Chapter 9

 

Building Strong Industry Relationships: Making Good Deals and Navigating The Politics

 

INTRODUCTION

You’ll keep hearing over and over again that this business is built on relationships, and that’s because it’s true. And without a doubt, people hire, do business with, give good deals to, invest in, recommend and trust the people they know and like. So it’s not a stretch to say that those connections you develop and nurture throughout your career could very well be one of the most significant keys to your success in this industry.

There are many different types of relationships you’ll enter into during your career, and many will prove to be of great mutual value. This chapter focuses on a few of those relationships — those with vendors, production executives, agents and crew. Along with negotiating tips, I’ll explain how these strong associations can lead to the ability to make good deals, save money and elicit the cooperation and support we all need when making films.

Although all relationships aren’t equal, and you may not be overly fond of everyone you have to interact and do business with, you’d be smart to remain as polite, diplomatic and respectful as you can — even when you’re not feeling the love. Because it’s not about you or how you may personally feel about someone. It’s about what’s best for your show. It’s about doing your job, trying not to burn bridges, maintaining a good reputation and getting your next job. Contrary to the way some people do business, it is possible to negotiate smart deals, learn to say “no” when necessary and be firm without being a jerk — even if the person you’re having to deal or negotiate with is.

Backing up for a moment to the power of quality industry relationships, also included in this chapter is valuable advice from three industry professionals — individuals who have built and maintained solid relationships, stellar reputations and the admiration and respect of those who know and work with them.

VENDORS

Whether you’re a production manager getting bids on camera equipment, a post production coordinator deciding on which lab to use, a production accountant relying on a payroll company to have everyone’s check ready on Thursday or a best boy ordering cable and gaffer’s tape, chances are you’re going to be dealing with a wide variety of vendors. Vendors are those people we count on for equipment, wardrobe, props, set dressing, vehicles, materials, services and supplies — from the insurance company that secures our coverage to the guy we order our office supplies from.

Why do you need to develop good relationships with your vendors? For two equally important reasons. One, the more they respect (and like) you the better the deal or rate they’re going to be willing to give you! If you’re working on a low-budget show, they’ll bend over backwards to accommodate your budget, throw in extras whenever possible or match a competitor’s lower bid. They’ll see you through the tough ones in hopes of making it up on your next show or the one after that — the one with the (hopefully) higher budget. Two, for the security of knowing that you’ll be able to depend on them to cover your backside when you need them the most. Loyal vendors will be there to replace a piece of faulty equipment in the middle of the night, open up on a weekend to rush an order out or personally deliver something to you on the set you’ve decided at the last moment you can’t shoot without. It’s also been my experience that they can be a terrific networking source. Always searching for new shows (just as we are), I’ve received several early show leads from vendors who have become pals.

You’ll earn vendor loyalty, personal service and good deals by:

• Dealing with them fairly and honestly (those with any amount of experience will know when you’re not being honest or sincere)

• Explaining, up front, (to the best of your ability at that point) exactly what your needs are going to be from start to finish

• Giving them a chance to bid on your show (even if someone else you’re working with has a relationship with a competing vendor)

• Returning their calls

• Not leaving them hanging, and calling them as soon as a decision has been made, even if they’re not the ones chosen for the show/order

It would also be a worthwhile gesture on your part to send your vendors show T-shirts or hats (any type of show gift) and occasionally invite them to lunch, to join you on the set or to come to your wrap party.

Most vendors will go out of their way to help you as much as they can, but no one wants to feel taken advantage of. So if you’re fair, honest and up front about your needs, you’ll quickly earn their goodwill and support.

 

Negotiating with Vendors

When budgeting, don’t count on the good deals you think you’re going to be able to make. Budget using list prices, do better when you can and keep the amount you’ve saved as a pad for all the extras you hadn’t anticipated. Again, your ability to successfully negotiate good deals with vendors will greatly depend on the relationships you’ve developed with them. Here are some general negotiating tips:

• Talk to others who do what you do. Find out which vendors they like, the service they’re receiving and the deals they’re getting.

