nflm 3456 | the producers role | syllabus

8/4/2019 Nflm 3456 | the Producers Role | Syllabus

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0 .0 '. \t c ; : \ ' ~A #.YL t'LJL . -k'~' ,iJ.)'''i . ~ " " ' . . I l ~ , f ; dw/t~'~~ " -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 PMBuildiIig & room: 65 West 11th St. Room 261

THE PRODUCER'S ROLECourse #NFLM3456

The New School, Department of Media Studies and Film

COURSE DESCRIPTIONThis course follows a producer's role from the selection of material through its

development, preproduction, production and post-production to the delivery of thecompleted work. Once a film or video project has been developed and is in pre-productiona producer organizes and provides the best possible support system and team for thedirector. Slbe is responsible for providing all the elements, human and material, as well asher or his own experience, professional judgment and assistance, to carry out the combinedvision of the fIlm's writer, director and producer. When budgets are low the produceroften has to do script revisions; casting; findmg props and wardrobe; obtaining equipmentat low rates; legal and accounting work; collaborating with the director and editor duringand after the shoot and plan marketing and distribution. Producing student and low-budget fiction and non-fiction films/videos offers invaluable experience in learning how tohandle larger productions: how to arrive at a compelling storyline, judge the talents andskills 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 theFirst Draft of that proposal, the Final Paper is the Final Draft.

GRADING POLICYClass participation - 10% ~,Mid-term paper - 20% -rr6Tt~51."'G.\ Pb>f ll{ ,< ; iQuizzes - 10% Pi-k~Final paper - 60%Students unable to attend a class because of sickness or work are expected to notify me beforethat class. Unexplained absences and late attendance will affect the final grade. All students areexpected to write the project proposals. No open laptops, cellphones;etc:.----" . ~

\.( J\~ ,~ s.rc\)~~Ob'' ~ " '~ 'O ~ < REOIDREDREADING '';-H~ )

$\\~ l D ' d . b : l '1 (Available at Barnes & Noble, 18t h St. & Fifth Ave" ~~ 1~J.1Making Movies by Sidney Lumet; Vintage paperback ( " , : : J . . " t '" ,Shooting to Kill by Christine Vachon; Spike, an Avon paperback ~


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Class #1 - September 8Introductions: students and their goals/projects. Instructor's projects,What is:an independent film'?Misconceptions of a producer; various producer creditsAn overview of the producer's role: headaches and rewardsThe filmmaker's responsibilities; screening of fiction & non-fiction excerpts.Reading for the next class: Shooting to Kill, pp. 1 - 18

Class #2 - September 15Submitted 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 22Obtaining the material, if not assigned.Getting the material into the most effective shape.Best foot forward: synopses, treatments and proposalsPackage elements; "attachments."Class receives existing proposals, synopses and treatments.

- Ten minute break to read materials-Class assesses what they've read. Would you produce it?Reading for next class: Shooting to Kill - pp. 35 - 100.

ROSH HASHANAH - no classClass #4 - October 6

Pre-production: budgeting the production; various formsLine-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 13Class 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 20Breakdown of potential profit for investors. Net and gross profitsCautions and advice for raising money, dealing with potential investors

SHORT QUIZC.asting with and without a casting director. Responsibility of producer in thecasting process.

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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-unionStaff 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 - 228Next class: Mid-term paper: 6 to 10 page proposal of your production.

Class #8 - October 27Mid-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 3The shoot: the express train leaves the station.Guest: Director:Reading for next class: Shooting to Kill, pp. 228-244

Class #10 - November 10Keeping the peace: location conditions; catering; crew and actors' well being.The producer's role on set or location. Crisis control; parent, confessor, authorityfigure, 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 17It's not a wrap! Post production begins with the editing. 08[yThe Editor's role: Lumet's two main functions of editing.Guest: Editor:Reading fur next week: Making Movies, pp. 170-1R5.

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Page 4.--THANKSGIVING BREAK--

Class #12 - December 1Editing continued: Lumet, Murch and LeanPost-production staff: editors, composer, mixer, graphic artist, and post-productionsupervisor. 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, transfersprotections, dubs.

Preparing for the final edit (picture lock) or Online edit: timings, balanceAnimation 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 8Final Proposals handed in.Titles, graphics and credits: their importance.Preparation for the mix: dialogue, music, sound effects, looping, Foley.The importance of the mix and the role of the producer.

-- 15MINUTE 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. 269-273Assignment 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 thcritique verbally in the next class. (This counts as Class #15.)

Class #14 & 15 - December 15Promotion, 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 aclass. Please use only this E-mail: [email protected]. Any questions or problems, don'thesitate to call or E-mail me!


