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Film Industry

Producer credits and what they mean

October 21, 2004 Film Industry, Glossary

Over a year ago, when I wrote up the [Glossary](http://johnaugust.com/site/glossary), I decided that defining each of the individual sub-categories of producer would just muddy it up, so I included a link to “the producer page.”

Unfortunately, I never wrote that page.

So here, now, is what that page would include. Note that the terms mean different things for features and television, and that all bets are off in Europe, which has evolved different names for certain jobs. Also, keep in mind that there are no hard-and-fast rules for what the various titles mean, which is one reason why the [Producers Guild](http://www.producersguild.org) is trying to be more assertive about who should really be called a producer.

For Feature Films:

The highest ranking producer is simply called Producer. This is the person ultimately responsible for the film. He or she is also the person who collects the Oscar if the movie wins an Academy Award.

After that comes Executive Producer, who is involved in the development, financing or production of the movie, but generally not all three.

Below executive producer, the credits get a little murkier. Occasionally, you’ll see Co-Executive Producer, but the third-highest ranking is generally called Co-Producer. Then comes Associate Producer. These two “junior producer” credits often go to someone who performs a key function in getting the movie made, but who doesn’t have the power or clout of a producer or executive producer. For instance, I was a co-producer on Go.

Line Producer is really a job, rather than a title. This person, who is directly responsible for many of the day-to-day burdens of production (such as budgets, unions, and bureaucracy), would often have another title, such as Co-Producer or Executive Producer. Many line producer functions overlap with a Unit Production Manager. Depending on the film, you might also see a Production Supervisor or Production Coordinator listed.

To summarize, for features:

1. Producer
2. Executive Producer
3. Co-Producer
4. Associate Producer

Related Jobs:

* Line Producer
* Unit Production Manager
* Production Supervisor
* Production Coordinator

For Television:

Because scripted television is run by writers, the majority of producers you see listed are writers.

The highest ranking producer is the showrunner, the man or woman ultimately responsible for the creative direction of the series. Showrunner is a function, not a title — this person is credited as an Executive Producer. In many cases, he or she has “Created by” credit on the series.

Many TV shows have multiple executive producers, and without knowing the specific situation, it’s hard to say what the individual people do. For instance, a TV show derived from a movie (like “Buffy the Vampire Slayer”), may bring with it Executive Producers from the original film, who have little direct involvement with the show.

In terms of the writing staff, below Executive Producer comes Co-Executive Producer, followed by Supervising Producer, Producer, Co-Producer, Story Editor and Staff Writer. While some writers will occasionally leap-frog a few credits up the ladder, generally it takes years of work to climb to the upper ranks.

On some shows, you’ll see a Consulting Producer or Executive Consultant listed. This is generally a high-level writer who is contributing to a show, but is not one of the principal forces.

Obviously, it takes more than just writers to make a TV show. The line producer is a crucial function, and that person is often listed simply as Producer. The person who heads up post-production on a television series may be an Associate Producer. On some shows, there is an in-house director who also gets a Producer or Executive Producer credit.

To summarize, for television:

1. Executive Producer (the showrunner)
2. Executive Producer
3. Co-Executive Producer
4. Supervising Producer
5. Producer
6. Co-Producer
7. Story Editor
8. Staff Writer

Related jobs:

* Consulting Producer
* Executive Consultant
* Line Producer
* Associate Producer

[Update: For no explicable reason, I had left off co-producer. Thanks to Mike, below, for pointing that out.]

Writers Guild agreement reached

October 13, 2004 Film Industry, News

Suddenly, the five-month pause in negotiations between the Writers Guild and the studios has ended, with a [tentative agreement announced today](http://www.wga.org/pr/1004/pr101304.html).