• Unless your budget is miniscule to begin with, always try to negotiate a deal for at least 20 percent less than what’s budgeted. You can always go up a bit if you have to, but by not spending the entire budgeted amount, you’ll hopefully have some money left in that account for the additional items you’ll need later on — the ones you hadn’t anticipated.

• Without being obnoxious, demanding or coming across as if you expect to receive something for nothing, let your vendors know you’re hoping for and would greatly appreciate a good deal. (No one likes dealing with a shyster — from either side of the table.) If you need their help and honestly ask for it, they’ll generally accommodate you to the best of their ability. It’s all in how you ask.

• You may be required to get competitive bids, but even if it’s not mandatory, it’s a good idea to do it anyway, even if there’s only one company or individual you want to use. This way, you know his prices are at least comparable to like-vendors. And if someone you want to use doesn’t offer to match a lower bid, ask anyway (nicely). They’ll usually comply.

• For years, three-day rentals on equipment (camera packages, grip, electric, etc.), props, set dressing and wardrobe were standard. The standard then became two-and one-day rentals. Now it’s not uncommon to negotiate less than one-day weekly rentals. (A oneday weekly rental means that instead of a vendor charging you a per-day rate for each day you have his equipment, he’ll charge you the one-day rate for an entire week.)

• There are vendors who can’t offer reduced weekly rentals, but they might be able to throw in “extras” that will save you some bucks. For example, say you rent an entire camera package, and the vendor throws in a couple of additional lenses at no charge. You rent an electrical package, and you get extra cable and the truck at no charge. Some vendors will supply you with additional equipment if they have extra in stock.

• Be sure to get a full rate sheet, so you know what addons will cost. And confirm that you’ll be able to get the same good deal on the add-ons as you’re getting besides the main package.

• Get vendors to agree to full or partial refunds for unused expendables (possibly just a restocking fee).

• Some will give you a lower rate if you use their older (but still fully functioning) equipment.

• If you’re going to be transporting equipment to a distant location, ask your vendors to cease rental charges during the shipping process. If you’re going to use the equipment for only part of the time on location (say, at the beginning of your schedule and then again toward the end) and it’s costly to keep shipping it back and forth, many vendors will let you hold onto the equipment and just charge you rental for the days it’s actually being used if they don’t need it for another customer during the intervening time.

• Make flat and package deals whenever possible.

• Based on studio guidelines (if applicable), whenever possible, work out a better deal in exchange for screen credit or product placement.

• If applicable, apply for student, first-time filmmaker and/or low-budget rates (you may not be able to pay full rate today, but you will tomorrow; and by then, the vendor will have a loyal and steady customer).

• Try to use vendors you’ve developed good relationships with. l On very low-budget films, ask if it would be possible for you to make deferred payments.

Once your deal is complete, expect to receive a rental agreement. Your first order of business is to check it over and to make sure that it reflects the deal you negotiated. Also note if the agreement includes replacement values for lost items and an hourly rate to repair damaged equipment. Find out whether you can replace lost items or take it upon yourself to have repairs made on your own (if you can get/do it for less).

Once everything meets with your approval, you may want to send the agreement to your project attorney for review. If you’re working for a studio or major production company, having the agreement approved by Legal will probably be mandatory (at least for all major equipment packages). And because all of the studios have previously negotiated with all of the major vendors, you can save a lot of time by asking the vendor for a version of the agreement that’s previously been approved by the studio/company you’re working for.

