Movies

Hollywood producers say they are misunderstood. Here’s what they’re doing about it

BBG News

After decades of hard work, film and television producer Stephen Love discovered himself in an enviable position that many of his colleagues would eagerly anticipate: He was involved in four intense bidding competitions.

studios eagerly acquired his works; industry news outlets praised them greatly, boosting Love’s career and standing. However, during this time, Love was busy taking on commercial and music video projects, and seeking consulting opportunities to stay afloat. In addition, he worked for ride-sharing services.

Born on a farm near York, South Carolina, approximately 40 miles south of Charlotte, North Carolina, Love, aged 35, was raised by parents who were both preachers and educators.

He’s advanced significantly from the days when he first developed a passion for cinema during his youth, eventually establishing a videography business even before completing his education, specializing in capturing wedding and other special moments on film.

Despite engaging in bidding wars, Love, who is behind the 2016 drama “The Land” and the 2023 sci-fi film “They Cloned Tyrone,” maintains a diverse portfolio. In addition to his consulting roles, he manages a company producing commercials and music videos, works on branded content, and negotiates deals. He’s not alone in this multi-tasking approach.

Love, who divides his time between Hollywood and Atlanta – a bustling hub of production work and creative opportunities, stated, “You must juggle numerous tasks while simultaneously nurturing your passion for crafting movies. It’s overwhelming when seasoned producers, many with 30 years or more experience, are grappling with the same challenges as I am, despite my relatively short 10 to 12 years in the industry. This can be quite discouraging.

The job of a producer is largely misunderstood.

Producers in the movie and TV industry have consistently strived to break free from the old stereotype of the “fat cat” – the wealthy, cigar-smoking boss who flaunts luxury vacations and lavish gifts like giving away cars during holidays to colleagues. While such characters might have been representative of a select few individuals in past times, today, many producers express that their financial stability and the very future of their profession are precarious.

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In 2023, a combination of factors such as the ongoing pandemic, writers’ and actors’ strikes, budget reductions from studios, and the devastating wildfires in Southern California have resulted in a significant decrease in film production, limiting the chances for producers to secure new projects.

Furthermore, it’s important to note the decline of what are often called “back-end profit sharing agreements” – primarily because of the evolving business methods of streaming platforms. These deals used to enable producers to benefit financially from successful films or shows, recovering their expenses post-production.

As I delve deeper into the intricate world of filmmaking, it becomes increasingly apparent that the swelling ranks of producers claiming credit have only served to muddle the picture and stir up financial turbulence.

Frequently, producers aren’t compensated for the extended periods they spend on project development – the phase prior to actual production. Consequently, they may end up earning significantly below minimum wage when tallying all the hours they’ve worked, despite creating a successful piece of media.

Jonathan Wang, 40, working from offices in L.A.’s Eastside, stated, ‘As workers, we’re contributing labor to studios and buyers. We’re offering genuine employment opportunities that require protection to keep going.’

There are multiple efforts underway to address these issues.

The Trade Association known as the Producers Guild of America, which represents over 8,400 producers spanning multiple industries, has initiated a movement aimed at clearly outlining the responsibilities of a producer’s role. Simultaneously, a newer alliance called Producers United is advocating for producers to be compensated during their work. Both groups are urging for the inclusion of health insurance for producers and halting the watering down of the producer credit.

It’s a bit of a running joke among producers that no one seems to know what they do.

Stephanie Allain, a seasoned film producer and co-president of the Producers Guild of America, playfully echoed an age-old query during a Zoom conversation. “It’s like asking ‘What do you do?'”, she said, addressing Donald, “How often have you faced that question?

Donald De Line, my fellow producer and PGA co-president, promptly replied, “Absolutely, one million.

The vague perception of the job roles, which was shared even by those working on the set, has played a part in the predicament that the producers are currently facing.

While it’s common to think of producers merely issuing checks, an actively involved producer plays a crucial role in bringing a movie to life.

The job description of a genuine film producer can change based on factors such as the genre and financial resources of the movie, along with the abilities of the person involved. For Allain, it entails selecting the appropriate material, recruiting writers and directors, assisting in casting, obtaining financing, supervising production, appointing heads of departments, working both on set and in the editing room, and participating in marketing campaigns.

Allain remarked, ‘You have broad arms, inviting everyone under your shelter.’ Yet, he stressed, you’re careful about choosing who gets to join this shelter with you.

Put another way, “A producer is there at the beginning, the middle and the end,” De Line said.

Unlike other crew members on set, producers do not belong to a union. Instead, they are part of The Producers Guild of America, which functions as a trade organization and manages the p.g.a. mark associated with main producers’ names in a film’s credits. This process can sometimes be contentious; there have been disagreements regarding who is eligible to claim producer credits for the Best Picture Oscar.

The vague definition of a ‘producer’ has allowed numerous individuals, primarily active in roles other than on-set management, such as actors, financiers, etc., to claim producer credits. These individuals can negotiate for such credits, thereby reducing the budget available for the project’s primary producers who are responsible for overseeing the production.

Film producer Jennifer Todd, famous for her work on “Memento” (2000) and “Across the Universe” (2007), explained that producers are typically reluctant to challenge those trying to take credit, as they’re deeply invested emotionally and have put so much hard work into their projects – often referred to as “sweat equity” – and just want to see these endeavors reach completion.

Todd, along with associates Love and Wang, make up the team at Producers United, a collective that currently boasts approximately 200 members.

This main category of filmmakers, often referred to as primary producers who solely perform their role on set, are advocating for development fee advances to become standard practice. While this sum is usually around $25,000, several producers shared that they seldom receive such an amount. Many spend years working on projects with little compensation.

In an interview, Wang, from “Everything Everywhere All at Once,” revealed that he earned approximately $35,000 annually for the seven years he spent working on the movie. The film went on to gross over $140 million worldwide with a production budget of just $14 million. (It’s worth noting that this was his first experience receiving back-end profits in his career, but the amount wasn’t substantial, according to him.)

As a passionate advocate within Producers United, I can’t help but feel deeply invested in the future of our industry. I worry about the upcoming generation of producers and the long-term viability of the film business. Sustainability is not just a buzzword for us; it’s a mission we hold dear to ensure a thriving environment for all involved in this art form we love.

According to Wang, “the extinction event is indeed happening,” but he cautions that even with the utmost precautions, it won’t be a situation that can be completely prepared for.

Regardless of whether the development fee is provided, it’s essentially an advance on a producer’s compensation, not a separate payment.

If everyone aspires to be the person behind making great content, then we should safeguard those individuals who truly create it, ensuring a steady supply of quality content,” stated Cathy Schulman, a producer on the Oscar-winning film “Crash” and the Amazon series “The Idea of You”, who belongs to Producers United. “Consider if the term ‘firefighter’ implied that 15 people could claim it, but only one could actually use the fire hose.

If such transformations don’t occur, producers argue that it will be difficult to entice newcomers into this field or keep them, particularly those who aren’t financially self-sufficient.

Love shared that he and his spouse, a specialist in marital and family therapy, are eager to begin their family in the near future. However, he ponders over this decision as he continues to juggle multiple employment roles.

He stated, “It’s not very eco-friendly,” he said. “For me, it’s crucial to earn a living and establish a home for my loved ones.

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2025-03-19 13:31

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