Producer compensation

A producer you can't afford will not work for points
or a home cooked meal. As you mention, a young
and hungry (or even old and hungry) producer with
little or no experience will work for nothing (points)
and a home cooked meal if they believe in the project.

Offer the most points you can. Everyone knows points
in an ultra low budget film are essentially worthless
- but your niche market has been known to return
profits. So if you can offer 20%, do it. Offer the same
as the director and writer. If you can, offer to meet the
producer's current weekly rate at their regular job for
at least one week before the shoot starts - if you can
offer to meet their current salary for two weeks that
would be even better.

But if you can't offer that much then set the rate you
can afford - even if it's $200/week. You might still find
someone who believes in your project enough to jump
in.

Lots of good advice from Directorik (including that you have a niche market where profits have proven easier to come by than some other genres so points may have more value).

You can help your cause with the sales job you do on them. Passionately selling them on the film, your committment to it, your willingness to do anything/everything yuo can to make it a success, can potnetially shave a lot of up front money off.

This always depends on how serious you are about your film. Is it just to build your reel? Or do you want to make this puppy pop? Most producers that are starting out love to add work under their built, and if the script is good would be willing to help. It never hurts to just put out a blast on face book and see what you get. Good Luck.

learnfilmonline said:

This always depends on how serious you are about your film. Is it just to build your reel? Or do you want to make this puppy pop? Most producers that are starting out love to add work under their built, and if the script is good would be willing to help. It never hurts to just put out a blast on face book and see what you get. Good Luck.

Click to expand...

If a director or writer were to put out a blast on Facebook
for a producer what might be fair compensation for anyone
who replies? Let's say the director is looking to make the
puppy pop. What advice do you have on compensation?

I'd define what "producer" means on your film. It isn't always the same job description and changes from project to project.

What kind of producer are you looking for? A Line Producer or Unit Production Manager that does more of the organization and not creative aspects? Or a creative producer who is the director's BOSS not his BITCH (excuse my language)?

Start simply by giving as complete a job description as possible that you intend for this PRODUCER to do, then more appropriate rates can be discussed...

sonnyboo said:

I'd define what "producer" means on your film. It isn't always the same job description and changes from project to project.

What kind of producer are you looking for? A Line Producer or Unit Production Manager that does more of the organization and not creative aspects? Or a creative producer who is the director's BOSS not his BITCH (excuse my language)?

Start simply by giving as complete a job description as possible that you intend for this PRODUCER to do, then more appropriate rates can be discussed...

Click to expand...

Honestly, still trying to figure that out ourselves. My wife is the driving creative force behind the project (she wrote the script and has directed shorts before), so we want as much creative control as possible. We've talked with a couple producers already but haven't gotten to the compensation part yet. One could play the Line and UPM roles; the other sounds more like the UPM side. Ideally, we'd like someone who can pull together a team and keep us on target budget-wise. So, to your answer your question: ideally, a little of both.

Thanks
Tom

directorik said:

A producer you can't afford will not work for points
or a home cooked meal. As you mention, a young
and hungry (or even old and hungry) producer with
little or no experience will work for nothing (points)
and a home cooked meal if they believe in the project.

Offer the most points you can. Everyone knows points
in an ultra low budget film are essentially worthless
- but your niche market has been known to return
profits. So if you can offer 20%, do it. Offer the same
as the director and writer. If you can, offer to meet the
producer's current weekly rate at their regular job for
at least one week before the shoot starts - if you can
offer to meet their current salary for two weeks that
would be even better.

But if you can't offer that much then set the rate you
can afford - even if it's $200/week. You might still find
someone who believes in your project enough to jump
in.

Click to expand...

What we got going for us is a good script -- and that is professional, third-party feedback there -- so I do believe we can turn a profit on this thing if we do it right. What do you think about the trade-off here? Obviously on a tight budget, things gotta move efficiently. Do you think the risk is too great to bring an inexperienced person on? What would you do to make sure he can get the job done? Do you think if a more experienced producer envisions this being successful, that points would be more attractive?

Also, you said if we can offer 20% to do it. Is that more of a norm, or on the high side? My wife is directing and she wrote the script, so that's 80% towards us.

Gonzo_Entertainment said:

Lots of good advice from Directorik (including that you have a niche market where profits have proven easier to come by than some other genres so points may have more value).

You can help your cause with the sales job you do on them. Passionately selling them on the film, your committment to it, your willingness to do anything/everything yuo can to make it a success, can potnetially shave a lot of up front money off.

Click to expand...

Good point, Gonzo. Passion is one thing we ain't lackin'

Tom

directorik said:

If a director or writer were to put out a blast on Facebook
for a producer what might be fair compensation for anyone
who replies? Let's say the director is looking to make the
puppy pop. What advice do you have on compensation?

Click to expand...

This definitely isn't something to just add to our reel. We believe the script can do well. So, yea, we're looking to make it pop.

So does that change it?

Thanks
Tom

Of course YOU have the passion and YOU deeply believe your movie
will turn a profit. I was making no judgment on the quality of the
script, the ability of your wife as director or the project
itself. My point was only that an experienced producer will know
the odds. And 20% or 60% of no profit isn’t as good as $2500 per
week. Or even $500/wk.

Which is why I suggested you pay something up front.

If you can’t afford that then you will offer points and a home
cooked meal. There is nothing at all wrong with that.

Is 20% on the high side? Not if this producer makes the difference
between you getting the movie made and not getting it made. It
might even be on the low side. If this producer is only on board
to do some paperwork and make a few phone calls during the two
week shoot, then it’s in the high side.

You know YOUR project and your needs better than any of us. And
when you next talk to the producer ask them. You don’t need to
make the first offer. This is a labor of love for you. Tell the
producers your budget and ask what they are willing to work for.
No shame in that either. If they quote a number you can’t afford
then quote them one you can. If you can’t come to an agreement,
move to the next producer.

So make a 20% offer and a home cooked meal. You won’t be giving up
too much so you won’t feel taken and the producer who accecpts
will be the right match for your project.