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Producer to Producer: A Step-By-Step Guide to Low Budgets Independent Film Producing ReviewWhen you last got in your car and drove to the store - did you even think about all the things that are working in sync that help your car go? Gas, sparkplugs, catalytic converter, carburetor, computer systems, cooling systems, transmissions, gears, oil, etc. No. Most likely you don't think about that until the car stalls out in the middle of busy traffic and you suddenly have to search through the card catalogue of your mind thinking: "Okay, if the car spews black smoke and the engine won't turn over and the doo-hickey doesn't seem to be connected to the whatsis - then I have to..."
When you watch a film do you realize EVERYTHING that went into the process of making it? If you're like most people you define films by two things: Actor and Director. Maybe if you're a writer like me you add the screenwriter into the mix. But for most people it's: "Oh, that's that Meryl Streep movie!" or "I've heard it's one of Scorsese's best films." You certainly don't think: "Oh, wow, I think I'm going to go see that Jerry Bruckheimer production." We often don't think about everything that a producer does - but, more to the point: The producer does EVERYTHING.
In Maureen Ryan's book, she details EVERYTHING a Producer does from searching out the script, attaching the talent, massaging the budget, scheduling, setting up locations, calling in favors, assisting in shooting (possibly being an extra) to coordinating the post production and working through distribution. See? EVERYTHING.
The book is broken down into chronological chapters detailing the life of a film and she uses conversations with some producers to help make her points. She details every step of the process while also providing the reader with great examples of what, say, a budget should look like - or a contact list - or even a press kit. And you can find even more examples at her website.
"Producer to Producer" is fantastically detailed down to every minutia which is both its greatest strength and its strongest weakness. As I read through it I kept thinking to myself: "God, I've got to do a TON of stuff when I produce my next film (I've produced two micro-budget feature films)." But also thinking: "Thank God she goes into the details she goes into in this book because I hazard to guess that everything is in there." It's a bit of a double-edged sword.
As the book goes on through later chapters, she moves away from the conversations with other film-makers only to return later to that format. I would have liked her to have continued that through-out the book and then add more of what I would refer to as "war stories." If you're going to tell me I need to get the rights to a certain song - find a war story about a producer who didn't and how that ended up. I don't necessarily want to be "scared straight" in this process - but feel those stories would add weight to all the details that are being discussed.
For instance, here's a war story: Over a year ago a close friend of mine, a struggling writer, was ecstatic to see that her script was being made into a short. It was being shot in New York City with a decent sized cast and crew, the website posted behind-the-scenes photos and she loved knowing that within a few months there would be a short film with HER NAME ON IT!! Sadly, in post-production, the Editor wanted to get paid what was promised to him and since no pay was forthcoming, held the film hostage and refused to finish it. Where is the film now? Who knows.
How could the producer have foreseen this issue? How could this have been "nipped in the bud?" Where was the money going to come from to finish? How many people were now affected by this outcome? Could there have been an easier, more palatable solution?
Please, let me be very clear, this is an EXCELLENT book that gives you all the tools (and on-line resources) to get started in the land of producing - I would have just liked there to be a few more stories as to WHY it's important to get the rights to songs. WHY it's important to make sure the budget is in place before you start. WHY it's important to approach SAG (or not). Would some of these stories scare other producers away? Certainly...but they would also give weight to why a Producer has to do all that a Producer has to do. (Note: She includes a quick story about hiring a Production Assistant who had little/no experience who ended up damaging equipment that cost $2,500 to repair. Stories like that.)
All-in-all a great book. If you're thinking about ever producing a film - you can't go wrong having this book by your side.
Producer to Producer: A Step-By-Step Guide to Low Budgets Independent Film Producing OverviewComplete guide for Producers for film and tv projects--This text refers to the Kindle Edition edition.
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