The role of the producer in one creative industryWord文档格式.docx
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Introduction
Creativeindustriesisadiversesector,whichincludesscreenproduction,television,music,design,fashion,textilesanddigitalcontent.NewZealandhasalreadyestablishedcompetitiveadvantageinsomenicheswithinthesector,notably,screenproductionandpostproduction,andhasagrowingreputationacrossanumberofotherareasincludingfashionanddesign.(NewZealandTradeandEnterprise2004)
Inadditiontotheworldclasscapability,thecreativeindustriescanleverageNewZealand’suniquecultureandasaknowledgebasedsector,ithasthepotentialtogeneratewealthonasustainedbasisandrepositionNewZealandasanationofnewideasandnewthinking.
InHongKong,LiKaShingFoundationLtd(2002)stated‘CREATIVECITIES’isinitiatedbyHKICCandICAwiththebeliefthatLondonandHongKongarecitiesdemonstratingvarieddegreesofsuccessofcreativeindustries.Therearerealsuccessstoriesinbothcitiesanditisakeyelementintoday'
sknowledgeeconomy.Theorganizershavenowinvitedsome20orsoHongKongandLondonoutstandingculturalentrepreneurstoparticipateinthisexchangeproject.ThemainprogrammeatICA'
s"
CreativeCities:
HongKonginLondon"
willbeforthe9HongKongculturalentrepreneurs(i.e.Crazysmile,CTCWMAdvertisingFirm,DeepredDesign,GOD,Here,IdN,KanandLauDesignConsultants,PeopleMountainPeopleSea/PooRecords,Shya-la-la)topresenttheirenterpriseandtoanalysethedevelopmentoftheirbusiness.Atthesametime,twooftheHongKong'
smusicindustryrepresentativesPeopleMountainPeopleSea/PooRecordswillgivemusicalperformances.
WiththegeneroussupportfromtheLiKaShingFoundation,theorganizershavebeenabletoorganizetheprojectwithleastdifficulties.Theyfindthekeensupportveryencouraging.
Thesignificanceofcreativeindustriestoacountry'
swealthisnowmorereadilyrecognizedinaknowledgeeconomy.ThecreativeindustrieshavemovedfromthefringestothemainstreaminbothLondonandHongKong.Allthesecouldnothavehappenedwithoutagreatdealofeffortbyalargenumberofpeopleinthecreativeindustries,governmentandartsandculturesector.Forthisexchangeproject,itisintendedtocreateaplatformforsuchpeople,theyoungandestablishedculturalentrepreneursinparticular,ofthetwocitiestomeetandsharetheirexperienceandexpertiseindevelopingtheirenterprisesinthecreativeindustriesthatarefoundedonoriginalcreativity.
TheultimategoalistoforgeanewkindofsustainedrelationshipbetweenLondonandHongKongandtoexplorethepotentialoflong-termcollaborationbetweenLondonandHongKongandpossiblycitiesclosetothesetwocitiesfordevelopingcity-to-citycreativeeconomy.
UnderstandingFilmProducer’sRoles
Afilmproduceroverseesthemakingofmovies.Theproducerinitiates,coordinates,supervisesandcontrolsmatterssuchasraisingfunding,hiringkeypersonnel,andarrangingfordistributors.Theproducerisinvolvedthroughoutallphasesofthefilmmakingprocessfrominceptiontocompletionofaproject.(Wikipedia2005)
Intheearly20thcentury,theproduceralsotendedtowieldultimatecreativecontrolonafilmproject.However,withthedemiseofHollywood'
sstudiosysteminthe1950s,creativecontrolbegantoshiftintothehandsofthedirector.Changesinmoviedistributionandmarketinginthe1970sand'
80sgaverisetothemodern-dayphenomenonoftheHollywoodblockbuster,whichtendedtobringpowerbackintothehandsoftheproducer.Whilemarketingandadvertisingforfilmsaccentuatestheroleofthedirector,apartfromafewwell-knownfilmmakersitisusuallytheproducerwhohasthegreatestdegreeofcontrolintheAmericanindustry.
ThereareseveraltypesofProducers(Wikipedia2005):
∙ExecutiveProducer:
usuallyarepresentative,ifnottheCEO,ofamotionpictureproductioncompanythatisproducingafilm,althoughthetitlemaybegivenasanhonorariumtoamajorinvestor.
∙Producer:
theclassicproducerwhotypicallyhasthegreatestinvolvementandoversightamongafilm'
svariousproducers.Insmallercompaniesorindependentprojects,maybetheequivalentoftheExecutiveProducer.
∙Co-Producer:
usuallyreportstotheProducerandismoreinvolvedintheday-to-dayproduction
∙AssociateProducer:
typicallyatitlegrantedasacourtesyortoonewhoplayedsomeroleingettingthefilmmade
∙ProductionDirector:
‘European’Arepresentativeofthemotionpictureproductioncompanyassignedtothesetandgiventheauthoritytoactinbehalfoftheseniorproductionteammembers.