 

STUDIO AND NETWORK EXECUTIVES

Networks, studios and production companies, though very involved in the development process of their projects, will during the pre-production stage, gradually start turning over the responsibility of their shows to the producers they hire. Producers and their crew will progressively take over the day-to-day running of a project during preproduction; and the network, studio and/or production company will oversee the operation. A studio generally has “creative” executives who are going to be concerned with the script, cast and anything to do with the look of the picture. The “physical” production department will be more interested in daily production activities, troubleshooting and making sure the film stays on budget and on schedule. Although titles may vary slightly from studio to network to independent companies, physical production (also called “production management”) departments are generally staffed by a president, executive vice president, senior vice president, vice president, director of and manager of — or any number and combination of individuals with these titles — depending on the size of the company. Some companies also have staff production coordinators who oversee the activities of and assist the production coordinators on each of their company’s shows. Studios, networks and many production companies have their own legal or business affairs departments, casting departments, post production departments, insurance departments (or at least one risk manager) and publicity departments — each interacting with cast and crew members as needed. Depending on the company, sometimes, you’ll be answerable to one executive, and sometimes to several. The production executive is the liaison between the parent company and the production, and it’s not always an easy position to occupy.

It’s the production executive’s responsibility to stay on top of costs, schedules and all major decisions affecting the shows they’re assigned to, but at times, some may appear overly involved — putting off producers, directors and production managers who prefer to keep a polite distance and are forthcoming with no more information then they’re absolutely required to provide. If you should find yourself in this situation, understand that the production exec’s ultimate goal is the same as yours — to actualize a quality film that remains on budget, on schedule and as trouble-free as possible. In many instances, they’re held as accountable for the problems (or successes) of the production as are the producers. With few exceptions, they should be viewed as partners, not adversaries.

The network, studio and/or production company will give the producer, production manager, coordinator and accountant guidelines as to their company’s forms, procedures and regulations (usually in the form of a manual). They’ll sometimes give you a list of their approved vendors (who will extend the parent company’s volume discount to your show), and should be able to give you access to stored office equipment, supplies, wardrobe, set dressing and props left over from previous shows. Some companies will insist on your hiring certain key department heads (directors of photography, production designers, editors, etc.), others will ask that you consider individuals they have previously worked with and like, and still others will just ask for final approval of key department heads. You’ll be required to send them copies of all budgets, cost reports, deal memos, contracts, schedules, crew lists, cast lists, call sheets and production reports. Some production executives attend production meetings, accompany you on location scouts, sit in on casting sessions, have input on wardrobe choices and hairstyles and are just very hands-on (every step of the way). Others are much less so.

For someone who’s resided on both sides of the fence, it’s been my experience that as a whole, production executives are generally accessible, helpful, fair and professional. So making the time and putting forth the effort to develop good working relationships with these individuals is only going to benefit you. They’re the people who are going to go to the studio or network and fight for you when you need an extra day to reshoot a scene or for extra money when the director comes up with a new concept. With the influence of the studio/network behind them, they can often solve problems and overcome obstacles that are beyond your control, just as they may have access to resources that are beyond your reach.

Earn the support and regard of the production executives, and they’ll not only go the extra distance to help you when necessary, but they’ll fight to bring you back to work on other shows. They’re also in a position to recommend you (favorably or not-so-favorably) to prospective future employers.

 

AGENTS

Agencies come in different sizes, from the mega agencies like CAA (Creative Artists Agency), ICM (International Creative Management), UTA (United Talent Agency) and William Morris (all of whom primarily represent Alist clients) to mid-size agencies like the Gersh Agency, Paradigm, Endeavor, Innovative Artists and Montana Artists, and to the smaller boutique-type agencies like MARSH-BEST & Associates, the Skouras Agency and Sheldon Prosnit Agency, which employ fewer agents and have a very selective client list. Agents come in different varieties, too. There are those who represent performers and above-the-line talent (writers, producers and directors), literary agents who represent writers and below-the-line talent agents who represent directors of photography, production designers, line producers, production managers, make-up artists, hair stylists, etc.

An agent’s job is to market and sell their clients and to negotiate their deals — all while considering which shows, which deals, which connections, which opportunities will advance their clients’ careers. And it behooves an agent to develop good relationships with the buyers — the production executives, producers, UPMS, etc. who make the decisions and do the hiring.

