PGA HEALTH BENEFITS – KNOW YOUR OPTIONS p. 44
PRODUCEDBY THE OFFICIAL MAGAZINE OF THE PRODUCERS GUILD OF AMERICA // AUGUST | SEPTEMBER 2017
THOMAS “When I read the script, I knew he was never going to be satisfied making Dunkirk on a green screen stage in L.A.”
PRODUCEDBY AUGUST | SEPTEMBER 2017
THE COVER: EMMA THOMAS
22 THE COVER: EMMA THOMAS
7 FROM THE PRESIDENTS
Meet Christopher Nolan’s producer— for better or worse, for richer or poorer, in Gotham or in Dunkirk.
32 BOTH SIDES OF THE LINE Mainstream media and transmedia aren’t speaking the same language. Rhoades Rader can translate.
39 SECRET IDENTITY From procedurals to comedies, Josh Berman is ready to dig beneath the surface.
44 HERE’S TO YOUR HEALTH A guide to PGA health care options
It’s a crime.
50 FAQ: THE PRODUCERS MARK
Knowledge is power
56 THE BEST ON-SET PHOTO OF ALL TIME
Inclusion across the spectrum
ABOVE & BEYOND
No plan? No problem.
In too deep
COVER PHOTOGRAPHED BY KREMER JOHNSON PHOTOGRAPHY
ON THE SCENE Produced By Conference 2017
C O N G R A T U L A T I O N S
FORYOUR EMMY OUTSTANDING DRAMA SERIES OUTSTANDING COMEDY SERIES OUTSTANDING COMEDY SERIES OUTSTANDING LIMITED SERIES OUTSTANDING LIMITED SERIES OUTSTANDING TELEVISION MOVIE OUTSTANDING TELEVISION MOVIE
O U R
E M M Y
N O M I N E E S
CONSIDERATION OUTSTANDING VARIETY TALK SERIES OUTSTANDING VARIETY TALK SERIES OUTSTANDING INFORMATIONAL SERIES OR SPECIAL OUTSTANDING VARIETY SKETCH SERIES OUTSTANDING CHILDREN’S PROGRAM : STARRING CARRIE FISHER AND DEBBIE REYNOLDS
EXCEPTIONAL MERIT IN DOCUMENTARY FILMMAKING SPECIAL REPORT: A HOUSE DIVIDED
OUTSTANDING DOCUMENTARY OR NONFICTION SPECIAL
©2017 Home Box Office, Inc. All rights reserved. HBO® and related channels and service marks are the property of Home Box Office, Inc. Sesame Street ® and associated characters, trademarks and design elements are owned and licensed by Sesame Workshop. All rights reserved.
PRESIDENTS Gary Lucchesi
VICE PRESIDENTS, MOTION PICTURES David Friendly Lydia Dean Pilcher
The Coca-Cola Company salutes Fellow creators of moments of Happiness.
VICE PRESIDENTS, TELEVISION Tim Gibbons Jason Katims VICE PRESIDENT, NEW MEDIA John Canning VICE PRESIDENT, AP COUNCIL Carrie Lynn Certa VICE PRESIDENTS, PGA EAST William Horberg Kay Rothman TREASURER Christina Lee Storm SECRETARY OF RECORD Gale Anne Hurd PRESIDENTS EMERITI Mark Gordon Hawk Koch NATIONAL EXECUTIVE DIRECTOR/COO Vance Van Petten REPRESENTATIVES, PGA NORTHWEST Darla K. Anderson Sophia Kim NATIONAL BOARD Bonnie Arnold James P. Axiotis Gail Berman Gary Bryman Caitlin Burns Yolanda T. Cochran Karen Covell Donna Gigliotti Richard Gladstein Gary Goetzman John Hadity Jennifer A. Haire
OF DIRECTORS Marshall Herskovitz Lynn Hylden Pamela Keller Rosemary Lombard Kiran Malhotra Kate McCallum Chris Moore Bruna Papandrea Jethro Rothe-Kushel Charles Roven Peter Saraf Jillian Stein
EDITOR Chris Green
PARTNER & BRAND PUBLISHER Emily S. Baker CREATIVE DIRECTOR Ajay Peckham
COPY EDITOR Peggy Jo Abraham
PHOTOGRAPHERS Kremer Johnson Photography ADVERTISING Ken Rose 818-312-6880 | firstname.lastname@example.org MANAGING PARTNERS Charles C. Koones Todd Klawin Vol XIII No. 4 Produced By is published six times a year by the Producers Guild of America 530 Wilshire Blvd. Suite 400 Beverly Hills, CA 90211 310-358-9020 Tel. 310-358-9520 Fax
1411 Broadway 15th floor New York, NY 10018 646-766-0770 Tel.
FROM THE PRESIDENTS
IT’S A CRIME In the previous issue of Produced By, we were excited to read the feature story, “Standing Up to Cyber Threats,” which speaks to issues that have become vitally important to us personally, and to our profession as a whole. As that story makes clear, when we are making motion pictures and television programs, we increasingly are practicing 20th century art forms with 21st century tools. Those tools (like any) have innate strengths and weaknesses. Digital technology has vastly increased our creative capabilities—becoming invaluable to both our process and our product— but it has left us vulnerable in ways we don’t always appreciate. The digital workflow that allows us to shoot footage in Italy, cut it together in London and review the dailies the next day in Los Angeles is the same process that allows criminals to spirit that footage out of an edit bay on a thumb drive, or provides rich targets for outside data thieves and pirates. There are a variety of opinions on piracy, including a school of thought that regards it as a mixed blessing or even as a marketing tool, citing the buzz that sometimes attends the release of leaked content. Our position—and the Producers Guild’s position—is that piracy is a crime. Too many producers have seen unauthorized releases of their work sap the commercial potential of a project; the loss of such revenues hurts not only the producer’s bottom line, but any residual compensation due to our creative collaborators. If we wave the white flag over content piracy and determine that it’s a hopeless fight or a condition we simply have to live with, then we are reneging on the implicit bargains we have made with our investors, our distributors and our teams. It’s our responsibility to deliver a product that can be exploited as fully as possible within the marketplace, and in the current environment that means taking extra steps to ensure the security of our data and its distribution. If others want to declare piracy an insoluble problem, let them. We stand ready to try and solve it. Over the past several years, we have been meeting personally with a variety of top experts and consultants in the field. The more we’ve learned about the topic, the firmer our convictions have grown: This is a problem that needs to be solved with proactive measures. And
as we’ve conducted our research, another truth has become apparent—this is not a problem the Guild can address alone. It’s going to take investment and commitment at every level of our production and distribution process. A year from now, our term as PGA Presidents will be up. Our goal is to propose a way forward on piracy and content theft before we leave office. It won’t be simple or easy, but we’ve faced longer odds in our careers and still came in on schedule and under budget. We look forward to sharing our findings.
O P E N D O ORS
INCLUSION ACROSS THE SPECTRUM PGA EAST PUSHES FOR PROGRESS ON MULTIPLE FRONTS. Written by Rachel Watanabe-Batton
PHOTOGRAPHED BY APOORVA CHARAN
GA East Diversity and PGA Women’s Impact Network have embraced a leadership role in bringing the entertainment industry together globally and locally to create an honest and informed forum for discussing the difficult but increasingly quotidian questions around inclusion and bias—implicit, unconscious and systemic alike—and how they intersect. At the Cannes Film Festival this year, PGA WIN participated in “50/50 by 2020 – Global Reach,” a seminar on international strategies for achieving gender equality. In 2012, Sweden set a goal for 2020, that 50% of the country’s films would be written, directed and produced by women. The Swedes have already achieved 50% funding levels for women, inspiring countries like Norway, Canada and Ireland to follow suit. Anna Serner, CEO, Swedish Film Institute, moderated conversations with directors Agnieszka Holland, Jessica Hausner and international guests, including Lydia Dean Pilcher, PGA VP of Motion Pictures and Chair of PGA WIN. (Joyce Pierpoline, WIN Co-Chair, was an event coordinator.) Pilcher expressed concern for overcoming the perception of lack of opportunity, which has deflected women out of the business at all levels from high school career goal, to film school, to mid-career. “Systemic issues such as media stereotypes, which perpetuate limited career options for women and normalize sexual harassment, continue to be barriers for women in film globally. This is also a huge problem for building a female filmmaker pipeline in America. Addressing these issues of implicit bias is where our energy is now needed most.” Expanding domestic efforts toward inclusion logically led to the creation of the Neurodiversity Task Force. The group launched this May at The Players club in New York, spearheaded by PGA East Chair William Horberg and member Janet Grillo, who observed, “With 1% of the American population diagnosed on the autism spectrum, this has become a shared social circumstance. As storytellers, we have an opportunity, if not a responsibility, to build awareness and acceptance for people on the spectrum and their families.” By the close of the event, Horberg was excited and energized by the commitment and passion in the room. “It was really exciting and heartening to see the turnout and level of engagement among our members for this first event,” he shared. “There were a lot of sleeves rolled up and good ideas for telling stories about and making content with people on the spectrum.” (See page 21 for more on this special event.) These developments make it all the more exciting to be hosting our first Inter-Guild Diversity Coalition Mixer this summer with SAG-AFTRA and WGA East Diversity, aimed at members and staff engaged in advocating for diversity within their individual labor unions and guilds. The ad-hoc coalition has been meeting quarterly to share information about relevant developments across our industries to improve authentic representation and employment of historically underrepresented communities. Each guild takes turns hosting in its space, which creates camaraderie and literally a welcome seat at the table! ¢
Top: PGA Diversity East Co-Chair Rachel Watanabe-Batton and guest filmmaker Lap Leon conduct a breakout session at the Neurodiversity Task Force launch event. Above: PGA WIN Chair Lydia Dean Pilcher (center) with fellow “50/50 by 2020” panelists at Cannes
FX NETWORKS CONGRATULATES OUR EMMY AWARD NOMINEES Â®
O U T S TA N D I N G A N I M AT E D P R O G R A M
ADAM REED MATT THOMPSON
CASEY WILLIS BRYAN FORDNEY
NEAL HOLMAN ERIC SIMS
JEFF FASTNER CHAD HURD
O U T S TA N D I N G C O M E D Y S E R I E S
DONALD GLOVER DIANNE M cGUNIGLE
HIRO MURAI ALEX ORR
O U T S TA N D I N G L I M I T E D S E R I E S
NOAH HAWLEY WARREN LITTLEFIELD JOHN CAMERON JOEL & ETHAN COEN
BOB DeLAURENTIS MATT WOLPERT BEN NEDIVI MONICA BELETSKY
KIM TODD LESLIE COWAN CHAD OAKES MIKE FRISLEV
O U T S TA N D I N G L I M I T E D S E R I E S
RYAN MURPHY DEDE GARDNER TIM MINEAR ALEXIS MARTIN WOODALL
CHIP VUCELICH JOHN J. GRAY JAFFE COHEN
RENEE TAB MICHAEL ZAM JESSICA LANGE SUSAN SARANDON
A B O V E & B E YON D
KNOWLEDGE IS POWER Whether through YouTube videos or in-person seminars, PGA volunteers are getting the word out.
