Producing

I believe communication is the foundation of great producing. A producer has to bring together writers, directors, cast, crew, financiers, and distributors while making sure everyone is working toward the same vision.

I also love this quote: "You never invest in just a movie—you invest in people." As a producer, you're investing countless hours, meetings, trust, and often a significant amount of money into the people behind the project. Great stories come from great collaborations.

To me, what makes a producer stand out is the ability to recognize talent, build lasting relationships, stay calm under pressure, and create an environment where creative people can do their best work. If people feel trusted, respected, and supported, they'll give everything they have—and that's often what turns a good film into a great one.

Can you tell if a movie was produced well? I think so. You can often feel it in the overall quality, the organization, the performances, and how smoothly every element comes together. Great producing may be invisible to the audience, but its impact is visible in every frame.

I believe one of the most important qualities of a great producer is the ability to recognize potential before everyone else does.

A producer doesn't just manage budgets and schedules; they protect the story while making difficult creative and business decisions. They understand that investors, artists, and audiences all have different expectations, and their job is to find the balance between them.

As an independent creator developing SONIA, I've learned that every production decision is ultimately a storytelling decision. The best producers don't just finance projects—they help create the environment where great stories can reach their audience.

I believe great producers don't just recognize great stories—they create systems that allow them to discover them early.

It's easy to rely on established studios, well-known companies, or successful writers for material. But if that's the only pipeline, you're naturally limiting yourself to a narrower range of voices and perspectives.

The producers who consistently stay ahead are those who build trusted relationships with emerging writers and independent storytellers, giving themselves access to exceptional projects before everyone else.

I think of it like a river feeding a reservoir. The main river is essential, but the smaller streams strengthen and sustain it. Those smaller channels often carry the unexpected stories that become tomorrow's biggest successes.

I'd say of all the producers I've worked with the ones that can relate to the cast and the crew and all of the above the line pull a show together to work smoothly and so yes, it can show on screen.

Xochi, I completely agree. Technical skills are essential, but the ability to earn the trust and respect of both the cast and the crew is what truly holds a production together. When people feel supported and valued, they give their best, and I believe audiences can feel that teamwork on screen, even if they don't consciously realize why.

This has been going on for a while and it is not limited to the Film Industry. If you produce something over and over again without any improvements to the item, someone is going to improve the item what ever it is and then take all your customers and you will go broke. Happens all the time!

It's interesting to have been so emotionally consumed by a project and to feel, notice and observe the transition of that emotional universe to a new project. It's the first time happening for me so I am really trying to luxuriate becoming so entranced by a project and imaging all of the possibilities it holds.

In today's market, I would lean into scaling back. While I think there are a lot of strong opinions on leaning in and upscaling, the $6-10M scale is a very difficult to get going, and is a no man's land for distributors and financiers. It has also been notoriously difficult to recoup in that budget range.

Keep your talent, get savvy with your BTL, and defer your producer and other ATL fees where you can, and trust the process. Minimizing your ATL outside of talent and keeping your budget tight can open the door for real returns. This indie style is what the market is calling for right now, despite really intimidating for legacy producers.

Thanks Luke Kelly-Clyne, completely agree with you. Knowing your market inside and out is everything. Budget creep only works if the package, comparable project models, and financing logic all collectively support the jump. Otherwise, holding the line is absolutely the smartest move, particularly for newer producers or projects lacking name-driven leverage.

Your point about how market comps naturally push conservative budgets toward Horror or contained Thrillers is exactly where broad commercial appeal meets practical, disciplined execution in today’s landscape of market-driven packaging.

Thank you for sharing with us.

Thanks, Sean Hussey , I completely agree with you. That $6–10M zone has genuinely become a no-man’s-land in today’s market. It’s too large for comfortable independent equity and too small to trigger meaningful studio-level infrastructure, meaning the recoupment math rarely makes sense.

Your advice to scale back the footprint, retain the core talent, and get highly strategic with below-the-line costs is rewarding right now. Keeping above-the-line tight, utilizing deferred fees, and maintaining a lean structural model is the definitive lane for driving real returns.

What you noted about legacy producers feeling intimidated by this operational shift is incredibly accurate. But the upside is massive: leaner budgets force sharper creative choices, resulting in a package built for market reality rather than wishful thinking. That is exactly where long-term sustainability lives.

Really appreciate your clarity here. It's precisely the kind of perspective that in my POV keeps producers honest about the current landscape.

