What is a Producer Anyway?

(The one who reaches for the stars.)

The following information is via an article that was given to me in my “Film Finance, Marketing, and Distribution” class about what is a producer.

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From some small notion, idea or concept, producers see something great, something noble, something worthy of the months and years of struggle that will turn it into a film, television show or new media program. He or she will nutrue i, defend it, surround it with peopl who share the same vision. And from this, something spectacular can evolve. Something that can turn the world on its ear with wonder, amazement and awe. Producing credits need to reflect the truth and reality of the producer’s work. That’s why the Producers Guild has now formally established recognized guidelines to ensure that producers get the credit they deserve. To find out more visit our website at www.producersguild.org.

Even in science fiction, the fiction should end when the credits roll.

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Producer by: Credit for Theatrical Motion Pictures

In common parlance, an individual receiving the “Produced by” credit for a motion picture is typically referred to as the film’s Producer. To avoid confusion with other producer credits, we refer to this individual as the “Produced by.”

The “Produced by” credit is given to the person(s) most completely responsible for a film’s production. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the “Produced by” would have significant decision-making authority over a majority of the producing functions across the four phases of a motion picture’s production. Those phases are: Development; Pre-Production; Production; and Post-Production & Marketing. The following considerations would be taken into account in determining “Produced by” credit:

Within the development process, the “Produced by” will typically conceive of the underlying premise of the production, or select the material. S/he also will select the project’s writer, secure the necessary rights and initial financing, and supervise the development process.
In pre-production, the “Produced by” will typically select the key members of the creative team, including the director, co-producer, cinematographer, unit production manager, production designer, and principal cast. The “Produced by” also will participate in location scouting, and approve the final shooting script, production schedule, and budget.
During production, the “Produced by” will supervise the day-to-day operations of the producing team, providing continuous, personal, and usually “on-set” consultation with the director and other key creative personnel. S/he also will approve weekly cost reports, and continue to serve as the primary point of contact for financial and distribution entities.
For the last phase, post-production & marketing, the “Produced by” is expected to consult personally with post-production personnel, including the editor, composer, and visual effects staff. S/he is expected to consult with all creative and financial personnel on the answer print or edited master, and usually is involved in a meaningful fashion with the financial and distribution entities concerning the marketing and distribution plans for the motion picture in both domestic and foreign markets.

With today’s large-scale productions, it is rare to find one individual who exercises personal decision-making authority across all four phases of production. However, the PGA requires that in order to earn the credit of “Produced by,” one must have taken responsibility for at least a majority of the functions performed and decisions made over the span of the four phases.

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JOB FUNCTIONS FOR “PRODUCED BY” (Theatrical Motion Pictures)

Subject to the control of the Owner, the “Produced by” in Theatrical Motion Pictures is expected to exercise decision-making authority over a majority of the following specific job functions:

Development

Conceived of the underlying concept upon which the production is based or involved at its inception.
Selected the material upon which the production is based and secured necessary rights for development and production of the material.
Selected the writer(s).
Supervised and oversaw the development process.
Secured the initial financing.
Served as the primary point of contact for the studio and/or financing entity.

Pre-Production

Selected the director, co-producer and unit production manager.
Selected the principal cast in consultation with the director.
In consultation with the director, selected the production designer, cinematographer, editor and visual effects co.
Participated in location scouting in consultation with the director.
Supervised the preparation of the preliminary budget and approved and signed the final budget in consultation with the Co-Producer and UPM.
Creatively involved in the final shooting script in consultation with the director and the writer(s) and approved and signed the final shooting script.
Approved the final shooting schedule in consultation with the director.

Production

Exercised final approval of the deals for the principal components of the production.
Provided continuous in-person consultation with the director and principal cast
In collaboration with the director, provided in-person consultation with the production designer, art department, wardrobe, make-up and hair.
In collaboration with the director, provided in-person consultation with the stunt coordinator and on mechanical effects (if applicable).
Supervised “on-set” and on a continuous basis the day-to-day operation of the producing team and the entire shooting company.
Approved the weekly cost report.
Viewed the “dailies” and provided in-person consultation with the director, the editor, the studio and/or financial entity.

Post-Production/Marketing

Provided in-person participation on visual effects in consultation with the director, the studio or financial entity.
Selected the composer in consultation with the director, and participated in-person with the composer and the director in the scoring process
Provided in-person consultation with the editor along with the director, the studio or financial entity, and participated on the final cut of the motion picture.
Consulted with the director and the editor during the preparation of the first cut that is shown to the studio/financial entity.
Selected the music supervisor in consultation with the director, and participated in-person during the music recording sessions.
Provided in-person consultation with the director on the re-recording stage.
Provided in-person consultation with the director on the titles and opticals.
Provided in-person consultation with the cinematographer, the director, the studio and/or financing entity on the answer print or edited master.
Consulted on the media plan and materials, and the marketing and distribution plans for the motion picture.
Consulted on the plans for exploitation of the motion picture in ancillary and foreign markets..