You are a ping in my side! I’ve notes , unfinished story , beginning, first sentence, scratchy middle , story of my Bro in law producer film and broadway Gabriel Katzka. RIP. To be continued…
Reading this I couldn't help by replay a scene in my mind:
"Are you an assassin?"
"I'm a soldier."
"You're neither. You're an errand boy sent by grocery clerks to collect a bill."
Replace soldier with "producer" and it resonates. The current role of producer is as clueless as that pawn character Captain Willard at the start of Apocalypse Now. Recognizing the shit show we're now in, radical action seems reasonable- no, necessary- just to survive.
I'm tired of seeing the various titles of 'producer' handed out like candy. It dilutes the status of the real workers under that title, let's call them the capital "P" Producers. Until we get back control of the job title, let's put stipulations in our contracts that those who actually produce and only those who do the real work of producer, get to use the capital P. We've put significance in arcane minutia in credits before (e.g. 'and' vs. '&' in listing writers,) Take back the ground. Hold those candy title producers to the full responsibility of the role and see if they don't start turning down the honorific.
Forgive me if I suggest too often alterations to contractual terms in my comments. I've found that hiding great changes in contracts is a way of slipping past in plain sight big moves to make things different. After all, only the lawyers actually read all those clauses. And sometimes, not even them. (I do, though. I still always do.)
Ted I fully agree with your analysis of the situation. Things may look rosier in France but the business is now mainly in the hands of streamers, actors and agents. The expertise that we all share needs to be valued again. There are things only you, and some others are able to do. And I agree, it's too slow.
“I can not see how sustainability of industry, culture and the world is possible while we prioritize profits over people” — I think about this a lot. We should also prioritize ourselves, our families / relationships, and our own physical and mental well-being over profits as well, and not get sucked into this un-winnable competition. Also, there this old notion that the only way to “get ahead” in Hollywood is by screwing other people over, when in fact the better way is to grow and innovate together. Ted - thank you as always for leading the charge and telling it like it is.
In a way, I feel that I have a slight advantage in the projects that I'm pushing now our international in scope with domestic rooting interests. But with the degradation of the producer role, it's seemingly impossible to find a champion to take up the cause.
I've been asking for years, "Why are there 19 EPs and 6 Producers on this POS?" And the common answers were, well they brought money, they facilitated attaching an actor, etc. I've always found that explanation suspect.
And it's disheartening that even you, who lived in the belly of the beast for years, didn't have more of an inkling of what the quislings above you in the corporate structure were wreaking on the business.
And the sad thing is, what does Amazon care? They're still selling s*** tons of crap and streaming is a relatively minor part. So, if they drop a wrench or two into the works, who cares?
In the past 2 months, I've had three producers who knew and liked my Italian project. Tell me, it's impossible, no one's buying anything, period drama is verboten, etc. Meanwhile, they're still getting made overseas, and I'm desperately trying to connect with producers across the pond in the EU/UK. They're impossible to reach.
I desperately wanted to go to Cannes this year, but economics and recuperation from a recent surgery made that impractical.
So while other people may be staring at a blank page, wondering what to write, I'm staring at a blank whiteboard, wondering where to go from here.
While I agree whole heartedly, it certainly seems that my film will not get made if I don't make concessions. Concessions in my pay as writer director, and many other things, in many ways. I dont want to do this but if I am going to make this movie - which I feel strongly is good enough to become popular - the chances seem slim if I don't. I'm eighty, my time is limited. My connection to bankable stars has grown limited. They're all encased in a fortress of agents and managers today more than ever. It seems like the only way forward at this time is to go along and just do it. Have mercy.
You: "I cannot see how sustainability of industry, culture and the world is possible while we prioritize profits over people."
So very very true. What's unfolding before us is a global lesson in the dread cost of amorality that is embedded in capitalism.
Blake said, "The road of excess leads to the palace of wisdom; for we never know what is enough until we know what is more than enough."
Bette Davis said, "Hang on, it's going to be a bumpy night."
You are a ping in my side! I’ve notes , unfinished story , beginning, first sentence, scratchy middle , story of my Bro in law producer film and broadway Gabriel Katzka. RIP. To be continued…
Reading this I couldn't help by replay a scene in my mind:
"Are you an assassin?"
"I'm a soldier."
"You're neither. You're an errand boy sent by grocery clerks to collect a bill."
Replace soldier with "producer" and it resonates. The current role of producer is as clueless as that pawn character Captain Willard at the start of Apocalypse Now. Recognizing the shit show we're now in, radical action seems reasonable- no, necessary- just to survive.
I'm tired of seeing the various titles of 'producer' handed out like candy. It dilutes the status of the real workers under that title, let's call them the capital "P" Producers. Until we get back control of the job title, let's put stipulations in our contracts that those who actually produce and only those who do the real work of producer, get to use the capital P. We've put significance in arcane minutia in credits before (e.g. 'and' vs. '&' in listing writers,) Take back the ground. Hold those candy title producers to the full responsibility of the role and see if they don't start turning down the honorific.
Forgive me if I suggest too often alterations to contractual terms in my comments. I've found that hiding great changes in contracts is a way of slipping past in plain sight big moves to make things different. After all, only the lawyers actually read all those clauses. And sometimes, not even them. (I do, though. I still always do.)
I’m in!
Ted I fully agree with your analysis of the situation. Things may look rosier in France but the business is now mainly in the hands of streamers, actors and agents. The expertise that we all share needs to be valued again. There are things only you, and some others are able to do. And I agree, it's too slow.
“I can not see how sustainability of industry, culture and the world is possible while we prioritize profits over people” — I think about this a lot. We should also prioritize ourselves, our families / relationships, and our own physical and mental well-being over profits as well, and not get sucked into this un-winnable competition. Also, there this old notion that the only way to “get ahead” in Hollywood is by screwing other people over, when in fact the better way is to grow and innovate together. Ted - thank you as always for leading the charge and telling it like it is.
“our industry lacks stewardship of any form.” This struck me and it is so true … and where there is leadership, it needs support and energy …
In a way, I feel that I have a slight advantage in the projects that I'm pushing now our international in scope with domestic rooting interests. But with the degradation of the producer role, it's seemingly impossible to find a champion to take up the cause.
I've been asking for years, "Why are there 19 EPs and 6 Producers on this POS?" And the common answers were, well they brought money, they facilitated attaching an actor, etc. I've always found that explanation suspect.
And it's disheartening that even you, who lived in the belly of the beast for years, didn't have more of an inkling of what the quislings above you in the corporate structure were wreaking on the business.
And the sad thing is, what does Amazon care? They're still selling s*** tons of crap and streaming is a relatively minor part. So, if they drop a wrench or two into the works, who cares?
In the past 2 months, I've had three producers who knew and liked my Italian project. Tell me, it's impossible, no one's buying anything, period drama is verboten, etc. Meanwhile, they're still getting made overseas, and I'm desperately trying to connect with producers across the pond in the EU/UK. They're impossible to reach.
I desperately wanted to go to Cannes this year, but economics and recuperation from a recent surgery made that impractical.
So while other people may be staring at a blank page, wondering what to write, I'm staring at a blank whiteboard, wondering where to go from here.
While I agree whole heartedly, it certainly seems that my film will not get made if I don't make concessions. Concessions in my pay as writer director, and many other things, in many ways. I dont want to do this but if I am going to make this movie - which I feel strongly is good enough to become popular - the chances seem slim if I don't. I'm eighty, my time is limited. My connection to bankable stars has grown limited. They're all encased in a fortress of agents and managers today more than ever. It seems like the only way forward at this time is to go along and just do it. Have mercy.