InsIder’s PoInt of VIew: ProducIng
you are in your life hits you: I am a film
producer—to the outside world, somewhat
GoinGindie...
sexy but always nebulous in its definition.
“What does a film producer do anyway?”—
a constant echo in my ear from friends,
family and acquaintances. At times, the
title conjures up a glorified car salesman in
its description, hucking your product,
convincing others to invest, contribute and
buy the movie ticket and DVD, a never-
AGAin!
ending sales pitch of why we should make
it, why you should help to make it, and
why you should fork over your hard earned
cash for a dollop of entertainment.
Now I find myself with our production
company working on a studio lot, with what
initially appears to be a sense of security, a
potential outlet, a decision-making ear
ready to listen. Most importantly, at least
to friends and family, a “real job” solidified
by the executive parking space with my
Lizards Erik Stolhanske (L) and Jay Chandrasekhar
on the set of The Slammin’ Salmon
name spray painted in black, something
concrete to make a momma proud. An
office to go to every morning and all the
trappings of Hollywood: the standing sets,
the studio golf carts whisking around studio
execs and soon to be stars and starlets, and
the literal gatekeeper protecting the magic
of moviemaking from the outside world.
It seems that there is finally some
substance to all the years as a struggling
filmmaker, almost breathing a sigh of relief,
not necessarily the “I finally made it” but
“I think I may have finally put myself in a
position to almost make it.”
The Slammin’ Salmon, our latest project,
had both a great and hilarious script and the
passion behind it. Created by the brazenly
comedic team known as Broken Lizard, the
film will be helmed by first-time director
Kevin Heffernan. It was brought to market
With all the perks of finally with the WGA strike looming, studios
making it into the Holy Grail of the
closing the coffers, agencies protecting
their clients and basically everyone saying,
studio system, why would we, as
L
et’s face it, beer guzzling romps,
hedonistic island murder mysteries
and state trooper misfit flicks, our
specialities, aren’t necessarily high up on “NO”. To the experienced independent
producers, jump back into the
the cinephile’s list of high brow independent filmmaker, a familiar response, to the
trenches—the longer hours, art. Though it sounds admirable to maintain newly anointed Master of the Universe,
the uncertainty of a project’s fate,
creative freedom and integrity, and to rebel bewildering. I mean, c’mon, Aaron Sorkin’s
against the evil forces of the corporate golf cart is parked right next to my car!
the financial risk, the severely
system, in all honesty, making the decision A three-year deal with a major studio,
limited resources and the total lack
to make a film independently isn’t always a a track record of films that actually make a
of financial and career stability voluntary one. profit and a loyal fan base ready to part
—of independent filmmaking?
I had listened to very early advice on the with their duckets, here I was with my
importance of the script and to the passion latest project raising money from bankers,
By Richard Perello
of the project. Reality, however, soon sets in dot-com.ers, dentists and anyone searching
when talent attachments and foreign value for the glamour of Hollywood. Frustrating
rule the day. But even when all the stars at first but after some thought, this could
are aligned, so to speak, the studio exec’s be a liberating experience. Break the chains
subjective tastes, fears of job security, of the Nielson percentiles, creative freedom
impending strikes and the fate of their last and festival accolades here we come! Armed
project determine the ever elusive greenlight. with the experience of working in both the
At some point, the realisation of where studio and independent film world and no
52 By fIlmmakers. for fIlmmakers.
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