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NEW IDEAS ABOUT OLD MODELS

Producing for Creation


Are you in a hurry?

In this post, I share my experience as a producer and consultant, reflecting on the attitude of some producers who respond with a "no" to creative demands, which can hinder the collaborative process. I advocate for the idea of "creative production," where the producer is not just responsible for financial matters but is a partner seeking solutions alongside the director and the client. I cite an example of a producer who emphasized that the focus should be on the film, not just on addressing isolated requests. I highlight that, when facing budget or time constraints, it is more productive to explore creative alternatives, such as using real people instead of actors or collaborating with internal teams. Additionally, I mention the Dogma 95 movement, which promotes creativity through restrictions, suggesting that these limitations can lead to more authentic and impactful results. I encourage a mindset shift, replacing "no" with "what if...," promoting co-creation and the pursuit of innovative solutions as a team to ensure that the final film is of high quality, regardless of the constraints.


During the past decade in which I have been working as a producer and consultant, I have observed how other producers and specialized areas in making audiovisual ideas viable within companies interact with their creative partners.


One of the attitudes I have always found difficult to understand is that of the producer who always says "no." Although, in most cases, this "no" is temporary and, with a little more effort, eventually turns into "yes," many use this strategy, I suppose, to validate the necessity of the request being made.


This attitude reinforces the idea that creation handles the creative part and production handles the money, which is partly true but does not encompass the complexity of the functions of each area.


If you've read some of my other articles or know a bit about my work, you know that I advocate for "creative production" as the truly effective approach for audiovisual projects. If you want to understand more about this role, which is well-known in the U.S. but is less commonly referenced here in Brazil, read "Creative Production - What Is It?".


In this sense, the producer would not only be responsible for negotiating and paying for what is requested and what they deem necessary for the execution of a project but also one of the creative minds responsible for thinking of solutions alongside the director or client. Just this change in perspective would prevent any producer from responding to a request with "no," as that would go entirely against their role in the project, which is to make it viable.


The owner of a large advertising film production company told me, during my time there as the head of new business, "we don't work for the client, nor for the agency, we work for the film." I understand that what he meant is that the team should focus on providing exceptional service, of course, but that this involves remembering that the client will not evaluate one aspect of the project separately from another. If the budget was low but the film turned out awful, what was the point of all the work?


It seems obvious when said like that, but when we are in the midst of production chaos, we can easily forget what the overall objective is, can't we?


I note that this attention is becoming increasingly essential, as budgets fluctuate wildly, deadlines change at a moment's notice, the client's hiring model becomes more participatory, or a pandemic affects our morale.


Let’s break it down:


If the budget is tight for the proposed idea, instead of saying "it's not possible," we could try to better understand the objective, what is essential about the idea, and work together with the creative team to find solutions. For example, what if we move from actors to real people, with real homes and real stories? The production works harder but spends less, yet the impact of the idea could be greater on the audience.


If the production timeline has tightened, perhaps we can discover something incredible that someone has already produced, or even make everything more minimalist and elegant.


If the client has their internal production team, why not collaborate with them to create something with more hands and minds, thinking of ways to facilitate their work while they facilitate yours?


And what if a pandemic hits and everyone has to stay home? Well, then please stay home, but that doesn’t stop you from observing what kinds of films can be made from there or what types of productions can be created within this "new normal."


If you’ve never heard of Dogma 95, let me tell you. In 1995, two Danish filmmakers created rules for making more realistic and less commercial films. The list includes things that CANNOT be used in the film's making. In film schools, a similar approach to Dogma is used to stimulate creativity, believing that imposing limitations should not go against creative work but rather support it. If we can't do what we know, then what can we invent?


Look up more details about the Dogma 95 movement online and think about how that script you were creating or budgeting would transform if it had to follow those rules.


I take this opportunity to make a provocative parenthesis: these are also the criteria for advertising films that have the most audience engagement, being more realistic and not blatantly appearing as advertisements. It’s no coincidence that TikTok is a success, right?


So, the next time you, as a producer, receive a demand that you’re unsure fits the timeline or your budget, instead of simply saying "no," say "what if...," work with the creation, swap ideas. And creatives, when you hear "no," ask "then, what do you suggest?"


Our goal is always for the film to be beautiful, regardless of the limitations we have. Let’s co-create, let’s make it happen; working as a team is just that.


Do you want personalized help? Contact me and let’s talk!

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