Discussion for “The Kid Stays in the Picture”
I’m fascinated by producers – I’ve never really spent much time thinking of the life of the extra credit line before the movie starts.
When I got ready to pick out a movie for a home screening I decided on “The Kid Stays in the Picture” primarily because of another Nanette Burstein film I watched recently. While watching her give the opening remarks to “American Teen” at BAM, I was thinking about money. How did she maintain her lifestyle? She was pregnant at the time; I was wondering how she sustains herself and her career. I’m sure I’m not the only person in film who ever thinks of the shoestring budgets and wonder if debt and insecure financial future always accompanies creating movies.
Now, on to the movie we’re watching this week. It’s about producer Robert Evans. He produced The Godfather and Rosemary’s Baby. Note that he is the producer for The Kid Stays in the Picture. (Nanette Burstein is also a producer as is is her co-director Brett Morgan)
We could talk about his rise to producer-dom and what makes Robert Evans effective in that role. Is it money or charisma or that huge ego? Do all “good” producers always have those characteristics? I don’t really have a frame of reference of producer stereotypes, or any other producer autobiographies to reference.
Some producers, such as Tim Burton and Ethan Coen, also direct as well. Then there’s Mel Brooks & Adam Sandler & Tom Cruise and a host of other actors. In the woman producer corner we have Alice Guy Blanche’ (silent film director) Fran Walks (Lord of the Rings) and several others. (Funny that I grouped director, actor and female together, eh?) There are also people of color producers too, but are outnumbered by white male producers.
There has been a change in producer roles over time in Hollywood. Wikipedia says “In the first half of the 20th century, the producer also tended to wield ultimate creative control on a film project. With the demise of Hollywood’s studio system in the 1950s, creative control began to shift into the hands of the director. “ However, the Hollywood blockbuster gave more power back to producers’ control.
The producer does the financing/fundraising, but also arranges for distribution.
The relationship between producer and director varies from film to film and of course depending on the producer and director. I wish I knew more to put here. Anyone care to describe the relationship between producer and director?
Obviously, there is a difference between Hollywood & Indie producers primarily due to the budget of each. The Producers’ Guild of America has a FAQ describing what exactly different levels of producers do. Does anyone know about the producer role outside of the US?
There’s actually a course at Columbia University (graduate level) called FILMW4220Y. It surveys the history of the producer and the American studio system. ((If anyone has taken that class and want to share with me your class notes, you can reach me at quirkyster at gmail dot com. Seriously! Share your knowledge!))
This article is more of a stub than an extensive authority on producers. (Small print reads that internet connection disappeared so only a certain amount of research could be done.) Who’s got stuff to add? Let the discussion ensue! (Dude, seriously, any elucidation or comments or further reading recommendations are welcome.)
Links, reference & more reading:
*Update! : Here are some reading/watching resources to add to to the pot:
- The New York Times Review
- Robert Evans on Wikipedia
- Robert Evans Interview on Charlie Rose (w/Wes Anderson)
Wikipedia post, includes list of influential producers: http://en.wikipedia.org/wiki/Film_producer
Producers Guild of America: http://www.producersguild.org/pg/about_a/faq.asp
FILMW4220Y course description:
FILM W4220y History of the Producer and the American Studio System 3 pts. Prerequisites: FILM W3001. Fee: $50. A survey of the history of producing in the U.S. from pre-Hollywood filmmaking to the poststudio era of independent producers, agency packaging, and industry conglomerates. Hollywood producers such as Thomas Ince, Jesse Lasky, Irving Thalberg, David O. Selznick, and Dore Schary are considered. Emphasis is also placed on independent productions as an alternative method of filmmaking. Discussion Section Required.