Television & Film Production: Producer - Director Relations in the Industrial Market Pt. 2

Now that I have set up the scenario a little more realistically, it brings us back to that frustrated student who didn't like my answer. Well, it starts here. The relationship between the client-producer and director at this level varies in any number of ways. If I only used one strict formula in creating programs, there would be many unhappy clients and my career would not have lasted this long. Things change drastically at this level, mostly at the will of the client-producer. The role of client-producer is assigned due to the individual's position, office politics or some other reason.

Most of the best programs with production values I have worked on were projects in which we (production company) were in charge. The clients understood their role as producers, and provided what was needed to complete the project. They composed most of the script, recruited actors, scheduled locations, served as advisors, and approved all content. The results were television programs that distributed their message in an informative, well-produced and entertaining package. A few of those programs are still in use today.

These programs were successful because the client-producer understood that we were the experts in how to produce a program. Unfortunately this is not always how a client-producer approaches a project. If I had a nickel for everyone who's told me they worked in college theater, radio or access television in their college days. Yeah. So a director must also be patient, exercise diplomatic skills, and may have to compromise production values.

Here is my general assessment for what it's worth. About twenty-five to thirty percent of all industrial-level projects never get off the ground. Of the remaining projects that do get produced about half are actually worth watching. I am being generous here. There are a number of reasons why this is so. The main reason why is that usually the client-producer already has a full time job. They have the idea, are assigned to the project, or have been persuaded to oversee it. There are two ways a client-producer approach the director at this point.

If they are humbly requesting your busy and valuable time for this project, the client-producer will usually be flexible and easy to work with. However, time must be taken to explain how everything works. If you do not take the time to do this, a client will assume (see Pt 1) that everything is magically quick and easy. Later on down the line this perception will only result in headaches and delays. Sit down. Explain how the process works. The planning and effort it will take to produce a quality program. At this point my advice is to suggest that you handle most of the technical responsibilities. Writing the script may be more difficult to acquire, but with diplomacy try to secure that role as well.

So why assume the extra task of scriptwriting? As was said before, the client-producer already has a job, and the daily responsibilities of that position. How much of their time do you think they will actually dedicate to writing a script? In many cases the project is not their primary responsibility. Give them the task of writing the script, and you will find yourself calling them three months later asking for it. Then you'll either get a hastily prepared non shoot-able script, or get some text copied and pasted from a brochure. Either way it will require major rewrites before you can even get started. Worse yet, the client-producer may lose interest and the project may fall into that 25-30 percent that do not get completed.

What you want to do is gently persuade the client to understand that the producer is the most important role of all. A role that includes many administrative duties, something they are extremely qualified and experienced in. Explain that their role is to manage and delegate duties, things they do on a daily basis. They are the main source for creative consulting, information, facts, and the all-important final approvals during the process. They will recruit talent and schedule the entire production. I don't want to say stroke their ego, but sometimes a little 'diplomacy' goes a long way. In this perspective the client realizes the importance of the producer's responsibilities. Best of all, you retain creative and technical control of the production, what YOU are qualified and experienced in.

The best experience I've had so far is working on a project with a judge. Fortunately she was somewhat familiar with the process already. After initially discussing our roles, she hit the ground running. She wrote the script. We worked back and forth for a while with rewrites, then through the script approval process. When approved, I broke the script down into a screenplay and she began scheduling people and locations. We then worked out a detailed production schedule. This took a little over a year due to her responsibilities as a judge. The production was shot in three days and on schedule thanks to her organization and attention to detail. Post-production took about three weeks and when she had time either approved or requested minor changes. Oh how I wish it were so for every project.

Then there are the other client-producers who come at you with a whole range of personalities and perceptions. Hoo-boy! It never gets dull with these. Oftentimes there are compromises to be made. Conflicts arise because these client-producers usually have the same experience as those who humbly asked for your help only they have connections. They may even arrogantly hold this power over you due to seniority, association, priority or just plain ego.

Don't get me wrong. These are not evil people and it's not that the experience is intolerable. Just that their sometimes-inexperience often leads to delays or create unplanned extra work. Yet because of the power they may hold, a director must learn to just go along in spite of the inconvenience and inconsideration. The director must bite their tongue when receiving last minute changes, information or graphics. Hastily written scripts may have to be overlooked without rewrite. The creation of comprehensive visual and audible context sometimes becomes lost in the mix. The director will often have to compromise production values in favor of unprepared and sometimes egotistical talent.

Sound harsh? Maybe, but it is the reality one must occasionally face when trying to earn a living. You have to do what you have to do. These are only occasional instances though. The real success of a production depends on who is working on the project, and their relationship with each other. Unless the two often work with each other there is no set formula or procedure you can force it into. The project relies on the relationship between a client-producer and director, and mutual confidence in eachother's expertise. You can achieve this diplomatically, but sometimes you must compromise silently under another's will.

Understanding this will help cool tense moments you may encounter in the future. It's good to know each role, but it's also good to know your position in life. So keep your head, and go with the flow if things don't go your way. Make it the best you can in spite of any hurdles you encounter. And remember that ultimately the producer is always right. It doesn't matter if they are paying you or they just have more seniority, it's their production. Compromise if you can but do it the way they want.

Okay. Now that I've alienated clients past and present, good luck and have fun!