Uncover the Secrets of Hollywood Producers
First Jobs as Hollywood Producers
Mary Parent recalls one of her first movies where she had the luxury of shooting in Los Angeles. She naively navigated a side deal when faced with unexpected payment requests. Amy Pascal, who worked for a long time as a studio executive before becoming a producer, learned the hard way about the differences in on-set behavior. Tessa Ross realized the on-set experience was new to her as a producer compared to her executive days.Being an executive involves a lot of development and budget work, while as a producer, it's about the on-set challenges. Each producer's first job offered unique lessons and insights.
Monique Walton's first project was a short film where she learned the importance of storing set design. Samantha Quan, in independent film, did everything from hair and makeup to dealing with unexpected prosthetic situations.
The Hardest and Fun Part of Being a Producer
Lucy Fisher explains that as a producer, the hardest part is trying to figure out problems while dealing with multiple other things. She often sought advice from Kathy Kennedy. Tessa Ross decided to make Conclave independently, facing less money but more stress.Producing is about balancing priorities and making quick decisions. It's a constant juggling act that requires a keen eye and quick thinking.
Amy Pascal's film faced pushback not just on sexual content but also on the ending. She had to navigate through these challenges while staying true to the story.
Working with Special Casts and Locations
Monique Walton worked with a cast of formerly incarcerated performers and had to be careful not to retraumatize them. She found a therapist to be a resource. Lucy Fisher faced concerns when stepping back into the world of a well-known story like Gladiator.Producing in unique locations like decommissioned prisons or recreating massive set pieces like the Sistine Chapel and the Colosseum presents its own set of challenges.
Tessa Ross pieced together a Vatican-like set in Rome with the help of a production designer and location manager. Lucy Fisher had trouble holding on to big action pieces in Gladiator II.
Collaborating with Directors
Mary Parent emphasizes the importance of working with directors who have a clarity of vision. Amy Pascal jokes about quitting if a director doesn't have that clarity.Producing is about supporting directors and creating an environment where they can experiment and bring their visions to life.
Lucy Fisher shares an example of shooting in the rain for The Great Gatsby and how producers need to make the best of what they have. Tessa Ross describes the collaboration on Conclave with the director.
Dealing with Budget Constraints
Samantha Quan points out that no matter the budget, there are always issues. Mary Parent talks about the constant struggle of being mindful of where to put the money in a film.Producing requires finding creative solutions within budget limitations and making tough decisions.
Each producer has their own story of dealing with budget constraints and finding ways to make the most of what they have.