What Does a Producer Do? 9 Observations on the Biz’s Most Misunderstood Job

The scene at the LAFF. Photo by indieWIRE.

Using the question “What does a producer do?” as a launching point, four producers got together last week during the LA Film Festival to participate in a lunch time conversation about their work and what it took to bring their respective films to the festival.

The panel, moderated by LA Times entertainment writer John Horn, included “Hollywood, je t’aime” producer Charles Herman-Wurmfeld, “Branson” producer and director Brent Meeske, “Public Enemies” producer Kevin Misher, and Kristen Tucker, actress and producer of “Harmony and Me.”

The discussion touched on the challenges of producing movies during a recession, the differences between producing studio and independent films, the role of actors in getting a project financed, and common misconceptions about what a producer does. Here are some of the observations that each participant had to share:

1. Kevin Misher on how the job of a studio producer has evolved in the last 5-10 years.
Observation: Due to the recession, studio producers are having to look increasingly to outside financing to get their projects made.
“Obviously in tough economic times it’s more difficult to find money to finance a script. So heretofore as a studio-based producer I only used to go to the studios to find financing. I think now it runs the gamut in terms of where you look… Now I think studio based producers are no different [from independent producers] in that, though there’s less independent money than there was a year or two ago, there are still independent studios and financiers who you now go to as a regular course of action to find financing for both your development and your production.”

2. Kevin Misher on how the job of a studio producer has evolved in the last 5-10 years, continued.
Observation: Financiers are more interested in giving money to a project based on the stars attached to it rather than the script or concept.
“People used to be much more prone to invest in a notion or an idea that you might have if you had a writer who they could recognize, or read a script and that they recognized had a certain level of quality and if the idea registered as a good idea. Right now, at least in the studio world, and even in the independent world, they’re much more keen to know who’s going to star in it ahead of just investing in an idea. And that to me is the most frustrating thing because when I was a studio executive I would never want any actor attachments on anything ever, because then I was stuck with one actor and you could never actually get rid of that actor if they went off to do three other movies or weren’t happy with the material. And you never had any flexibility on the material. So I was much more prone, and still am, towards investing in an idea that I respond to and then putting it together when you see fit and when it’s ready and having as many options ahead of you as possible because, ultimately, that’s producing: sort of winnowing around every opportunity possible.”

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3. Charles Herman-Wurmfeld on selecting actors for low-budget movies. Observation: Get creative with casting and utilize people you know. “Especially for small movies, for which its very difficult to command movie star talent, I’m interested in a conversation that includes, as we do in ‘Hollywood, je t’aime,’ the truth that there are many more movie stars out there than we have ever heard of. Meaning, look around you and really, really understand when there’s someone in your immediate vicinity, friends, family, the person at the bakery where you buy your coffee in the morning who maybe has something exceptional… I think that we can add an uncommon value to our project by discovering those people.” 4. Kristen Tucker on her experience as a first-time producer working on a small, independent film. Observation: Once a film has wrapped, the producer’s work often just begins. “I was really just focused on making the film and finishing the film. And I felt really wonderful when we locked. That was a really great feeling. And being the sole producer of a low-budget, independent film, I didn’t realize how much work there was after that and how much money we still needed as far as marketing and festivals and finding distribution, web design and things of that nature. It kind of kept going and I wasn’t anticipating that.” 5. Kevin Misher on the obligation the producer has to the investors. Observation: The producer has to balance the creative ambitions of a director with what an audience will pay to see. “At some point if you ask for money that is disproportionate to what you can return to the investor, you’re going to stop being able to make movies. So, while you have to be very protective of the creative vision of a director or the creative goal you see for yourself, you do have to be responsible to the ultimate audience that’s out there and that’s part of the value you bring as a producer…making sure you know what the audience is and that the money that you’re given, you can bring back that return on investment to people who have placed that bet essentially and originally on you… And it’s your word. And ultimately your word sits on celluloid or video and it’s there to be seen and valued by other people.” —continued on page 2— Page 1 of 2 Next Login to recommend this article » posted on June 29, 2009 Films to Snag Comments 1 the music supervisor says on July 9, 2009 at 1:42am The producers job may be misunderstood and somewhat ambiguous, but the job of the music supervisor is probably just as, if not more misunderstood.  I was a producer on two short films and learned first hand that it takes a person who really desires this role and can do it well.  That’s why I’ve stuck to music supervision.  It’s my passion and I thrive to do my job well. Several times I’ve had to pick up the pieces after a producer tried to wear the hat of a music supervisor.  It’s one hat that needs to stay on the head of a real and experienced music supervisor.  There’s too many jobs that are producer jobs and needs to be handled by an experienced producer. Too many times I hear comments about people wanting to be a music supervisors because it seems like a dream job and all music supervisors do is listen to music all day.  This is so far from the truth.  Listening to music is about 30% of the job.  The administrative side take about 70% of the music supervisors time.  This is too much work for a producer who’s plate is already full. I wrote about this in my blog, “The Role of the Music Supervisor.”  It’s hard work just like the job of a producer.  Read my blog to get a better understanding of the job of a music supervisor and how a producer should not take on this task.  Blog: http://filmindustrybloggers.twi.bz/a _____________________ Dominique Preyer Hear It - Clear It Music Supervision Music Supervisor (JavaScript must be enabled to view this email address) http://www.HearItClearIt.com http://twitter.com/HearItClearIt 2 jon williams says on June 30, 2009 at 12:09pm Films are only made if they’re produced. It’s become very easy for first time feature directors to think they can put on the producer’s hat as well, not realising the truth of the observation that ‘once the film is locked the producer’s job has only just begun’. And, consequently too often, and too soon, they abandon their film. For me, being a producer is doing the best for everyone who has had anything to do with making it, in perpetuity. We live in the age of the ‘long tail’, and copyright outlives us all. Jon Williams, producer ‘Diary of a Bad Lad’, Pleased Sheep Films http://www.pleasedsheep.com 3 Hitsofthe60s says on June 30, 2009 at 11:31am #1 Hits of the 60s Show is proud to be a part of the “Branson” documentary that had a World Premier at the LA Film Festival. While we are not troubled by addictions of drugs and alcohol, we are troubled by marketing the #1 Hits of the 60’s Show in a town of 100 shows and on a low budget. Now playing in it’s 7th year, we credit the length of the run to the “Quality” of the show. #1 Hits of the 60’s Show bring to life the 60’s Decade with the cast and band through music, dance, comedy and unique video segments. For more information on the show go to: http://www.1hitsofthe60s.com Login to Leave a Comment »