Producing : If You Could Collaborate With Any Producer… Who Would It Be? by Ashley Renée Smith

Vince Gilligan

Ava Duvernay

Ron Howard

Shonda Rhimes

Debbie Allen

Is Steven Spielberg too obvious an answer?

I would say anyone with a deal at a24!

It's no secret that EVERWOOD is the TV show that made me want to make TV. Not long after I moved to LA, I was fortunate enough to meet Greg Berlanti at a LACMA event. He was warm and gregarious, proving that sometimes it is worth meeting your heroes. I'd love to develop something alongside him.

My favourite producers are the ones who hustle hard, communicate well, and treat talent fairly - the spirit of genuine collaboration is everything. It can be such a tough business and kindness costs nothing. Those are the people I want to work with again and again.

A24 or Paper Productions.

Ashley Renée Smith Great question this really makes you think beyond just names and into why certain producers resonate.

I’d personally love to collaborate with Jason Blum. The way he backs bold, contained ideas and gives creators space while still maintaining strong commercial appeal is something I really admire.

It’s that balance between creative freedom and smart production strategy that I find inspiring and something I’d love to learn from.

I’d probably go with Peter Jackson, mainly because of how he approached his projects and the way he built such a strong creative environment around them. And I’d definitely add Jason Blum too.

Ashley Renée Smith I’d be glad to work with many since I’m still learning so many names, but I really love the style of Chris Meledandri’s animation production, and Jason Blum’s work in horror is amazing and remarkably inspirational.

For me, it would be Michael Schur on the comedy side and Ronald D. Moore on the drama side.

Schur because he has such a rare ability to make smart comedy feel effortless while still giving it heart, philosophy, and real character evolution. His shows are funny, but they also understand people. That balance is incredibly hard to pull off.

Ronald D. Moore because he knows how to build worlds, character arcs, and long-form stakes in a way that feels both intimate and epic. His work has scale, but it never loses the human core.

What connects both of them, for me, is that they do not just make entertaining television. They build shows that feel fully lived in, emotionally honest, and tonally confident.

Ashley Renée Smith Well first, unlikely because my co-creator is Diamond Monique Washington and we work very well together. However, it might be very interesting to work with Shonda Rhimes, as I do mainly female lead female centric work and I do like her work. Even better is Taylor Sheridan - I loved Lioness. And then there's Stacie Passon/Justin Haythe, especially for their pulling together The Serpent Queen series, which is of course told from a female perspective. All fantastic work and all with a different take from the normal genres they are in.

Any producer? Kevin Feige, Dave Filoni, Greta Gerwig in both her producing and directing, If Penny Marshall was still around- her in an instant. I'd love to sit down with Ryan Coogler just from the production standpoint of his films.

Kathleen Kennedy.

For me, it would have to be Bill Lawrence. His ability to go from smart, slapstick comedy to gut-punching heart in a 22 minute episode is just golden for the series I'm shopping around now. Scrubs, Ted Lasso, Shrinking, Rooster... for my sensibilities as a viewer and as a writer, he's got the magic touch.

I’m particularly drawn to producers who champion elevated genre storytelling — where concept, emotion, and atmosphere work together in a meaningful way.

Jason Blum stands out for consistently bringing high-concept, contained ideas to life with strong commercial awareness. I also admire the work of Denis Villeneuve’s producing collaborators, who have helped shape projects that balance scale with philosophical depth.

I’m especially interested in stories where the emotional core drives the spectacle — not the other way around.

As a writer, I’m developing projects in the thriller and speculative space that explore hidden systems, human perception, and the tension between control and the unknown. So I’m naturally drawn to producers who understand how to translate those ideas into grounded, cinematic experiences.

I’m always interested in collaborators who can bridge the gap between intimate storytelling and large-scale ideas.

Frank Marshall would be my dream producer for my multi-season period drama "South to Paris" because he has a history of epic projects and a close personal connection to the inspiration of the project.

Michael Dorn. He has an excellent grasp of both television and movies, and huge network of industry friends, and has handled his career with extreme responsibility and respect for his fans.

Christopher Nolan.

Judd Apatow. I specialize in comedy and think he'd be amazing to work with. My projects are very high-concept and I think he'd respond to them. Also, Paul Feig. Give me comedy geniuses, please!

Arnon milchan, frank Marshall, Christine Vachon, Scott Rudin, Brian grazer, Saul Zaentz

If I could collaborate with any team, it would be the producers behind Euphoria. Their work resonates with me because of their mastery of elevated drama, which aligns closely with the tone of my project White Butterfly.

Visual Metaphors & Atmosphere

My script uses the white butterfly as a recurring motif for hope in the midst of tragedy. I admire how the Euphoria team uses cinematography to externalize internal trauma. Their ability to translate a character’s subconscious into iconic visual language is something I deeply connect with.

