Film Roles: Executive Producer

Last week we looked at the immense role that Producers have to to undertake throughout the entire process of making a film; right from coming up with a basic idea through to distributing it to the audience.

Executive Producers play a big role in the industry. However, whilst the Producer's overall role is quite far-reaching, in that it covers a various array of areas in the production, the Executive Producer's job is a lot more "niche". In fact, the Executive Producer has nothing to do with the actual making of the film, and they will more than likely never visit the set - unless, of course they are the Director, or very good friends with the Director.

The role typically splits into two areas:

  • Copyright
  • Finances
In terms of Copyright, it will be the Executive Producers job to manage the "legal" side of things, ensuring that permission is granted to use aspects, such as clips from films, TV shows or music tracks. If a character quotes a line from a book, or a famous person then this will need to be cleared too.

When it comes to finances, the Executive Producer will liaise with the Producers, the studio and anyone else who might have donated money to the film, before working out the budget and where that budget will go.

Quite often, the Executive Producer will be well-known in the industry, typically as a Director. George Lucas is perhaps as well known for his Executive Producer roles, as he is as the Director of the Star Wars films. However, the fact that he is the Director of the Star Wars films has immense potential to provide investors with a certain amount of confidence in a film, meaning that they are more likely to offer cash.

However, even George Lucas has been known to struggle to gain financial backing, because even his name alone has not been enough to secure money for one of his most recent films - Red Tails. Indeed, Lucas ended up paying for the film out of his own pocket, and subsequently, he retired from the industry soon after.

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Film Roles: Producer

Note: Don't confuse the Producer with the Executive Producer or the Line Producer, because they're a little different, and we'll deal with them in another post!


Steven Spielberg produced Lincoln,
War Horse, Super 8 and Munich.
If the Director is the "Manager" of the film, then it's probably easiest to describe the role of the Producer as being the "Supervisor", because that is pretty much what he or she does. His role is to supervise  or to oversee everything that goes on with the film.

It is his job to know exactly what is going on, so that he can report back to his "boss", which is more than likely the Distributors or whoever might be financing the venture.

Quite often the Producer works directly for the Studio who have commissioned the film to be made, however it is not unusual for the Producer to work independently. Indeed, it is becoming increasingly common for the Director to also be a Producer of his own film. It is also common for there to be several Producers working on one project.

The Role of the Producer

The overall role of the Producer changes constantly throughout the filming process.

Early Days:

Initially, their job is to find a film worth making. This involves finding a really good story, which could be a script written by the Director or a known script writer, or it could be a novel. Many films are based on books, with popular ones including Twilight, Harry PotterHunger Games, About A Boy and The Da Vinci Code amongst others

It is then the Producer's job to encourage to writer of the work to sell them the film rights. Whilst most writers are happy to sell the rights to their novel, there have been a notable few who have stuck their heels in and refused to grant permission. Perhaps the most notorious was Catcher in the Rye author J.D. Salinger, who refused several requests from Producers right up until his death in 2010. In fact, members of Salinger's family are still fighting for the films to never be made, which is a shame.

If the original content has come from a book, then it will be the Producers job to find a script writer to "adapt" the book into a script. During this process, the Producer will also choose someone to direct the film, which may well be himself.

Once they have the script in place, the Producer will organise castings and the hiring of crews. He will also negotiate deals with film distributors nationally and globally.

Production:

Christopher Nolan produced his own films:
Inception, The Dark Knight Rises, as well
as Man of Steel.
The reason why there are often several Producers working on any one film is because the job is just so films - especially the really big budget ones - will have a main Producer is is the ultimate Boss, but he will then appoint other types of producers who cover different areas of the film. Several Producers will probably do the same job, but in a shift-type pattern, as the hours of work are just too immense for one person alone.
immense, especially throughout the main production period. Typically, most

Other types of Producer could include the Executive and Line Producers that we mentioned above, as well as Unit Production Managers.

Post-Production:

When filming on a movie wraps, and the cast go home, this is typically when the real work begins on areas such as editing, sound and special effects. It will be the Producers job to supervise all of these areas, approving all edits, cuts and soundtrack choices.

Despite the fact that this is considered to be "post-production", it is quite common for the Producer to call actors back to the set to either film new scenes or to re-shoot them. Re-shoots could be done for a variety of reasons, such as bad lighting or if the Producer isn't happy with certain elements, perhaps due to censorship.

As you can see, the role of the Producer is a big one, and according to the New York Times:

"Three major Hollywood studios, in a move to regulate the often chaotic ways in which producer credits are assigned for films, have agreed to let the Producers Guild of America certify some of those credits..."
For more details, I highly recommend reading the original article, published November 2012 on the New York Times' Media Decoder pages.