hen we’re talking about volunteers, “reliable” is a word that we love to have occasion to use. And the two gentlemen herein give us plenty of opportunities to use it. Matthew Skurow is the Chair of the PGA’s Online Video Committee. In this role, he not only produces the red carpet interviews at the Producers Guild Awards, but serves as video producer for the Produced By Conference. Matthew produced and co-hosted the Guild’s first ever livestream event at the 2014 conference and has worked diligently to build the Guild’s growing library of content, through its YouTube channel and member-exclusive video archive. Matthew volunteers, he says, because “The Guild has helped me to develop my career, and I believe that it’s important to give back. We are all striving to achieve the
P PETER HOFFMAN
same things while working with integrity and perseverance. I believe wholeheartedly in the ‘One Guild’ ideal.” Matthew believes that everyone should get involved with Guild service. “The rewards are beyond measure. Going old school, it creates relationships with other industry professionals that can provide insight into all aspects of the business. The Guild is what you make of it.” Matthew has been a member since 2011; when he’s not volunteering, he serves as Principal and Executive Producer at Miraculi Entertainment, an industry innovator in traditional and nontraditional media, dedicated to developing and producing award-winning film, television and digital content as well as large-scale stage shows and high-profile red carpet livestreams.
eter has become closely involved with the Guild since joining a couple of years ago, volunteering as a member of the Education Committee, as well as its Safety Task Force and Master Class subcommittees. Last year, he produced the seminar “Working with Kids and Animals” for the Safety Task Force. He has volunteered additional time on several PGA events, including the Committee Open House functions. Why does Peter volunteer? “I like helping other members put on successful events,” he smiles. “I know firsthand how much time and effort it takes to plan, organize and produce the seminars
and master classes. Everyone needs help at one time or another.” Peter continues, “I’ve met members from different councils and fields of expertise that I would never have met otherwise. My knowledge of our fastevolving industry has grown along with my network of colleagues and friends.” When not putting time into the Guild, Peter is a consultant in development and business affairs for television and film. Over the last several years, he has been working on developing and pitching three feature films and two television series. ¢
O D D NUMBERS
TUBE STAKES Big changes are afoot on your TV screen.
THE PAST YEAR DELIVERED A BUMPER CROP OF NEW SERIES. WHICH OF THESE ROOKIE SHOWS IS THE BEST BET TO MAKE A SPLASH AT THE EMMYS?
25% Stranger Things 18% Westworld 20% The Handmaid’s Tale 34% Atlanta 3% This Is Us
26% 7% 8% 43% 16% EVERY DAY WE HEAR STORIES ABOUT I’d miss my sports and live events. CUSTOMERS “CUTTING THE All the Seinfeld and Friends reruns are a comfort in these nervous times. CORD” AND ABANDONING I’m ridiculously wealthy. CABLE TV FOR ONLINE AND Actively trying to cut cord, but STREAMING still on hold with Comcast. MEDIA. SO WHY Without the commercial HAVEN’T YOU CUT breaks, when would I heat THE CORD YET? up my Hot Pockets?
The Fresh Prince of Bel-Air Dawson’s Creek The Facts of Life Quantum Leap Night Court
NETFLIX’S UNUSUAL PROGRAMMING STRATEGY HAS PAID DIVIDENDS WITH SERIES SEQUELS/REBOOTS LIKE FULLER HOUSE AND ONE DAY AT A TIME. WHAT CLASSIC SERIES FROM THE PAST GENERATION SHOULD BE REVIVED NEXT?
28% 18% 11% 33% 10% PRODUCED BY
C O M I N G ATTRACTIONS
PGA WEST AUGUST 19 THE OTHER HALF: WORKING WITH WOMEN AS PROFITABLE PARTNERS, NOT DEFENDANTS Produced jointly by the PGA Education Committee and Women’s Impact Network (WIN) this panel will create an environment to allow men to familiarize themselves with the challenges faced by their female colleagues, employees and team members. With women entering the workforce in record numbers, it has never been more essential to create safe working environments and recognize behaviors (intentional or unwitting) that can derail conversations and demean co-workers. This workshop teaches men how to advocate for the women in their life and build powerful, efficient and inclusive teams.
SEPTEMBER 16 WORKING WITH THE LAPD If you’re shooting in Los Angeles, you’re going to need to know how to make the most of your relationship with the Los Angeles Police Department. This seminar will address such topics as what the LAPD can and can’t do for producers; police protocol for interacting with productions; permits and media relations; preproduction training for tactics and firearms; and navigating the tension between real-life practices versus artistic choices. Experts will include LAPD’s Chick Daniel, technical advisor on productions such as Southland, Sicario and the Bourne franchise.
SEPTEMBER 23 FAITH AND THE FAMILY MARKET Though faith-oriented films and television have raised their profile over the past decade, the faith community remains an underserved market. To create successful faith-based content, it’s essential for producers to understand the values and production approach specific to the faith community. This seminar provides such information as basic “script DNA” for faith-based stories, an introduction to some of the major players in the genre, and the unique opportunities for marketing content to the faithful.
Top: Attendees network at Produced By: New York 2016. Above: Panelists at the PGA Women’s Impact Network’s “Pitch to WIN” event. Below: Donna Gigliotti hosts a post-screening Q&A with The Big Sick producer Barry Mendel.
PGA EAST OCTOBER 4 CHANGEMAKER SPEAKER SERIES: TAKING THE HELM WITH DONNA GIGLIOTTI Being a producer in today’s independent film market requires a multifaceted skill set, and acquiring an option to a good script is just the start. How do producers package projects, attach talent, work with agents, and secure financing for their projects? How do you decide which companies and partners to approach? What does it mean to take the helm as a producer? PGA Board member, Oscar winner and four-time nominee Donna Gigliotti (Hidden Figures, Silver Linings Playbook, The Reader) shares hard-won insights acquired over the course of a successful career bringing independent voices to the screen.
PGA MEMBERS: For more information or to RSVP for events, please consult producersguild.org.
New York City 718.706.9610
M E N TOR I NG M AT T E R S
NO PLAN? NO PROBLEM. A GREAT MENTOR CAN GUIDE YOUR CURIOSITY TO CONSTRUCTIVE PLACES. Written by Molly Perkins
our years ago, when I drove west out of my parents’ driveway in Tupelo, MS, I had no idea where my “hoped for” TV career would take me. Now as a producer on an award-winning weekly network show, I still wonder. I have worked for three seasons as an associate producer on CBS’s The Henry Ford’s Innovation Nation with Mo Rocca. I have been with the show since day one, and our small team built a successful educational and informational (E/I) program that has won two Emmys. Fast forward to today and I’m now a producer on Season 4. This show and my colleagues have taught me an immense amount about how to be an effective producer for non-scripted television. I am grateful for all I have learned here. However I am curious about other genres and how to “jump the tracks” into scripted, narrative content, both film and television. I applied to the PGA 2017 Mentoring Program in search of some general advice, insight and direction. I was delighted to be paired with Mara B. Waldman, Vice President, Production at Comedy Central. Mara has enjoyed a successful and varied career for over 20 years, with work that ranges from scripted television and film to documentaries and talk shows. When I first contacted Mara, she was prompt and courteous despite her hectic schedule, and we arranged a lunch meeting soon after. In the meeting, I came clean: I do not know where I want to be in five or 10 years, and that’s what I need help with. I do not have a specific goal, but more of a curiosity about other genres, larger productions, different workflows and how my strengths as a non-scripted producer can best support these. I was in need of advice on how I might fit into other projects and genres, at what level and how to get there. Firstly, Mara reassured me it was okay to not have a five- or 10-year plan mapped out. She said my next step is simply that: a step. She gave me excellent points regarding industry structure and practical advancement—the type of information that can only come from a veteran. She also shared what her dayto-day is like as VP of production on a variety of shows. We discussed which types of shows generate more fires and stresses on productions as a whole. This candid conversation helped rule out some areas of previous interest, as well. Mara also gave me some assignments: attend Movie Magic Budgeting and Scheduling workshops and start tinkering with budgets. These assignments were intended to bolster my existing skills with specific expertise needed to help facilitate a transition to scripted television and film. Though I came to Mara with an open book of aspirations, she was able to direct my efforts to specific tasks, strengthening my repertoire for my next move. She is gracious and approachable, and I look forward to future meetings. The PGA Mentoring Program provides an unprecedented opportunity to get one-on-one time with an industry veteran whose only interest is the success of the mentee. It’s a truly wonderful benefit and I look forward to a continuing professional relationship with Mara. ¢
“Though I came to Mara with an open book of aspirations, she was able to direct my efforts to specific tasks, strengthening my repertoire for my next move.”
