to be in a collaborative environment in service to a filmmaker's vision.
If we are now involved in a cultural war to protect ambitious film, then who is the enemy?
12 comments:
A good producer is always appreciated, if only because it means that someone else has the same faith in this crazy idea that you have. It's an amazing thing when you sit down with a producer and realize that you are thinking the same things. It suddenly starts becoming something real and exciting.
"If we are now involved in a cultural war to protect ambitious film, then who is the enemy?"
This should be its own post, but I say there are three enemies: the studios, the war on culture and piracy. The studios because they have used unfair practices to give themselves total control of the marketplace.
I totally agree, Ted. I think it's even worse for producers than writers, who consistently have their creative contribution undermined in the credit free-for-all. I've often wondered why a producer takes on the challenge with so little glory, unless you get off on throwing around you Hollywood power and boffing starry-eyed actors. After all, the movie is seen as the "director's work." And it's the lead actors who are adored. But, truly, the creative producer--and I wish I knew more of them--is something more than the guy who hands over some cash or does the legal work.
There has got to be a new way to recognize this special producing role. I guess I would really like to hear you blog about why you do this difficult job. It would shed some light on how we filmmakers approach "creative producers" and we can all learn to give more respect to the critical role. How does the filmmaker retain authorship? Or is that even necessary? How do we better recognize the creative producer's contribution? How do we get along?
Ted,
This really spoke to me. Even though I'm a fledgling myself, everything you articulate so passionately here is everything that draws me to production and, ultimately, to producing itself.
I have no ambition to write or direct - only to work with the best writers and directors (not to mention the best actors, cinematographers, production designers, sound designers, foley artists, key grips, camera assistants etc. etc.).
My ultimate ambition is to be a force both driving and catalytic in creating the kinds of movies that have always excited me - and in the company of the creative collaborators that excite me. To me that is, as they say, What We Fight For - and I fully support your fight for the right to be recognized for the unique contribution you as a Producer make.
This like all you posts is very educational Ted and as a novice in the field I thank you for it. I think a big part of the problem regarding the producer credit is a lack of education about its meaning, among audience members and among filmmakers themselves. Your blog is a great start to rectifying the problem.
Other ways to address it might be by making more of a point of introducing producers to audiences at screenings, festivals, etc., where usually actors, directors, and writers rule the day. Another way is to make it part of an open discussion during the filmmaking process itself. Then you might find that many people are willing to accept your definition of the term because it may help them clarify their own talents, capabilities, and ambitions. And you may decide that branding those who had some confusion about it as "the real enemy" is somewhat unfair, a bit hysterical, and not very conducive to the making of "ambitious films."
amen.
Ted,
I think that what you are referring to here is a need for Creative Producer Branding. Many of the blogs that you write are about "branding" (without calling it out by name) whether it's "Ways Indie Film Will Flourish" or "Audience Building", much of it boils down to branding. And the problem of a depreciated Producer credit is no different.
Back in the day I used to look to "Good Machine" as a brand that I could trust to deliver a certain type of film, same thing with "Miramax" or "Working Title". Directors are particularly good at branding themselves. When I go to a "David Lynch" or "Tim Burton" film I know, generally, what to expect. As far as I can tell there's only one name branded producer out there right now and that's Jerry Bruckheimer. J.J. Abrams may have been one but he's a director now. Bruckheimer's name is probably the most widely known producer's name outside of the industry.
Quentin Tarantino has a very successful writer/director brand and has recently used that brand in a different context by "Presenting" Eli Roth's "Hostel", Tim Burton recently dropped that label on the movie "9", "Coraline" and A Nightmare Before Christmas". Maybe it's time for more "Creative Producers" to start building their brand. Maybe your movies should have, above-the-title: "Ted Hope Presents:" lord knows your resume supports it. Then your name may become branded and recognized by filmmakers, industry and fans. The audience will recognize, by name, that they can have certain expectations with a Ted Hope Presented film. And maybe they'll realize that Creative Producers make films.
-Nathan Wrann
Dalton Gang Productions
Producers need to take the credit they deserve. They need to become personalities along with being filmmakers. If they connect with movie fans as the authors of the film they will have more power.That includes having video blogs showing them get projects off the ground. If Simon from American Idol built a career being a critic, not as a singer there is a chance for producers who are willing to self promote. That also includes rap producers that have become sometimes as much of a celebrity brand as the rappers on their albums. It is all perception. We all have to work together to elevate the title by not hiding from press, but embracing the spotlight righfully so. Time to unite and becomes as famous as the other above the line talent we work with, so the image of a producer isn't only a dog with script in its mouth.
Anonymous, I think that the title of producer, at least in the mind of the mass public, has probably most been associated with that of Bruckheimer/Simpson, Joel Silver or the Weinsteins and that it has probably been diluted with, as Ted said, everyone who has a finger (monetary or otherwise) in the pie getting a credit. nwrann, I would add Judd Apatow's name as one that gets put on a movie as a brand as well and probably one of the most profitable ones right now with his 'repetory' group even if not in a film he's attached to. Probably the only time producers get major recognition is at the Oscars. I'm just getting into this field myself so not really sure about the deeper questions of how one should position one's 'producer brand' - with certain people you can notice certain touches or related themes in movies, which many might attribute to a director, but could be part of the background magic woven by the producer who has assembled all the parts to get the show running and seen it through. No definitive answer of course but truly appreciate this blog for raising these questions.