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Theatrica l M o ti on P ictu res- Prim ary C redit: PRODUCED BYIn common parlance, an individual receiving the "Produced by" credi t for a mot ion picture is typicallyreferred to as the film;s Producer. To avoid confusion with other producer credits, we refer to this individualas 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 havesiqniflcant decision-making authority over a majority of the producing functions across the four phases of amotion picture's production. Those phases are: Development; Pre-Production; Production; and Post-Production & Marketing. The following considerations would be taken into account in determining"Produced by' credit:

Within the development process, the "Produced by" wi ll typical ly conceive of the underlying premiseof the production, or select the material. Sihe also will select the project's writer, secure thenecessary 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, c inematographer, unit production manager, production designer,and principal cast The "Produced by" also wi ll participate in location scout ing, and approve the finalshoot ing script, production schedule, and budget

During production, the "Produced by" will supervise the day-to-day operations of the producingteam, providing continuous, personal, and usually "on-set" consultation with the di rector and otherkey creative personnel . Sihe also will approve weekly cost reports, and continue to serve as theprimary point of contact for financial and distribution entit ies.

Forthe last phase, post-production & marketing, the "Produced by" is expected to consultpersonally with post-production personnel, including the editor, composer, and visual effects staff.S/he is expected to consult with all creative and financia l personnel on the answer print or editedmaster, and usually is involved in a meaningful fashion with the financial and dist ribut ion ent itiesconcerning the marketing and distribution plans for the motion picture in both domestic and foreignmarkets.

With today's large-scale productions, it is rare to find one individual who exercises personal decision-making authority across all four phases of production. However, the PGA requires that in order to eam thecredit of "Produced by," one must have taken responsibility for at least a majority of the functionsperformed and decisions made over the span of the four phases.

1 0 b Functions for "PRODUCED BY" (Theatric al M otion P ic tu res )Subject to the control of the Owner, the "Produced by" in Theatrical Motion Pictures is expected to exercisedecision -making authority over a majority of the following specific job functions:

DEVELOPM ENT Conceived of the underlying concept upon which the production is based or involved at its inception.

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Selected the material upon which the production is based and secured necessary rights ford~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 f inancing 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 andvisual 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 inconsultation with the Co-Producer and UPM. Creatively involved in the final shooting script in consultation with the director and the writer(s) andapproved 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, artdepartment, wardrobe, make-up and hair. In collaboration with the director, provided in-person consultation with the stunt coordinator and onmechanical effects (if applicable). Supervised "on-set" and on a continuous basis the day-to-day operation of the producing team andthe entire shooting company. Approved the weekly cost report Viewed the "dailies" and provided in-person consultation with the director, the editor, the studioand/or financial entity.

Provided in-person participation on visual effects in consultation with the director, the studio orfinancial entity. Selected the composer in consultation with the director, and participated in-person with thecomposer and the director in the scoring process Provided in-person consultation with the editor along with the director, the studio orfinancial 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 thestudio/financial entity.

II Selected the music supervisor in consultation with the director, and participated in-person duringthe 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 financingentity on the answer print or edited master. Consulted on the media plan and materials, and the marketing and distribution plans for the motionpicture. Consulted on the plans for exploitation of the motion picture in ancillary and foreign markets.credit guidelines for further producing titles click here.

Horne 1 Member Central I Sign In/Sign Out I Search I News ! Videos ! Contact Us i Privacy Policy i Terms of UseAbout the PGA ! Become a Member I Producers Code of Credits i PGAAwards I Produced By Conference ! Produced By Magazine

2011 Producers Guild of America, Inc. All Rights Reserved.No portion of this site may be reproduced in any manner without the express pr ior written consent of the PGA.Information on YourMembership.com and their Privacy Policy


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Various Kinds ofProductions and MarketsFilmFeature films, fiction and documentaryShort filmsDocumentariesAnimationDocudramasArt & experimental filmsCommercialsTelevisionMovies of the weekComedy and dramatic seriesDocumentariesSpecials - performing arts, drama, variety, comedy, children's. Newsand public affairsChildren's seriesReality seriesMagazine seriesGame showsInstructional series &specials. "How-to's" - Decorating, building, cooking, gardening, mechanics, etc.PSA'sCommercialsInfomercialsVideoHow-to singles& seriesFictionDocumentariesExperimentalMusic videosComedyMarketsTheatrical distributionNetwork televisionCable televisionLocal stationsCD-RomInternet streaming

Public accessAudio-visual .Closed circuit (corporate, hospitals, ete.)Home videoComputer onlineYou'Iube Faeebook, Hulu, etc


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,Fall 2011 EventsBack to SchoolMeet-UpFriday, September 23,2011 @ 6:00pm, Wollman Hall, 65 W. 11th Street, New York, 10011Meet the members of the Student FILM Collective, Find out what were all about, Enjoy' live Jazz,and light refreshments.RSVPat http://wp.me/pljwCh'-kj ,Spanish Independent FILM festivalFriday 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 MIXEROctober 2011 I Time and Place to Be Announced*SFC Casting Call & Table ReadOctober 2011 I Open to all members looking to cast their projects(Date, Time, Details, & Location TBA)Basic Hair & Makeup for FILM workshop*October 2011 1Learn the basics of Hair and Film Makeup(Date, Time, Details, & Location TBA)Stort of the 72-Hour Micro Film ChallengeBegins Friday, November 4,2011 at 3:00pm & ends.at3:00 pm Monday, November 7 I.(Location and Details TBA)72 Hour Micro Film Challenge ScreeningM.ondav,November 7, 2(l1J,.-@ EVMt...Begins at 4


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nflm 3456 | the producers role | syllabus

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