SUSTAINABLE HEROISM FX’s Legion Pilots New Green Technologies WRITTEN BY Vijay Smith
s part of 21st Century Fox’s commitment to minimizing its environmental impact, the company recently focused its efforts on the production of FX’s Legion, the eight-episode drama from Fargo showrunner and PGA member Noah Hawley, set in the world of the X-Men. Over the course of the nearly six-month shoot, the crew implemented a series of ambitious measures to make the production as environmentally sustainable as possible. Legion is the latest in a long tradition of green production at Fox. The company has worked with production crews across its film and television projects to implement environmental best practices, and previous series such as 24: Live Another Day and The X-Files event series each broke new ground for the industry on waste and recycling. For Legion, Fox once again hired Zena Harris of Green Spark Group, who led similar efforts on The X-Files, to serve as sustainable production coordinator. Harris collaborated with each department, from props to wardrobe to transportation, to set goals around reducing waste, recycling and reusing set materials, and carefully monitoring energy consumption. By both building on the success of previous series and
identifying new opportunities for innovation, the crew managed to divert 55% of the waste from landfill, avoid 252 metric tons of CO2 emissions and collectively save nearly $48,000.
ENGAGING THE CREW Before filming began, Harris met with each department head individually to identify the unique sustainability challenges their teams faced and develop strategies to mitigate those challenges. Together they set goals and reviewed best practices, such as turning off set vehicles rather than let them idle, buying wardrobe from secondhand stores and distributing refillable water bottles to replace single-use plastic bottles. These policies drew largely from the Producers Guild of America’s Green Production Guide, which Fox developed in collaboration with its peer Hollywood studios. Producer Brian Leslie Parker shared these goals with the crew in an all-hands memo on one of the first days of production. Harris continued to engage the crew as shooting progressed, by including green tips on daily call sheets, sharing stats in weekly emails and posting green tip flyers in the production office.
GOING GREEN SOURCING MATERIALS
Responsibly sourcing wood products such as lumber for set construction and paper for the production office is a critical sustainability issue in the entertainment industry, and Legion is no exception. The crew took the following measures to address this matter: • 70% of the lauan plywood purchased for set construction received certification from the Forest Stewardship Council (FSC), a nonprofit that upholds indigenous peoples’ rights of ownership to natural resources and ensures loggers comply with all laws and environmental regulations. The certification guarantees that the plywood was sourced from responsibly managed forests throughout Southeast Asia, rather than forests typically marked by illegal logging and overharvesting. • The vendor, Westbay Foam, provided Pulp Art Surfaces, ecofriendly wall skins that are made from 100% recycled paper, cardboard and wood chips rather than traditional plastic-based materials. • 100% of the paper used during production was certified either by FSC or the Sustainable Forestry Initiative (SFI).
As with The X-Files event series, Legion benefited significantly from the green infrastructure in place in Vancouver. (Hydroelectric dams are responsible for 86% of British Columbia’s electricity.) By plugging into these clean power sources and taking the following steps, the production avoided an estimated 252 metric tons of carbon emissions: • When plugging into the power grid was not possible, the production used generators with a 5% biodiesel fuel blend (B5). • Transportation prioritized the use of fuel-efficient vehicles and also used biofuels where possible, including biodiesel B5 and a 10% ethanol blend (E10) in gasoline. • The production office requested the use of hybrid vehicles for car service pick-ups from the airport whenever possible. • The no-idling policy for transportation was implemented on the first day of production and led to an estimated $2,400 in cost savings. • The crew installed LED lights on sets and as overhead lighting in the studio wherever possible.
PILOTING NEW TECHNOLOGY
The team at Legion paid close attention to responsible waste management, working across departments to reuse and recycle materials wherever possible. Once initial strategies were in place, the team continued to monitor waste management tactics as the production went on, including replacing a waste-hauling vendor for improperly sending recyclables to landfill. An overview of additional waste reduction strategies is as follows: • By replacing the use of plastic water bottles with five-gallon jugs of water and reusable bottles, the production was able to avoid the use of 52,400 plastic bottles and saved more than $45,000. • Keep It Green Recycling collected paper, batteries, CD/DVD plastic, glass, foam, bottles, ink cartridges, paint cans, light bulbs and foam from the soundstages, wardrobe, set dec and construction buildings. • The construction department reused building flats and materials originally used to film the series pilot, rather than construct new ones. • Catering used compostable cups and reusable plates and cutlery, and used Foodee in the production office to reduce food waste. • Scripts were distributed digitally to reduce the amount of paper printed. • The wardrobe and set dec departments bought materials from secondhand stores wherever possible. • The makeup department recycled product packaging wherever possible. • All shooting locations, as well as food areas and the production office, contained recycling and compost bins. • Near the end of filming, the crew hosted a “Zero Waste to Landfill Lunch,” which succeeded in producing no waste at all from the meal.
Legion broke new ground by partnering with the vendor Portable Electric to become the first TV series ever to test the company’s new mobile power stations, designed uniquely for the entertainment industry. The units are battery-powered, eliminating the pollution, noise and carbon emissions that accompany traditional diesel generators. The Portable Electric units can integrate with existing generators and production equipment, powering lights, monitors, video equipment, catering and more. Legion piloted two of these units for several days on set and provided feedback for Portable Electric to continue to refine the product.
SUPPORTING THE COMMUNITY Beyond identifying ways the production could minimize its environmental footprint, the crew also seized multiple opportunities to give back to the Vancouver communities where filming took place. They collected redeemable bottles and cans separately from other recycling and then donated the money to the Canadian Mental Health Association. In addition, the crew participated in the annual Reel Thanksgiving Challenge, promoted across the entire Vancouver film and television industry, in which productions compete to see how much money they can raise for the Greater Vancouver Food Bank. Legion raised nearly $2,000 in monetary and food donations. ¢
CORRECTION In last issue’s “Going Green,” a caption mischaracterized Eric Stoltz as a cast member of the series Madam Secretary. While Eric has occasionally appeared in the series, his primary contributions are as a producer and director. Produced By offers its sincere apologies to Eric and the Madam Secretary team.
ON THE SCENE
PGA FLOCKS TO FOX FOR PRODUCED BY 2017 PRODUCED BY CONFERENCE, JUNE 10-11, 20TH CENTURY FOX STUDIOS If there was a theme to this summer’s Produced By Conference, it could probably be found in the exciting contrasts to be found throughout the event’s three venues. Attendees thrilled to the sparks thrown off by such meetings of the minds as those between TV idol Norman Lear and satire maestro Jordan Peele; Netflix content chief Ted Sarandos and comedy legend Jerry Seinfeld; multi-Oscarwinner Damien Chazelle and multi-Emmy-winner John Wells. That’s not even to mention Shawn Levy and his partners from 21 Laps (Stranger Things, Arrival), the conference’s popular real-time pitch critique session, and the headlining duo of Oprah Winfrey and Ava DuVernay. The weekend was capped off by an entirely new Sunday afternoon event, the Producers Mashup, which gave tables of attendees the chance to log facetime with a variety of mentoring producers and development executives in film, television and digital media. This may not have been the first year when we came away from the Produced By Conference thinking it was “the best one ever.” But this was the first year where everyone we spoke to seemed to agree. Photographed by Jordan Strauss/Invision for pga and Richard Shotwell/Invision for pga
Speakers Oprah Winfrey and Ava DuVernay with moderator Bruce Cohen
Speaker Jordan Peele
Speaker Ted Sarandos tries to coax a hug out of moderator Jerry Seinfeld.
Attendees peruse a technology display while lining up for a popular session.
Speaker Sarah Schechter critiques a pitch during the “Art and Craft of Pitching for Film & TV” session, alongside (from left) conference co-chair Marshall Herskovitz and fellow speakers DeVon Franklin and Gloria Calderon Kellett.
Speaker Pearlena Igbokwe
Moderator John Wells with speaker Damien Chazelle
ON THE SCENE
PGA President Lori McCreary chats with speaker DeVon Franklin in the Film In Illinois & Delta Air Lines Speakers Lounge.
Speaker Ty Warren (left) shares a laugh with conference co-chair Ian Bryce in the Speakers Lounge.
Conference co-chair Rachel Klein (L of center) with speaker Daisuke â€œDiceâ€? Tsutsumi, moderator Jade McQueen and speaker Robert Kondo
Speaker Daryn Okada
Speakers Steve Lukas and Frank Patterson From left: PGA President Gary Lucchesi, speaker Carla Hacken, PGA East Chair William Horberg
Mentor Jonathan Murray advises an attendee during the Producers Mashup.
Moderator Norman Lear
PGA National Executive Director/COO Vance Van Petten serves as designated conductor of the Producers Mashup.
From left: Speakers Dan Cohen and Shawn Levy, PGA Associate National Executive Director/COO Susan Sprung, speaker Dan Levine, moderator Pete Hammond
Speaker Malia Probst
Speaker Neville L. Johnson
ON THE SCENE PRODUCED BY CONFERENCE, JUNE 10-11, 20TH CENTURY FOX STUDIOS (continued)
Mentor John Canning advises an attendee at the Producers Mashup. Speakers and attendees enjoy some morning networking.
Moderator Sanjay Sharma, speaker Kevin Turen and PGA East Managing Director Michelle Byrd enjoy the Speakers’ Lounge.