Thank you.

There is a chapter about this in my recent book HOLLYWOOD MONEY TRAPS (on Amazon) I am a believer in making it work at the current budget and doing "smart deals" with the elements that may have driven the budget up. It is fair in these times for everyone to defer some of their fees across the board to keep things in check especially with the very complicated distribution landscape. As a veteran of 30 years in all things distribution and international co pros, it's about saving money not spending more.

Thank you, Alexia Melocchi; totally agree. In this market, “making it work at the current budget” is the smartest path. Smart deals, fee deferrals, and disciplined spending are what keep projects alive. With distribution being as complex as it is, saving money isn’t just practical; it’s strategic. Love your veteran insight, my friend. Thanks for sharing.

Hi, i can help you out as a Literary Agent

I contract upfront with limited and defined respnsibilities with an option to expand later. Any compensation is listed up front, again with open option. Titles and responsibilities are hashed out in advance. I often sign on as a consulting producer, which leaves me an option to exit or commit to full producer. Soundtrack supervision is stated as authorized or not, in advance. What I am NOT doing is explicitly named, such as not casting, not script development, etc. As far as IP, a disclaimer is in the Producer's Agreement as to whether ownership is shared or not, before anything else gets done. As Executive Producer, I can say one of the worst ways to lose a project is when the writer, director and representatives cannot establish a clear chain of title on the script. Doesnt matter if the money's already in the bank, or who's attached - it's a no-go.

On my last feature Pure Vortex we had a tone of partners since the film was done without a budget. But I think the main thing is that you trust the people who you're going to be working with and that they trust you. I've also noticed that everyone was super invested and helped out a lot. Then at one moment you'll probably need to quantify something with a contract and some bureaucracy, but people who come on board as partners usually know what they're getting in to and you can pretty quickly see if they're pulling their own weight and sometimes they just don't.

I had this happen I had a lady come on to be a production manager and would help me organize everything, well I ended up doing everything myself. The lesion was that I don't want to do that myself and want to focus more on the creative side.

Good luck with your film!

Great question. I think @Ashley Renee Smith and @Katrina Wolfe both gave really good advice here, and I’d add: always get something in writing, but take it piece by piece.

At the start, if you’re asking a producer to help raise money for a proof of concept, put the agreement in those specific terms make sure you spell out exactly what you’re asking them to do. Then, if the project moves beyond that stage, you create a new agreement (or amend the existing one) for the next phase. This is where you negotiate back and forth, but it really depends on your budget.

With regard to lawyers as @Kendall Fletcher says get one in if you can. But early on, when budgets are tight, lawyers are expensive. There are decent basic “shopping agreement” templates online that outline the key terms: ownership, IP, etc. I recently did exactly this for someone, we drew up an agreement covering the work up to a specific festival deadline. We’ve since kept working together and are now drafting the terms for the next stage. Crucially, I made sure that if the project moved beyond that first stage without me, I’d still be credited, so we negotiated upfront what that would look like if I ever stepped away and the project got made without me.

That’s really the model: you keep amending the terms as the project grows. Early in my career, I started producing something, then someone else came in with money and I was just taken off the project with no agreement, no protection. That’s the exact situation you want to avoid on both sides.

If you work together for a long stretch as producer and writer, put something in place. As a producer, I never want a writer to end up in the position where new money comes in, the financiers don’t want the original producer involved, and suddenly the writer who’s poured months or years into the project has to choose between loyalty to the person who helped them and the chance to actually get it made. Nobody should be forced into that dilemma. If the producer’s agreement guarantees they’re credited and paid even if their active role ends, the writer can move forward freely, the project gets made, and everyone’s protected.

So: you don’t know where the project’s going or how the relationship will evolve, which is exactly why you do it in stages. Start with the first real ask e.g a proof of concept. Define what you want the producer to do (are they raising money?), and agree what happens if the project continues a percentage, credit, whatever’s fair. That might be as far as it goes, or it might be step one of several. Either way, negotiate that with whoever you’re working with.

If your budget is bigger, then yes go the lawyer route like Kendall said, and take it out of your hands entirely. But starting out, when a lawyer’s a real cost, there are ways to build agreements that protect everyone’s interests and save you from awkward conversations down the line.