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QUICK REVIEW: THE GOOD, THE BAD AND THE UGLY

If there ever was a template for the modern movie then this would be that film. It has everything from the epic story complete with many twists and turns, characters with plenty of depth and an epic soundtrack by the great film composer Ennio Morricone. The films stars Clint Eastwood, Eli Wallach (Who I knew from Mork and Mindy) and Lee Van Cleef. The main idea is pretty basic. Three bounty hunters set out to find some hidden treasure but along the way they are constantly trying to outwit each other which makes for some interesting moments. It's the characters that make this film great. The way they interact with one another is genius especially between The Good, Blondie (Eastwood) and the Ugly, Tuco (Wallach) as they travel through a war torn America. That's the other interesting thing about this film, it's not the average cowboys and Indians style of western, it's more of a war film. The Civil War doesn't just serve as the backdrop for the film, it plays a pivotal role in the story as the three characters experience the brutality of war.

So, what is there to like. Well for starters, the depth of the characters is something to be admired. Say goodbye to the simple gunslinger of the John Wayne era of western and say hello to the kind of real character that we are familiar with in films of today. The Ugly is more than just, well, ugly. A greater level of depth is revealed when he meets up with his god fearing brother - some revelations about his childhood are revealed. which made me feel a bit of sympathy for the guy. The Good is not all good, in fact at times he comes across as a real jerk, especially to Tuco who gives back as good as he gets. Next we come to the Bad who is pretty much out and out bad but even he has a redeeming moment. He gives a bottle of whiskey to an injured soldier.

Another level of depth is added to this film thanks to the sweeping score by Ennio Morricone. He manages to bring out the three main characters by giving each one a piece of music all of there own. Some of the music is fun while other pieces are just epic.

It's the little touches of genius that help make this film a classic from the dialogue, the evolving story and of course the memorable characters. There's no doubting that the 161 min run time was needed to cram it all in.

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Quick Review: Easy A

Starring two of my current favourite actors; Emma Stone and Stanley Tucci, Easy A looks like your typical teenage comedy, and on the surface it most definitely is. It's completely superficial and unrealistic, just like all of the other teenage romps that Hollywood loves to throw at us. Nevertheless, I still really enjoyed it.

The key to Easy A's success is without doubt Emma Stone, who has this incredible wit and intelligence that runs so thickly through her dialogue. Plus, she is supported by a great cast, including Stanley Tucci as one half of her very eccentric but totally likeable parents.

The overall idea behind the plot is an interesting one, and I love the way that it plays on High School gossip. However, it's hard not to question how the other pupils would have reacted to the gossip is the lead character had not been played by Emma Stone, or anyone to Hollywood's standards of "socially awkward". To be blunt, Stone's character is too fast-witted to be truly socially awkward, plus the fact that she's actually really hot kinda detracts a great deal of believability. Had she been "ugly", there is no way that things would have panned out the way that they did.

Despite that, it's still a fun film that shouldn't be taken too seriously, because Emma Stone certainly doesn't.

A great Sunday afternoon film, that you will probably enjoy, laugh a little and appreciate for exactly what it is: a superficial but entertaining film.



The difference between a quick review and a normal review is really just that quick reviews are for films that have been out for some time, but not long enough for us to consider "vintage" (which we class as being over ten years old) whilst normal reviews are for films that we've just seen at the Cinema.

Quick Reviews don't include all the general information, such as cast, crew and synopsis. Instead, we just get straight to the point in saying what we think.


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Films to Watch in May 2013


Ah, May. Almost every year, May is the month that sparks what I would consider the "Summer Season" for films, when all of the big blockbusters tend to start coming out. Okay, so these days, big films come out all around the year, in a bid to not compete with each other  but there is a definite trend of more "good" films coming out in the months of May, June, July and August.

So far, 2013 has been a darn good year for films, with Wreck-It Ralph, Les Miserables and Oblivion all being excellent outings, and already my predicted Top Six for 2013 is proving to be very, very wrong. But, here are a few of the films that you might want to check out in May:

Star Trek Into Darkness

The highly anticipated sequel to J.J. Abram's hugely successful reboot, Into Darkness is definitely one of those films that I have high expectations for.

I've never hidden my dislike for the Star Trek franchise - as a whole - but I loved the first film, and am excited to see if and how Abram moves the series forward.

It's excellent to see some of our own British talents doing so well in this film too, with self-confessed fanboy Simon Pegg reprising his role as Scotty, whilst Benedict Cumberbatch proves his amazing talents as the villain.

Release Date: May 9th

The Great Gatsby

Starring Leonardo DiCaprio and Brit girl Carey Mulligan, it feels like we have been waiting forever for this film to come out.

Initially pencilled in for Christmas 2012, it got pushed back to Summer 2013 because allegedly Baz Luhrmann wanted more time to put together a good soundtrack, which knowing Luhrmann's reputation for big, dazzling films with amazing soundtracks, this doesn't particularly surprise me.

Admittedly, because we've been waiting for so long, the excitement has kind of faded away, but I have big hopes for this being a big success without too much trouble.

Release Date: May 17th

Fast and Furious 6

Yes, really. May sees the release of the sixth Fast and Furious film - seriously, is there really that much left plot-wise or are we now just on a feature-length film of cars driving around...wait, isn't that known as Formula 1?

Okay, so jesting aside, I used to be a big fan of this series of films, my personal favourite being Tokyo Drift, but even I have to admit that it's starting to run a little dry.