Speaker David Madden answers a question from moderator and conference co-chair Tracey Edmonds.
Mentor Courtney Kemp shares her prespective at the Producers Mashup.
DEEP DIVE VR/360 - FROM PRE-PRODUCTION TO POST, JULY 15, RADIANT IMAGES PGA New Media Council Board Delegates, John Canning and Kate McCallum produced an informative half-day overview of VR/360 live action capture from pre-production to production to post co-hosted by Michael Mansouri at Radiant Images. Two panels of experienced producers and experts spoke on the production process and distribution opportunities for producers. Radiant also provided tech stations showcasing equipment provided by a variety of companies and manned by experts ready to describe the multitude of technologies and processes available for VR production.
Tech Expert James Tucker-Robbins demos the Sony AXA rig . Check-in volunteers check out some VR hardware.
360 Live Director Dirk Wallace runs the VOYSYS enhanced live 360 broadcast.
The fantastic turnout at Radiant Images
PHOTOGRAPHED BY CHRISTIAN MEOLA/RADIANT IMAGES
Alton Glass observes an AXA POV Rig demo .
From left: panelist Matt Hooper of IME, PGA New Media Council board members Kate McCallum and John Canning, Radiant Images’ Michael Mansouri
ON THE SCENE ACROSS THE SPECTRUM, MAY 25, THE PLAYERS The PGA’s newly formed Neurodiversity Task Force launched with an informative and heartfelt event at The Players club, advocating for a new approach to making stories with and about individuals diagnosed on the autism spectrum. The event opened with a panel discussion focused on autism-related content—such as Sesame Street’s recent introduction of a muppet with autism, and the award-winning romantic comedy Keep the Change—before moving into breakout sessions to allow attendees the chance to respond to the issues and discuss approaches in a small-group setting.
Event co-chair and PGA member Janet Grillo (center) leads a breakout session. Left: attendee Deborah Hamm
PHOTOGRAPHED BY APRIL CHANG
Benjamin Lehmann and Autumn Zitani present their work with Sesame Workshop and Sesame Street.
From left: event co-chair Janet Grillo, Exceptional Minds co-founder Yudi Bennett, Sesame Workshop senior director Autumn Zitani, Sesame Street supervising producer Benjamin Lehmann, Keep The Change writer/director Rachel Israel, moderator William Horberg
PGA EAST GENERAL MEMBERSHIP MEETING, JUNE 28, RETRO REPORT
PHOTOGRAPHED BY APRIL CHANG
Hosted by PGA East Chairs William Horberg and Kay Rothman, the PGA East’s annual General Membership Meeting was a great opportunity for members to reconnect and get excited for the months ahead. PGA Associate National Executive Director/COO Susan Sprung reported on the state of the Guild; a multitude of committees welcomed members and encouraged them to get involved; and the assembly saluted PGA East mainstay Harvey Wilson, recognized this year with the PGA’s highest service honor, the Charles FitzSimons Award.
PGA East members pack Retro Report for the meeting..
PGA East Chairs William Horberg and Kay Rothman
PGA East shows its gratitude to Charles FitzSimons Award recipient Harvey Wilson.
EMMA THOMAS H
ER SITUATION IS, ADMITTEDLY, A LITTLE DIFFERENT THAN MOST OF HER PRODUCING PEERS. THE “RESTING STATE” OF MANY PRODUCERS IS TO HAVE A MULTITUDE OF PROJECTS
IN VARIOUS STATES OF DEVELOPMENT OR PRODUCTION, FOLLOWING THE HEAT WHEREVER AND WHENEVER IT APPEARS. AS OPPOSED TO EMMA THOMAS, WHO AT ANY GIVEN MOMENT IS WORKING ON ONE PROJECT, AND THAT PROJECT ALONE. MOST PRODUCERS ARE CONSTANTLY SEEKING AND CULTIVATING NEW CONNECTIONS AND INDUSTRY ALLIES. THOMAS’ CAREER TO DATE IS THE PRODUCT OF A SINGLE RELATIONSHIP THAT SPANS HER PERSONAL AND PROFESSIONAL LIFE—SHE’S THE PRODUCER, WIFE AND ESSENTIAL CREATIVE PARTNER OF VISIONARY FILMMAKER CHRISTOPHER NOLAN. A CHANCE MEETING DURING THEIR FIRST DAYS AT UNIVERSITY COLLEGE LONDON BLOSSOMED INTO A DECADESSPANNING COLLABORATION, YIELDING NOT ONLY CONTEMPORARY CLASSICS LIKE INCEPTION, THE PRESTIGE AND THE DARK KNIGHT TRILOGY, BUT FOUR CHILDREN AS WELL. If Thomas’ role as a development producer is by its nature narrower than that of her peers, the challenges she faces in prep and production are almost certainly more expansive—service as Chris Nolan’s producer means that it’s on her to bring to life such elements as interstellar travel, dreams within dreams within dreams and a teeteringon-the-brink Gotham City. One of the few filmmaking teams who appear determined to push the envelope with every new outing, Thomas and Nolan most recently have raised the bar with their thrilling war film, Dunkirk. A compact epic, its elegant cross-cutting narrative, historical authenticity and exhilarating camera work have earned the duo some of the best reviews of their storied careers. We were fortunate to catch up with Emma Thomas at the Dunkirk press junket at Santa Monica Airport’s Barker Hangar. For someone whose work has taken audiences to the outer and inner edges of the known universe, Thomas is reassuringly grounded and accessible. Nearly 30 years into her film career, she sounds as surprised as anyone to have wound up an essential contributor to some of the most successful and admired films of the current generation. Even amid the buzz of the junket, she’s relaxed and friendly. She admits that it helps that everyone seems to really like the film, and anyway, with regard to the press, the stakes for her are lower: “Nobody is that interested in producers,” she deadpans. Not if we have anything to say about it.
Photographed by Kremer Johnson Photography
Interview by Chris Green
COVER STORY: EMMA THOMAS
I HAVE TO IMAGINE THAT BEING IN THIS POSITION, AS A BLOCKBUSTER MOVIE PRODUCER, WAS NOT YOUR CAREER TARGET, GROWING UP.
also Jane Frazer, who was my immediate boss. I ended up working as an in-house physical production coordinator. In the meantime, on weekends, we were making our own films.
It never occurred to me that it was even a possibility.
SO, WHAT LEFT TURN BROUGHT YOU INTO PRODUCING? I completely fell into it. My dad was a diplomat, a civil servant. My mom was a stay-at-home mom. I assumed I was going to go into the Foreign Service like my dad. And my first day at university, I met a guy called Chris Nolan. He had always wanted to be a director. I was really fascinated by that, because I didn’t know anything about that world. It was right at the beginning of the school term time when everyone is joining lots of different clubs and societies. And he said, “I’m going to go make films in the Film Society.” I thought, “Well, that’s kind of interesting.” I mean, how do you even do that? I had no idea. So it really started as a social thing. That was just the group of friends that I connected with. I had no idea what a producer did, but I started helping Chris make his films, and that was kind of the beginning of it. So by the end of university, I decided I didn’t want to go into the foreign office. Chris had some ideas for films, and I figured I’d try and get a job in the film industry. But of course we were in England; there weren’t a huge number of film companies around. But there was one called Working Title. They ran an internship, where you could be a runner for two weeks for free. I did that, and afterwards got my first job with them as a receptionist. I remember my dad came down to meet me. He took me out to lunch and he had a pile of brochures from the civil service in England. I think he was pretty horrified that I had gone to university, the first one in my family to do so, and then I was taking a job as a receptionist. But that was the beginning of it. I learned an enormous amount from watching Tim Bevan and Eric Fellner but
I THINK THAT OUR FILMS, WHATEVER THE SIZE, ALL FEEL VERY SIMILAR ON SET, AS STRIPPED BACK AS POSSIBLE AND REALLY FOCUSED ON THE WORK AT HAND.” SO TALKING ABOUT TIM AND ERIC AND JANE, WHAT SORT OF INFORMATION AND EXPERIENCE DID THEY IMPART TO YOU?
Tim and Eric, they were head and shoulders above everyone else in England at the time, making films in what I want to call an “American” way. They had very commercial sensibilities but at the same time really cared about script and the artistic integrity of their films. Jane taught me everything about the nuts and bolts of filmmaking and what it takes to make a film, from how a production report works to insurance and budgeting. What was most amazing about her was that she was incredibly generous with her time and her expertise and never made me feel like I didn’t have a right to ask questions. She was incredibly encouraging and I’m enormously grateful to the three of them. When the time came, Chris had finished making this film called Following, which we shot on weekends with no money whatsoever. We were looking at the way independent films were discovered in the U.S., and it seemed very much as though we needed to do the film festival thing. I was talking to Jane about what I wanted to do next and she said, “Well, you could go and work on one of our productions, if you want. Or maybe you could go and work in our LA office.” And of course I went straight for the LA office. That was where I needed to be if we were going to figure out how to put this film that we had made out there.
