Triple Take: What It’s Really Like Working as a Producer in TV & Film

“Passion is the immeasurable, indescribable factor that separates movie from movie. Passion moves freely across borders, speaks every language and flourishes in every culture. The movement of passion is the most gratifying satisfaction in any movie maker’s life.” — Saul Zaentz

producer

The producer. A role in the anatomy of a film that many people hear about (cue the awards speeches) but few understand what it actually means. A producer’s life cannot be easily explained. Rather than offer textbook examples of what a producer does for a project, International Film Institute of New York (IFI) turned to three women working in this role for insights and advice on getting started. Stephanie Serra produces and directs films in New York City, Krystia Basil works within film and TV around NY, and Ashley Pacini started in film but has found herself in the world of television while living in Los Angeles. The following is how Stephanie, Krystia and Ashley define working as producers in today’s world of cinema:

 

How would you define the role of a film producer?

Stephanie Serra: Film producers have several roles to play and seemingly endless duties to fulfill throughout the course of a film’s development, production and distribution. A good producer thinks critically and creatively in each of these roles and regarding each duty/task.

Krystia Basil: I would define the producer of a film project as the alpha & omega. That sounds self important, but what I mean is that a project starts and completes because of the efforts of the producer. He/She is the one who initiates a project by finding a story, optioning an intellectual property, developing a script – and follows through to the final product – the film reel – but also beyond that to distribution, publicity, and if all goes well, he or she is the one who gives the Oscar acceptance speech! In between, the producer hires all the key players, both creative and logistical, onscreen and off screen, and then trusts their vision, supports their choices, and coaxes a collaborative effort to create a cohesive end result.

They are also responsible for putting money in the bank to get all these peeps paid. As they say, ‘You have to pay movie if you want to play movie.’

Ashley Pacini: A producer is a connector and problem solver. Producers do various connecting from money and story to logistics and talent.

 

How did you become a producer?

SS: I started producing my own films. Colleagues of mine saw that I had an understanding of the above-mentioned roles that a producer fills and so they asked me to produce their films as well.

KB: I started out wanting to be a writer/director, but my innate skill set – management, finance, persuading people to do things they may not ordinarily do – thrust me into production coordination, line production and from there producing. I also like nurturing stories into scripts or concepts into shows.

AP: While studying film, I fell in love with the concept of connecting people and stories. I love the idea of seeing something from inception to execution. To me, producing is the best of both worlds: logistics and creative.

 

What is one surprising thing you have learned about the film/TV industry while working as a producer?

SS: When I began making films, I believed, and still do, that producing my own work was a valuable experience; that it would allow me to better understand the many crafts that are a part of a filmmaking collaboration; and, that this understanding would help me to be a better storyteller, writer, director, etc. I’ve been surprised to find that many of the first-time/beginner filmmakers I’ve encountered in the NY independent film industry seemingly do not share this view. There is more specialization and less interest in an interdisciplinary approach than I expected.

KB: How many people it takes and how much teamwork it takes to go from script to screen. It is the most collaborative art form in my opinion. If filmmakers ran the world we would get all sorts of stuff done and fast! I’m [referring to] production and crew though. Development is slow as a sloth trapped in molasses.

AP: There are a lot of people willing to help. I didn’t expect to find as many support systems as I have.

 

What is a typical day like for a producer during the production phase of a project?

SS: In the world of independent producing, days are often described as anything BUT typical. Each day of shooting brings new challenges.

Mostly, I try to do whatever it is that I can to keep the shooting schedule on track and to keep my crew moving at an efficient pace. I try to get a lot of the nitty-gritty work done and out of the way during pre-production so that I can expect my directors and departments heads to be prepared and ready to deliver.

KB: It’s putting out fires, placating ruffled feathers, keeping your eye on the ball while preparing paces ahead. It’s a lot of phone calls and emails, lots of coffee during the day and something a ‘lil stronger at the end of it!

