Freelancer
Associate Producer – best way to capture it
1. Can you briefly define your job to me?
- Called in mostly for logistical expertise
-works closely with production management or lighting, no matter what the title is he is usually the guy that hires the crew or deals with the vendors. He can work with the locations department or work with setting locations by himself.
2. How did you get started in the business?
- Luck more than anything else. Found himself falling into the work not purposefully. Started in North Carolina and was called to shoot a series of commercials on 35mm. His very first taste of production started in the music business. His buddy called him to produce a documentary on music, and he really enjoyed producing it. Worked on Dawson’s Creek for a few episodes. He was “bit by the bug” at that point. First big gig was working on Friday Night Lights. Moved to L.A. to work on film exclusively.
3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?
- 1st production manager job – for UFO Hunters. The EP hired him to be a production manager without a line manager or coordinator. Five days of shooting, four in studio one on location. It was his first time, and he had a lot of duties. The more he got into it the more he realized the EP was not helping, and he didn’t have much help. Finally got to hire someone under him to help with some things. There was still a gap between him and the EP. He called a friend who had been there before (20 years of experience) who said, you cant take on the responsibility for the success or failure of the show. You are just a grunt, and just because you see all of the things that can go wrong, you just have to make recommendations to the boss. Then you can make predictions about what will happen if they go with you or not. If things work, then you will gain credibility. Basically – managing up is more than half the job. Your credibility comes with your ability to predict the future. You have to do it with humility and know that you are going with option A all the way, but if it goes wrong then it goes wrong. “well sir I can do that for you but it will interrupt what we are doing right now” If you don’t get things right at first, say the boss makes the wrong decision, then you get set back, but you can’t save the day and throw it in their face later because you will win the battle but lose the war.
4. Do you have any advice for a media student starting out?
- Starting out, try to find the object, the creative goal that you’re going for. The thing he wishes he had more of is a screenplay or something he could believe in to help him move forward. Take classes in writing, which is a good way to make your way into the business. If you don’t have knack for writing find something creative that you are really into. The buzz you get from working on a film doesn’t last, that is a drug. It probably won’t last you for a career long. The creativity is the food. Learn every role that you can. Follow each road until you can’t stand it anymore. It is mysterious how the groups will come together, know their work well. It comes together beautifully when it’s happening. The AD’s are the nerve center of thing; it makes the whole thing go. The copy and credit films never seem to go anywhere, so watch out for them. Everyone seems to irritate everyone else, so it never seems to go well. Instead of spending effort on a barely better than student film, don’t burn your energy out on that. Become a student of attracting finance. Look at the film Pie. That is a great example of a small film that came together with little money and a lot of donors. Wait for that right one, and in the meanwhile try to finance it.
5. What has had the most impact on you – thing that you have done?
- When there is a really good script that you can really get behind and feel good about. Even if you are not a part of the creative team. Even if you are the in the trenches grip, they are in production because there is a part of them that wants that creative buzz. It’s building something; It’s making something. If it’s a good story, it’s tight, it’s putting something real out there, I think those are the shows that make you share it and put yourself out there. That buys you a ton of goodwill. Chief example is an indy movie that went straight to DVD, which is a shame, well you just feel good about it. That is on my resume and I feel good that it’s there. The second kind of show that has impact is when the Executives have good resources with good company and professional development. I worked for one company that really had this. They actually had health benefits for their employees, which is really unheard of. Finding something like this is really important. Features used to be this way, but I don’t think this is the case anymore. If you find someone that is like the mentor type, hang on, don’t let go. If you can keep the creative aspect you can make a career that you can believe in.
L.A is a tough place. Cultural opportunities overwhelm you, but it takes energy to keep up with it. It is the best place to go if you want to get into producing. Austin and Wilmington would be your second options, but there isn’t a wealth of opportunity. Commercial work has the best pay at the entry level. If he could do a blend of documentary and commercials, he would.
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