It's tough to answer the questions you're posing without knowing what you're looking for from a Producer but here's my two cents:

* Producer vs. executive producer credit: Are they living on the set and physically producing your short? If so, that's a Produced By credit. Are they giving you creative notes and shaping the project? That's also a Produced By credit. On a short film, an EP is basically someone who gives you money. Maybe a friend who lends a hand. Possibly the guy who gives you his barber shop as a free location for 7 hours. Not a creative partner.

* Ownership/IP boundaries: If the Producer is work for hire, then the IP is yours but you will need a contract to define this. If you're trying to defer compensation, you may need to prepare to give away a piece of the IP. This is no long them taking a job. It's a different level of commitment and something else that needs to be codified up front.

* Fundraising responsibilities and Festivals: If this is what you're looking for the Producer to do then you should be hiring with that in mind and you may need to make certain concessions. Fundraising is typically a different skill set than physical producing, and on most of the shorts I've Produced the burden of festival submissions was wholly on the filmmaker.

...Sure.

...Only if Hell freezes over, Tayor, only if Hell freezes over...

Hi Christine Skarbek and Rutger Oosterhoff. I want to let you know that Tayor Isla was taken care of by the Stage 32 team. She isn't on the Stage 32 community anymore. Thank you.

Christine, curious as to why your name is Christine Skarbek, and your bio pic is about Krystyna Skarbek?

Hi, Lindbergh Hollingsworth and Taylor Parker, to answer your questions, I am related to Krystyna and we should connect -- absolutely!

Fantastic news David Zannoni and @stage32! Great to have Baja California in the Certification Program! Bravo!!

This is definitely the reality of running a small production company. I usually have 3–4 projects overlapping at any given time, and while it's rewarding, it's also stressful and takes a lot of dedication.

One thing that works well for me is starting the day with whichever project I'm most excited about—even if it's the smallest one. Getting that early momentum gives me the energy and motivation to tackle the more complex or demanding projects afterward.

The biggest habit I've developed is tracking everything. As soon as I complete a task or milestone, I log what was done and how much time it took. It helps me stay organized, keeps projects moving, and gives me a clear picture of where everything stands.

I also lean on AI agents to help me prioritize tasks, organize information, and quickly explore different approaches. That frees up more mental space so I can focus on the creative and human side of producing while continuing to move every project forward, no matter how busy things get.

Hi Sergey Martinov,

Thank you for sharing your workflow. I really like your idea of starting the day with the project that excites you the most. I also found your use of AI agents for organization and prioritization very interesting.

I'm currently developing an AI-assisted audio drama series called Sonia, and your approach reinforces my belief that AI is becoming an invaluable creative partner, not just a productivity tool.

I appreciate your insights and wish you continued success with all your projects.

This is a constant balancing act, and I don't think there's a perfect solution.

One thing I've found really important is setting expectations from the outset. I'm honest with partners from day one about the realities of producing and let them know if I have another project that could suddenly heat up and require more of my attention for a period of time. I'd much rather be transparent upfront than overpromise and underdeliver.

I'm also a big believer in not carrying everything alone. On many projects, there's at least one other producer involved, and we can cover for each other when one of us has to dive deeply into another production. Having that redundancy makes a huge difference.

One practical thing that's helped me a lot is putting a recurring standing call on the calendar (once or twice a month, depending on the status of the project). Even if there isn't much to report, it creates accountability, keeps everyone aligned, and prevents projects from quietly drifting just because life got busy.

At the end of the day, producing is rarely a straight line. Projects ebb and flow, and most collaborators understand that—as long as the communication is honest and consistent.

Hi Katrina,

Thank you for sharing your insights. I especially liked your point about setting expectations early and maintaining consistent communication—it seems just as important as the creative work itself.

I'd love to ask from a development perspective. I'm currently developing Sonia, an international sci-fi mystery audio series. The first season is complete, with 30 episodes, each running 5–8 minutes.

When you evaluate a new project, what makes you believe it has the potential to become a larger IP rather than just a good idea? Is it the strength of the concept, the characters, the world-building, audience potential, or the creator's long-term vision?

I'd really appreciate your perspective as someone who helps shape projects from development to production.

Hi Jill! Great question and one every producer deals with eventually. I keep a similar mix on my end, a few larger, more resource-intensive projects alongside smaller, more flexible ones that can move quickly when needed. Prioritization really comes down to staying honest about what actually needs your attention that week versus what can run on its own momentum for a bit.

