THE MOVIE PRODUCER’S LAMENT
10 things to consider and reconsider
1. FAITH
You call agents; they don’t return your calls. You check your email; the studio cancelled the meeting; the actor didn’t read your script. You read an unsolicited screenplay. This could be the one! Everything is an act of faith. You reinvent your life every day.
2. POLLYANNA
Every year at the Oscars you hear the same speech, “Everyone in town turned it down.” Yours keeps getting turned down, too, but could it use another draft? Doesn’t matter that your mom loved it; are you gimlet-eyed about its flaws? Simply put, good isn’t good enough
3. PAYING DUES
You’re a ‘baby’ producer. You’ve devoted years to a project. Good news! A studio wants to make it! Bad news: A movie star wants a heavyweight to ‘take the lead.’ e.e.cummings wrote, “there is some shit I will not eat.” This suggests there is some shit you will.
4. VISION
You develop an original idea with a new writer. Miraculously, you get it financed. Everything about the process conspires to diminish that first rapturous vision. Casting compromises. Studio notes. Budget woes. Only one thing to do... Vanquish them! Live your dream.
5. RUBBER MEETS THE ROAD
The studio wants you to fire the director. He developed it with you. E.M. Forster said,“If I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country.’ He wasn’t worried about his next deal.
6. MANAGING CREATIVITY
Artists are volatile creatures. The director is at war with the male lead. The female star hates the DP. Imagine yourself the GM of a sports franchise. How to make everyone feel loved and essential? Long talks. Dinners. Gifts. Massages. Think I’m kidding?
7. MANAGING CREATIVITY
You’re the good cop when the director’s a beast, a tough dad when he’s a petulant child. An intervention, a therapy session, or a hissy fit...just do it.Freddie Fields carried tourniquets for Judy Garland in the trunk of his car for her suicide attempts.
8. FASCISM
In the 15th century, the Borgias were lecherous, treacherous monsters. Also, patrons of the arts with exquisite taste. This describes Harvey Weinstein and many others. Aggression and intimidation are useful attributes. Until they’re called out. And punished.
9. THE PERSONAL TOUCH
A successful producer left his appointment book on a dubbing stage. Every page noted a movie star's birthday, anniversary, favorite flowers, restaurants, children's names. He understood that artists are very good at receiving. And that schmoozing works.
10. PRODUCER IN NAME ONLY
These days a manager often takes producer credit when his client stars in a film. Until I see a manager standing all night long in the pouring rain with 102-degree fever, I will hold to my belief that a manager is a manager and a producer is a producer.
P.S.
An old Canadian wrangler offered this valuable piece of advice to a young producer. “Don’t ever wrestle with a pig. You’ll both wind up covered in shit, but the pig will enjoy it.”
• • •
Missing some Tweet in this thread? You can try to
force a refresh
A DIRECTOR’S CAREER
Contradictions, calamities & compromises
1. IT NEVER STOPS
Fred Zinneman, winner of 4 Oscars, director of 50 films, was in a meeting with a young development executive. To break the ice, she politely asked, “So tell me what you’ve been up to...” To which he politely responded, “You first.”
2. IT NEVER STOPS, PT.II
Following his first Oscar, Mike Nichols was cutting the big, problematic “Catch 22” when he heard about a little indy called M*A*S*H and took a peek. He was so depressed by its irreverent genius he went home and couldn’t get out of bed for a week.
10 THINGS ABOUT DIRECTING ACTORS
Technique, Tips & Trauma
1.RESULT DIRECTION
Don’t ever tell an actor you want him to cry. If an actor is thinking about a result, it blocks the internal process that allows him to reach the emotion in an authentic way. Besides, the goal isn’t to make the actor cry, it’s to make the audience cry.
2.INTERPRETATION
Actors and directors talk about “choices.” Predictable choices are boring, but arbitrary ones can be awful. Any choice is better than being “on the word.” If the dialogue’s good, it will take care of itself, but only if there'ssomething going on underneath it.
10 THINGS ABOUT DIRECTING ACTORS
Technique, Tips & Trauma
1.RESULT DIRECTION
Don’t ever tell an actor you want him to cry. If an actor is thinking about a result, it blocks the internal process that allows him to reach the emotion in an authentic way. Besides, the goal isn’t to make the actor cry, it’s to make the audience cry.
2.INTERPRETATION
Actors and directors talk about “choices.” Predictable choices are boring, but arbitrary ones can be awful. Any choice is better than being “on the word.” If the dialogue’s good, it will take care of itself, but only if there's something going on underneath it.
1.PRIMING THE PUMP
Always leave something undone at the end of your writing day. You’ll have a running start in the morning. Think about your script in the moments between waking and rising. There’s an image in your head, you don’t know why. The elves were working overtime.
2.HOMEWORK
Study great scripts not to imitate, but to learn the architecture. Internalize the beats and tropes of genre to understand the audience’s expectations and subvert them. Picasso could paint beautiful portraits before he rearranged the faces.
THE DIRECTOR’S PSYCHE
Where the DSM-5 meets the DGA
1.FOCUS OR FUGUE STATE
No one wants to talk to the director while he’s shooting. Anxiety surrounds him like a toxic cloud. He appears possessed as he acts along with the actors on the monitor. Don’t even try having a human moment. Just pat his shoulder and move on.
2.LONELY AT THE TOP
The crew harkens to your every word. The actors take your direction. But nobody really cares how the authority figure is feeling. If she got a good night’s sleep. If her marriage is okay. Alienation comes with the gig. In dreams begin responsibilities
THE DIRECTOR IN PREP
Failing to plan is planning to fail.
1. WHY MAKE IT?
Making any movie is ungodly hard. Ask yourself if it’s worth it and what you are making. And don’t say ‘money’ because there are easier ways. Only if your answer can sustain you for two years do you have a chance of holding an audience’s interest for two hours.
2. ASSEMBLING YOUR TEAM
Has the Line Producer worked with different size budgets? Has the DP shot big night exteriors, the AD repeated with the same director? Casting them is as important as the actors. If in doubt, call a director on their resume. There’s honor among thieves.