More on becoming a co-producer
How did you come to be a co-producer on GO?
–David Demchuk
Although Columbia Pictures ultimately released GO, they weren’t the original buyer of the script (in fact, every studio in town had passed on it, feeling the subject matter was too dark). A tiny company called Banner Entertainment read the script and wanted to make the movie, but since they didn’t have a lot of money to put up front, they offered a few things a studio normally wouldn’t.
First, they guaranteed I would be the first, last and only writer on the project. Second, they would give me the right to buy the script back if the movie hadn’t gone into production within 18 months. Finally, they would keep me on board as co-producer.
The various flavors of producer credit (executive producer, associate producer, co-producer) are tossed around a bit too easily in Hollywood, and all too often they’re given to people who don’t really deserve them, such as an actor’s mananger. In my case, I actually earned my masters degree in the film producer’s program at USC, so I was weirdly well qualified for the job.
For the first week or two, I just sat quietly in meetings, happy to be there. But ultimately I got highly involved in every aspect of the production, from hiring Doug Liman to direct it to scrambling for funds when our foreign financing fell apart (I had just made a deal with Columbia’s sister studio, Tri-Star, which is a large reason why the movie ended up there). During production, I was on-set from call to wrap, and sat in on five months of editing. It was an amazing experience.
In total, there were five producers on GO. The three "full" producers were Paul Rosenberg, who had set up the script and given me my first two jobs in the business; Mickey Liddell, who ran Banner Entertainment; and Matt Freeman, who worked with Mickey and brought him the script. The other co-producer was Paddy Cullen, who oversaw the physical production, including the budget, schedule and insurance.
Looking back, it’s hard to imagine making the movie without all those people doing their part. While GO had some unique challenges, every production needs its good cops and bad cops, peacemakers and war-bringers. A writer can go off and work by himself, but a producer needs to lead dozens of other people. It’s a very different set of skills.
Since GO, I have co-executive produced a television series, and signed on to produce a big-budget monster movie that I’m writing at Columbia. But even on projects where I’m "just" a writer, the experience of having produced is a tremendous advantage in anticipating the needs of the filmmakers.
Articles
November 15th, 2004 at 5:15 pm
I am optioning my treatment to a young producer and I will then write the screenplay. We are negotiating the contract at the moment.
As she is a new producer she can only offer a tiny amount of money so I have negotiated that:
She will have 18 months and then I regain ownership (without having to buy it back, though I expect there will be some kind of turnaround clause).
I shall be invited to all head of department meetings.
I have approval of director and of further writers.
…As I understand it approval does not mean that I can say I want this director but that I can say I don’t want that director.
My question is - does this sound like a pointless thing to have (it was a choice between this and more money!) - would I be better off seeking a co-producer role if I wish to have any control?
November 17th, 2004 at 7:43 am
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November 24th, 2004 at 5:05 am
Why shouldn’t the writer be involved the whole way through the journey of making a film?
We came up with the characters and the world (if it’s a spec), so we have a knowing and a feeling for them. We love them.
But also we have chosen to write a film script, rather than a novel… so we know we are entering into a COLLABORATION - whereby our work is enhanced by the work of others.
Collaboration does not mean pushing people out into the cold. It means that if one party is not satisfied, they are listened to and given the chance to state their case. They are respected.
Saying no, you can’t see the rough cut and give notes is not respectful of the writer’s contribution. Saying we will use crap director X to destroy your work whether you like it or not is not respectful of the writers contribution. A collaboration should be worked upon until everyone is happy, that way we build upon each other’s contribution rather than shitting on each other and ending up with lost causes.
So, yes, I believe all spec script writers should get a co-producer credit and be involved the whole way through. But they have to know their place and be very careful what they say and when.
Also, from our point of view, watching every stage of the journey and discovering why things do or don’t work must help improve our film writing skills.
Thankyou for listening, and goodnight.