Hi Aeron, you're being very honest about what you did. You're not going to like what I have to say. You shouldn't have gotten involved if you do not know what you're doing. The best course of action would be for you to depart the project. The longer you wait, the worst the situation becomes. Just let whomever it is know that you've had a few things come up that you have to focus on, so you'll have to depart the project. Wish them well, and sign off. After that, what do you do? Dive head first into learning about producing live action TV and Film, and Animation. Then you'll have the knowledge and confidence to produce.

Lindbergh Hollingsworth I figured that's what I might need to do. I was hopeful for the first couple of months that I could do it, but seeing how things are going, I have been debating if I should continue on this project. I really appreciate the straightforwardness. I will be stepping down and learn about producing. But I guess besides diving head first into learning, can you point me to the direction of where I can start learning about producing live action TV and Film, and Animation.

Hi Aeron, I largely agree with Lindbergh here. Producing is no joke. It's one of the most all-encompassing positions on a film and requires so many different skillsets in order to be successful.

Where I do differ my opinion from Lindbergh is that I do not necessarily think you need to fully depart the project. Given that this is an independent project with no financing and a crew of students and first-time feature animators, there is some flexibility and room to grow with this team collectively, so long as everyone is on the same team and same page.

I imagine you were brought onto this project by the director. You will need to have an honest conversation with them about your concerns and more importantly, what their expectations are of you. There may be room for you to research and learn more about the role of the producer as you go through this project. I am a firm believer that the best way to learn producing is by doing it.

However, that being said, if the director has expectations of you that are unrealistic (finding obscene amount of financing, managing the unpaid crew weekly, etc.), then perhaps you do need to depart.

Wishing you the best as you navigate this, but above all else, you need to have an honest conversation about expectations with your collaborators.

Hi Aleksandr Rozhnov, congratulations on your Vertical. It's a great achievement. Why don't you join the Stage 32 Writers Room? Kay Ross just did a Vertical challenge and we gathered at the European/UK Coverage Report with our Verticals and talked about production opportunities. You can grab a Free month if you can't invest. Also, if you read the blogs, you have there everything you need to know about WR Verticals challenge: https://www.stage32.com/blog/the-vertical-microdrama-screenwriting-chall...

That's why the IPG developed the specific script analysis service we did - it's analysis from the perspective of production. It addresses a lot of standard coverage/analysis items, but also gives serious attention to budget, market and cultural minefields. https://independentproducersguild.org/

That's really useful, Shadow – thanks for sharing! I wasn't aware of IPG's script analysis service. It makes perfect sense to look at scripts from a production perspective, especially for independent filmmakers. I'll definitely check it out. If you have a moment, I'd be honored if you could take a look at my bio as well. Would love to stay connected!

Abolfazl N57 Thanks. We get really good comments on the level and practical usefulness of the information on the IPG script analysis. It's premium, and the regular price is below the basic coverage for all the other similar services. And this week it's lower yet, as our automated website processing isn't up to snuff yet, so we're giving everyone an even bigger break.

Luca Mancini Your first film should be a short film and make it any way you can. Use your cell phone as a camera, use your friends as actors if you don't have access to working actors, and edit it down with music, sound effects and everything. Then and only then, and maybe even after several more shorts, should you try to get a film made. If on the other hand you are selling a script, then just write it, get a literary agent and let them pitch it for you.

Fortunately writing is one of the things you can always do in the industry. There are loads of resources here, in blogs, on YouTube etc. that you can use to hone your skills and give yourself more value as a writer. Industry events are good places to meet like minds and ask for advice and opportunities.

Shadow is correct about starting things off using a mobile phone. I often tell people something similar: get a smartphone, and shoot someone making a cup of coffee. Don't worry too much about lighting and sound. Just the image. Edit on the phone, watch it. You'll learn what works and doesn't work. Then do it again with different people in different locations: you will quickly learn framing/composition, angles, movement, and how to talk to talent (the coffeemaker). Move up, grow from there. Break a leg!!

Luca . . .

You are in the best place to shoot a no-budget or nano-budget feature film. Make a 90 minute film using available locations and available talent, and you can use sites like Indieright.com and Filmhub.com to put it on TV here in the US. Make sure it is filmed with people who speak great english, license non P.R.O music from sites like Pond5.com, and you'll be able to make money on your project(s).

And THAT is what Hollywood respects. Proof that you can create a project that finds an audience, and makes money.

Good ghost stories and horror stories sell particularly well, and ones set in Italy have an edge because they are exotic . . .

Nancy

I have an interesting idea for a plague/horror film, do you want to hear it?