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THE PRODUCER'S ROLE Course #NFLM3456 The New School, Department of Media Studies and Film

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Instructor - Chiz Schultz (845) 353-2016 Fax: (845) 358-3411 Email: Swisschiz@~'OI~~m Fall semester - 2011 September 8th to December 15th "..." TiDies: Thursdays, 6:00 PM to 7:50 PM BuildiIig & room: 65 West 11th St. Room 261 COURSE DESCRIPTION This course follows a producer's role from the selection of material through its development, preproduction, production and post-production to the delivery of the completed work. Once a film or video project has been developed and is in pre-production a producer organizes and provides the best possible support system and team for the director. Slbe is responsible for providing all the elements, human and material, as well as her or his own experience, professional judgment and assistance, to carry out the combined vision of the fIlm's writer, director and producer. When budgets are low the producer often has to do script revisions; casting; findmg props and wardrobe; obtaining equipment at low rates; legal and accounting work; collaborating with the director and editor during and after the shoot and plan marketing and distribution. Producing student and lowbudget fiction and non-fiction films/videos offers invaluable experience in learning how to handle larger productions: how to arrive at a compelling storyline, judge the talents and skills of above and below-the-line personnel and assess the value of technical' materials. Guests include a Director and Editor. Students choose a project they want to produce, "pitch it to the class," and then write a professional proposal for it: the Mid-Term is the First Draft of that proposal, the Final Paper is the Final Draft. GRADING POLICY Class participation - 10% ~, Mid-term paper - 20% -rr6Tt~51."'G.\ Pb>fll{,<; i Quizzes - 10% Pi-k~ Final paper - 60% Students unable to attend a class because of sickness or work are expected to notify me before that class. Unexplained absences and late attendance will affect the final grade. All students are expected to write the project proposals. No open laptops, cellphones;etc:.----" . ~
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REOIDRED READING
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$\\~ lD'd.b:l'1 Making Movies by Sidney Lumet; Vintage paperback Shooting to Kill by Christine Vachon; Spike, an Avon paperback

(Available at Barnes & Noble, 18th St. & Fifth Ave"

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SUGGESTED READING The Independent Film Produc.:er's Survival Guide by Erikson, Tulchin and Halloran, Schirmer Trade Books { The Insider's Guide to Independent Film Distribution by Stacey Parks, Focal Press Making Documentary Films by Barry Hampe; Owl Books Filmmakers and Financing by Louise Levison; Focal Press Planning the Low-Budget Film by Robert Latham Brown, Chalk Hill Books I Wake Up Screening - by John Anderson & Laura Kim: Watson-Guptill Publishing

Page 2. Class #1 - September 8 Introductions: students and their goals/projects. Instructor's projects, What is: an independent film'? Misconceptions of a producer; various producer credits An overview of the producer's role: headaches and rewards The filmmaker's responsibilities; screening of fiction & non-fiction excerpts. Reading for the next class: Shooting to Kill, pp. 1 - 18 Class #2 - September 15 Submitted or assigned material: where does it come from? To produce or not produce? That is your question. Factors in determining your decisions about material: quality, suitability, interest, market, cost, financing your project Selecting the appropriate form for the material. Reading for next class: Shooting to Kill - pp. 18 - 35 Class #3 - September 22 Obtaining the material, if not assigned. Getting the material into the most effective shape. Best foot forward: synopses, treatments and proposals Package elements; "attachments." Class receives existing proposals, synopses and treatments. - Ten minute break to read materialsClass assesses what they've read. Would you produce it? Reading for next class: Shooting to Kill - pp. 35 - 100. ROSH HASHANAH - no class

Class #4 - October 6 Pre-production: budgeting the production; various forms Line-by-line explanation of budget items; definition of" Above" and "Below." The relation of the schedule to the budget. Script breakdown. Next class: 3-minute "pitch" of your own project. Reading for next class: Shooting to Kill - pp. 122 - 138. Class #5 - October 13 Class pitches their projects. Three-minute limit. Obtaining the financing for the project, if necessary. Where do you find it? If necessary, setting up your company. What kind? The business plan. Review of proposal format. Any questions? Reading for next class: Making Movies - pp. 59-74 Class #6 & #7 - October 20 Breakdown of potential profit for investors. Net and gross profits Cautions and advice for raising money, dealing with potential investors

SHORT QUIZ
C.asting with and without a casting director. Responsibility of producer in the casting process.