LANDING IN LA FOR THE FIRST TIME, WAS THERE A MAJOR CULTURE SHOCK? The system here is very different, with the agencies and the studios and so on. Just learning who everyone was and how it all worked was an incredible eye-opener for me. In the meantime, we were submitting Following to festivals. I look back now and I think, “Gosh, you were so naïve.” Because we really believed that if we just sent these tapes out cold, they would get discovered. We were incredibly lucky that anyone ever watched the film or managed to pick it up from the pile. We did manage to get Following into a couple festivals, including the San Francisco Film Festival. We had shot the film on 16mm but cut it on tape, and we had to have a print to
COVER STORY: EMMA THOMAS
PHOTO BY MELINDA SUE GORDON
Producer Emma Thomas chats between takes with cast member Harry Styles on the set of Warner Bros.’ action thriller Dunkirk.
show, which was going to cost us $6,000. We had to raise the money. It was the most intense and insane experience of our lives because we got the print made in the UK, and our lead actor flew the print up to San Francisco. I mean, it had just been finished. He flew it out with hours to spare before our first screening at the festival. The first time we saw this print was when it ran in the theater. I look back on it now and I think we were mad to do that. After we had a successful screening in San Francisco we hooked up with an amazing guy named Peter Broderick who ran a company called Next Wave Films. Peter gave us finishing funds so that we could blow the film up to 35 mm, and helped us get distribution. We played a bunch of other festivals, while in the meantime, Chris had been writing Memento. On the back of the small-scale success that Following had, we managed to get Memento going.
ONE OF THE GREAT THINGS ABOUT YOUR AND CHRIS’ CAREERS IS THAT THE EARLIER FILMS EACH DEMONSTRATE A CLEAR GROWTH IN TERMS OF SCALE AND PRODUCTION COMPLEXITY. Exactly. I would say that the leap from Following to Memento is by far the biggest leap we’ve made. When you look at Chris’ body of work on paper, you would probably think that Insomnia to Batman Begins would be the biggest leap.
I ADMIT, THAT WAS MY THOUGHT, AT FIRST. To me, the biggest jump was actually Following to Memento, because although Memento was a miniscule budget by comparison with the films that we subsequently made, it was the first time that we were making a film with somebody
else’s money. You’re no longer pleasing yourself. On Following, we could do whatever we wanted. We controlled every aspect of it. We didn’t have anyone giving us notes. I mean, it was incredible, looking back. On Memento, there were a lot of people with a great deal of money invested, and if they didn’t have money invested, they had their reputations invested. So you find yourself having to do a lot more explanation of what you’re doing.
ESPECIALLY WITH A STORY LIKE MEMENTO . Especially with Memento. Memento was a script that when I first read it, I remember very clearly a lot of going back and forth among the pages. It was definitely a challenging script, pushing boundaries in a very unique way, just a very different experience. All credit to Newmarket and [producers] Aaron Ryder and Jen and
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COVER STORY: EMMA THOMAS
PHOTO BY DAVID JAMES
Producer Emma Thomas (right of center) on the set of Batman Begins, alongside director and writer Christopher Nolan (center).
Suzanne Todd for taking a chance on it. It was an incredible act of faith in Chris and in the script and just ballsy beyond belief. I mean, it changed everything for us. I’m eternally grateful for that.
WHAT ABOUT THE LEAP FROM MEMENTO TO INSOMNIA , YOUR FIRST FILM IN THE STUDIO SYSTEM? Yes, that was the first film that we worked on with Warner Bros, with Broderick Johnson and Andrew Kosove of Alcon financing and producing it along with Ed McDonnell and Paul Witt. I went into the project with no credit or position guaranteed, but after seeing the way I worked with Chris, Andrew and Broderick generously gave me the credit in addition to allowing us to develop our own relationship with the studio. It was really interesting to cut our teeth on a studio film, which is a very different kettle of fish then an independent film. It was really interesting to cut our teeth
on a studio film, which is a very different kettle of fish than an independent film. I mean, Memento, for example, we didn’t have distribution when we were making that film. That was a process that came later. So when we shot Memento, it was a very pure sort of production process. Whereas on Insomnia, we were already in the studio system …
YOU HAVE A SLOT AND MAYBE A RELEASE DATE… You have a slot. And in casting of the film, there are names that you have to attach. It’s just a massive education.
MANY PRODUCERS SAY THAT’S THEIR FAVORITE PART OF THE GIG, THE WAY THE JOB IS A CONSTANT LEARNING PROCESS. Exactly. Somebody asked me a question earlier, to the effect of, “How do you keep excited about your job?” And I felt like, it’s so obvious to me! Because every two years,
it’s like we’re living in a different universe. Every film has a new set of challenges and a new set of people and personalities and I think that’s massively exciting.
WHAT ABOUT THE EDUCATION IN BLOCKBUSTING FRANCHISE FILMMAKING, WITH BATMAN BEGINS ? That was definitely a kind of baptism by fire. It was a whole different level. For a long time on Batman Begins, right up until we started shooting, it was just Chris and I. There was no other producer on it. In fact, Chris wasn’t a producer on Batman Begins.
CHUCK ROVEN PRODUCED IT, RIGHT? Yes, Chuck came on to produce it with me, and we formed a great working partnership which lasted for four films, including Man of Steel, where he took the lead. But we approached it very much as we approach all of our films, which is that we keep it to as small a group as we
COVER STORY: EMMA THOMAS
possibly can. Particularly on set, I think that our films, whatever the size, all feel fairly similar, as stripped back as possible and really focused on the work at hand. In many ways there are a lot of benefits to making a film like a Batman film within a studio system because it’s so important to the studio that you’re never going to fall between the cracks when it comes to marketing or whatever. As long as you’re all on the same page about the film that you’re making and there’s a level of trust between you and the studio, it’s a pretty fantastic way to make a film. I think it’s much harder to make a non-branded film. I mean, they don’t even make films like Insomnia these days. But if you were in the $50 million cop thriller category, fighting for their attention against these huge branded properties I think would be really, really tough. So Batman Begins was eye-opening all around, but I definitely feel like we benefited from the high-profile nature of the character. Of course, that makes the pressure harder in some ways, but we felt very confident about the film we were making. As long as the core of the project is solid, then you can deal with that stuff. I really can’t reiterate it enough: Chris does produce on all of his films … I think Batman Begins was the last one that he didn’t. But as a director, he is a producer’s dream. I remember Chuck saying that once—and it’s because he’s incredibly responsible and articulate in terms of what he wants. People, I think, have the notion that everything is very secret and closedin with Chris. He does ask that we keep the circle small. But he never holds the studio at arm’s length. He brings them in, because ultimately he understands that it’s a partnership and if you fight them, they’re going to come down on you harder. It’s so much better to have an open dialogue, show them what you’re doing and bring them into the process, so that they can be invested in what it is you’re trying to achieve as much as you are.
STUDIO IS GOING TO LET HIM DO WHAT HE WANTS TO DO. BUT EARLIER IN YOUR GUYS’ CAREER, BEFORE YOU BUILT THAT TRUST, HOW DID YOU WORK WITH THE STUDIO TO CONVINCE THEM TO TAKE THE RISKS YOU FELT YOU NEEDED TO TAKE?
RELATIONSHIP WITH CHRIS, HOW DOES THE PARTNERSHIP WORK AT THE VARIOUS STAGES OF PRODUCTION? THAT COLLABORATION MUST OPERATE AT DIFFERENT LEVELS AT DIFFERENT STAGES OF THE PROJECT.
I think you just have to work harder. We’re very lucky in that Chris has achieved that level of trust with the studio that has enabled him to make a film like Dunkirk, that I think another filmmaker, who wasn’t in his position, might not be able to make. For that film, the process of explaining to Warner Bros. what it was about the story that we felt was the reason we should make it was a fairly easy process, because they know that when Chris says he’s going to deliver something, he will deliver it. Obviously that wasn’t always the case. At the beginning of Batman Begins, for example, where we were taking the studio’s crown jewel and doing something different with it, I would say the biggest difference was in the pitching process, whether it be pitching what the story was or illustrating for them what the design was going to look like, on the car, for instance. We had to devote a bit more attention to that. To me, it speaks to Chris’ openness, which I generally don’t think people realize is a characteristic of his because they tend to think it’s all secrecy. But on that film when he was developing the script with David Goyer, we had Nathan Crowley simultaneously working in our garage in a sort of early form prep, designing an early version of the Batmobile. So when the studio read the script they also were able to look at the very early designs for the car, which was a very good illustration of how different the world was going to be.
Definitely. I would say I’m usually the first person that gets to see the script. From the moment he has an idea, he’ll tell me, generally speaking, what the idea is. And then he’ll go away, and he’ll write something or he’ll think about it. Then he’ll come back and tell me about it. And then I’ll read the script. I’ll tell him what I think. But I very much view my role as being a facilitator, someone who’s there to help him achieve his vision.
IT MAKES A BIG DIFFERENCE TO BE ABLE TO GIVE THEM SOMETHING CONCRETE LIKE THAT.
AT THIS POINT I IMAGINE CHRIS HAS BUILT THE TRUST THAT A
SO, IN TERMS OF YOUR PERSONAL AND PROFESSIONAL
THAT’S THE PRODUCER’S JOB, AFTER ALL. That is ultimately what we’re here for. Being married to each other, he can be very confident that I only have one agenda, which is to make the best film that we possibly can make. I don’t work with other directors. I don’t work on other projects. I don’t have anything else going on other than making the best film that we possibly can, and I have utter faith that the best film that we can make is going to be the one that he wants to make.
OKAY. WELL, LET’S JUST TAKE DUNKIRK FOR EXAMPLE. FROM THE MOMENT HE SAYS, “I THINK DUNKIRK IS WHERE MY HEART IS TAKING ME,” WHERE ARE YOU? IS THERE A MOMENT WHERE YOU START THINKING, “OH NO. THAT MEANS WE’RE GOING TO HAVE TO SHOOT A MOVIE ON THE WATER…?”
AT WHAT POINT DO YOU START HAVING INDEPENDENT IDEAS THAT YOU MAY OR MAY NOT SHARE? AT WHAT POINT DO YOUR “PRODUCER WHEELS” START TURNING?