As production personnel, the best way we can deal with agents is to be honest and upfront with them from the get-go. Let them know how many other people are being considered for the job or role and be realistic about the financing (is it in place yet?) and the timing (is this a project that’s going to be starting soon? And if not, then when?). Let them know how much you can realistically pay their client, and if applicable, the perks that can be offered.

Like in anything else, you’ll find agents you thoroughly enjoy working with and talking to, and others you’ll want to avoid like the black plague. Whether they’re trying to introduce new clients to you, are putting their clients up for a new show, negotiating the best deal they can or calling to make a request on behalf of a client — they’re a necessary part of the business. By the nature of their jobs, they have to be assertive, stay on top of what’s going on in the business and be aware of who’s who and who’s doing what if they’re going to get their clients’ names in front of the right people. That being said, it’s not unusual to have to deal with an agent whose people skills leave something to be desired. I’ve come across my share of those who are pushy, rude, obnoxious and unreasonably demanding.

I remember working on a show once where the lead actress’ agent was so dreaded that when she’d call the production office with yet another demand or complaint, several of us would squabble over who would have to take her call. We were seasoned professionals reduced to arguing like children: “I talked to her the last time she called — it’s your turn now!” or “Oh, no! I had to deal with her yesterday — let him do it this time.” The highestranking person in the office at the time would invariably get the honors, but it was no fun for any of us.

I asked my friend Matt Birch for his advice on this matter, as he’s someone who has sat on both sides of this desk — as a production executive and as an agent (great at both by the way) — and he recommends that you start with measured breath. He said that obnoxious agents have to be reminded sometimes that their behavior isn’t doing their clients any favors, that they’re jeopardizing relationships with buyers, and by extension, limiting future opportunities that might come their way. This business is tough enough without them alienating the people they have to rely on to keep their clients working and happy on a show. He said, though, when you have no choice and have to deal with anyone who’s unpleasant (agent or not), that sometimes it’s just best to communicate via e-mail. That way everything you need to say is in writing, and there’s little room for misinterpretation.

YOUR CREW

I went on an interview once, and the production manager made a point of telling me that he expected the grips to be treated as well as the actors. I’ve always made an effort to treat everyone fairly, but I never forgot how important it was to this nice man, and it didn’t take me long to understand why he always attracted the best crews available.

You’ll be treating your crew well by:

• Paying them a fair salary within the parameters of your budget.

• Being honest.

• Making sure they’re well fed (by providing the best catering and craft services you can afford).

• Giving them an adequate work space.

• Giving them the equipment and support crew they need (again, within the parameters of your budget).

• Thanking them for a good day’s work.

• Not yelling.

• Being accessible to them.

• Listening to their ideas and suggestions.

• Listening to their problems and accommodating their needs to the best of your ability.

• Not saying “no, we can’t afford it” without first exploring alternatives and compromises.

• Treating them with respect.

• Sharing information with them.

• Within reasonable limits, allowing for mistakes and room to grow.

• Not changing time cards without first discussing discrepancies with the individuals who have recorded hours you don’t agree with.

• Addressing a problem within the privacy of your office instead of on the set in front of the entire crew.

• Supplying them with comfortable accommodations while on location.

• Supporting your office staff by making sure that no crew member is abusive or unfairly demanding of them.

• Giving them as nice of a wrap party and (cast and crew) gift as you can afford. Some productions also throw kick-off parties prior to principal photography, so that those who haven’t worked together before can start to bond.

• Finding ways to recognize the many contributions of your production and accounting staff, who are often the unsung heroes of the production.

