36-426: Ceán Chaffin (born June 26, 1957) is an American film producer and cinematographer . She has won several American Film Institute awards and been nominated for multiple Academy Awards . Chaffin has frequently collaborated with her husband, director David Fincher . In addition to producing the above films, Chaffin was executive producer for the 2017 TV series Mindhunter . She, along with her fellow producers,
72-507: A Baby for John Hughes , Robocop 2 for Irvin Kershner , Robocop 3 for Fred Dekker , Into the Blue for John Stockwell , Disturbia for DJ Caruso , Rambo: First Blood , Weekend at Bernie's and Weekend at Bernie's II for Ted Kotcheff , Marked for Death for Dwight H. Little , and Under Siege for Andrew Davis said, "He has the understanding of what it takes to create
108-478: A Great Notion for Paul Newman , Wrongfully Accused for Pat Proft , Never Say Never Again and The Return of a Man Called Horse for Irvin Kerschner, and the original Indiana Jones trilogy for Steven Spielberg. It is common for certain personnel involved with a production in another capacity to also function as a second unit director, benefiting from their understanding of the material and relationship with
144-451: A company that also deals with film distribution. Also, the cast and film crew often work at different times and places, and certain films even require a second unit . Even after shooting for a film is complete, the producers can still demand that additional scenes be filmed. In the case of a negative test screening , producers may even demand an alternative film ending. For example, when the audience reacted negatively to Rambo 's death in
180-516: A great action sequence and never deviate from the story or the tone of the film." Occasionally, some second unit directors work with certain directors on several projects, such as Allan L. Graf, who directed second unit for Walter Hill on several of his films, as well as Eric Schwab working with Brian De Palma on his films. Certain films also may have more than one second unit director. Examples include The Departed , Superman Returns , The Expendables , Blade: Trinity , Transformers: The Last Knight ,
216-550: A multi-segment film or television production. A field producer helps the producer by overseeing all of the production outside the studio in specific film locations. Considered executive employees in regard to the Fair Labor Standards Act of 1938 in the United States, producers represent the management team of production and are charged by the studios to enforce the provisions of the union contracts negotiated by
252-499: A top-producing school is one of the most efficient ways a student can gain industry credibility. While education is one way to begin a career as a film producer, experience is also usually required to land a job. Internships are a way to gain experience while in school and give students a foundation to build a career. Many internships are paid, which enables students to earn money while gaining hands-on skills from industry professionals. Through internships, students can network within
288-437: Is becoming more and more common to split this role into two for creative projects. These are the executive producer and the showrunner. A showrunner, in this context, is the most senior creative, working on writing and producing their vision; they are effectively the same as the producer; overseeing, arranging, managing, and beginning every aspect of production. Whereas the executive producer focuses more on budgeting and predicting
324-407: Is responsible for finding and selecting promising material for development. Unless the film is based on an existing script, the producer hires a screenwriter and oversees the script's development . These activities culminate with the pitch , led by the producer, to secure the financial backing that enables production to begin. If all succeeds, the project is " greenlit ". The producer supervises
360-635: The Alliance of Motion Picture and Television Producers (AMPTP) with the below-the-line employees. Founded in 1924 by the U.S. Trade Association as the Association of Motion Picture Producers, the AMPTP was initially responsible for negotiating labor contracts. Still, during the mid-1930s, it took over all contract negotiation responsibilities previously controlled by the Academy of Motion Picture Arts and Sciences . Today,
396-438: The film director , cinematographer , and production designer . Unless the film is to be based on an original script, the producer must find an appropriate screenwriter . If an existing script is considered flawed, the producer can order a new version or decide to hire a script doctor . The producer also gives final approval when hiring the film director , cast members, and other staff. In some cases, producers also have
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#1733092638767432-444: The pre-production , principal photography and post-production stages of filmmaking . A producer hires a director for the film, as well as other key crew members. Whereas the director makes the creative decisions during the production, the producer typically manages logistics and business operations, though some directors also produce their own films. The producer must ensure the film is delivered on time and within budget, and in
468-465: The AMPTP has been responsible for negotiating these union agreements and is now considered the official contract negotiation representative for everyone within the film and television industry. While individual producers are responsible for negotiating deals with the studios distributing their films, the Producers Guild of America offers guidance to protect and promote the interests of producers and
