Why you, (yes YOU!) need a producer.

[Jim Brennan]

I have had the privilege of working with two outstanding producers on feature films over the last 2 years. I worked as a producer with MaryLee Herrmann on Patrick Sheridan's Jimmy Said, and I am currently working with Mark Diestler who is producing Jack Gastelbondo's The Inner Room.

Making a feature is a monumental undertaking, and anyone who knows me has heard me advise against it in many cases, unless you really have a lot of set time under your belt. 90% of what you learn on set can be learned on a short. You can hone your craft in almost every respect without the added burden of the extra months of pre and post, and the added weeks of production. But that's just my opinion.

However, if you are going to make a feature, do yourself a favor. Get a producer. A good one. It is the best investment you can make (outside of a great script and cast...but if you don't have those you shouldn't be shooting in the first place))

There are lots of different kinds of producers, and I don't want to dissect all of that right now. What I do want to say is that you NEED someone to take care of stuff. What kind of stuff? I'm glad you asked.

Stuff like making sure the cast and crew is fed, that there is enough bottled water, that the schedule is worked out, that the locations are secured, that there is a first aid kit and a fire extinguisher, that there is money in the checking account, that there is adequate transportation when you change locations, that there is a cover set for inclement weather, that you have all the gear you need, that everyone shows up when and where they are supposed to, that there are extra scripts available, someone who can be both a peacemaker and a taskmaster, all of that and more ad nauseum.

And that's just some of the stuff you plan for. That doesn't count taking care of the many things that have to be dealt with on the fly. A producer's job can best be defined as the person who takes care of all the stuff that needs to be done to make sure that the director, cast and crew has what it needs to make the film. I'm sorry, but you just can't be an effective director/filmmaker when you are taking care of all of that.

I would work with either Mark or MaryLee again in a heartbeat because neither of them were reluctant producers. They didn't take the job because it was the only job left. They are producers because they understand the importance of what that position provides to the end product. Whether that means sewing patches on a shirt moments before the camera rolls, calling 4 electricians to get power to a remote cabin in the middle of a shooting day or spending months in pre-production trying to nail down all the details, they will do whatever it takes.

I also believe that a good producer should be someone that challenges you creatively, and with whom you craft a vision together. Bt if you can't find that, at least find someone who can take care of the details that you should not worry about once the cameras start to roll.

[Mark Diestler]

Jim, the pleasure was all ours. Without you, The Inner Room would not have run nearly as smoothly as it did. I appreciate all you did - you went above and beyond any expectations I might have had. Your knowledge, enthusiasm, work ethic, and energy were contagious on set. Whenever you were around, everyone wanted to work that much harder.

While I agree, an effective Producer is essential (but hey, I'm a Producer, so of course I'm going to say that) - I can honestly tell everyone out there who is reading this - get Jim Brennan on your set (yes YOU!).

[Jim Brennan]

Thanks Mark, you illustrate my point. The level of preparedness, focus and collaboration that you and Jack brought to the set allowed that enthusiasm and energy to flourish. The efforts you made as producer created an environment where we could put our collective creative energies where they would do the most good. Everyone worked their tails off, and wanted to do the best job they could because of what you, Jack and the cast brought to the set everyday.

That's what a good producer does.

[Ken Mostek]

I completely agree with this. I just finished production of Andover High, and I really needed a full time producer. Of course, I had people helping me all along, but most of the things you talked about we my responsibility as director.

The part that I found difficult was finding someone to produce in the first place. There just are not that many people out there to take this job on. That's what I found frustrating. Especially for low budget projects. Look, we all want to get paid, but there just are not enough people out there that are willing to do this tough job for the "love of the project."

[Jim Brennan]

Very true Ken. I think (and correct me if I am wrong), that in both of the cases I mentioned, both MaryLee and Mark had worked with those directors before on a number of shorts. The relationship was fostered over time and both producers felt that being involved in the project, and with that director was a good use of their time.

Developing that takes time.

[Coloradosploitation Films]

Trying to direct and produce at this level is akin to walking into the toughest bar in town and yelling 'I'll lick any sumbitch in this joint!'
In other words, I don't suggest it. You're going to get hurt.
Of course most film makers don't have a choice. It's very difficult to find someone who is willing to put the time and energy into making a vision that is not their own. During the production of 'The Future Belongs to Undead Gods' I would have given a kidney for someone to help out in this capacity. Sadly most times when you reach out to meet someone who claims to be a producer you end up spending a lunch meeting listening to them talk about their projects, not yours.
This is why if you find someone out there who is willing and able to produce on the no/low budget level TREAT THEM LIKE GOLD! You have hit the jackpot and there aren't enough 'Thank you' s in the world. They want french fries? Get them french fries. Puppies? Everyone likes puppies, right? Get them a puppy. Be glad that someone else is willing to pick up a harness and help you drag this production to the end of the race. It's rare, but it happens.