The Theme of Entrapment

My protagonist, Joshua, is a young Blaxican man in Atlanta who is pulled into a dark spiral of coercion and blackmail as he tries to protect his sisters. That “us‑against‑the‑world” tension-is something this team handles with nuance and emotional precision.

Authentic Diversity

The story explores a very specific cultural intersection. A24 has a strong track record of taking diverse, niche identities and making them feel both authentic and universally resonant.

For me, White Butterfly isn’t just a family drama—it’s a visual and emotional journey about the lengths we go to for the people we love. I believe this team would understand how to bring that to the screen in a way that feels both raw and cinematic.

Ashley Renée Smith, love this question. It really makes us reflect on the kind of creative leadership we’re drawn to.

For my feature Soul Mated, the producer who feels like the strongest match is Shonda Rhimes. She builds emotionally charged, character‑driven worlds with complex, layered women at the center, exactly the heartbeat of my story. Her ability to blend intimacy, desire, identity, and high emotional stakes is something I deeply admire. She protects bold voices while crafting stories that resonate on a massive scale, and that balance is the energy I’d dream of bringing into Soul Mated.

And although, I’ll say that A24 is also one of my absolute favorites for this project. Their commitment to elevated, atmospheric, genre‑bending storytelling aligns beautifully with the psychological and supernatural layers of Soul Mated.

For this question, Shonda is the one, but for Soul Mated, they’re both my dream collaborators.

Hello,

Thank you for opening up such a thoughtful conversation—this is exactly the kind of question that pushes us to reflect on our creative direction and aspirations as producers.

If I had to choose, I’d say I’m deeply inspired by producers who balance bold storytelling with strong cultural identity and global appeal. I’m particularly drawn to collaborators who champion authentic voices and aren’t afraid to take risks on stories that feel personal yet universally resonant.

What excites me most is working with producers who understand that storytelling is not just about entertainment, but about impact—those who build worlds that reflect real communities, challenge perspectives, and create opportunities for underrepresented voices. I’m also inspired by producers who are hands-on in development, shaping projects from the ground up while still allowing creatives the space to bring their unique vision to life.

Ultimately, I’d love to collaborate with someone who values both the business and emotional sides of filmmaking—someone who knows how to package a project strategically, but also deeply respects the heart of the story.

As my current project is a feature animated film with a target audience for families, I guess any director and/or producer along those lines…if they love dogs as much as I do that’s a plus

To tell you the truth, I don't know any of them. All I want is for Netflix to make my script into a movie.

TV? Dan Fogleman, Deborah Cahn, and Michael Schur.

For movies, I'd have to resurrect Sydney Pollack. He embodied the best of any and all of today's producers.

Liza Chasin! A consistently strong producer with a fantastic track record.

I’d love to collaborate with Christopher Nolan for his ability to balance complex storytelling with large-scale production, and Kevin Feige for how he builds long-term narrative universes with consistency and vision. Both represent very different approaches, but each shows how strong storytelling combined with strategic thinking can create lasting impact.

I would like to work with Ryan Coogler

Patricia, great choice — Ryan Coogler has a strong ability to blend powerful storytelling with cultural depth and emotion. His work really connects on both a personal and global level.

Ryan Coogler, A24, Shonda Rhimes., Tyler perry, the list goes on

Ideally, I'd like to work with a producer that's more up-and-coming. Someone who's still hungry. Someone who's more apt to take chances with lesser-known or unknown talent, so that everyone involved rises up together. So we all succeed as a team, and we cheer on each other's success.

That said...I'd also very much like to work with Kevin Feige, James Gunn, and Bill Lawrence, to name but a few.

Doug, that’s a great perspective — growing with the right team can make a huge difference. The idea of building something together with people who are still hungry and willing to take risks really stands out

In that we are in the process of writing a true story as a TV series, one of the producers who specialize in biopics. For example, Graham King (GK Films), (Bohemian Rhapsody, MIchael); Andrea Iervolino (ILBE) (Ferrari); Will Packer (Will Packer Productions) (Straight outta Compton); Mark Amin (Sobini Films) (Frida). Or perhaps some other producer who is just dying to put together her/his first real biopic.

Jim, that’s a strong direction — biopics really depend on the right producer who understands both the story and its real-world impact. I like your point about also being open to emerging producers who are passionate about bringing true stories to life.

I would love to do an animated feature with Tim Burton.

I just want to work with any producer of value and understand what I bring to the table.

Again, both being from Oakland and aligning with his work and his message, I'd have to say, Ryan Coogler.

I’d love to work with a producer brave enough to bring ancient Middle Eastern myths into today’s world—someone unafraid of controversy, hidden histories, and stories that make audiences question everything they believe. Especially when that story already exists—written, published, and waiting for the right screen adaptation.