By adopting these policies, you’ll elicit a crew of men and women who will follow you to the ends of the earth. They’ll work for less when you’re doing lower-budgeted shows; they’ll waive meal penalties and overtime; they’ll pitch in and help with things that have nothing to do with their job titles; and they’ll work hard to make their own good deals with vendors, thus saving you money. You won’t have to worry as much about kick-backs, padded time cards, inflated petty cash expenses, missing equipment or being charged for something that wasn’t legitimate. And you’ll never have to worry about your ability to assemble a good, reliable crew.

Now, don’t get me wrong. I’m not totally living in lala land and do realize that you can do all of the right things and there will always be those crew members who are less than professional, hard-working, ethical and reliable. I can personally attest to having worked with my fair share of individuals who don’t know the meaning of the term team player, incessantly complain and find fault, are sloppy and careless, will always try to get away with something and/or will be looking to cash in on every minute of meal penalty or overtime they can get their hands on. There are bullies and slackers and those who can talk a good game but never manage to follow through. The thing is, once you know their game, you can choose not to work with these people again. Over time, you’ll learn who to stay away from. Then when you have the ability to hire your own crew — when you’re the decision maker, you’ll be able to cherry-pick from the best, because ultimately high standards will attract high standards.

 

Negotiating Tips for Hiring Crew

• Department heads will generally work for less if you rent their equipment and/or vehicles.

• If you want to pay someone more than what the studio has allotted for that position, you might be able to do that by way of a (higher) box/kit rental.

• Although some studios set maximum allowable salaries that are carved in stone, others may allow you to pay an individual more than what’s budgeted if you can make better-than-anticipated deals elsewhere and show which account(s) the additional monies can be taken from.

• There are always those individuals willing to work for trade-offs: experience, screen credit, the contacts, points, advancement to a higher position, etc.

• If you happen to be fortunate enough to be starting a show when the industry is going through a slow period, you should be able to line up a top-notch crew willing to work for less than their normal rates. People want to continue working, receiving their union benefits, renting their equipment and making new contacts. We’re all the most flexible when jobs are the least plentiful.

• Appeal to your friends who aren’t working. They too, may be used to higher salaries, but if they’re not doing anything else at the moment, they might be willing to help you out. For those who are afraid to commit for fear that something better may come along, agree to let them replace themselves should they be offered a better-paying show before your show is completed. So many film schedules are pushed back or canceled that there’s always a good chance they’ll be able to finish your project and not have to leave after all.

• If your budget is truly tight, and this is discussed ahead of time, crew members will often consider waiving a certain amount of meal penalty and overtime (as long as they’re feeling fairly treated in all other respects). Significant amounts of meal penalty and overtime may often be exchanged for an extra day or two tacked onto a wrap schedule.

 

AVOID CUTTING OFF YOUR NOSE TO SPITE YOUR FACE

It takes a considerable amount of skill to make good deals and to deliver shows on or under budget, and those adept at this rarely have trouble finding work. Developing this expertise, however, doesn’t come about merely by spending less money. The skill is in getting the most value for your money and knowing where to spend in order to save. Too many people in our industry are too busy trying to be heroes by slashing costs, reducing salaries and cutting corners, when in reality, this is often a good way to run into trouble. Many poor decisions are made in the name of saving money; what may appear impressive on paper often turns out to be much costlier in the long run.

If you can afford to pay fair salaries but are paying less for the sake of saving a few bucks, your crew, if feeling unjustly treated, will find innumerable ways to make up that extra money, and then some. Whether it’s relating to crew salaries or renting less-expensive, less-than-adequate equipment that may break down and create expensive delays, beware of choices that will ultimately cost you more.

Another tough call to make is on the set at the six-hour meal break or at the end of the day when unforeseen events have created delays. Do you pull the plug? Do you avoid meal penalty and/or overtime only to have to spend another day at a particular location, incur another day (or possibly week) of rentals or have to shoot a sixth day? Taking it one step further, do you pull the plug on a schedule that’s running over, taking the chance that if there’s not a sufficient amount of footage — you may have to come back for reshoots at a later date? Talk to your key people (department heads and first assistant director) well in advance of making any major decision, and realize that there might be more than one clear-cut answer. Also be aware that no matter how judicious your decision may be, there will always be someone second-guessing you. But don’t let that stop you. Have confidence and trust your instincts. In the final analysis, it’s important to remember that the mere act of making a decision is often just as important as the decision you make, or you may find yourself standing around all night (on golden time) trying to decide what to do.