Page 3. Where to look for actors. Readings and auditions. "Casting" a documentary: the pre-interview. Agents and negotiations. The "favored nations" clause. Staffing and crewing: key positions and order of hiring. What to look for: references, work samples and attitude Union versus non-union Staff and crew; negotiating fees. Differences in positions in film and video staff and crew. The writer: now you see her/him, now you don't. Reading for next class: Shooting to Kill, pp. 219 - 228 Next class: Mid-term paper: 6 to 10 page proposal of your production. Class #8 - October 27

Mid-term papers (proposals) handed in. Comments on writing the proposal. Location scouting and its benefits. The production meeting; fiction and non-fiction productions. Film versus tape and studio versus location. Preparing the boards: production schedule for cast, crew & materials. Assembling all production elements and equipment. Reading for next class: Making Movies, pp. 105 - 136 Class #9 - November 3 The shoot: the express train leaves the station. Guest: Director: Reading for next class: Shooting to Kill, pp. 228-244 Class #10 - November 10 Keeping the peace: location conditions; catering; crew and actors' well being. The producer's role on set or location. Crisis control; parent, confessor, authority figure, diplomat. Perspective. The role of the Director and relationship between producer and director. Paperwork: .contact and call sheets; production and wrap reports. Schedule and budget concerns during production; the contingency. Page count projections. Video checks and dailies; the role of the Editor during the shoot. Dealing with the "suits:" do you want it good or on Thursday? Reading for next class: Making Movies, pp. 148 - 169. Class #11 - November 17 It's not a wrap! Post production begins with the editing. 08[y

The Editor's role: Lumet's two main functions of editing.

Guest: Editor: Reading fur next week: Making Movies, pp. 170-1 R5.

Page 4.

--THANKSGIVING BREAK-Class #12 - December 1 Editing continued: Lumet, Murch and Lean Post-production staff: editors, composer, mixer, graphic artist, and post-production supervisor. Transcriptions. Assembly to rough cut to fine cut: roles of producer, director, editor, producing company or client. -- SHORT QUIZ -Differences between film and video post- production. What happens to the film or video? The lab, one-light prints, transfers protections, dubs. Preparing for the final edit (picture lock) or Online edit: timings, balance Animation and/or motion camera work; Avid/ADO effects and opticals. Existing music and original music: the composer and/or music supervisor. Next class: Final Proposal due. Discussion of content. Reading for next class: Making Movies - pp. 186 - 192. Class #13 - December 8 Final Proposals Titles, graphics Preparation for The importance handed in. and credits: their importance. the mix: dialogue, music, sound effects, looping, Foley. of the mix and the role of the producer. -- 15 MINUTE BREAK FOR EVALUATIONS --

Paperwork accompanying delivery of video or film. The music log. Final wrap-up: accounting and final budget; returning materials; what to keep. Reading for next class: Shooting to Kill- pp. 269-273 Assignment for next class: Screen a feature or documentary feature and prepare a critique of it from a producer's point of view, both creative and production elements. You'll present that critique verbally in the next class. (This counts as Class #15.) Class #14 & 15 - December 15 Promotion, trailers, publicity. Screenings, festivals, contests, previews. Distribution: contracts, self-distribution, new forms of distribution, realistic budgets. Costs versus value. Students critique, from producer's view, film they've seen. Some final reminders for producers. Note: Please let me know by telephone (845) 353-2016, or E-mail if you are going to miss a class. Please use only this E-mail: Swisschiz@aol.com. Any questions or problems, don't hesitate to call or E-mail me!

I Enter search

criteria ...

Theatrical Motion Pictures- Primary Credit: PRODUCED BY

In common parlance, an individual receiving the "Produced by" credit for a motion picture is typically referred to as the film;s Producer. To avoid confusion with other producer credits, we refer to this individual as the "Produced by." The "Produced by' credit is given to the person(s) most completely responsible for a film's production. Subject to the control of the Owner (see Rules of Arbitration, section 1.8), the "Produced by" would have siqniflcant decision-making authority over a majority of the producing functions across the four phases of a motion picture's production. Those phases are: Development; Pre-Production; Production; and PostProduction & Marketing. The following considerations would be taken into account in determining "Produced by' credit: Within the development process, the "Produced by" will typically conceive of the underlying premise of the production, or select the material. Sihe also will select the project's writer, secure the necessary rights and initial financing, and supervtse the development process. In pre-production, the "Produced by" will typically select the key members of the creative team, including the director, co-producer, cinematographer, unit production manager, production designer, and principal cast The "Produced by" also will participate in location scouting, and approve the final shooting script, production schedule, and budget During production, the "Produced by" will supervise the day-to-day operations of the producing team, providing continuous, personal, and usually "on-set" consultation with the director and other key creative personnel. Sihe also will approve weekly cost reports, and continue to serve as the primary point of contact for financial and distribution entities. Forthe last phase, post-production & marketing, the "Produced by" is expected to consult personally with post-production personnel, including the editor, composer, and visual effects staff. S/he is expected to consult with all creative and financial personnel on the answer print or edited master, and usually is involved in a meaningful fashion with the financial and distribution entities concerning the marketing and distribution plans for the motion picture in both domestic and foreign markets. With today's large-scale productions, it is rare to find one individual who exercises personal decisionmaking authority across all four phases of production. However, the PGA requires that in order to eam the credit of "Produced by," one must have taken responsibility for at least a majority of the functions performed and decisions made over the span of the four phases.

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10b Functions
DEVELOPMENT
Conceived

for "PRODUCED BY" (Theatrical Motion Pictures)

is expected to exercise

Subject to the control of the Owner, the "Produced by" in Theatrical Motion Pictures decision -making authority over a majority of the following specific job functions:

of the underlying

concept upon which the production

is based or involved at its inception.

