The 4-1-1 on Producing

This year, literally since New Year's Eve, I have been focusing widely on streamlining, growing

and monetizing my brand, MOOREthanEnuff Media. I've worked collaboratively with amazing

people and to grow my personal brand, collective offerings are important. I truly believe that

being able to solidify my position with the work that I do and how I contribute to joint efforts is

imperative to keep things moving and pushing forward.

In December I finally completed my Certificate in Producing and I couldn't be happier. But the

work is NOT done. I now need to learn how to edit a bit, and I also need to familiarize myself

more with the equipment, apps and programs that make what I do much easier. Be it Movie

Magic budgeting software, Premiere editing software, the Continuity app that allows me to

inject actual script notes electronically for script supervisor purposes, or ShotList which helps

me put together my shot lists but also to storyboard (all on my iPad!), each of these tools are

ways I can organize and lend myself to coordinating what's happening on set during a shoot.

Recently I read a play by a longtime friend and a former director of mine. It is a period piece that

I promise is one of the dopest contemporary theatre pieces I've read in some time. And upon

showing my love for the script, I was hired to cast and produce a workshop for the piece, to aid

in getting it into theater fests and even to take it overseas. I was like wait, what?! Lol. I've never

spearheaded an endeavor this robust, but I'm ready, excited. Then a former cast mate of mine hit

me and asked me for my feedback on her first feature script. I read it and was like this is pretty

great. It's gritty and a bit dark, which I like as it’s in direct contrast to most of the things that I

write. So I'm in talks with her to also produce her film. All that on top of being a producing

consultant on a TV show that’s a direct throwback to the shows we raced home to watch

weeknights in the 90's!

I’m doing all of this producing work however, I’m sure many of you are wondering…what

exactly does a producer do?

That's a question that many people have, even if they won't admit it! People toss around the

phrase producer often, but many times people don't know what a Producer does or what the

different types of producers are, or their functions.

The following is in no way a full and comprehensive listing of a Producer's duties, but it's an

abridged listing of the basics.

Overall, a Producer is someone who is responsible for the financial and managerial aspects of

making a movie, broadcast or production (stage/theater).  Exact tasks and roles will vary

depending upon the agreement made, however, the overall gist is that the Producer puts all of the

pieces into place and into play.

In mainstream film and television, Producers are covered under with the Producer's Guild of

America for most producing positions,  and in the special case of a Unit Production Manager

(described below), the Director's Guild of America is the governing body of that position and

who even named it such.

It's also good to note that the power of the producer is very different between film and TV/New

Media (meaning Web series and streaming service shows which function much like television as

well). In film, the Producer is there for either creative input and/or to connect the dots...and

sometimes to control the talent lol; which basically means that in film it’s the Director's world.

But in TV and New Media, it's the Producer's world. They run the show and the director is a hire

of theirs or the Network's.  This is another reason why as a producer I'm now more attracted to

television and New Media lol.

Type of Producers

* Executive Producer – Usually the head producer over the project.  This person may work

independently or for a production company.  The EP can also be the money person, or the person

(or entity if it’s their own company) that is funding the endeavor, and thus that is their sole

connection.  Again, it depends on the agreement made.

*Associate Producer – sometimes used as a fluff title in film – especially in indie film.  

However, as it relates overall to productions, the AP - when really utilized - is the person who

often executes the tasks delegated to them by a full-fledged Producer on the project.  They can be

involved directly or in a supervisory capacity with pre-production, production or post.  They can

also hold additional titles such as 1st or 2nd Assistant Director on larger films/projects, and

negotiate the title of AP to enhance their income and/or resume.

*Line Producer – This is the true money person. The LP usually manages the daily operations

and costs of the film or TV/ Media project or episodes. They often prepare and approve the

budget, any additional costs and most related monetary issues with relation to the work and

schedule. They can even be directly over the hiring and firing of the crew (albeit usually not the

cast). The LP usually has such a large job that they often work only one job or project at a time.

*Unit Production Manager – The UPM is covered under the Director’s Guild of America.  This

position is the top “below-the-line” staff position. (Below the line is a term that refers to the

topsheet of a production budget and the “line” signifies the separation of the Director, Producers,

Writers and Actors from the remaining crew positions. The UPM is technically below-the-line

but they are the top of that tier) The UPM is responsible for the administrative functions of that

film/ TV or media project.  If the project is non-union, or non-DGA then the title is usually

deemed Production Supervisor or Production Manager.  They often work in tandem with the LP

regarding changes in budget and scheduling as it relates to the project and money.

*Creative Producer – In addition to being an overall producer that takes care of the needs of the

project, there is also the role of a “CREATIVE” producer (which I consider myself).  That

person assists with the script, the casting and other creative issues/decisions as they relate to the

project.  They usually work with other producers on the project (unless they are the sole

producer, which in most indie projects is the case) and ensures that the script is moving along

and that all creative elements are on the same page and communicative.

As I said, this list is in no way exhaustive or covering ALL aspects of producing.  And in TRUE

indie film-making (the kind where Scarlet Johansson is NOT the lead, and your budget has four

zeroes if you’re lucky), many of these jobs belong to one or two people altogether.  

I know that many of you are working it out, be it film, web-based content, media for blogs and

publications, etc.  And some of you are studying and/or aspiring to do this for a living.  So being

informed and having some easy to find Intel is great.  So we at MtE Media are always here to

service the needs of our respective creative community through these blogs!  

If you want more of a drill-down on this topic, an amazing book for those focused on Production

(be it TV/ New Media or Film, even though the title names only the first two) is Producing for

TV & New Media: A Real-World Approach for Producers, the fifth edition, by Catherine

Kellison.  I used this book in my last class for my at NYU and it was SOOOOO helpful as it

broke down the business very well.  The dialogue is easily palatable for any level of education

and experience and the quizzes that proceed each chapter help you retain the info.  Also the final

chapter is just a series of interviews with various people in the business; it was really insightful and

eye opening to hear what their take on things were.

I hope that this was helpful family!  Go and be great creatives!!!! And if you need a producer,

production consultant, have some stories to share or just want to connect, feel free to reach me at

info@moorethanenuff.com 

Yours in colorful creativity!

~ Miss O