COVER STORY: EMMA THOMAS
From the beginning, from the moment I read the script, I’m thinking about those logistical aspects. “Oh my God. How on earth are we going to do this?” Particularly as it related to this film. We’re at the point now where I have such a good sense of how Chris is going to want to make a film that when I read the script for Dunkirk, I knew he was never going to be satisfied making this on a green screen stage in LA. I knew immediately that this was going to be the “location version” with real planes and real boats and real everything to the degree that we could get them.
INCLUDING—SIGNIFICANTLY, I HAVE TO BELIEVE—A REAL OCEAN. That’s something we hadn’t really done before. The first thing that enabled us to pull it off was finding a really fantastic marine coordinator, Neil Andrea. Because the logistical issues with shooting on water are just bananas, even assuming that the weather is good—and that’s a big assumption to make when you’re also shooting in Northern Europe. We were shooting on a small boat that fit maybe three actors on there at any given time and a bare minimum crew: Chris, [DP] Hoyte [Van Hoyteme], first AD, sound. I would be on there if I could be.
AS WELL AS ONE OF THE BIGGEST CAMERAS IN EXISTENCE. Oh yeah, plus an IMAX camera! It was just so fascinating. I mean, I have this amazing visual in my head: There’s the Moonstone [a small family boat that plays a significant role in the story] and then behind it you have the safety boat, the camera boat, hair and makeup boat, stunts. I mean, just a trail of boats, one after the other. It was absolutely incredible.
IT SOUNDS LIKE YOU NEEDED YOUR OWN LITTLE DUNKIRK FLOTILLA FOR EVERY SHOT. Exactly. And then of course the shot is all fine, but then as soon as it turns in the other direction, then all of those
people and boats have to get out of the way. And then there’s the question of where everyone goes to the bathroom. How does everyone eat? It took us at least 45 minutes to get out to where we were shooting every day. So we would go out there, shoot, then we had a PA just bringing lunch boxes out to everybody. We’d eat on the boat and then come in at the end of the day.
could’ve fought to try and get more money than we ultimately asked for. But Chris never wants to make a film that is asking to fail. If we had made this film for too much money, then it would’ve made it that much harder to make a film that would be financially profitable for the studio. Ultimately, we want to keep making films. So we were in lock step from the beginning about how much we felt was the
“THE FACT THAT HE IS VERY RESPONSIBLE ABOUT MAKING COMPROMISES IN OTHER AREAS MEANS THAT I TOTALLY TRUST HIM WHEN HE SAYS, ‘NO, THIS IS SOMETHING I NEED.’” It was insane on every level. Things like boat-to-boat transfers are incredibly dangerous. So you have to be really careful about making sure that when you go out in the morning, as far as possible everyone is on the boat that they’re going to stay on. Obviously people do have to go from one boat to another. But you’ve got to be really careful about it. The making of the film is very important, but the most important thing is safety. Because it’s going to be a great film, but ultimately we want everyone to get home in one piece.
correct amount to ask for to tell this story. We knew it was going to be extremely challenging,shoehor because we have significantly less than we had on the last few [films], given the fact that we knew we were going to be casting unknowns in a lot of key roles. And it’s a very English story. It doesn’t feature anyone in tights and a cape.
NOTHING WRECKS A SHOOT LIKE SOMEBODY GETTING HURT, OR WORSE.
Oh, I know! [laughs] But we agreed on what the budget was going to be. Then we started talking. “Okay. Well, within that number, how exactly are we going to do it?” That’s when we begin to get slightly more into the territory of him saying, “Well, this is the way I wanted it.” And I don’t say, “No, you can’t do it that way,” but what I say is, “Are we really sure that that’s where we want to devote our resources? Is it really going to be
Exactly. As I said, he’s a producer on the film, and he’s a very responsible director. Safety is paramount. Likewise, he’s not a director who has any interest in making a film that doesn’t have the chance to succeed. Yes, Dunkirk would’ve been a lot easier to make if we’d have doubled the budget. I think there is a world in which we
ARE YOU SURE YOU COULDN’T HAVE SHOEHORNED SOMEONE IN THERE? “DUNKIRK MAN” COULD’VE REALLY PUT YOU OVER THE TOP.
COVER STORY: EMMA THOMAS
PHOTO BY MELINDA SUE GORDON
Emma Thomas on location for Dunkirk with a multitude of colleagues, including cast member James D’Arcy (left).
worth it? Are we going to, at the end of the day, feel like, ‘Damn, we should never have spent that money there because we could’ve put it somewhere else?’”
CAN YOU RECALL A CONVERSATION LIKE THAT THAT YOU GUYS HAD ON THIS MOVIE? There’s a shot in the film where all of the little ships are approaching. They’re on their way to Dunkirk and the Moonstone goes past a big destroyer. And there’s this seemingly endless row of soldiers on the deck, all lined up on the side. That destroyer was a real French ship called the Maillé-Brézé. It cost us a lot to bring that. It was in a berth in Nice or somewhere near there, and it didn’t have an engine. We had to tow it up. It was a very big deal to get it, but it was the only destroyer that we were able to get. We were getting fairly close to the shoot, but we hadn’t quite pulled the trigger on it coming yet. I was asking, “Are you sure? Couldn’t we just do this with visual effects?” We had all these other ships that kind of looked enough like destroyers that we could have made it work.
SHOOTING THE BOW FROM THIS ONE, THE STERN FROM THAT ONE… Exactly. I was thinking, “Can’t we just do something like that?” I really made quite a half-racket to get rid of the Maillé-Brézé. And Chris said, “No, I think that this is going to be an important shot. I think it’s going to be a defining moment in the film. I really want to be able to see the little boats next to the destroyer.” So I gave in. “Okay, fine.” And when I watch the film now, for me it is a defining moment. I don’t think there’s any way that we could’ve replicated it with a visual effects solution. So I think that a big part of a producer’s job is knowing when to trust your creative partner, and I am extremely lucky in that my creative partner is somebody who is very clear about what he needs and what he doesn’t need. The fact that he is very responsible about getting rid of stuff and making compromises in other areas means that I totally trust him when he says, “No, this is something I really need.” Another massively important part of our job as producers is working with the
marketing department of the studio. At every step of the process of making our films, we’re bringing the studio in to see the early concept work or to see designs or just to talk about what it is that we see as being the reason for making this film. One of our jobs as producers is explaining to people what’s special about this film, why they should bother to come out to the cinema and spend two hours in a darkened room looking at lights dancing off a screen. And over the course of making the film, we gradually develop that from those earlier conversations about design and concepts.
THE PEOPLE AT THE STUDIO… THEY’RE YOUR FIRST AUDIENCE, BASICALLY. They’re our first audience. Exactly. I think that completely crystallizes what it is that I’m saying. We want the studio to be as invested in this, in our film, as we are. The thing about producing, which I always think is so fantastic and fun, is that there are so many different elements to it. Other than the director, there’s really no one else who’s on the film from conception to beyond release. And I love that.
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BOTH OF THE SIDES LINE Mainstream media and transmedia aren’t speaking the same language. Rhoades Rader can translate. Written by Kevin Perry | photos courtesy of Red Herring Films
t the intersection of big-screen crowdpleasers and second-screen obsession lurks a little something called the audience. We navigate from viral cat videos to Oscar-winning movies like a techsavvy Tarzan, swinging from one digital vine to the next with curious abandon. So, who can tame our wild ways? Enter Rhoades Rader. My first impression of Rader was a gleeful blend of self-deprecation and irony. Before we met for the first time, he emailed me a helpful tidbit. “I’ll be with a white fluffy [dog emoji]. So I’ll be the one looking like a super villain, only less super and not as intelligent.” Moments later, he indeed strolled up with his trusty canine companion (Falkor) at his side. Rader sported a vintage grey T-shirt that read, “Another Sleazy Producer” in disco orange font. Falkor wore a fetching pink collar. Sleazy producer, eh? We’ll see about that.
BOTH SIDES OF THE LINE
Rader embodies the link between mass media and the very digital revolution that challenges its hegemony, and he has welcomed this clash of contradictions for years. While at UC Santa Barbara, he switched from a double major in religious studies and economics to filmmaking, but never abandoned the lessons of his former concentrations. “My focus has really been on storytelling,” Rader explains. “That’s where my religious studies came from. It’s all about narrative structures and influencing people’s minds and trying to figure out what gets people excited and how they identify narratives in their own lives and apply them to the world. That sort of relationship about language backand-forth is what’s always excited me.” One of Rader’s first major credits was Executive Producer of the blockbusteriest of blockbusters, Dodgeball: A True Underdog Story, starring Ben Stiller. Rader worked at Stiller’s production company Red Hour Films for years, but he was always searching for the forgotten quadrant of the audience who may not have dipped, ducked, dove and dodged their way to the multiplex. “So that’s when I went into independent films.” He decided, “This will be a great place where you can tell stories that you couldn’t tell elsewhere. There’s an appetite for them, a
hunger for them, and there’s an underserved market.” After producing several indie features, Rader studied the migration of his audience and followed them to their ultimate destination: the Internet. But he didn’t abandon his comedy background when he began charting the digital frontier. “The best delivery system for any idea is comedy,” he states. “You can get a Republican and Democrat to laugh at the same joke. If that joke has a particular spin or angle or piece of information in it, you’ve just delivered an ideology to two very different people through one particular narrative structure.” Rader applied this philosophy (not to mention his mastery of harnessing star power and online influencers) to one of the worst problems facing the world: the water crisis. No biggie, right? So how do you make light of such a serious topic? Answer: go straight to the toilet. The Water.org campaign enlisted Matt Damon to hold a (fictional) press conference in which he announced that he would no longer go to the bathroom until the crisis was solved. But one comedy clip wasn’t enough for Rader. “We got a bunch of [YouTube] influencers to come in and they all got 15 minutes to film with Matt Damon. They could do whatever they
want and put it on their channels, and we did the cross-promotion.” Grinning, Rader admits, “All the influencers wanted to fuck around with Matt Damon.” The Water.org campaign went viral, attracting celebs like Jason Bateman, Jessica Alba, and Bono. Its success made Rader deservedly proud, leveraging the digital space to make a difference in the real world. “If we can make people laugh, then they’re gonna share it. If we can have more people see it and share it and like it, then more people will donate,” he recounts. “And that’s what happened. It was a very successful campaign. The reason it caught fire was the influencers and the traditional [producers] came together and promoted each other.” In addition to the little matter of saving the world, Rader’s comedic chops also served him well at Maker Studios, where he contributed to the Emmy-nominated series Crossroads of History. The show’s creator, Elizabeth Shapiro, had nothing but glowing reviews for her studio executive. “Rhoades is one of the great people of the world,” she says earnestly. “He’s the kind of executive you dream of getting, someone who fights for your vision of the show.” To be graphically specific, Shapiro recounts a piece of feedback in which Rader’s only notes came in the form of an
Rhoades Rader shares an unsettling moment with cast member John Michael Higgins (as Cotton Mather) on the set of Crossroads of History.
