Producer’s Panel at Santa Barbara International Film Festival

Reviewed by Emma Karlsson. Viewed at Santa Barbara Film Festival 2013.

This year’s Producer Panel had a very exciting line up that included Bruce Cohen (Silver Linings Playbook), Debra Hayward (Les Miserables), Dan Janvey (Beasts of the Southern Wild), Kathleen Kennedy (Lincoln), Stacy Sher (Django Unchained) and David Womark (Life of Pi). The panel was moderated by John Horn, writer for LA times. The panel this year included only Oscar nominees.

Horn starts off with asking the panel individually how they as producers know if a project is successful or not; are they thinking while in the making of a film that “this is it, this will get an Oscar nomination”? Most producers agree with each other; there is no way of knowing what you have, “or what you hope you have” Cohen indicates, before the first screening to an audience. Janvey and Hayward talks about the importance of making a film for the people; it is important that the audience love it, because film is meant to reach out to the masses.

Another angle the producers all seem to agree on is that as a producer you take on the parental role in the producer/director relationship. Womark mentions that “I’m the adult, the director is the child. And in a conflict, the child always win”. Sher adds on: “It’s about serving the film, serving the film maker” and also that she has learned more about parenting from being a producer, than from being an actual parent. Womark and Sher tells us that you have to let the directors make some mistakes in order to learn, just like a kid.

Most of the directors that the producers are working with are author directors. Meaning they are very specific about which direction they want the film to go. So how do your director no, Horn asks. Kennedy reminds us that it is usually easier when you’ve been working with someone for a long time – now for example with Spielberg she can tell him no with just simply a look. “It is important to be upfront” says Kennedy. Janvey has an interesting approach; with his work as a producer he tries to ban the word no, and instead ask why, and then look for possible alternatives to the director’s need. “You have to trust that the director will make the right choice”, Janvey adds. Sher tells us that restrictions actually helps the project, because it helps you to come up with better directions. If a project has free range, it is more difficult to make a good image selection. Hayward mentions that Hooper is a very responsible director; he went to all the budget meetings so he knew about all the restrictions.

It is important as a producer to have your own point of view, many of the panel members mentions. Kennedy tells us that you “shouldn’t go into the tunnel” where the director is heading, but to have your own point of view on the project at all times. Cohen agrees; Russell for example is not interested in the visual design of his projects – he leaves it to the producers and crew to have their input in the film. Cohen says that “your job is to get inside his/her head” and then try to make a film based on that vision, and your own point of view. Kennedy laughs and adds that however if you’re working with someone like Ang Lee who’s very innovative, then perhaps you should set aside your opinions occasionally.

Audience questions.

Where do you go to find new talents?

Vanjey: Go to film festivals, like this one.
Sher: Track down films you don’t know about.
Kennedy: Go to the theatre.

As the panel clearly shows, we have many great female producers. Why do we have so few female directors?

Kennedy: It’s a complicated issue that deserves its own panel. Women are trying to do everything already. It’s about life style choices.
Sher: Many women wants to have kids, which is time consuming.
Kennedy: It is easy for a producer to step in and out of a project, but directors can’t do that. They need to be there all times. I think it’s easier for men than women because of the family aspect.
Sher: I used to work with a great female director that would breastfeed before takes.

In conclusion the panel seemed extremely excited about the future. Janvey states that film culture, pop culture, is very exciting right now: “We live in the Golden Age of what is possible”.