When you’re working with a tight budget and don’t think you can afford to hire someone with a significant amount of experience, think again. You can rarely afford not to. Those with the expertise in the type of project you’re doing, in the operation of equipment you wish to use or with the knowledge pertaining to a distant or foreign location you wish to shoot at are more valuable than two or three others with less experience, and they’ll ultimately save you both time and money. You will never be sorry hiring the very best people you can afford.

Occasionally, one of your department heads will ask you for something you know for a fact (or just instinctively know) they can do without, and approving the request would lead to unnecessary costs. But for the most part, if you’re working with people who have earned your trust, and one of them tells you he needs an extra person or an extra piece of equipment, it’s probably because he does. True, it’s an added expense you hadn’t budgeted for, and this department may be able to do without — but there’s also the chance that by denying the request, you may be compromising your schedule or the safety of your crew. This is when things tend to fall between the proverbial cracks, because all bases can’t be covered at once. Do you spend more now or risk incurring any combination of delays, overtime, second meals, loss and damage, latepayment charges, reshoots or accidents later on?

So now we’re back to spending more for that experienced person who comes to the table with the mostinformed, best-qualified answers as to when it’s most appropriate to spend in order to save. And this is also where those long-term relationships come in handy, because if you’re working with department heads you know and trust, there should be little or no need to second-guess them.

 

STANDARDS OF BUSINESS CONDUCT

In the past several years, more and more production entities have implemented guidelines that discourage conflicts of interest and discrimination and encourage proper standards of business conduct. One company I was with required all employees to take an online ethics course as a condition of our employment, and I’ve found that whether you’re directed to an online site or handed a booklet (like at Disney), many other companies are doing likewise.

Here are some examples of elements that constitute ethical business practices:

• Respect: The production company is committed to treating all cast, crew and staff members with fairness, dignity and respect — free of any discrimination or harassment.

• Diversity: The production company endeavors to be multicultural and is receptive to the unique talents and potential of every member of its diverse work force.

• Safety: The production company is committed to providing a safe working environment for all employees.

Elements relating more specifically to conflicts of interest include:

• Gifts: The receipt of cash, gifts or services by an employee or member of the employee’s family from any organization that does business or can be expected to do business with the production company should be reported to the production executive.

• Influencing Business Transactions: Participating in, approving or attempting to influence others to approve any transaction involving cash, goods or services is prohibited if the employee or a member of an employee’s family receives any personal economic gain from the transaction.

• Promotional Items: All merchandise secured for promotional purposes, if not totally expended during production, shall be returned to the company it originated from or disposed of in accordance with the distribution of other company assets.

• Additional Compensation: No compensation, rentals, fees or value substitutions shall be paid to any employee if not specified in that individual’s deal memo. Only the production executive is authorized to grant additional compensation.

• Use of Company Information: Employees may not use confidential company information for their personal benefit or the benefit of others.

• Accurate Reporting: All employees are expected to report and record all information and complete all company documents accurately and honestly. This includes time cards, reimbursable petty cash and business expenses, invoices, safety records and all other related documentation.

• Vendors: All employees shall deal fairly with the company’s suppliers, treat vendors fairly, avoid unfair buying tactics and favoritism. This is where getting competitive bids for all major rental packages comes in. (See more about competitive bids in Chapter 3.)

• Foreign Corrupt Practices Act and Related Matters: The Foreign Corrupt Practices Act makes it unlawful to give anything of value to foreign government officials, foreign political parties, party officials or candidates for public office for the purpose of obtaining or retaining business for the company or directing business to the company.