504-636: The AMPTP negotiates with various industry associations when dealing with union contracts, including the International Alliance of Theatrical Stage Employees (IATSE), the Directors Guild of America (DGA), and the Screen Actors Guild - American Federation of Television and Radio Artists (SAG-AFTRA). In 2012, the AMPTP negotiated over eighty industry-wide union agreements on behalf of 350 studios and independent production companies. Since 1982,
540-578: The Galaxy for James Gunn , and Labyrinth for Jim Henson , has said, "The most important thing about any second unit is that you can't tell the difference between the second unit and the first unit. It must have the stamp of the first unit, both in photography and the style of direction. ... You try to copy what the first unit does as much as possible. You mustn't be on an ego trip and try to do your own style, because your material has to cut into theirs and it mustn't jar, it must fit in exactly so no-one can tell
576-537: The Sam Raimi Spider-Man trilogy, and Bad Boys For Life . Some directors, such as Christopher Nolan , Quentin Tarantino , Paul Thomas Anderson , Mike Judge , and Stephen Hopkins , do not use second units in their films. Because second units often film scenes with stunts and special effects in action movies, the jobs of stunt coordinator and visual effects supervisor often get combined with that of
612-557: The average annual salary for a producer in the U.S. is listed as $ 70,180 per year, with an estimated range from $ 43,000 to $ 150,000. When examining more than 15,000 producers in the Los Angeles metropolitan area, the average annual salary is $ 138,640. Producers can also have an agreement to take a percentage of a movie's sales. There is no average workday for film producers since their tasks change from day to day. A producer's work hours are often irregular and can consist of long days with
648-428: The creative process of screenplay development and often aids in script rewrites. They can also fulfill the executive producer's role of overseeing other producers. Within the production process, a producer can oversee, arrange, manage, and begin every aspect of production. They are typically involved in every stage of the overall production process. A co-producer is a member of a team of producers that perform all of
684-472: The difference." Brett Ratner , commenting about Conrad E. Palmisano , who directed second unit for him on Rush Hour 2 , Rush Hour 3 , After the Sunset , and X-Men: The Last Stand , The Other Guys for Adam McKay , No Strings Attached and Six Days, Seven Nights for Ivan Reitman , Batman Forever for Joel Schumacher, Assassins and Conspiracy Theory for Richard Donner, She's Having
720-426: The entire project remains on track. They are also usually in charge of managing the film's finances and all other business aspects. On a television series an executive producer is often a writer and given credit in a creative capacity. In a feature film or movie, the executive producer is often the person directly funding the project or is directly responsible for bringing in investors for funding. In television, it
756-458: The film industry, which is an important way to make necessary industry connections. Once an internship is over, the next step will typically be to land a junior position, such as a production assistant . Pay can vary based on the producer's role and the filming location. In the United States, the salary can start between $ 20,000 and $ 70,000, even doubling when working in Los Angeles. As of 2022,
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#1733092638767792-578: The film's primary director. Peter MacDonald , who was second unit director on Batman for Tim Burton , Batman and Robin for Joel Schumacher , Jack the Giant Slayer for Bryan Singer , Radio Flyer for Richard Donner , X-Men Origins: Wolverine for Gavin Hood , Excalibur for John Boorman , Rambo: First Blood Part II for George P. Cosmatos , Cry Freedom for Richard Attenborough , The Quest for Jean-Claude Van Damme , Guardians of
828-516: The first unit films the key face-to-face drama between the principal actors . Two frequent ways a second unit is used are: In both of these scenarios, the purpose of the second unit is to make the most efficient use of some of the resources that are expensive or scarce in film production: actors' and directors' shooting time, sound stage usage and the cost of sets that may have been built on stages. The work of second units should not be confused with multiple-camera setups , where several cameras film
864-461: The functions and roles that a single producer would in a given project. A coordinating producer coordinates the work/role of multiple producers trying to achieve a shared result. The associate or assistant producer helps the producer during the production process. They can sometimes be involved in coordinating others' jobs, such as creating peoples' schedules and hiring the main talent. A segment producer produces one or more specific segments of
900-661: The industry attempted to recover lost time due to the COVID-19 pandemic . The unions supporting the report make up over 20 million television, film, and arts workers worldwide. Many producers begin in a college, university, or film school . Film schools and many universities offer courses covering film production knowledge, with some courses specially designed for future film producers. These courses focus on key topics like pitching, script development , script assessment, shooting schedule design, and budgeting. Students can also expect practical training on post-production. Training at