Arzu, that’s a powerful direction. Bringing ancient myths into a modern context—especially with controversial or hidden elements—can create very layered storytelling.

I think audiences today are more open to questioning established narratives, especially when it’s grounded in strong characters and emotional stakes. It would be interesting to see how you balance authenticity with a contemporary cinematic approach.

I have to admit that if I had to choose based on this question alone, I’d be in a dilemma. Of course, I would choose a top-tier producer, but the personality of the person I work with and the creative freedom are very important to me.

A good atmosphere and listening are key to successful collaboration. That’s why I don’t just throw names around. Unless you make dreams come true—then I’ll prepare a list :)

Eli, that’s a great point. Creative freedom and the working dynamic often matter just as much as the level of the producer.

A strong collaborative environment can really shape how a story evolves, especially when there’s mutual trust and openness. It’s interesting how the right partnership can elevate even a simple idea into something powerful.

I would love to collaborate with Tom Cruise...A24, Paramount Pictures, even SkyDance and Wayfarer Films (Dulquer Salmaan).

Great picks! Tom Cruise would definitely bring unmatched energy and dedication to any project. A24 and Paramount offer such different creative spaces too — one more indie-driven and the other big-scale cinematic. SkyDance and Wayfarer Films are also doing some really exciting work lately.

Personally, I’d love to see what kind of story you’d want to tell with such collaborators — something high-concept action, or a more grounded, character-driven film?

I'd work with any of the producers behind "The Pursuit of Happyness" and/or the 2004 remake of "Walking Tall". Why them? My debut feature screenplay is a hybrid of those two. I'd also work with Vince Gilligan. He pushed the envelope with "Breaking Bad", and I plan to do the same thing with my TV Pilot, "American Stockholm".

Interesting combination—The Pursuit of Happyness and Walking Tall is a unique blend of emotion and intensity. That balance between grounded struggle and powerful transformation can create something really compelling. Curious to see how you push that further in American Stockholm.”

Sachin Yadav I write all genre-related stories and scripts, except comedy and young-adult. I don't seem to get my way into that. Am currently working on a psychological thriller. Glad you asked about it.

“@Emmanuel Jomy That’s interesting — psychological thrillers can go really deep if the character psychology is strong. I’m also working in a similar space, focusing on internal conflict and power dynamics. Would be interesting to hear what themes you’re exploring in your current project.”

As a classic Spielberg fan, mine would have to be Kristie Macosko Krieger. Her expertise in creating moving, character-driven yet still action-packed stories with a wide range of genres is always impressive. Her range and network is vast and speaks to the results of hard work and passion. From Hamnet to Ready Player One to the highly anticipated Disclosure Day, I always know whatever she is a part of will be great.

Emmanuel Jomy The connection to "American Stockholm" is more indirect than direct. The premise itself isn't connected. Its creation is. My main protagonist writes the pilot episode in the final Act of the feature's sequel. AS pushes limits because it dives into a controversial topic: America's freedom (or lack thereof). The title is a play on Stockholm Syndrome.

I only started paying attention to producers after I began screenwriting a couple of years ago. Before that, I might pay attention to the actors, but I never noticed the screenwriters or producers. I think one of the things I like about being a screenwriter (when my work is finally produced) is the anonymity producers, screenwriters, and other film professionals have over actors. I decided quite some time ago that I don't want to be that famous. However, I'd like to see my work produced and on screen. If I look at films that I love and that I think have a similar sensibility to my own, I would have to pick Call Me By Your Name, and I would love to work with any of the producers of that film. It was so lovingly and respectfully done, and I want that for my screenplays/films.

Will Packer. He's not afraid to tell stories that haven't been told.

That’s a really interesting perspective — especially the idea of valuing the work over visibility.

I think a lot of writers feel that same balance: wanting the story to reach the screen, but not necessarily needing the spotlight that comes with it.

What stands out to me in films like Call Me By Your Name is how carefully the emotional tone is preserved — it feels intentional, almost protected, rather than reshaped for mass appeal.

That’s probably where the right producer becomes crucial — someone who understands the soul of the story and knows how to bring it to screen without losing that sensitivity.

That’s a great choice — Will Packer really understands how to bring fresh perspectives to the screen while still keeping them commercially engaging.

It’s not easy to balance originality with audience appeal, but producers like him make it feel natural.

Debbie Horsfield. She created, wrote, and executive produced POLDARK. Nuff said!

Great choice — Debbie Horsfield really knows how to build rich character-driven worlds while keeping the narrative engaging.

Poldark is a great example of how strong writing and production can elevate historical storytelling without losing emotional depth.

Mike Troy I believe you were mentioning about your project to Sachin Yadav and not me. Ignore me if I got it wrong.

