- THE DIFFERENCE BETWEEN A PODUCER AND A DIRECTOR HOW TO
- THE DIFFERENCE BETWEEN A PODUCER AND A DIRECTOR MOVIE
- THE DIFFERENCE BETWEEN A PODUCER AND A DIRECTOR PROFESSIONAL
THE DIFFERENCE BETWEEN A PODUCER AND A DIRECTOR PROFESSIONAL
A television director is expected to make an episode in keeping with the episode before and the episode after, with consistent characterization and looks and whatnot a television director who's new to a series needs to be professional and energetic and get the best from the cast and crew on the show's terms, not reinvent the wheel.
(This is also why actors often become producers.)ĭirectors are also subservient to producers in television. This is in part why many directors are also producers, or have their own people on as producers-they want to develop their own material and have a say in things from the get-go, they don't want to just be crossing their fingers hoping someone sends them a script they like. But when you're Joe Schmo being hired out of film school to direct "Beverly Hills Chihuahua 6", you're probably working for someone else. And when the director is Spielberg or Scorsese, that is true. Now things get a little complicated because it would seem like the director is the boss, or should be.
THE DIFFERENCE BETWEEN A PODUCER AND A DIRECTOR HOW TO
He doesn't have to be a great cinematographer or editor or actor or designer, but he needs to know how to talk to those people and convey what he wants, and do so consistently, and carry this huge vision around in his head for years on end while it gets shot and edited a little bit at a time.
THE DIFFERENCE BETWEEN A PODUCER AND A DIRECTOR MOVIE
You can tell a Spielberg movie from a Scorsese movie from a Francis Coppola movie from a Sofia Coppola movie just by how they see the world through their cameras, just as surely as you or I could write the same scene in a story and it would come out filtered through how we see the world. The director decides how the movie's gonna look, how the story will be told, talks to the actors, calls the shots. In film, in theory, the director is supposed to be the creative force driving the film, the auteur ("author"). There are many 'producers' on a TV show who are simply writers, who have nothing to do with financing or hiring crew or actors or dealing with logistics or any of that. In TV, the big boss of the show is an executive producer who gets the not-shown-on-screen title of "showrunner"-the real guy in charge of the whole mess, the Aaron Sorkin or Joss Whedon or Parker/Stone, who supervises the writing and the casting and the directors and all that, and who is helped by other producers who do the logistical / financial work. In television, things get more complex because a lot of writers get producer titles (or 'supervising producer' or whatever) this is because they can't hand out writer titles to the whole team on every episode due to Writers Guild rules.
There are no rules to how to be a producer the way there are with other titles, there's no union, none of that.
The truth is that there's lots of things producers do, some may have just come on board with a little money, some are studio guys, some are actually on the set making sure people get fed and paid and moved, some are just the lead actor and/or his manager demanding a title. You'll see lots of producers (and exec producers and associate producers etc. He is the guy who thought, "This movie should exist" and then rolled up his sleeves and made it a reality. He finds or commissions the script, hires the director and maybe some cast, plans the schedule, deals with the studio and/or investors, arranges for locations and payment and crew and distribution and all the things that are needed to make a project happen. The producer puts the project together, creatively and logistically.
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