[Nicholas Bernhard]

A good producer is an invaluable asset to production, but I'd say that when you're on set shooting, having a good Assistant Director or Unit Production Manager is important. All of the responsibilities you mention are done between those two people, with ADs handling logistics and UPMs working finances (I am unsure of the other details). When the end credits roll, about half the time the first credit you see is for the UPM.

I'm glad that doing shorts is the way to go, because that's what I'm doing. You just get to practice with more movies and techniques that way, people are more likely to sit through them, too.

[Jim Brennan]

Very true Nicholas. Bigger films also have a producer called a Line Producer, who is on the set everyday, working with the UPM. They handle a lot of the budgetary issues as they relate to day to day situations (including keeping on schedule and budget). On indie sets, many of us have to do more than one role (or at least more than one of the roles often divided up on bigger shoots). The position I am describing encompasses many of the roles of a UPM and LP. An AD is typically slightly different in that their role is more tactical as opposed to strategic. They are overseeing the cast and crew for each day, making sure that everyone is where they need to be at any given moment and dealing with on set details, as well as making sure things are staged for whatever comes next. An AD can also be a sort of liaison between the director and the cast and crew.

On Jimmy Said, I would guess that while MaryLee and I were both producers, I also filled much of the role as AD and MaryLee did much of the UPM work. On The Inner Room, Mark was producer, LP, UPM and AD. I think he is just fine with the title of Producer.

Luckily, most indie films are small enough where one person can take most of the responsibility for all of these roles, sometimes using PAs to fill in the gaps. What we all want (I assume) is to be effective. As long as the division of labor and responsibility is working, allowing the director to focus on what they need to, that is what matters most.

[Maria Teresa Garcia]

Sorry I'm coming into this late in the game.

I agree with a lot of what has been said. I have come across the good and the bad of Directors as a Producer. Most of the bads were just inexperience. I have made my fair share of shorts and educated myself on what I should do as a Producer. I always take on projects that I think will be rewarding and have an element to them that will challenge me. The hardest part I have found is the Directors letting their control go, so that I, as a Producer, or any Producer CAN do their job. Every Director I work with I stress to them to let me handle the logistics, as a Director they need to focus on their vision.

I feel the most overlooked aspect is Pre-production. You need that time to solidify the story, to get everything lined up. You need to enter Production with all the elements of the film finalized, so when something comes up (which it will), you have the time to fix it. Short Pre-pro just leaves everyone stressed and entering the production on a bad note. And with indie films it's even more important to have that pre-pro. Just from my experience, there should be a LP/UPM on set plus the AD during production. So when trouble arises, the LP/UPM can take off if needed to handle the problem while the production continues to flow under the AD's guide.

From my standpoint - and other Producers who have had more experience than me may have a different take, but as the Producer on my projects I see my job as a Producer completed when production rolls around - and the AD steps in to take charge of the show. Of course, I'm still there in the background putting out fires and doing necessary paperwork, but the production should be to the place that in 'another reality where there are never any hiccups' I shouldn't be needed. That is until the film is wrapped on Production, than the Producer steps back in to make sure everything is in order and start the big process of Post. There are other Producers who may like to be more hands on during Production, but I feel that the Director and AD have enough elements to focus on. I can figure out what's going on by just observing and them knowing that I'm there if they've hit a snag.

Before you hire a Producer, definitely sit down with them. You both need to have that chemistry and ability to understand the same vision for the film. And let us do our job as a Producer. We enjoy this side of film making for a reason. For me it's the challenge, and I'm sure every other Producer has their own interest as well. Some see the Producer as not being the creative/fun job, but we have our own way of being creative. We should be able to fix things on the fly when 'hiccups' on set come up. Sometimes that takes a hell-uva lot of creativity. ;)

[Carol Rodarte Wilson]

i thought that all the things you described were the job of a production manager.

[Jim Brennan]

Are you directing that towards the entire discussion or a specific post?

[Jim Brennan]

Well, I just wrapped my third feature as a producer.  Some had PM's and some did not.  In the end it doesn't matter if you call the person the Ice Cream Man as long as you keep the creative elements from having to worry about stuff they don't need to be bothered with.  That was the point of this thread.

And if I have to go buy bottled water in order to make that happen, I will happily do that.

[Jamison Rooker-Gomez]

I am in the pre-production stage for a summer film project, I've always wanted to be a movie director and now this summer, i am taking that chance. My knowledge in film making is limited, however i do have the strong desire to learn. Where and how do i find a producer for my film...any ideas?