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For various reasons, producers cannot always personally supervise all of the production. For that reason, the main producer may appoint [[Executive producer|executive producers]], [[Line producer|line producers]], or [[Unit production manager|unit production managers]] who represent the main producer's interests.<ref name="nyt">{{cite news|url=http://mediadecoder.blogs.nytimes.com/2012/11/08/three-studios-agree-to-plan-to-certify-who-deserves-to-be-a-producer/|title=Three Studios Agree to Let a Guild Certify Credits for Film Producers|last=Cieply|first=Michael|date=8 November 2012|newspaper=The New York Times|accessdate=19 November 2012}}</ref> Among other things, the producer has the last word on whether sounds or music have to be changed or scenes have to be cut. They are in charge of selling the film or arranging distribution rights as well. The producer's role can vary significantly from project to project, based on the circumstances and funding. They generally are in charge of things like hiring staff, creating filming schedules, checking and approving locations, and much more.<ref>{{Cite web|url=https://nationalcareersservice.direct.gov.uk/job-profiles/tv-or-film-producer#|title=TV or film producer|website=nationalcareersservice.direct.gov.uk|language=en|access-date=2017-02-18}}</ref>
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== Responsibilities ==

=== Development (film rights) ===
During the "discovery stage", the producer has to find and acknowledge promising material.<ref name="The London Film School">{{cite web|url=http://www.lfs.org.uk/courses/ma_film_making/production.php|title=Production|accessdate=15 March 2013}}</ref> Often, a producer must then retrieve the [[film rights]] or an [[Option (filmmaking)|option]].<ref>{{cite web|url=http://www.iftn.ie/legal/screenplays/|title=A screenplay agreement normally provides that the copyright is assigned to the producer|accessdate=15 March 2013}}</ref> If the [[Intellectual property|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]], [[Cast member|casting]], or other topics.<ref>{{cite web|url=http://www.biography.com/people/sylvester-stallone-9491745|title=He created a screenplay about a rough-and-tumble thug who struggles for a chance to make it as a professional boxer. According to several reports, Stallone refused to sell the script unless he was allowed to star in it.|accessdate=14 March 2013}}</ref> 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 Süskind]] just to agree to a [[film adaptation]] of his book [[Perfume (novel)|''Perfume'']].<ref name="Spiegel">{{cite web|url=http://www.spiegel.de/international/zeitgeist/a-farewell-to-bernd-eichinger-german-film-loses-its-leading-man-a-741716.html|title=A Farewell to Bernd Eichinger: German Film Loses its Leading Man|accessdate=26 January 2011}}</ref> However, sometimes all effort is futile. [[J. D. Salinger]], for example, refused all film producers as long as he lived.<ref>{{cite news|url=http://www.telegraph.co.uk/culture/books/7837625/The-Catcher-in-the-Rye-to-be-made-into-Hollywood-film.html|title=JD Salinger always insisted The Catcher in the Rye was "unactable" and refused to let Hollywood anywhere near his masterpiece|last=Allen|first=Nick|date=19 June 2010|work=The Daily Telegraph|location=London|accessdate=19 June 2010}}</ref>