AP: During production there is very little sleep. It’s getting to set early, making sure things are set up properly. Once the day is moving along, it’s time to get ready for the next day and the day after. It’s securing, confirming, and finalizing permits and talent. Helping to get call sheets ready, etc. Then, it starts all over the next day.

 

Where do you get ideas for projects?

SS: Strong stories are rooted in their characters and I like engaging with people to find my inspiration for characters. This has the added benefit of requiring me to practice active listening.

Having an eye for material that people will connect with is, for most, a skill learned over time. Some may possess this talent from early on but I believe the real skill necessary for a producer’s sustained success is the ability to exhaustively research the idea from its many angles so as to be able to cultivate it. Everyone has ideas but bringing them to life requires commitment to them.

KB: Books are my favorite source, news or feature articles are next. Personal stories are great when it’s unique, yet, universal.

AP: I have a great group of people that I reach out to. They are so talented. Sometimes their ideas spark ideas where I can also participate in the creative process, which is always rewarding.

 

What personality traits make for a great film producer?

KB: You have to be an entrepreneur in spirit and an artist in vision. You have to be dogged and determined. Never ever, EVER give up on something you believe in – all you need is one Yes. Shake off the No’s and the naysayers and keep going. When a project is picked up, sustain your initial vision while listening to and collaborating with the crew and cast. You’ve got to be like a conductor with the Philharmonic. The harmonious whole is what matters and you simply cannot achieve it solo. Understanding that is key so that your ego is not getting in the way of your art.

AP: Patience, being a good listener and being a quick thinker. Creatives will come to you in confidence to express frustrations or talk through creative blocks. By listening, they generally figure out what they ultimately want [to do]. And, like any creative project, things will fall through. Things will happen that are unexpected. By being a problem solver, it helps move the creative process forward.

 

What advice do you have for someone considering producing as a career?

SS: Find stories that fuel you and surround yourself with collaborators who complement your abilities. Also, dabble in other production work if you can manage to.

KB: It’s not really a career anyone CHOOSES because there’s no straight path, such as you get a degree and you hang a shingle and you’re ready for business. It’s something you build up to while doing other things. You’re working as a PA and making connections. Maybe one day you park someone’s car for them, and now you’ve got their ear. Maybe you tell them about the article you read, and maybe it comes to nothing, but at least now you’re in their mental Rolodex as a keen mind. Or, maybe you write a small piece and shoot it on your iPhone and get a ton of likes on Facebook. If you like the process so much, you do it again with a stronger script, better camera and an aspiring camera person who is also an extra on the show you’re day playing on. You’re building your network and sharpening you narrative sense while learning the techniques and tricks. There are just so many paths to it unless you’re Steven Spielberg’s offspring (and that comes with its own problems I’m sure!). If you like leading, collaborating, and bit by bit, creating a magnificent whole then trust yourself and start telling the stories that inspire you; use whatever you have access to. Especially today with no boundaries on format, medium, or budget – anything is possible as long as the story is interesting and timely.

AP: First and foremost, make sure the crew is always taken care of [on your project]. Network as much as you can. Also, make sure you always have an exit strategy and Plan B.

 

Stephanie Serra works as a producer and director in New York. She is the founder of TRISERRATOPS Productions, an independent production company dedicated to delivering content for and about children. Serra’s goal as a filmmaker and mission at TRISERRATOPS is to create films that broaden young audiences perspectives of the world. TRISERRATOPS collaborates with producers, directors, and writers, both domestically and abroad. TRISERRATOPS is currently developing a live-action series of short films for young audiences, as well as its first feature film. Serra’s film slate includes award-winning short films, CHRISTINE (2016), and STEEL (2014). TADPOLES (2017) a Norwegian co-production and Serra’s directorial debut is currently slated to premiere in the 2018 film festival circuit.