For those who haven’t been following the situation, film and television writers have been working without a contract since June 2nd. The Writers Guild walked away from the studios “last, best offer” because it didn’t address the principal concerns:

1. Health plan funding
2. DVD residuals
3. Late payments
4. Other creative issues, such as reality television writing

The idea was to wait until the Directors Guild started their negotiations, and piggyback on any advances they were able to make. (This isn’t as unfair as it sounds; the DGA traditionally goes last in the cycle after WGA and SAG, and benefits from increases the first two guilds win.) However, the DGA made their deal really quickly, and didn’t make any progress on DVD residuals. So there wasn’t a lot for the WGA Negotiating Committee to build on.

What did the writers get in this tentative agreement? Well, the health plan is the biggest thing, with about $37 million more pumped in to keep the fund solvent. There are also increases in pension and minimum writing fees. DVD residuals stay where they are, but there’s at least some token attention to late payments and reality television, which uses writers but calls them producers.

Also on the television front, there will be a new training program for educating writers about the business side of running a TV show. And to encourage wider viewing, networks can repeat the intial episodes of a series during the first two months without paying residuals. Both make sense to me.

Is it a good deal? Well, it doesn’t address the [awful state of DVD residuals](http://johnaugust.com/archives/2004/big-fish-sells-2-million-dvds-in-its-first-week), but I really didn’t expect it would. You know how when something bad happens, people always say, “At least you have your health?” In this case, at least we have our health plan, which is certainly something to be happy about.

How do I find out who represents a given actor?

September 30, 2004 Film Industry, QandA

I was wondering if it’s possible for you to tell me what agency Freddie Highmore is represented by.

–Jessi

No. And not only because your question was posted in the comments section of a random, unrelated topic.

However, I can tell you how to find out Freddie Highmore’s agent — or any actor’s agent. All film actors belong to some film acting union or guild — that’s how they get paid residuals when movies come out on video and television. In the U.S., that means SAG (Screen Actors Guild); the closest U.K. equivalent is probably Equity, but I trust an experienced U.K. reader will correct me if I’m wrong. For whichever guild, look up the phone number, call them, and ask for agent contact information. Voila.

The same basic process can be applied to directors or screenwriters.

Now for the more difficult question: why would you need to know who represents Freddie Highmore? Unless you’re calling to offer him gainful employment, an agent is not the one to help you. If you simply admire Highmore’s work — and why not, he’s a remarkable young actor — you’re much better off visiting a fan site where you can bond with others who feel likewise.

Can you be just a screenwriter anymore?

September 27, 2004 Film Industry, QandA

Recently, I struck up a correspondence with a successful screenwriter and asked him for advice on how to move my career forward. He told me that I should focus on making films instead of writing them, because that now was the best if not only way to break in.

Do you think that is true? I was inspired to take up screenwriting by people like William Goldman and Richard Price, who worked in the business solely as screenwriters. That’s what you’ve been able to do thus far in your career. Is it still a possibility?

— Vince
Seattle, WA

While films, short and otherwise, are increasingly being used as the foot-in-the-door for young writer-directors, if your goal is to become strictly a screenwriter, I’m not sure it’s the best use of your time and money. Yes, it’s still viable to be “just” a screenwriter. Not only will Richard Price and WIlliam Goldman continue to work, but new screenwriters emerge every year, propelled by nothing more than the quality of their writing.

What may have changed over the last decade is the degree to which a screenwriter is required to have social interaction. The classic nebbishy writer who gets spooked by his own shadow would have a hard time in modern Hollywood.

Take me. I’ve produced and directed, but 90% of my work consists of pushing words around on the page. The other 10% is crucial, however. It consists of making phone calls, taking meetings, discussing notes, and feigning interest in terrible projects just to be polite. My writing is what makes me hirable, but it’s sociableness that gets me hired.

One reason this sucessful screenwriter may have given you this advice is because you’re in Seattle, and while it’s easy to shoot a film there, it’s harder to come in contact with the people (agents, managers, producers) who can help you get your career going as a screenwriter. Since you can’t do the social part of a screenwriter’s job in Seattle, making a film isn’t a terrible idea. But neither is moving to Los Angeles, which might be the better use of your money.

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