=== Pre-production ===
Unless the film is supposed to be based on an original script, the producer has to find an appropriate [[screenwriter]].<ref name="rottentomatoes.com">{{cite web|url=http://www.rottentomatoes.com/m/casino_royale/news/1648610/007_writers_to_tackle_quotbarbarellaquot/|title=writers Neal Purvis and Robert Wade have been hired to pen the screenplay for producer Dino de Laurentiis|accessdate=13 April 2007}}</ref><ref>{{cite web|url=http://www.filmmakers.com/artists/williamgoldman/biography/page2.htm|title=Goldman was contacted by director/producer Rob Reiner to write the screenplay|accessdate=14 March 2011}}</ref> If an existing script is considered flawed, they are able to order a new version or make the decision to hire a [[script doctor]].<ref>{{cite web|url=http://www.davidlynch.de/dunetimeout.html|title=He began work on the script. And worked on it and worked on it, pushing it through seven drafts before arriving at a version with which de Laurentiis was satisfied|accessdate=11 November 2010}}</ref><ref>{{cite web|url=http://www.uni-duesseldorf.de/WWW/PhilFak/fshisto/jb/thespy.htm|title=Broccoli insisted on a rewrite, claiming to the story was too political for a 007 film. Writer Christopher Wood was brought on board to collaborate with Maibaum and expand upon Broccoli’s personal concept for the film|accessdate=14 March 2013}}</ref><ref>{{cite news|url=https://www.theguardian.com/film/2010/aug/04/tom-mankiewicz-obituary|title=the producers Albert R Broccoli and Harry Saltzman hired him for two weeks to doctor the Richard Maibaum script of Diamonds Are Forever|last=Bergan|first=Ronald|date=4 August 2010|work=The Guardian|location=London|accessdate=4 August 2010}}</ref> The producer also has the final say on which [[film director]] gets hired.<ref>{{cite web|url=http://www.tcm.com/this-month/article/79836%7C0/War-and-Peace.html|title=Next De Laurentiis hired King Vidor, director of Duel in the Sun (1946) and The Fountainhead (1949) to make the movie|accessdate=14 March 2013}}</ref><ref>{{cite news|url=http://www.telegraph.co.uk/news/obituaries/culture-obituaries/film-obituaries/8127250/Dino-De-Laurentiis.html|title=He also stuck loyally by gifted American directors when they were out of favour or off form. Robert Altman made one of his less successful pictures, Buffalo Bill and the Indians (1976), for De Laurentiis, who also helped the luckless Michael Cimino back on his feet after the commercial disaster of Heaven's Gate|date=11 November 2010|work=The Daily Telegraph|location=London|accessdate=11 November 2010}}</ref> In some cases, they also have the last word when it comes to casting questions.<ref>{{cite web|url=http://www.uni-duesseldorf.de/WWW/PhilFak/fshisto/jb/octopus.htm|title=Cubby Broccoli personally broke his own golden rule and cast her as the mysterious Octopussy|accessdate=14 March 2013}}</ref>

=== Production ===
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.<ref>{{cite news|url=https://www.theguardian.com/film/2011/jan/30/bernd-eichinger-obituary|title=In 1979, Eichinger bought a large stake in the Munich-based production and distribution company Constantin Film, which he ran as a hands-on producer for over 30 years|last=Bergan|first=Ronald|work=The Guardian|location=London|accessdate=14 January 2011}}</ref><ref>{{cite web|url=http://www.spiegel.de/international/business/the-movie-business-luc-besson-s-growing-empire-a-612371.html|title=Europacorp studio posted $186 million in revenues last year, making it second only to Germany's Constantin Film as Europe's largest independent studio|accessdate=10 March 2009}}</ref> 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 producer|executive producers]], [[Line producer|line producers]], or [[Unit production manager|unit production managers]] who represent the main producer's interests.<ref name="nyt2">{{cite news|url=http://mediadecoder.blogs.nytimes.com/2012/11/08/three-studios-agree-to-plan-to-certify-who-deserves-to-be-a-producer/|title=Three Studios Agree to Let a Guild Certify Credits for Film Producers|last=Cieply|first=Michael|date=8 November 2012|newspaper=The New York Times|accessdate=19 November 2012}}</ref> The executive producer for ''[[Star Wars (film)|Star Wars Episode IV: A New Hope]]'', ''[[The Empire Strikes Back]]'', and ''[[Return of the Jedi]]'' was [[George Lucas]] himself, the creator of the ''[[Star Wars]]'' universe.<ref>{{cite web|url=http://www.lucasfilm.com/inside/bio/georgelucas.html|title=Lucas continued the Star Wars saga as story writer and executive producer with The Empire Strikes Back in 1980 and Return of the Jedi in 1983.|accessdate=20 March 2013}}</ref>

=== Post-production ===
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 been finished, the producers can still demand that additional scenes be filmed. In the 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 die, so the producers re-shot a new ending.<ref>{{cite web|url=http://davidmorrell.net/rambo-pages/david-morrell-on-rambo/|title=test audiences nearly rioted after cheering for Rambo and then seeing him die. So the producers went back to Hope, British Columbia, the location for the film, and shot a new ending in which Rambo lives|accessdate=15 March 2013}}</ref> Producers are also in charge of selling the film or arranging distribution rights.