 Selected the material upon which the production is based and secured necessary rights for d~velopment and production of the material.
Selected the writer(s).

Supervised and oversaw the development process. Secured the initial financing. Served as the primary paint of contact for the studio and/or financing entity.

Selected the director, co-producer and unit production manager. Selected the principal cast in consultation with the director. In consultation with the director, selected the production designer, cinematographer, editor and visual effects co. Participated in location scouting in consultation with the director. II Supervised the preparation of the preliminary budget and approved and signed the final budget in consultation with the Co-Producer and UPM. Creatively involved in the final shooting script in consultation with the director and the writer(s) and approved and signed the final shooting script. Approved the final shooting schedule in consultation with the director.

Exercised final approval of the deals for the principal components of the production. Provided continuous in-person consultation with the director and principal cast In collaboration with the director, provided in-person consultation with the production designer, art department, wardrobe, make-up and hair. In collaboration with the director, provided in-person consultation with the stunt coordinator and on mechanical effects (if applicable). Supervised "on-set" and on a continuous basis the day-to-day operation of the producing team and the entire shooting company. Approved the weekly cost report Viewed the "dailies" and provided in-person consultation with the director, the editor, the studio and/or financial entity.

Provided in-person participation on visual effects in consultation with the director, the studio or financial entity. Selected the composer in consultation with the director, and participated in-person with the composer and the director in the scoring process Provided in-person consultation with the editor along with the director, the studio or financial entity, and participated on the final cut of the motion picture. Consulted with the director and the editor during the preparation of the first cut that is shown to the studio/financial entity. II Selected the music supervisor in consultation with the director, and participated in-person during the music recording sessions. Provided in-person consultation with the director on the re-recording stage. Provided in-person consultation with the director on the titles and opticals. Provided in-person consultation with the cinematographer, the director, the studio and/or financing entity on the answer print or edited master. Consulted on the media plan and materials, and the marketing and distribution plans for the motion picture. Consulted on the plans for exploitation of the motion picture in ancillary and foreign markets. credit guidelines for further producing titles click here.

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Various Kinds of Productions and Markets

Film
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Feature films, fiction and documentary Short films Documentaries Animation Docudramas Art & experimental films Commercials

Television
Movies of the week Comedy and dramatic series Documentaries Specials - performing arts, drama, variety, comedy, children's . News and public affairs Children's series Reality series Magazine series Game shows Instructional series & specials . "How-to's" - Decorating, building, cooking, gardening, mechanics, etc. PSA's Commercials Infomercials

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Theatrical distribution Network television Cable television Local stations CD-Rom Internet streaming Public access Audio-visual . Closed circuit (corporate, hospitals, ete.) Home video Computer online You'Iube Faeebook, Hulu, etc

Fall 2011 Events Back to SchoolMeet-Up Friday, September 23,2011 Meet the members and light refreshments.

@ 6:00pm, Wollman

Hall, 65 W. 11th Street, New York, 10011 Find out what were all about, Enjoy' live Jazz,

of the Student FILM Collective,

RSVPat http://wp.me/pljwCh'-kj

Spanish Independent FILM festival Friday October 21,2011 @ 5:00pm, Wollman Hall, 65 W. 11th Street, New York, 10011 (CALL FOR SUBMISSIONS will be announced at 9/23 meet-up) . *SFC New School MIXER October 2011 I Time and Place to Be Announced *SFC Casting Call & Table Read October 2011 I Open to all members (Date, Time, Details, & Location TBA) Basic Hair & Makeup for FILM workshop *October 2011 1 Learn the basics of Hair and Film Makeup (Date, Time, Details, & Location TBA) 72-Hour Micro Film Challenge Begins Friday, November 4,2011 at 3:00pm .(Location and Details TBA)

looking to cast their projects

Stort of the

& ends.at3:00

pm Monday,

November

72 Hour Micro Film Challenge Screening M.ondav,November 7, 2(l1J,.-@ EVMt...Begins at 4 <39pm at Wollman With Audience Awards and Prizes. Part of theSFC Thrills, Chills,and Colle~ive Premieres (followed by an After Party) Wollman

Hall, 6S-W.

lltfi-Street-

Suspense Night

Monday, November 7, 2011 I Event Begins at 4:30pm@ Part of the SFC Thrills, Chills, and Suspense Night The 7-Day Documentary *November Challenge & Screening

Hall, 65W.

11th Street,

2011 1 Date, Time, Details, & Location TBA

*Student FILM Collective Comedy Shorts FILM Festival November 20111 With live Improv performances by two of NYC's Hottest The Day Camp Kids, & The US Nationallmprov Team. (CALL FOR SUBMISSIONS) Date, Time, Details, & Location TBA Collective Shorts FILM Show u Friday, December 7, 2011 @6:00 pm

Indie Improv Teams:

Wollman Hall, 65 W. 11th Street, New York, 10011 A curated screening of short films by the members of the Student FILM Collective. (CALL FOR SUBMISSIONS and Details TBA)

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