∙LineProducer:
overseesafilm'
sbudgetandday-to-dayactivities
∙Productionsupervisor
∙Productionmanager
An"
executiveproducer"
issomeonewhoiseitherfinancingafilm,orisrepresentingastudioorpartythatisfinancingafilm.Filmscanhavemultiplebackers,andthereforemorethanoneexecutiveproducer.Executiveproducers--oftenreferredtoas"
thesuits"
becauseoftheirformalattire--maynothaveanymovie-makingexperienceatall.(wiseGEEK2005)
Whenastudioinvestsinamotionpictureanditassignsanexecutivetooverseethemakingofthefilm,thisexecutiveisgiventhetitleexecutiveproducer.Butheorshedoesn'
thaveaspecificjobontheset.Insteadherresponsibilityistomakesurethateveryoneelseisdoingtheirjob--thattheprojectisonscheduleandisnotoverbudget.Theexecutiveproducerprotectsthestudio'
sinvestmentbyoverseeingtheproject.Theexecutiveproducerwillworkcloselywiththedirectorifanyconcernsarise.Forexample,ifbadweatherholdsupfilming,oranactorisinjured--ifanythingatallgoeswrongthatthreatensthepicturestayingonbudgetoronschedule--theexecutiveproducerwillpressforsolutions.
Anotherroleofexecutiveproduceristomakesurethatasthefilmisbeingmadeasplanned;
theyensurethatadhocchangesdonotinherentlyaltertheoriginalprojectthestudioapproved.Sometimesviewedasanoutsiderorinterloper,itisneverthelessthefunctionofanexecutiveproducertolookoverpeople'
sshoulders.Moviescouldnotbemadewithoutfinancialbackers,andexecutiveproducersplayacredibleroleinprotectingtheinvestmentsofthosebackingtheartoffilmmaking.
Thereisanexceptiontotheruleofexecutiveproducersbeing"
outsiders."
Sometimesanactor,director,orproducerwillfinanciallyinvestinafilmheorsheismaking.Inthiscasetheinvestorwillcarrythetitleofexecutiveproducerinadditiontotheirnormalcreditofactor,director,etc.
Anyonewithenoughmoneytoinvestcanbecomeanexecutiveproducer.Thistitledoesnotrequireexperienceofanykind,orinputintotheprocess.
TheSignificanceofExecutiveProducerRoles
MichaelWieseProductions(2005)continues,producingisreallyajoboneeasilypreparesfor.Itisonthejobtraining.Moreandmoreproducersandwould-beproducersarewalkingintostudiosunpreparedforthejob.Onejusthavetoleapinanddoit.
However,therearetwoapproachesmightbewisetolookat.
Thefirstisexemplifiedbytheproducerinthecasestudy.Afraidtoshowwhatatalentdoesnotknowheorsheputupasmokescreenofrush,importance,rudeness.Heorshekeptpeopleawaybyherconfrontationalmanner.Noonecouldchallengeherandshewouldkeepcontrol.
Thesecondapproachismuchmorevulnerable.Simplyadmitwhatonedonotknowandseekhelpfromthecrewandstaffaroundyou.Usewhateverresourcesyoucantofigureitout.Unfortunatelymanyfirst-timersgoaboutitfromthefirstapproachandopenthemselvestolearning.Theyarenotbuildingasupportteamforthefuturebutratherburningbridges.
Hoppingbackbehindthecamera,asanexecutiveproducer,onewouldliketoofferthesetipsforworkingwithnon-professionalactorswhichmoreandmoreproducersofcable,documentaries,publicaffairs,orinterviewshowsarehavingtocontendwith.
Havingjustbeeninthehotseatonerespectthevalueofthesetipsmuchmore(MichaelWieseProductions2005):
∙Createanenvironment(physicalandemotional)thatwillmakeyourtalentcomfortable.Thereisnoformulaherejustgoodsense.Besensitivetoeachindividualsneeds.Maybearelaxedchataboutwhatyouexpectofthemwillhelp.Maybethey'
dlikeadrinkofwater.Maybeatourofthestudiowillbehelpful.Thesoonertheyfeelathomethebettertheresults.
∙Enrollthecrewtointroducethemselves,preferablywithahandshake.Bewarmandinformal.Includeeveryoneaspartoftheteam.Makeitagroupeffortasquicklyaspossible.
∙Waittositthetalentinfrontofthecamerauntilyourlightingsetupisalmostdone.Sitthemdownandbrieflytweakthelights.Youdonotwanttheminanticipationtoolong,yetyoudowantthemfeelingcomfortableinfrontthecamerabeforeyoustart.
∙Adjustthelightsotheywon'
tsquint.Theycanalsolookintothelightbriefly(withtheireyesclosed!
).Thiswillclosedowntheeye'
sdiaphragmandmakethemlesslikelytosquintwhentheydoopentheireyes.
∙Talktothemandtheytoyouinnormalspeakingvoicestogetsoundlevels.Beplayfulifthat'
sappropriate.Keepitnatural.
∙Letthemknowyouhaveplentyoftapeandit'
scheap.Thatthere'
snoproblemiftheymakeamistakeorwishtodosomethingoveragain."
We'
vegotlotsoftime"
(evenifyoudon'
t).Ifyou'
rerelaxeditwillhelpthemrelax.(Here'
swherepre-productionpla