But, with fast cars and an array of not-too-bad-looking guys, I'm sure that they will appeal to a large number of people.

Release Date: May 24th

The Hangover III

However, don't get too excited Fast and Furious, because you have some very big competition from another series - although this one is (allegedly) the last in this particular series, so I'm expecting big things from Bradley Cooper and co.

I unexpectedly loved the first film, because it wasn't at all what I was expecting, but the second one seemed a bit dull in comparison, so I'm a little apprehensive about this one. I think that it is either going to be a love it or hate it kinda film.

But, all I really want to know is: IS THE GIRAFFE OKAY??? And even, where the heck did the kidnap a giraffe from? Actually, that clip from the trailer conjures more questions than I care to admit!!

What films are you planning on watching through May?




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Film Roles: Director

For most people, the Director is one of the most important people on a film alongside the actors. Chris and I are certainly always interested to find out who is directing upcoming films, but what does a Director actually do?

As you can imagine, the Director is an obvious role, because they basically "direct" all aspects of the film. They are the central brain, and they get to Boss every other person - cast and crew - to ensure that everything pieces together. They decide on the final script, they say where everyone should be and when it should be done.

Of course, not all Directors work in the same way. For example, some will finalise a script and demand that their cast stick to it with absolute rigidity, whilst others prefer to give their actors a rougher and sketchier script, and then allows the cast to improvise whilst sticking to a generalised story.

What makes a Director, an Auteur?


Many directors are known to have their own style, which would make them an "Auteur" as their films become recognisable by certain elements that always feature. Sometimes this is referred to as a "signature", because the Director stamps their name all over the film. For example, Quentin Tarantino's films always contain a large amount of violence, whilst George Lucas' films auteur "ness" is in the editing and overall look.

There are a large number of different signatures that Directors might use, from the way a film is shot, to the way that they choose to tell a story.

However, just because a Director establishes his or her self in a specific genre does not necessarily make them an Auteur. A Comedy Director, for example, may approach those comedies in very different ways.

What a Director doesn't necessarily do

Most Auteur Directors, are known as that, on the basis that the films that they make are based on ideas, scripts, novels etc that they have written themselves, or that have been written by someone that they work with a lot.

Other Directors, on the other hand, probably have absolutely nothing to do with the script or even the overall idea behind the film. Often, this is because many films today are based on existing novels, that a person or company have bought the rights to, and they will then hire a director to oversee the transformation of that book into a film.

In short...


The Director is kind of like the Manager of the company, that is of course the film. Whilst he makes a lot of the decisions, it is quite likely that there are Executives and "Big Dogs" above him, who will inevitably get the final say.

Quite often, the Director will be so highly regarded that the Production Company will just trust his decisions. However, there have been many notable cases of Executives removing or adding elements to a film, despite objections by the Director.

I have a huge respect for Directors, and have featured them in a couple of Top Six Charts, in the past. Feel free to check them out:


Find out more about this new feature, by checking out our little Introduction page.


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Soundtrack Review: Oblivion

I often describe Tron: Legacy as having one of my favourite film soundtracks. It is epic, and fits in with my immense love for big, dramatic scores.

As a Sci Fi film, Oblivion had a huge amount to live up to. However, if any Sci Fi was going to do it, it could only be this film, as not only were both films directed by the same man (Joseph Kosinski). But, that isn't the only aspect that joins the two films, as co-composer Joseph Trapanese also arranged and orchestrated the Tron: Legacy score.

The aspect that I always felt made Tron's soundtrack so amazing, was the blend of a big score, with the electronic sounds of Daft Punk. Personally, I felt that this worked really well, so it makes sense - to me, at least - that Kosinski and Trapanese would mirror this strategy by pairing up with band M83. M83 had also contributed to the remix album Tron: Legacy Reconfigured.

It's easy to want to say "I'm not going to compare the two soundtracks", but with all the connections, it is virtually impossible not to, especially when half way through the film I can't get it out of my head that it sounded like the Tron score, and that was even before I realised that the film had any connections whatsoever.

On a whole, M83 don't really compare to the overall oomph that Daft Punk offered, however this is still a brilliant soundtrack, full of powerful tracks that are certainly just as epic. I've heard a few people suggesting that Oblivion is a throwback to the sci fi films of the seventies, and score-wise, I can definitely feel that vibe, with it's tinkly sound.

My only real grievance is that a lot of the tracks feel very "samey", as many of them start out quite slow and
quiet, before exploding into a whirl of heavy beats. Don't get me wrong, I do like that, and it's quite effective, however, I do feel that the score would have benefited from being a little more diverse rather than every other track sounding like a re-hash of a previous one.

The album concludes with the film's stunningly powerful ending credits track; Oblivion featuring the vocal talents of Norwegian singer Susanne Sundfor. The song closes the film so nicely, and certainly left a smile of satisfaction on my face, similar to one created by the End Credits track of Tron: Legacy and Linkin Park's What I've Done at the end of the first Transformers film.

Overall, this is a superb soundtrack, but I do think that it could have been a a lot more, with a little more originality, as it just sounds too much like it's predecessor.

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