== Career process ==
There are different ways to become a film producer. [[Stanley Kramer]] started as [[Film editing|editor]] and writer.<ref>{{cite web|url=http://www.cinema.ucla.edu/collections/stanley-kramer-collection|title=Mr. Kramer began his career in the 1930s as an editor and writer, later forming an independent production company|accessdate=15 March 2013}}</ref> Other producers started as actors or directors.

[[Film school|Film schools]] offer [[Academic degree|degree courses]] that include film production knowledge.<ref>{{cite web|url=http://www.screenacademyscotland.ac.uk/content-114|title=The MFA Advanced Film Practice programme aims to equip you with the creative, professional and technical knowledge you will need to enter the professional arena as a writer, producer or director.|accessdate=15 March 2013}}</ref><ref>{{cite web|url=http://www.fondazionecsc.it/context.jsp?ID_LINK=18&area=7|title=The training course last three years and the interdisciplinary teaching programme prepares students in the specific areas of directing, scriptwriting, acting, photography, editing, sound techniques, production, set design, props and wardrobe|accessdate=15 March 2013}}</ref> Some courses are especially designed for future film producers, focusing on key topics like [[Pitch (filmmaking)|pitching]], script development, script assessment, shooting schedule design, and budgeting.<ref name="Filmakademie">{{cite web|url=http://www.filmakademie.de/en/studies/study-course-production/|title=Production|accessdate=15 March 2013}}</ref><ref name="The London Film School" /><ref>{{cite web|url=http://www.westminster.ac.uk/about-us/schools/media/departments/photography|title=Our BA in Film Production is one of our most highly sought-after courses.|accessdate=15 March 2013}}</ref><ref>{{cite web|url=http://www.dffb.de/html/en/studium/produktion|title=Producing seminars teach through practical studies in production, script development, budgeting, and media economics|accessdate=15 March 2013}}</ref> Students can also expect practical training regarding post-production.<ref>{{cite web|url=http://www.bfm.ee/programmes/film-arts/film-arts-ma/|title=All student films are developed, shot and post-produced in teams, closely mirroring a realistic industry work process in order to ease graduates’ transitions to the professional environment|accessdate=15 March 2013}}</ref> On the occasion of announcing his own film school, imaL'École de la Cité,<ref>[http://www.ecoledelacite.com/en/ L'École de la Cité]</ref> film producer [[Luc Besson]] admitted that at the beginning of his career, he would have appreciated the chance to attend a film school.<ref>{{cite news|url=http://variety.com/2012/film/news/luc-besson-launches-film-school-1118055818/|title=Luc Besson launches film school|work=Variety|accessdate=15 March 2013}}</ref>

While education is one way to begin a career as a film producer, experience is also required to land a job. [[Internship|Internships]] are a way to gain experience while in education, and give students a solid foundation on which to build their career. Many of these internships are paid, which enables students to earn money while learning hands-on skills from industry professionals.<ref>{{Cite news|url=https://www.thebalance.com/how-to-get-a-production-internship-1283507|title=Where to Look for Internship Programs in Entertainment|newspaper=The Balance|access-date=2017-02-03}}</ref><ref>{{Cite web|url=http://creativeskillset.org/creative_industries/film/ways_into_the_industry|title=Ways into the film industry - Film Industry - Creative Skillset|website=creativeskillset.org|language=en|access-date=2017-02-03}}</ref> Through internships, students get to network with professionals in film as well, which pays off in the end when looking for jobs after education.