Krystia Basil has been producing since 2003. Basil has developed and produced narrative as well as documentary features & shorts. She has line produced reality television shows for History Channel, Animal Planet, HGTV, BBC and PBS. She has worked with celebrities such as Matt Lauer and Lara Spencer, as well as invested in and developed shows with emerging talent and new voices. Her passion is, and has always been, to collaborate with and consummate the vision of artists as they tell their stories through the screen.

Ashley Pacini is a TV and film producer and founder of The Reel Women, stories set up to support and celebrate women in film, television and media.

 


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com

Paying It Forward

A college-bound filmmaker gives back to the program that gave shape to his filmmaking aspirations

Jonathan Schneider, an 18-year-old graduate of Scarsdale High School is headed to Drexel University to study film and video production. He credits a week-long intensive course he took at International Film Institute of New York (IFI) in the summer of 2016 with helping him to realize that his love of film wasn’t just a hobby, but the career he wanted to pursue in college. He returned to IFI earlier this summer to volunteer as a producer’s assistant, helping students on the set of their short films for the second year in a row.

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“When I took the one week course, I learned about the bones and what goes into filmmaking and what the industry is really like. I was with some gifted teachers who showed me how in-depth such an art form can be and I got really into it. I saw that that’s what I wanted to do and that was only reinforced when I was asked to help out a week after and I was on a different film set every day,” Schneider says. “Not a single day was I unhappy or tired. I loved every second of it. I knew that it was something I wanted to do.”

IFI co-founder Misael Sanchez also got Schneider and two other IFI students positions as production assistants on Three Christs, an indie film that shot on the Sarah Lawrence College campus last year, starring Richard Gere, Peter Dinklage, Juliana Margulies and Bradley Whitford, among others.

“We basically would do whatever needed to be done. I sat for an hour watching Richard Gere’s green tea to make sure nobody got it,” Schneider recalls.

His experience on a professional film set was invaluable. “I got a feel for what it meant to be in a professional environment. It scared me a bit because I saw how stressful it was and how sometimes it’s not always a happy-go-lucky job, but I just think it was amazing. It also gave me hope because I know there’s a lot to do and there’s a lot of passion,” Schneider says. “It made it very real. Maybe in a month I went from seeing it as a hobby to seeing it as something I want to do with my life. And, I can only thank Misael and IFI for that.”

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At Drexel, Jonathan plans to double major in film and environmental studies. “What I’m really interested in is becoming an environmental documentarian or photographer of some sort because I care about the environment,” he says.

Thanks to the hands-on experience that IFI has equipped him with, he feels he has a head start. Besides his time volunteering with student productions and his PA experience on Three Christs, his connections with IFI instructors have paid dividends outside of the Sarah Lawrence campus, too.

“Last year I met IFI cinematography instructor Kate Montgomery. We worked outside of IFI for a while, I also PA’ed for her, doing gigs here and there. I met a lot of the people I know in the industry now through the IFI summer film program.”

It’s only natural that he’d want to pay it forward. Schneider says he came back to help out this summer not just for the experience, networking and connections, but the fun of seeing the lightbulb go off for budding film students.

“I love the atmosphere here,” he says. “It’s very creative. You have people who have never done film before but you also have people who do it all the time and they all get something different out of the experience. And, I love to teach so I love when somebody needs help with something and I can say, ‘I got this! I can help you out,’ it feels good and it makes me feel a lot more secure with my skills.”

At the end of the day, it’s fun.

“I wouldn’t really call this a job so much as just me doing what I like to do, helping everybody else out,” Schneider says.

 


The elements of a successful movie have remained constant since the inception of the art form. The International Film Institute of New York (IFI) was founded in 1997 to provide those with a sincere and abiding interest in filmmaking with a high-quality, low-cost education in all aspects of the filmmaking process: screenwriting, directing, producing, cinematography, and editing in a curriculum combining classroom instruction and hands-on technical workshops. http://www.nyfilmschool.com