BOTH SIDES OF THE LINE
Rader shakes hands with President Barack Obama prior to the President’s sit-down interview with Gina Rodriguez (left) for digital content platform Mitu.
email with the subject line: This time with more anus and less talking. Rader’s work at Maker reached fans by the tens of millions and put him in the room with Marvel Studios and Lucasfilm. Having worked in both traditional media and the new transmedia sandbox, Rader was the liaison between two worlds, a role in which he excelled while maintaining no illusions about its perils. “Both sides of the equation had a lot of disdain for one another,” he recalls. “Each thought that they knew better than the other side of the equation. Being someone who had worked on both sides of that line, that’s where the opportunity was.” Rader turned proverbial lemons into digital lemonade, producing several viral series to support the release of Star Wars: The Force Awakens, as well as the current talk show hit Marvel’s Off the Rack. But the disconnect between mass media and transmedia was still weighing
heavily on him. “Right now,” Rader asserts, “transmedia is just marketing opportunities. It’s not true native storytelling based on its platform.” Never one to complain idly, Rader took his know-how to Mitu, a social media channel that racks up an estimated (and whopping) 2 billion views per month across its various platforms. One recent viral sensation was a shot-for-shot remake of the dance scene from Beauty and the Beast recast with Hispanic actors, scored by a Mariachi band. “Here is mainstream iconic American storytelling,” explains Rader. “Simply by taking that and putting a Latino point of view on it, you’re immediately firing up Latinos who never got to see themselves in that role before.” A sense of authenticity is the essential ingredient of his most effective work. “Successful content has to speak authentically to a group of people,” he observes. “The more you’re trying to do broad-based
“YOU CAN GET A REPUBLICAN AND DEMOCRAT TO LAUGH AT THE SAME JOKE. IF THAT JOKE HAS A PARTICULAR SPIN OR ANGLE OR PIECE OF INFORMATION IN IT, YOU’VE JUST DELIVERED AN IDEOLOGY TO TWO VERY DIFFERENT PEOPLE THROUGH ONE PARTICULAR NARRATIVE STRUCTURE.” content, the more it feels like an advertisement, the more it feels fabricated, the less real it feels. The whole nature of social publishing on these digital platforms is that you have a real relationship and investment with the content you’re consuming and engaging with, in a way
BOTH SIDES OF THE LINE
that literally didn’t exist five years ago. In fact, the digital content space is built on that personal relationship.” A casual visitor to the Mitu Snapchat Discover tile will soon learn a buzzword that rings loudly in the halls of social media: chisme. Its rough English translation is “gossip,” but it means far more to Rader. “Chisme is a glue that holds communities together, holds ideas together; really it’s a fuel of conversation. When people are talking about something, it becomes more real, more interactive, more participatory. You’re helping fuel it. This is how communities are developed.” But sometimes chisme cuts both ways, as Rader and his Mitu cohorts learned when they were tapped to conduct an interview with then-president Barack Obama. The one-on-one was conducted by Jane the Virgin star Gina Rodriguez, who didn’t pull any punches on the topic of immigration. Obama fielded the inquiry by urging all Latino citizens to let their vote speak for the millions of undocumented individuals who couldn’t participate in the election. It was an admirable sentiment ... until the piece got re-edited by the altright. The resulting hack job appeared on Fox News and Breitbart, the deceptively cut clip giving the impression that Obama was encouraging undocumented people to vote. “It was one of my first interactions with how reporting can be chopped up and fabricated to say something that’s not true,” he recounts. For a guy with substantial and effortless comedic chops, Rader was surprisingly soulful during our epic chatfest. He spoke of the mindfulness he attains during meditation, espoused the inherent kindness of the human spirit and bemoaned every lost opportunity that languished on the cutting-room floor over the years. Still, he balanced any hint of regret with eternal optimism like a champion perfectionist/ dreamer hybrid, boiling it all down to a perfect producer’s bottom line: “My failures are forgotten but my successes are cheap.” Rader announced that he left Mitu just a week before our meeting. So what is he going to do with all of the expertise that
he’s accumulated from across the spectrum of his varied media endeavors? “I’d like to take what I did at Mitu and expand it to broader conversations, larger audiences, a bigger platform. I feel like that’s really my calling. I really do. Filmmaking is so far in the rearview mirror now. If I could go work for Facebook and help run the way they do video, that would be awesome.” Social media giant, meet socially conscious humanist. Case in point: when the conversation turned to gun violence and its depiction onscreen, Rader grew emotional. “Content creators have a huge responsibility to
stand behind the ramifications and the implications of the content that you create.” He took a breath and then continued, “I personally take that stuff very seriously and strive very hard to work with people who are also aware of that. I’m trying not to cry right now.” That’s when I noticed tears welling up in Rader’s eyes. He sat back and adjusted his ironic “Sleazy Producer” T-shirt pensively before collecting himself. For Rhoades Rader, media isn’t just an abstract construct, and it certainly isn’t just a job; it’s a matter of life and death. “Another Sleazy Producer?” Far from it.
“THE WHOLE NATURE OF PUBLISHING ON THESE DIGITAL PLATFORMS IS THAT YOU HAVE A REAL RELATIONSHIP AND INVESTMENT WITH THE CONTENT YOU’RE CONSUMING AND ENGAGING WITH, IN A WAY THAT LITERALLY DIDN’T EXIST FIVE YEARS AGO.”
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Identity From procedurals to comedies, Josh Berman is ready to dig beneath the surface.
PHOTOGRAPH BY BOB MAHONEY
Written by Jeff Bond
hen Josh Berman started shopping his idea for Drop Dead Diva, a comedy about a shallow spokesmodel who dies and comes back to life as a plus-sized attorney, he got some confused reactions. After all, Berman had spent a combined 10 years conjuring up bizarre ways for people to die on CBS’ CSI: Crime Scene Investigation and Fox’s Bones—even creating dark procedurals like Killer Instinct and Vanished in the process. “Wait, you’re our ‘dark procedural guy.’ Why do you want to write a one-hour comedy right now?” Berman recalls associates saying. But unlike, say, CSI’s Gil Grissom, those people just weren’t paying attention to the clues. A native of Encino, California, Berman actually got his start riffing off of and working on comedies, from a YouTube takeoff of Ally McBeal (called Allan McBeal and made while Berman was a young executive at NBC) that got him his first writing job offers, to a brief stint on the Lauren Graham sitcom M.Y.O.B. (the show Graham headlined right before Gilmore Girls). Like Graham, Berman jumped to a new show right after M.Y.O.B. foundered— in Berman’s case, a weird little procedural that no one expected much out of: CSI. “I loved writing but I also had a strong bent for science,” Berman shares. “What drew me to CSI was it was the first show I ever heard of that made science sexy. I thought, ‘What an opportunity here, to bring science to the masses in a very commercial way.’” Berman met with producer Carol Mendelsohn and was quickly hired as an executive story editor. “The show had a very small budget because everyone thought CSI was going to very quickly fail and they didn’t have the money to hire upper level writers, so I was lucky to be hired at a low level. There was no one between me as an executive story editor and the executive producers of the show, so I quickly had a lot more responsibility thrust on me than I normally would have.” Of course CSI quickly became one of television’s biggest hits, running for 15 seasons and spawning so many spin-offs
(including one appropriately named CSI: Immortality) that CBS was in danger of becoming the CSI network. Berman became one of the flagship series’ executive producers, sharing Emmy nominations for Outstanding Drama Series in 2003 and 2004 and a Producers Guild Award nomination for Outstanding Producer of Episodic Television Drama in 2005. He parlayed his six-year stint on CSI into a highly successful career as a show creator (Killer Instinct in 2005, Vanished in 2006, The Mob Doctor in 2012 and most recently ABC’s Notorious) and producer (Bones, The Blacklist, Daytime Divas). Berman credits Carol Mendelsohn not only with hiring him on CSI, but also giving the young writer access to the show’s nuts and bolts, providing him with experience as a producer long before he might have otherwise had the oppritunity. He still cites Mendelsohn as his primary mentor in the field—one of a number of strong women who helped inspire him and set him along his career path. “She taught me everything,” says Berman. “There was no part of production or writing that she didn’t include me in. For the first season of CSI, I spent virtually every weekend at her house, and we would write and look at cuts together. At a low-level position, she taught me the job of being a producer, and then I stayed on CSI until becoming an executive producer on my last season. When the executive producers were away, it fell to me to run the writers room by default. Even as an executive story editor, I went to every mix, I went to playbacks, I went to casting sessions, I had a lot of set time, and I think I wrote six episodes the first season just because they didn’t have the manpower, which was really lucky for me.” Berman’s mother, a former English teacher who later went into nursing, also inspired the producer’s appreciation of good writing, working with him to rewrite his grade school English essays word by word until they were as perfect as they could be. “It’s what inspired me to be a much better writer, when I saw how language and words could transform an average essay into something really great,” he recalls.