The average annual salary for a producer in the U.S. is $109,844. If one examines the more than 15,000 producers in the Los Angeles metropolitan area, the average annual salary is $138,640.,{{when|date=February 2017}}<ref name="entertainment.howstuffworks.com">http://entertainment.howstuffworks.com/highest-paying-jobs-film-industry.htm#page=1</ref> Producers also often have an agreement to take a percentage of the movie's sales.<ref name="entertainment.howstuffworks.com" />

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{{dashboard.wikiedu.org sandbox}}

Revision as of 01:46, 18 February 2017

For various reasons, producers cannot always personally supervise all of the production. For that reason, the main producer may appoint executive producers, line producers, or unit production managers who represent the main producer's interests.[1] Among other things, the producer has the last word on whether sounds or music have to be changed or scenes have to be cut. They are in charge of selling the film or arranging distribution rights as well. The producer's role can vary significantly from project to project, based on the circumstances and funding. They generally are in charge of things like hiring staff, creating filming schedules, checking and approving locations, and much more.[2]

Responsibilities

Development (film rights)

During the "discovery stage", the producer has to find and acknowledge promising material.[3] Often, a producer must then retrieve the film rights or an option.[4] 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, casting, or other topics.[5] 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 Süskind just to agree to a film adaptation of his book Perfume.[6] However, sometimes all effort is futile. J. D. Salinger, for example, refused all film producers as long as he lived.[7]

Pre-production

Unless the film is supposed to be based on an original script, the producer has to find an appropriate screenwriter.[8][9] If an existing script is considered flawed, they are able to order a new version or make the decision to hire a script doctor.[10][11][12] The producer also has the final say on which film director gets hired.[13][14] In some cases, they also have the last word when it comes to casting questions.[15]

Production

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.[16][17] 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.[18] The executive producer for Star Wars Episode IV: A New Hope, The Empire Strikes Back, and Return of the Jedi was George Lucas himself, the creator of the Star Wars universe.[19]

Post-production

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 been finished, the producers can still demand that additional scenes be filmed. In the 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 die, so the producers re-shot a new ending.[20] Producers are also in charge of selling the film or arranging distribution rights.

Career process

There are different ways to become a film producer. Stanley Kramer started as editor and writer.[21] Other producers started as actors or directors.

Film schools offer degree courses that include film production knowledge.[22][23] Some courses are especially designed for future film producers, focusing on key topics like pitching, script development, script assessment, shooting schedule design, and budgeting.[24][3][25][26] Students can also expect practical training regarding post-production.[27] On the occasion of announcing his own film school, imaL'École de la Cité,[28] film producer Luc Besson admitted that at the beginning of his career, he would have appreciated the chance to attend a film school.[29]

While education is one way to begin a career as a film producer, experience is also required to land a job. Internships are a way to gain experience while in education, and give students a solid foundation on which to build their career. Many of these internships are paid, which enables students to earn money while learning hands-on skills from industry professionals.[30][31] Through internships, students get to network with professionals in film as well, which pays off in the end when looking for jobs after education.

The average annual salary for a producer in the U.S. is $109,844. If one examines the more than 15,000 producers in the Los Angeles metropolitan area, the average annual salary is $138,640.,[when?][32] Producers also often have an agreement to take a percentage of the movie's sales.[32]

