PRODUCERTHE IMPORTANCE AND ROLE

TV and film producers look after the business side of a production, leaving the director and crew to concentrate on the creative work.

The job includes pitching new ideas for projects, securing funding and rights for books and screenplays, and managing budgets.

To do this job, you will need to be well organised, good with figures and an excellent negotiator.

To become a producer, you will need experience of working in the industry and a good network of contacts.

Work activities

Producers play an important role in the film, television and video industries. As a producer, your main purpose would be to deal with the practical and business side of a project, so that the director and crew could concentrate on the creative side. Film Producers are instrumental in obtaining funding for a film while in TV, programmes are usually (but not always) commissioned and therefore funding is not a major part of the job.

You would manage the production process from start to finish, organising all the resources needed and often coming up with the initial idea for a project. Your work might include:

deciding which projects to produce, or creating programme ideas yourself

reading scripts

securing the rights for books or screenplays, or getting writers to produce new screenplays

raising finance for projects

pitching to television broadcasters to commission your programme

identifying sources of film funding and pitching projects to investors

assessing what resources will be needed

planning the schedule

hiring all the necessary technical resources and support services

recruiting key production staff and crew, and being involved with casting performers

editing scripts

managing cash flow

making sure that the entire production stays on schedule and within budget

overall responsibility for the quality of the production.

On feature film and large-scale TV productions, you would be part of a team of producers and may be responsible for just some of these duties. On a smaller production such as a documentary, you would often do all of these tasks and may also direct the project.

Working hours and conditions Working hours can be long and irregular according to the

demands of a production. Freelance contract work is very common.

The work is mainly office-based, but you would also visit studios or locations for meetings. Location work could be anywhere in the UK or overseas, so you may need to travel and stay away from home for long periods.

Income Freelance producers are usually paid a fee for each individual

contract or project. Rates can vary widely and you could negotiate fees based on the

type of production, the budget available and your track record. Contact the Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) for current pay guidelines.

Depending on your contract, you may also receive a percentage of the profits from a feature film

Entry requirements You will need substantial experience in both the creative and business sides of film or programme making. You

will also need an in-depth understanding of the production process, and a network of contacts in the industry. You could work your way up through the industry in various ways. In TV, you could start as a runner or

production assistant. Producers of factual programmes often start as programme researchers or journalists. Alternatively, you could progress through production office roles, from production secretary to assistant production coordinator and beyond.

In film, you would usually start as a runner. You could then work your way up to production coordinator, line producer and production manager, or alternatively progress through the roles of 3rd, 2nd and 1st assistant director.

Before finding an entry-level job in film or TV, you will be expected to build as much practical experience as you can. You can do this through activities like student film/TV, work experience placements, or hospital or community radio.

It is not essential to have studied film, video or media production before you look for work. However, you may find it helpful to take a course that includes practical skills, work placements and the chance to make contacts. Many colleges and universities offer relevant courses. See Creative Skillset’s website for details of industry-endorsed courses.

Training and development You will develop your knowledge on the job, learning from more

experienced producers as you gain experience. Once you are working as a producer, you could take short courses in

production skills such as script analysis, pitching ideas, legal issues, scheduling and raising finance. You may be able to find training and development offered by organisations such as:

Indie Training Fund (ITF) film schools private training companies regional screen agencies. The Production Guild.

OpportunitiesYou will usually work on freelance contracts, for film/TV production companies or television broadcasters.Some jobs are advertised in industry magazines and websites, but it is most common to get work through networking and contacts. If you are a member of the Production Guild, you can also advertise your availability on their website when looking for work.With experience, you could become an executive producer, or choose to set up your own production company.You may find the following useful for further reading, job vacancies and making contacts (links open in new window):•Mandy.com      •Broadcastnow.co.uk      •BBC Recruitment      •BBC Academy      •ITV Careers      •Grapevine Jobs      •PACT Directory       (contacts directory of TV/film production companies)•The Knowledge       (TV/film contacts directory)•Kays Production Guide      •4Producers      

http://courses.creativeskillset.org/accredited_film_production_courses

http://studionow.typepad.com/blog/studionow_news/ http://www.filmmakingstuff.com/the-official-65-step-film-producti

on-checklist/

Executive Producer -- Supervises one or more producers as they perform their duties for one or more films. The executive producer may represent the film studio and keep watch over the producer to make sure the movie is within budget and being made the way the studio wants. Or the title may be given as a symbolic gesture or to give a movie visibility. George Clooney, for example, was listed as executive producer for "Far from Heaven" (2002) to generate publicity, but didn't spend any time on the set, according to the film's producer Christine Vachon.

Associate Producer -- Handles certain aspects of production, as assigned by the producer. Usually the associate producer has worked through all three stages of the production, from preproduction to post-production. Sometimes the associate producer title is given as a courtesy title to a key backer of the film who does not have a major role in producing the film.

Assistant Producer -- Works on tasks assigned by the associate producer. Co-Producer -- Shares producer responsibilities as a team or group with other producers. One producer may take on

creative responsibilities while another handles business functions. Or one of the producers may be a major investor who is not directly involved in the movie production. Or a co-producer may have brought the script or the film's star to the production.

Supervising Producer -- Oversees one or more producers as they perform some or all of their duties. The supervising producer may take the place of an executive producer or work for the executive producer.

Coordinating Producer -- Coordinates the work of several producers to create a unified end result. Coordinating producers are valuable when a studio produces several related films, as with "Spiderman," or particularly when two related films are being produced at the same time, as with the two sequels to "The Pirates of the Caribbean."

Line Producer -- Handles the physical aspects of a movie's production and usually is not involved in decision-making regarding creative issues. This is the person who oversees the budget and day-to-day activities during filming. In addition to making sure the movie stays on budget and on target, the line producer handles any crises that may occu

Development (film rights)[edit] During the "discovery stage" the producer has to find and acknowledge promising material.[7] Often a producer must then retrieve the 

film rights or an option.[11] 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, the casts or other topics.[12] 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.[13] However, sometimes all effort is futile. J. D. Salinger, for example, refused all film producers as long as he lived.[14]

Pre-production[edit] Unless the film is supposed to be based on an original script, the producer has to find an appropriate screenwriter.[8][15] If an existing

script is considered flawed, they are able to order a new version or make the decision to hire a script doctor.[16][17][18] The producer also has the final say on which film director gets hired.[19][20] In some cases they also have the last word when it comes to casting questions.[21]

Production[edit] 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.[22][23] 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.[9] The executive producer for Star Wars Episode IV: A New Hope, Star Wars Episode V: The Empire Strikes Back and Star Wars Episode VI: Return of the Jedi was George Lucas himself, the creator of the Star Wars universe.[24]

Post-production[edit] 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 officially been finished, the producers can still demand that additional scenes be filmed. In 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.[25] Producers are also in charge of selling the film or arranging distribution rights.

There are different ways to become a film producer. Stanley Kramer started as editor and writer.[26] Other producers started as actors or directors.

Film schools offer degree courses that include film production knowledge.[27][28] Some courses are especially designed for future film producers, focusing on key topics likepitching, script development, script assessment, shooting schedule design and budgeting.[3][7][29][30] The students can also expect practical training regarding post-production.[31]

On the occasion of announcing his own film school "L’Ecole de la Cite" film producer Luc Besson admitted that at the beginning of his career he would have appreciated the chance to attend a film school.[32]

The average annual salary for a producer in the U.S. is $109,860. If one examines just the 15,000+ producers in the Los Angeles metropolitan area, the average annual salary is $138,640.[33] Producers also often have an agreement to take a percentage of the movie's sales.[33]