If you do an online search for “Standards of Business Conduct,” you’ll see more examples of these types of programs than you could ever want to know about — more than enough to create some standards for your own production.

 

POLITICS AND PRINCIPLES

Unfortunately, there are individuals in this industry to whom ethical business conduct is just a vague concept, as they credit their success to being able to create an atmosphere of fear and intimidation. Many have spent their entire careers as screamers, scammers, egomaniacs and sleazebuckets — with little or no regard for others. (Amazing, huh?) And there are those who thrive on game-playing and one-upsmanship, regarding politics as an extreme sport. Some people can work in this type of environment — even thrive on it. But I never could, and at a certain point in my career, I figured out that I didn’t have to. And I was lucky enough to find and stay associated with some truly good people in this industry who never cease to inspire me.

So to enhance this chapter, I’ve interviewed a few of the people I most admire. They’re top industry professionals who are highly respected for the way they conduct themselves in everyday work environments fraught with politics. The following are some of their thoughts on how to succeed and deal with others within this competitive, ego-driven arena.

#1: Jonathan Sanger (Elephant Man, Frances, Vanilla Sky, Suspect Zero, The Producers)

Jonathan Sanger is a man with fabulous people skills that are evident in everything he does — even in the way he answers his phone and expresses pleasure at hearing the voice on the other end of the call. Jonathan has several good tips for dealing with people in our industry, although to him, it’s not a matter of politics; it’s just the way he is.

When dealing with his crews, he doesn’t talk down to anyone. He came up through the ranks, understands what they’re up against and conveys his understanding and respect for them and the work they do. He makes good deals but doesn’t go overboard to save a few bucks. He said the crew knows when you’re not being fair, and all they’d have to do is slow down for five minutes a day, and you’d lose more than you could have ever saved by shaving a few dollars off of a few salaries. He prides himself on being fair; and as a result, his crews are supportive and loyal — willing to go the extra distance when necessary.

This doesn’t mean Jonathan always gets to play the good guy and never has to make hard decisions. He says that too many people are afraid of making the wrong choices, so they often do nothing, which is worse. If there’s a problem affecting the show, whether it’s someone on the crew who isn’t doing his job, a conflict of personalities, a petulant actor or a budgetary issue, Jonathan believes that you have to act as soon as possible for the good of the entire production. Otherwise, you end up diverting too much time and energy monitoring the problem and not enough on everything else that needs your attention. He says that if you’re the one in charge, then you should be willing to take responsibility for your decisions — as long as you have justifiable reasons and can defend your choices.

When it comes to dealing with anyone, including toplevel professionals and studio executives, he tries to start all new relationships by finding common ground in any situation. He gives the example of walking into someone’s office and seeing a photo of the guy playing basketball. “Great,” he thinks to himself, “I like basketball” — so now he has something to start the conversation with instead of jumping right into business.

As it relates to selling projects, making deals, raising financing or dealing with the studio power structure, he clearly demonstrates to others that he knows what he’s doing, and that he takes his responsibilities seriously. When a situation gets too politically sticky, he quickly assesses who’s involved and the circumstances. Though always up for a good challenge, when faced with too many competing agendas, he says sometimes you just can’t be effective enough and it’s better to just walk away.

When I asked Jonathan how he deals with someone who’s being unreasonable or possibly out of control, he said there are no set guidelines as to how to handle all situations — that sometimes you just have to improvise. Under these circumstances, however, his best advice is to find a way to comfort this person, calm him down, try to understand where he’s coming from and attempt to enlist his logic in finding an amenable conclusion.

Jonathan sees the fact that he likes people as one of his best qualities. He’s open and gracious and has the ability to get along with all types of personalities. He does this in great part by creating work environments that are enjoyable — not fearful. And he finds value in everyone he deals with. Feeling his respect, others are more open, they give more and there’s less friction. I don’t know about you, but this is my ideal universe.