  1. ^ Cieply, Michael (8 November 2012). "Three Studios Agree to Let a Guild Certify Credits for Film Producers". The New York Times. Retrieved 19 November 2012.
  2. ^ "TV or film producer". nationalcareersservice.direct.gov.uk. Retrieved 2017-02-18.
  3. ^ a b "Production". Retrieved 15 March 2013.
  4. ^ "A screenplay agreement normally provides that the copyright is assigned to the producer". Retrieved 15 March 2013.
  5. ^ "He created a screenplay about a rough-and-tumble thug who struggles for a chance to make it as a professional boxer. According to several reports, Stallone refused to sell the script unless he was allowed to star in it". Retrieved 14 March 2013.
  6. ^ "A Farewell to Bernd Eichinger: German Film Loses its Leading Man". Retrieved 26 January 2011.
  7. ^ Allen, Nick (19 June 2010). "JD Salinger always insisted The Catcher in the Rye was "unactable" and refused to let Hollywood anywhere near his masterpiece". The Daily Telegraph. London. Retrieved 19 June 2010.
  8. ^ "writers Neal Purvis and Robert Wade have been hired to pen the screenplay for producer Dino de Laurentiis". Retrieved 13 April 2007.
  9. ^ "Goldman was contacted by director/producer Rob Reiner to write the screenplay". Retrieved 14 March 2011.
  10. ^ "He began work on the script. And worked on it and worked on it, pushing it through seven drafts before arriving at a version with which de Laurentiis was satisfied". Retrieved 11 November 2010.
  11. ^ "Broccoli insisted on a rewrite, claiming to the story was too political for a 007 film. Writer Christopher Wood was brought on board to collaborate with Maibaum and expand upon Broccoli's personal concept for the film". Retrieved 14 March 2013.
  12. ^ Bergan, Ronald (4 August 2010). "the producers Albert R Broccoli and Harry Saltzman hired him for two weeks to doctor the Richard Maibaum script of Diamonds Are Forever". The Guardian. London. Retrieved 4 August 2010.
  13. ^ "Next De Laurentiis hired King Vidor, director of Duel in the Sun (1946) and The Fountainhead (1949) to make the movie". Retrieved 14 March 2013.
  14. ^ "He also stuck loyally by gifted American directors when they were out of favour or off form. Robert Altman made one of his less successful pictures, Buffalo Bill and the Indians (1976), for De Laurentiis, who also helped the luckless Michael Cimino back on his feet after the commercial disaster of Heaven's Gate". The Daily Telegraph. London. 11 November 2010. Retrieved 11 November 2010.
  15. ^ "Cubby Broccoli personally broke his own golden rule and cast her as the mysterious Octopussy". Retrieved 14 March 2013.
  16. ^ Bergan, Ronald. "In 1979, Eichinger bought a large stake in the Munich-based production and distribution company Constantin Film, which he ran as a hands-on producer for over 30 years". The Guardian. London. Retrieved 14 January 2011.
  17. ^ "Europacorp studio posted $186 million in revenues last year, making it second only to Germany's Constantin Film as Europe's largest independent studio". Retrieved 10 March 2009.
  18. ^ Cieply, Michael (8 November 2012). "Three Studios Agree to Let a Guild Certify Credits for Film Producers". The New York Times. Retrieved 19 November 2012.
  19. ^ "Lucas continued the Star Wars saga as story writer and executive producer with The Empire Strikes Back in 1980 and Return of the Jedi in 1983". Retrieved 20 March 2013.
  20. ^ "test audiences nearly rioted after cheering for Rambo and then seeing him die. So the producers went back to Hope, British Columbia, the location for the film, and shot a new ending in which Rambo lives". Retrieved 15 March 2013.
  21. ^ "Mr. Kramer began his career in the 1930s as an editor and writer, later forming an independent production company". Retrieved 15 March 2013.
  22. ^ "The MFA Advanced Film Practice programme aims to equip you with the creative, professional and technical knowledge you will need to enter the professional arena as a writer, producer or director". Retrieved 15 March 2013.
  23. ^ "The training course last three years and the interdisciplinary teaching programme prepares students in the specific areas of directing, scriptwriting, acting, photography, editing, sound techniques, production, set design, props and wardrobe". Retrieved 15 March 2013.
  24. ^ "Production". Retrieved 15 March 2013.
  25. ^ "Our BA in Film Production is one of our most highly sought-after courses". Retrieved 15 March 2013.
  26. ^ "Producing seminars teach through practical studies in production, script development, budgeting, and media economics". Retrieved 15 March 2013.
  27. ^ "All student films are developed, shot and post-produced in teams, closely mirroring a realistic industry work process in order to ease graduates' transitions to the professional environment". Retrieved 15 March 2013.
  28. ^ L'École de la Cité
  29. ^ "Luc Besson launches film school". Variety. Retrieved 15 March 2013.
  30. ^ "Where to Look for Internship Programs in Entertainment". The Balance. Retrieved 2017-02-03.
  31. ^ "Ways into the film industry - Film Industry - Creative Skillset". creativeskillset.org. Retrieved 2017-02-03.
  32. ^ a b http://entertainment.howstuffworks.com/highest-paying-jobs-film-industry.htm#page=1
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