NFLM

3456 THE PRODUCER'S ROLE

The New School, Department of Media Studies and Film Instructor Chiz Schultz (845) 353-2016 Fax: (845) 358-3411 Email: Swisschiz@aol.com Fall 2011 Sep 8th to Dec 15th, Thursdays, 6:00PM to 7:50PM, 65 West 11th St. Room 261 COURSE DESCRIPTION This course follows a producer's role from the selection of material through its development, preproduction, production and post-production to the delivery of the completed work. Once a film or video project has been developed and is in pre-production a producer organizes and provides the best possible support system and team for the director. S/he is responsible for providing all the elements, human and material, as well as her or his own experience, professional judgment and assistance, to carry out the combined vision of the films writer, director and producer. When budgets are low the producer often has to do script revisions; casting; finding props and wardrobe; obtaining equipment at low rates; legal and accounting work; collaborating with the director and editor during and 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 to handle larger productions: how to arrive at a compelling storyline, judge the talents and skills 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 the First Draft of that proposal, the Final Paper is the Final Draft. GRADING POLICY Class participation - 10% Mid-term paper - 20% Quizzes - 10% Final paper - 60% Students unable to attend a class because of sickness or work are expected to notify me before that class. Unexplained absences and late attendance will affect the final grade. All students are expected to write the project proposals. No open laptops, cellphones. REQUIRED READING (Available at Barnes & Noble, 18th St. & Fifth Ave) Making Movies by Sidney Lumet; Vintage paperback Shooting to Kill by Christine Vachon; Spike, an Avon paperback SUGGESTED READING The Independent Film Producer Survival Guide by Erikson, Tulchin and Halloran, Schirmer Trade Books The Insider's Guide to Independent Film Distribution by Stacey Parks, Focal Press Making Documentary Films by Barry Hampe; Owl Books Filmmakers and Financing by Louise Levison; Focal Press Planning the Low-Budget Film by Robert Latham Brown, Chalk Hill Books I Wake Up Screening - by John Anderson & Laura Kim: Watson-Guptill Publishing

COURSE SCHEDULE

Class #1 | Sep 8

Introductions: students and their goals/projects. Instructor's projects. What is an independent film'? Misconceptions of a producer; various producer credits. An overview of the producer's role: headaches and rewards The filmmaker's responsibilities; screening of fiction & non-fiction excerpts.

Class #5 | October 13

Read: Making Movies, pp. 59-74

Class 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?

Read: Shooting to Kill, pp. 1 - 18

Class #6 & #7 | October 20

Breakdown of potential profit for investors. Net and gross profits Cautions and advice for raising money, dealing with potential investors

Class #2 | Sep 15

Read: Shooting to Kill, pp. 18 - 35

Submitted 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.

Class #3 | Sep 22

Obtaining the material, if not assigned. Getting the material into the most effective shape. Best foot forward: synopses, treatments and proposals Package 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? Read: Shooting to Kill, pp. 35 - 100. ROSH HASHANAH - no class Class #4 | October 6 Pre-production: budgeting the production; various forms Line-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. Read: Shooting to Kill, pp. 122 - 138.

SHORT QUIZ Casting with and without a casting director. Responsibility of producer in the casting process. 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-union, Staff 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.

Read: Shooting to Kill, pp. 219 - 228 Next class: Mid-term paper: 6 to 10 page proposal of your production.

Class #8 | October 27
Mid-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. Read: Making Movies, pp. 105 - 136

Class #9 | November 3

Class #12 | December 1

The shoot: the express train leaves the station. Guest: Director: Read: Shooting to Kill, pp. 228-244

Class #10 | November 10

Keeping the peace: location conditions; catering; crew and actors' well being. The producer's role on set or location. Crisis control; parent, confessor, authority figure, 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?

Editing continued: Lumet, Murch and Lean Post-production staff: editors, composer, mixer, graphic artist, and post-production supervisor. 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, transfers protections, dubs. Preparing for the final edit (picture lock) or Online edit: timings, balance Animation 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. Read: Making Movies, pp. 186 - 192.

Read: Making Movies, pp. 148 - 169.

Class #13 | December 8

Class #11 | November 17

Read: Making Movies, pp. 170-1R5. THANKSGIVING BREAK

It's not a wrap! Post-production begins with the editing. The Editor's role: Lumet's two main functions of editing. Guest: Editor:

Final 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.

Read: Shooting to Kill, pp. 269-273 Assignment 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 that critique verbally in the next class. (This counts as Class #15.)

Class #14 & 15 | December 15

Promotion, 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.