I think you’re right — he was referring to me. Appreciate you pointing that out!

No problems!!!

Emmanuel Jomy My bad. Sachin Yadav Sorry about that.

Vadim Perelman.

Dreamworks!

No worries at all, Mike — all good!

Ashley, sorry to highjack your post, but there are some new imposters (or should I say "imposter") in town trying to be somebody else:

Viktor Jenkins; already contacted the real one, text messaged me to kick the criminal off

David Ready (Red Sparrow); to difficult to try to contact the resl one , but I would say 99.99 % fake account.

Brad Lewis (Ratalouille); ; to difficult to try to contact the real one, but I would say 99.99 % fake account

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This is all I can, and will do,

At you sevice, Rutger

The first person that came to mind was Kathleen Kennedy, after that I have a list my top five Bob Zemeckis, Lucky Chaps (Margo Robbie's Banner), A24, Disney/Searchlight, Netflix (any streamer will do), Sony.

Interesting picks! Kathleen Kennedy and A24 are definitely top-tier. I’d personally love to collaborate with creators who focus on strong storytelling and unique worlds.

A24 have some balls, they are on my radar since "Civil War".

Yeah, A24 really stands out for its bold choices. That’s why their work feels different

At the right time, right place will find me the right producer to co-produce :)

Absolutely — timing and alignment matter a lot. But putting your work out there is what creates those moments.

I would love to connect with Tatiana Kelly, as her work in book adaptations strongly resonates with me. I am the author of Maxi, a heartfelt story inspired by real-life experiences with my pet. It explores themes of emotional bonding, healing, and the quiet impact animals have on our lives. I believe this story has the potential to connect deeply with audiences of all age groups, and I would be grateful for the opportunity to learn from and collaborate with someone who understands how to bring meaningful stories from page to screen.

“That sounds like a very heartfelt and relatable story. Emotional bonds with animals have a universal appeal, and I agree it has strong potential for adaptation. Wishing you success in finding the right collaborator.”

Hi Ashley,

Great question—because the producer you’d choose says a lot about how you understand storytelling, not just who you admire.

If I had to choose, I’d say Shonda Rhimes and Jason Blum—for very different, but equally strategic reasons.

Shonda Rhimes has mastered something many writers underestimate: narrative velocity. Her shows don’t just tell stories—they engineer addiction. The pacing, the emotional hooks, the character conflicts… everything is designed to sustain long-term audience engagement while still delivering episode-level satisfaction. From a script doctor’s perspective, that level of structural control is gold.

On the other hand, Jason Blum represents a completely different kind of brilliance—risk-calibrated storytelling. His model proves that a strong concept, tight execution, and tonal clarity can outperform massive budgets. He understands that story isn’t about scale—it’s about precision. That’s a mindset I deeply respect and apply when analyzing scripts: What is the core engine of this story, and is it firing on all cylinders?

As a writer and script doctor, what resonates with me is not just the stories they tell, but how intentionally those stories are built, positioned, and delivered to an audience.

For me, great collaboration would mean being part of that process—refining structure, elevating character arcs, and making sure every page serves both the emotional journey and the market reality of the project.

Because in the end, a script doesn’t just need to be good—it needs to work.

Would love to hear how others are thinking about this from both a creative and strategic perspective.

Great insights. I agree that both narrative structure and strong concept execution play a huge role in making a script truly work.”

As a cinematographer, I think about this a little differently -- less about who I would want to pitch a project to and more about who creates the conditions for great visual work to happen.

That points me toward producers who are known for protecting the craft. Producers who fight for the right DP, who do not slash the camera department first when the budget gets tight, and who understand that the visual language of a film is not decorative -- it is structural.

By that measure, I would lean toward someone like Jason Blum. His model is genuinely interesting from a craft standpoint. Constrained budgets force creative problem-solving, and the cinematography on films like Hereditary and The Black Phone is evidence that limitation can drive innovation rather than compromise it. A producer who trusts his collaborators and gets out of the way is worth a lot.

That’s a really insightful perspective. I like how you highlighted the importance of producers who actually protect the craft rather than just manage budgets. The point about limitations driving creative cinematography really stands out — especially in films like Hereditary.

Do you think this kind of environment is becoming more common, or is it still rare to find producers who truly prioritize visual storytelling?

Ashley Renée Smith for me it would be Denis Villeneuve. I’d like to say Ridley Scott, but frankly here scares the life out of me.

I’d choose Christopher Nolan. I’m inspired by the way he explores time, memory, guilt, and human choice through big cinematic concepts, while still keeping the story deeply human. My project, SAMSARAVERSE, deals with karma as code and time bending through guilt, so his approach to layered reality and moral consequence really resonates with me.

I explore mythology, ego, morality and psychological collapse through thriller storytelling.”