The skills of a
Producer are many and a larger production will require the skills to be
specifically met by various 'types' of Producer. Some common production titles
include Executive Producer, Associate or Assistant Producer, Co- Producer and
Line Producer which each carry more specific job descriptions than simply
'Producer'. In a smaller film crew the Producer will wear many hats and
encompass many of the aforementioned roles.
In the book Producing [Macnab & Swart, 2012], in which profiles and interviews with a variety of Producers past and present are compiled, Peter Aalbaek Jensen (longtime collaborator with Lars von Trier) says “I can bring the right people together…putting the crew and the talent together- that is my talent.” (p.12) which describes one skills or instinct that Producers need- the ability to build a team of people who will collaborate well and make the best work together.
In the same book Kees Kassander advises “As a producer, you need to be able to sort out a million problems under pressure.” (p. 91) which is a much more practical and tangible ability for a producer to cultivate. Leadership is essentially what a Producer needs to be good at, which is not simply bossing people around or being the one with the initial ideas but as Ted Hope also says in Producing “I realized that I could probably build greater movies and stories by finding filmmakers whose vision I admired and help facilitate getting it up on the screen.” (p. 62); the key word in that statement is ‘facilitate’- Producers need to facilitate and create the right conditions for each crew members skill set to shine and thrive.
In the book Producing [Macnab & Swart, 2012], in which profiles and interviews with a variety of Producers past and present are compiled, Peter Aalbaek Jensen (longtime collaborator with Lars von Trier) says “I can bring the right people together…putting the crew and the talent together- that is my talent.” (p.12) which describes one skills or instinct that Producers need- the ability to build a team of people who will collaborate well and make the best work together.
In the same book Kees Kassander advises “As a producer, you need to be able to sort out a million problems under pressure.” (p. 91) which is a much more practical and tangible ability for a producer to cultivate. Leadership is essentially what a Producer needs to be good at, which is not simply bossing people around or being the one with the initial ideas but as Ted Hope also says in Producing “I realized that I could probably build greater movies and stories by finding filmmakers whose vision I admired and help facilitate getting it up on the screen.” (p. 62); the key word in that statement is ‘facilitate’- Producers need to facilitate and create the right conditions for each crew members skill set to shine and thrive.
Throughout the
book, different producers share their own preferences in who they collaborate
with or the projects they choose to work on as well as share pieces of advice
regarding skills such as knowing the film market, in order to know which films
will make money and developing an instinct for scripts and talent to know which
stories have the greatest potential.
 |
| Producing by Geoffrey Macnab and Sharon Swart |
In a general
sense, a good, well- rounded producer will have skills to invest and use at
each stage of the filmmaking process:
During development they will have the instincts to develop the story; during pre-production they will be able to raise the finances needed and plan the schedule effectively and efficiently, cast the roles well and fill key crew positions with people they can rust and who will help communicate the director’s vision; during production and post-production they will creatively troubleshoot pitfalls to ensure the film continues to be what it is meant to be whilst bearing in mind the budget, time constraints and cast and crew needs; when seeking distribution and exhibition opportunities the producer will very practically need to ensure all deliverables are up to the required standard as well as present the film to festivals or buyers in its best light to make sure it reaches the right audience.
During development they will have the instincts to develop the story; during pre-production they will be able to raise the finances needed and plan the schedule effectively and efficiently, cast the roles well and fill key crew positions with people they can rust and who will help communicate the director’s vision; during production and post-production they will creatively troubleshoot pitfalls to ensure the film continues to be what it is meant to be whilst bearing in mind the budget, time constraints and cast and crew needs; when seeking distribution and exhibition opportunities the producer will very practically need to ensure all deliverables are up to the required standard as well as present the film to festivals or buyers in its best light to make sure it reaches the right audience.
Bibliography
MACNAB & SWART (2012) Producing [Book], UK, ILEX Press.
STANSFIELD, Chrissie (2014) Producing and Production Management 1 [workshop]. Held on 15th October, Sheffield Hallam University.
STANSFIELD, Chrissie (2014) The Production Department [workshop handout]. From workshop held on 15th October, Sheffield Hallam University.
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