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Cleve-01.qxd 6/2/05 4:32 PM Page 1 1 The Production Manager Movies are make-believe. They are designed to portray reality to such an authentic degree that even stories taking place millennia ago in far-away galaxies look true and convincing. In historical movies or science fiction films this becomes obvious, as there is no such “reality” which might be used to film in—but of course this is true for stories set in everyday life as well, and even for documentaries to a certain degree. Considering that it takes a small “army” of technicians, actors, and other personnel to create this illusion it becomes clear that there is no “let’s just go ahead and shoot” without meticulous prepa- ration, planning, and legal work far in advance to any first day of cameras rolling. This book will try to offer an insight into the mechanics of organizing for and accomplishing shooting of motion pictures, especially from the view- point of a production manager. Few people grow up with the goal of becoming a motion picture produc- tion manager. Everyone knows what a director does and what producers do. Everyone can identify with an actor or a star. Even director of photography is a generally known profession. But who knows what a production manager does? Admittedly, it sounds boring. Yet this field of work is one of the most com- plex, responsible, and diverse in the whole process of motion picture produc- tion. It poses challenges in vastly different areas and requires legal, technical, organizational, and psychological expertise. This profession demands the very best from those who pursue it; it is a job that starts first thing in the morning and closes late at night—the production manager is usually available at all times during the day and night, acting as emergency help, and should be relied on at any time during preproduction, shooting, and postproduction. It is normal to expect competent and up-to-date answers from the production manager to any and every question, however strange—he or she is the person 1 Cleve-01.qxd 6/2/05 4:32 PM Page 2 2 Chapter 2 who embodies the complete production and has a clear overview of what has happened, what is happening, and what is going to happen. The production manager sets the mood of the overall production and often serves as a go-between to restore balance and common sense if necessary. This business being what it is, this personal quality might be called upon more often than can be imagined. The production manager’s work gives a production the necessary structure within which artists can create their visions. If your ultimate goal is to become a producer—for theatrical motion pic- tures, commercials, music videos, corporate image films, documentaries, or TV—you will probably proceed through the levels of production management, from assistant director to production manager to independent producer. To do a thorough and creative job as a producer, it is wise to get as much experi- ence as possible guiding a production from conception through to final screening. The best way to do this is through hands-on, detail-oriented, nitty- gritty production work on the set and in the production office. The production manager is one of the few people working on a production who is involved from beginning to end. Few others know and are responsible for as many details about the production. The knowledge you gain as a production man- ager will be invaluable when you achieve the title of producer. It will give you the power and authority to seize control of the production; through personal experience, you will know the limits of what can be done. As a producer, your creative ambitions will be set free. You will decide on story ideas, develop- ments, and creative aspects of the screenplay; you will make choices in casting and all other artistic aspects of production; and you will be fully responsible for making your vision a reality. The Production Manager’s Job The Directors Guild of America (DGA) has a very precise job description for the position of production manager. In reality, though, the areas of authority often become hazy, particularly in the field of independent nonunion produc- tion. The job titles, also, may become indistinct. Virtually the same position might carry the title production manager (PM), unit production manager (UPM), line producer, or producer. The title depends on the size of the pro- duction, the staffing of the production department, and the relationship of the position to the producer and executive producer. Here is how the DGA describes the production manager’s role (from Directors Guild of America, Inc., Basic Agreement of 1993): A Unit Production Manager is one who is assigned by the Employer as a Unit Production Manager of one or more motion pictures as the term “Unit Cleve-01.qxd 6/2/05 4:32 PM Page 3 The Production Manager 3 Production Manager” is customarily used and understood in the motion picture industry. A Unit Production Manager (UPM) may be assigned to work concurrently on one or more productions, whether theatrical and/or televi- sion. After a picture is approved for production there shall be no delegat- ing to other employees (except First Assistant Directors where no UPM is assigned to the production involved) the duties of UPMs. It is an element of good faith of, and part of the consideration for, this Directors Guild of America Basic Agreement of 1984 (BA) that no Employer will make a general rearrangement of duties among such categories, change classifications of employment for such categories, employ persons not cov- ered by this BA or delegate the duties ordinarily performed by UPMs to per- sons other than First Assistant Directors acting in the dual capacity of UPMs or to bona fide Producers for the purpose of eliminating UPMs who otherwise would have been employed hereunder. There shall be no restriction on dele- gation of duties ordinarily performed by UPMs where a UPM and a First Assistant Director both are assigned to the production. The UPM under the supervision of the Employer is required to coordi- nate, facilitate, and oversee the preparation of the production unit or units (to the extent herein provided) assigned to him or her, all off-set logistics, day-to- day production decisions, budget schedules and personnel. Without limita- tion, among the duties which the Employer must assign the UPM or First Assistant Director are the supervision of or participation in the following: 1. Prepare breakdown and preliminary shooting schedule; 2. Prepare or coordinate the budget; 3. Oversee preliminary search and survey of all locations and the comple- tion of business arrangements for the same; 4. Assist in the preparation of the production to insure continuing efficiency; 5. Supervise completion of the Production Report for each day’s work, showing work covered and the status of the production, and arrange for the distribution of that report in line with the company’s requirements; 6. Coordinate arrangements for the transportation and housing of cast, crew, and staff; 7. Oversee the securing of releases and negotiate for locations and personnel; 8. Maintain a liaison with local authorities regarding locations and the operation of the company. In principle, the production manager’s job is not one of artistic creativity. The PM is not involved in the process of screenwriting, has no influence on the choice of actors, and does not make directing decisions. The PM’s responsibil- ity is to facilitate the work of the executive producer, producer, and director and to provide them with the best possible working conditions. Without the Cleve-01.qxd 6/2/05 4:32 PM Page 4 4 Chapter 1 production manager, the director would not have the creative room to work with actors and other personnel to turn the screenplay into a work of art. The PM is directly responsible to the producer or the executive producer (for an organizational chart, see Figure 2.1 in the next chapter). The PM protects the interests of the production company. During preproduction, all other units, such as the art department, the camera department, the special effects department during digital postproduction, and so on, must follow the directives of the production office, as represented by the production manager. The same is true throughout the other stages of production. During the shoot, however, some authority is delegated to the director. On the set, the director’s word is law. Still, the PM must protect the company’s interests—if necessary, also against the director. The PM is charged with the control of all organi- zational, managerial, financial, and logistical aspects of the production, in collaboration with and subject to the executive producer’s or producer’s directives. The PM epitomizes the eternal conflict between art and commerce, and with this position, conflicts between the two fields come into focus. Whereas the director strives to get the best possible results on film, regardless of cost, the production manager is responsible for avoiding budget overruns. The PM’s job is to finish the production “on time, on budget”. Clearly, someone in this position should be able to live with stress and conflict, and still be enough of a psychologist and diplomat to avoid hurt egos and bad feelings on the set. Inevitably, the holder of this position will never win popularity contests with the crew; generally, the PM’s work is underrated and unappreciated by most of the crew and cast. If ever there was a “bad guy” doing “hatchet jobs” for the executive producer, it is the production manager.
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