 

#2: A Top Production Exective (who prefers to remain anonymous)

I recently spoke to another friend, who’s a production executive at a major studio and who deals with highly political situations every single day. And although he prefers to remain nameless, he had some pretty insightful advice to share. First of all, he says that you need to treat everyone with respect, no matter what their position is. Second, know who you’re in business with before you get into business with them. For example, when dealing with a lead actor or director who has little regard for budget constraints, he might build safeguards into their contracts, making them responsible for a sizable percentage of cost overruns. If he knows going in that someone is high-maintenance, he’ll build in backup plans to cover a range of possible situations. When producers and directors are contemptuous of the studio’s involvement or dismissive when it comes to studio guidelines, my friend endeavors to define their common objectives, reminds everyone that they’re partners in the process and proposes ways for them to share in the responsibility. He says you can’t let your own ego get in the way, because when it comes down to it, it’s all about respecting the integrity of the work.

 

#3: Ira Shuman (Just Married, Cheaper by the Dozen, The Pink Panther, Night at the Museum, The Pink Panther 2, The Spy Next Door)

Then there’s my long-time friend Ira Shuman, who’s a talented line producer. The political attributes I see in Ira start with his affable personality. He’s easy to talk to, easy to laugh, is patient, fair, accessible, treats everyone with respect, does what he thinks is right for the entire company as well as for the show, and he rarely if ever loses his cool or raises his voice. His philosophy is that you’re at work for more hours than you’re at home, and you need to be a person — not a machine. And unlike those who separate their personal and professional lives, he prefers to integrate his. He says you have to care about the people you work with, their lives and their feelings. He wears many hats at once — not only that of a producer, but also a husband, a father, a friend, a golfer and sometimes even a parent or coach. As easy as Ira is to work with, he holds the people who work under him accountable, and they know there are consequences to not doing their jobs properly. He sees filmmaking as a team sport and values supportive and loyal team members. When he’s working for someone, his goal is to see that person win and to make the best picture possible. When people are working for him, he expects them to be there to help make him win, to support their teammates and to work to the best of their abilities. He says that you can’t be a team player and have your own agenda — the team has to come before your personal interests. For those working in a more corporate setting, his advice is pretty much the same — honor your chain of command and make your leader a winner. If that happens, hopefully you’ll become a trusted and muchrelied-upon member of the department. He adds that you should keep your nose clean, carefully watch what you say, don’t deal with others from an emotional level, don’t fight the fights you can’t win, and should you choose to get into it with someone, carefully ponder the dynamics and consequences before doing so. He says when people around you are playing dirty, you have to honestly ask yourself who you are and exactly how ambitious you are. If this isn’t you, nor is it the quality of life you see for yourself, then leave and find a less aggressive arena in which to work. If playing the game to the max and existing in a dog-eat-dog environment is something you’re okay with, then jump right in and give it all you’ve got.

 

A PRODUCER’S MISSION

Ira is a guest speaker at my USC class each summer, and a couple of summers ago, he came in with what he called his “mission statement.” I was so impressed that I asked him for permission to include it in this new edition, because his is a doctrine that will serve us all well — even if you’re in a position to act upon only a few of these guidelines:

• Deliver your film for the agreed-upon price.

• Deliver bang for the buck — make it look as if it cost more than what you were given to spend.

• Upgrade past standards.

• Make everyone stretch and do more than they think they can. Work harder and smarter and care more.

• Keep the creative doors open — don’t always be the “no” guy. Figure out creative ways to do what needs to be done, but deliver it all for a price.

• Don’t allow individual visions and agendas to jeopardize or distract you from the plan.

• Team. Team. Team.

• Lead, follow or get out of the way

• Honor your chain of command.

• Support your leaders to win.

• Service the movie, because it’s movie you answer to.

Thanks, Ira! Thanks also to Jonathan Sanger and to Matt Birch for their help with this chapter.