936-649: The last word when it comes to casting questions. A producer will also approve locations, the studio hire, the final shooting script , the production schedule , and the budget. Spending more time and money in pre-production can reduce budget waste and delays during the production stage. During production, the producer's job is to ensure the film remains on schedule and under budget. To this end, they must remain in constant contact with directors and other key creative team members. Producers cannot always personally supervise all parts of their production but will instead delegate tasks as needed. For example, some producers run
972-416: The later stages before release, will oversee the marketing and distribution of the film. Producers cannot always supervise all of the production. In this case, the primary producer or executive producer may hire and delegate work to associate producers, assistant producers, line producers , or unit production managers . During this stage of the production process, producers bring together people like
1008-413: The possibility of working nights and weekends. Second unit Second unit is a discrete team of filmmakers tasked with filming shots or sequences of a production, separate from the main or "first" unit. The second unit will often shoot simultaneously with the other unit or units, allowing the filming stage of production to be completed faster. The functions of the second unit vary, but typically
1044-496: The production team in film, television, and new media, offering the framework to provide health insurance and pension benefits, and assists in establishing safe working conditions and vetting the validity of screen credits. In December 2021, global unions filed a report titled Demanding Dignity Behind the Scenes to attempt to end the "long hours culture" of the television and film industry, citing in part that abuses increased in 2021 as
1080-827: The remainder of their career. One example is Michael D. Moore , who directed second unit on more than 60 films, including Butch Cassidy and the Sundance Kid , Funny Farm , and The Little Drummer Girl for George Roy Hill , Patton for Franklin J. Schaffner , The Man Who Would Be King for John Huston , 101 Dalmatians , The Mighty Ducks , and The Three Musketeers for Stephen Herek, 102 Dalmatians for Kevin Lima, Ghostbusters II for Ivan Reitman, Willow for Ron Howard, Chaplin for Richard Attenborough, Teenage Mutant Ninja Turtles III for Stuart Gillard , National Lampoon's European Vacation for Amy Heckerling, Toy Soldiers for Daniel Petrie Jr. , Sometimes
1116-417: The same scene simultaneously. Large productions may have multiple second units. Although filmmakers may refer to having "three or four units working", each unit would be called an "additional second unit"; usually none would be described as the third or fourth unit. The second unit has its own director and cinematographer . A key skill for a second unit director is to be able to follow the style being set by
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1152-498: The second unit director. Examples of second unit directors include: Unlike an assistant director , who is second-in-command to the main director, a second unit director operates independently, and thus can be a stepping stone for aspiring directors to gain experience. Examples include: Occasionally, actual film directors might serve as second unit directors on certain projects. Examples includes: Other times, directors may return to predominantly working as second unit directors for
1188-400: The test screening of the film First Blood , the producers requested a new ending be filmed. Producers also oversee the film's sales, marketing, and distribution rights, often working with third-party specialist firms. Different types of producers and their roles within the industry today include: An executive producer oversees all other producers under a specific project and ensures that
1224-527: The views of the higher authorities in the wider company; trying to ground the showrunner's vision to tangible limits. A co-executive producer is someone whose input is considered as valuable as that of the executive producer, despite having a junior or unofficial role. A line producer manages the staff and the day-to-day operations and oversees each physical aspect involved in making a film or television program. The line producer can be credited as "produced by" in certain cases. A supervising producer supervises
1260-517: Was also nominated for a British Academy Film Award for The Curious Case of Benjamin Button and The Social Network . Film producer A film producer is a person who oversees film production . Either employed by a production company or working independently , producers plan and coordinate various aspects of film production, such as selecting the script , coordinating writing, directing, editing, and arranging financing. The producer
1296-572: Was nominated for the Academy Award for Best Picture for The Curious Case of Benjamin Button (2008), The Social Network (2010), and Mank (2020). She won American Film Institute 's AFI Awards for these films as well as for The Girl with the Dragon Tattoo (2011). Chaffin was nominated for Producers Guild of America 's Producers of the Year Awards for the three aforementioned films and
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