As a fledgling creative producer myself, I have to say, it's a tough, weird thing to do, but so far in my life, the most rewarding thing I've ever attempted.
For some reason, when I think of the role of the producer, I am always reminded of the role George Martin is characterized as having played for the Beatles (at least in one documentary I saw in high school, when my then-girlfriend first really introduced me to "rock and roll" — yes, I was an incorrigible square).
It's not exactly the same in music as in film, obviously, but in that documentary, Martin was ever-present: encouraging, discouraging, masterminding, playing politician, literally writing orchestration at times (for Sgt. Pepper) and at all times moving the process toward its maximal conclusion.
And what a conclusion it was. It was through Martin's coaching and his vision of what "could be" that carried the Beatles forward from Rubber Soul, through the astonishing breakthrough of Sgt. Pepper.
In a nutshell, that is the creative producer working at his best — a role not dissimilar, too, from that of the literary editor.
One identifies talent, a story that "must be told" and then shepherds the teller and the story through the process to a full realization of that tale.
I am a self-described polymath, with interests ranging from the financial to the technical to the literary to the visual, and I am tremendously motivated by both challenge and learning curves. I often say that if I am sure I can do something, I am not motivated to attempt it.
My own desire to pursue what I do is a combination of all the above: a love of the audacious and even the impossible, a deep respect for humanly "helpful" stories, and a passion for the irreducibly valuable, ever-elusive creature known as a "work of art." I do sometimes exchange my time for money, as must we all, but I am sustained as a human being by the pursuit of stories that allow us to understand ourselves better, that illuminate life on this planet, that are useful, that are beautiful.
It is perhaps "thankless" in some measure, since writer/directors seem indeed to get so much credit (a convenient fiction of the press), but I do not find that is so within the industry, where really everyone knows who did what, at the end of the day.
I do hope, however, that the role of the creative producer can be increasingly recognized, and more of us join the ranks — we are a rare breed, perhaps by temperament, but greater recognition would bring greater numbers, which could only lead to more, better films.
Hey TCW,
You sum it up quite nicely and despite describing yourself as "fledging", you seem to have a great handle on the what and the why. Here's to sustaining that for decades to come! And despite what has had to be a populist form of culture (until the price point of entry has fallen and the barriers to access have collapsed), square has been the new hip for quite some time, at least in film world if you ask me. I look forward to seeing your work.
Ted
Hi Ted
i followed your masterclass today in Galway A true inspiration!!
I was one of the people who responded yes to your 3 questions about Facebook Twiter and Bloggins In fact i operate more than 12 blogs i thinks and many are for my films or the film festivals i do in Greece
In fact my two recent fiction started from the net
Hold me www.holdme.gr a hybrid film using an open call via the net for people to shra estories on loss with the lead fiction caracter a radioproducer whose father died and she decided to launch this website initiative you can get a glimpse here http://www.youtube.com/watch?v=xhBKy8G9Go8
http://kratiseme.blogspot.com/
The fiction i am shooting now You are my mirror on beuaty ..is again a internet initiative http://youmymirror.blogspot.com
I do agree with all what you said and the presentation of this blog
I think for the creative process all taht is worth is exploring the barrieres of from and pushing them further so that walls collapse and we can see further from there
imes are hard but so many new challenges are there openign each day
Truly said!!! and nicely sais we are indeed
We are on the verge of a new film culture and infrastructure, driven by both the creators and the audiences. We must accept that being a filmmaker means taking responsibility for our films all the way through the process. Building the new infrastructure is the first step towards real media independence.
I really do hope we can see you in one of our festival in teh Greek islands were we co try to talk about all these issues you raised and concentrate on the art of filmaking
Thank you for giving me this excellent opportunity today
lucia rikaki
email lrikaki@otenet.gr
soem of my on line ventures
www.luciarikaki.gr
luciarikaki.blogspot.com
alwaysthesea.blogspot.com
www.ecofilms.gr
www.healthfilmfestival.
http://healthfilmfestival.blogspot.com/
http://rodosecofilms.blogspot.com/
http://ecokidsrodos.blogspot.com/
http://breathofairfilm.blogspot.com/
http://comedyclubgreece.blogspot.com/
http://theislandchoir.blogspot.com/
i need advice....i am currently wrting a screenplay with another woman....it's my story and i brought her on board because she helps pin me down and also has contributed to the development of the story...we are about half way through...i can't decide if i want to take on the role of producer or director in realizing this film....i need help deciding....i want to ensure the project gets made and stays true to the original vision...but i am a firedriven person, who can make anythign happen....i feel like i would kick ass producing this, but i don't want to regreat not having primary responsibility for the creative vision.....what do i do?
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