PHOTOGRAPH BY ©SONY PICTURES TELEVISION
Josh Berman on location for an episode of Drop Dead Diva.
“SHOWS NEED HOOKS AT THE END OF AN EPISODE, SO IF THE SHOW IS BEING STREAMED, YOU KNOW THAT THE AUDIENCE IS GOING TO WANT TO WATCH THE NEXT EPISODE RIGHT THEN—YOU WANT TO MAKE THAT NEXT EPISODE UNDENIABLE.”
Berman’s inspiration for his left turn into offbeat comedy on the cult hit Drop Dead Diva was another female family member, his maternal grandmother. “The beautiful model who dies in the show is named Deb after my grandmother. My grandmother was a chubby, 5-foot-1-inch Holocaust survivor, who carried herself like a supermodel. I knew no one wanted to buy a show about my grandmother, so I took the spirit of what made her so unique and infused it into the lead character of Drop Dead Diva. So I really had a model to write from and a point of view.” The Lifetime comedy pivoted on something Berman says he’s always drawn to: the theme of identity. “What makes us who we are and the person we show the world versus the person we are inside? Even going back to CSI, I wrote an episode about a woman who suffered from the real-life werewolf disease, where inside she felt like a scared little girl, but outside she looked like a monster. And I think that’s a great way to encapsulate what I look for when attacking material—how we’re perceived versus what we really are.” Berman has been able to successfully blend his insight as a writer and artist with a hard-nosed, MBA-oriented approach to production that emphasizes attention to detail. “I scrutinize my budgets and I’m very collaborative with my line producer. I think that gives me a competitive edge in this business. I meet with my line producer multiple times a day during production and figure out how we can get the biggest bang for the buck, and I push and I push and work with locations. If I’ve set a scene at a bowling alley but they have access to a fantastic basketball court, I’ll happily rewrite that scene, as long as I don’t sacrifice content. I think you have to be fluid in TV and willing to rewrite a scene a day or two in advance if you can get a better location, or if it means moving things around so you can get an actor or another talent you’ve been chasing.” Despite the pressures of TV production and his oversight of every aspect of the shows he works on, Berman describes his approach as calm, measured and
Josh Berman (front right) discusses a scene with director Michael Engler (left) and cast member Piper Perabo (seated) on the set of the Notorious pilot
PHOTOGRAPH BY ELI JOSHUA ADE
collaborative. “I’ll take ideas from anyone. I remember on CSI, I was writing an episode and trying to figure out visually how to explain how electricity worked, and it was a hard idea for me to grasp. I was talking to one of the grips on the set who told me about this experiment where you can electrocute a pickle and it demonstrates how electricity works in a very simplistic way, and that is the experiment that Grissom, played by Billy Petersen, did on the episode. I literally took that grip’s idea and put those words into Billy Petersen’s mouth. Now my kids know that scene, and that’s how they talk about how electricity works, by lighting up a pickle.” After 17 years in television production, Berman has seen the standards for writing and the medium, skyrocket. “I think people talk about ‘peak television’ or the golden age of television because we have producers who are holding their TV shows to the same high standards that feature producers have held their features to for years. I fight for budgets,” he declares. “I’ve written letters to musical artists hoping that they would drop their prices on songs to let me use them on my shows; that has been successful more often than not. I write when I want a specific actor to play a guest star, or I get on the phone with them—I do what I can, and you just can’t leave any aspect of television production to chance anymore.” Balancing his duties as a writer and producer remains one of the most challenging aspects of the job, and Berman confirms that writing has to take a back seat to production once a series’ filming is underway. “When I’m in production, production comes first,” he states. “Everything I’m doing during the day is in advancement of the current episode we’re producing and the episode we have in prep.” That means writing has to be done in the producer’s spare time. “I will do it at night or I will bring my laptop to the set and write between takes. You try to fit in writing where you can, but when the show is up and running, it’s full speed ahead. I want to make sure the current episode is in perfect shape so that’s where my attention lies.” Berman says writing remains the number
“IF I’VE SET A SCENE AT A BOWLING ALLEY BUT WE HAVE ACCESS TO A FANTASTIC BASKETBALL COURT, I’LL HAPPILY REWRITE THAT SCENE.” one priority when the show is in prep, eight to 10 weeks before filming. “I feel like a good show will have six to eight scripts in the can before you start shooting, and that alone gives you the leg up that you don’t
have to be writing every second. I’m still writing probably five to six hours a day, but if there’s an issue on the set, I can never slow down production just because I need to write.”
PHOTOGRAPH BY BOB MAHONEY
Josh Berman (left) consults with director Michael Grossman (center) on the set of Drop Dead Diva.
Berman has seen the relatively static characterizations in procedural shows evolve into complex, multilayered individuals who reveal deeper aspects of their personalities, their flaws and obsessions over the course of a season or series. Differences in the way people take in TV series episodes on DVRs and streaming platforms also have changed the expectations of audiences. “I feel like shows do need hooks, whether it’s character or story hooks at the end of an episode, so if the show is being streamed, you know that the audience is going to want to watch the next episode right then—you want to make that next episode undeniable.” But with those added pressures come additional opportunities, particularly on cult shows like Drop Dead Diva. “Drop Dead Diva aired on Lifetime,” Berman recounts, “but it’s since been bought by Netflix, and when I go on Twitter and read viewer comments, most of the people watching Drop Dead Diva believe it’s a Netflix original show. I find that fascinating. I think the fan base
of Drop Dead Diva has probably grown tenfold since Lifetime because Netflix has such an expansive audience. I think that’s a fundamental change in our business—the afterlife of a show is more powerful than the life of the show.” That might be particularly important for Berman’s ABC series Notorious, which was based on the real-life careers of CNN reporter Wendy Walker and defense attorney Mark Geragos. Notorious had its run of first-season episodes cut short out of the gate by the network, after its debut last October and was cancelled in May. The show may have suffered from the same predicament as Netflix’s House of Cards, which has been overshadowed by real-life events this season. “I feel like Notorious may have come out six months before its time,” Berman admits. “Notorious dealt with themes of news as entertainment. We even had storylines about fake news before the notion of fake news became so pervasive in our society, and we talked about how peoples’ tweets became news
on the show, but I didn’t realize that we were ahead of our time.” Berman is still rolling with another diva-related show, serving as a producer on VH1’s Daytime Divas, inspired by Star Jones’ experiences working on the morning talk show The View. He just signed a four-year deal with Sony with partner Chris King (producer on Penny Dreadful) to develop a series of new projects. “I’m tackling themes that I always wanted to, and thanks to Sony’s support I have a couple of IPs that I think are going to be really terrific. I feel like what I really want to dig into this season is shows with genuine emotion, and I think if there’s an aspect that unites my development this season, it’s really digging deep and unpacking complex, multilayered characters.” That’s something that Berman has been doing successfully for the past 17 years—getting his narrative hooks in us. So whether they’re airing on networks or being binge-watched on Netflix, Berman’s next moves are likely to be “undeniable”— they’re already on our Watch List.
A GUIDE TO PGA HEALTH CARE OPTIONS Written by Harvey Wilson; additional text by Chris Green
ears before health care became a central topic in the halls of Congress, it was a central issue for PGA members. To this day, it’s still the number one request from the membership—the Holy Grail of benefits. In a perfect PGA world, the Guild would be able to offer guaranteed access to affordable health insurance to all of its members. And while we haven’t yet reached that goal, the Producers Guild has continuously expanded the health care options it does afford its members. Because so much has changed over the past few years, we wanted to offer a brief rundown of the health benefits that members can obtain through the Guild. Obviously the nature and scope of American health care is a moving target these days, and members should be on the lookout for new announcements in addition to relying on the information provided here.
EMPLOYERPAID HEALTH COVERAGE It’s true—a significant number of PGA members qualify for employer-paid health coverage. The parameters for eligibility are narrower than we’d like, but we encourage all members who qualify for this benefit to take advantage of it. First, some history. For a brief period, 1977-1983, the PGA was a bona fide labor union, enjoying collectively negotiated labor agreements at two studios, Paramount and Universal. When the PGA was decertified as a labor union by the National Labor Relations Board, those labor agreements became void. Despite that unfortunate outcome, all parties recognized the
importance of maintaining health coverage for producers. The result was something called the Non-Affiliate Agreement, negotiated jointly by IATSE, the AMPTP and the Producers Guild. The Non-Affiliate Agreement allows some producers to receive coverage through the Motion Picture Industry Plan, as administered by the IA—but only under certain conditions: ·The individual must be credited as a Producer, Executive Producer or Associate Producer. ·The individual must work for an AMPTP-signatory company. ·The individual must be working on a theatrical motion picture, primetime network program, or primetime narrative first-run syndicated program. ·The individual must work on a production utilizing a west coast IA crew, and ·The individual must have worked 600 hours (The Non-Affiliate Agreement was negotiated to presume producers work a 60hour workweek.) over the last six months. If these conditions are met, that producer is likely eligible for employer-paid coverage under the Non-Affiliate Agreement. Note that this coverage does not simply begin automatically; the producer must personally request that the production make payments on their behalf. And while productions are not compelled to make those contributions, most of them will. After all, a producer who’s not constantly stressed out about being sick is a producer who’s going to deliver more value to the production.
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HERE’S TO YOUR HEALTH
Producers request contributions by signing and submitting a participation form (“Election to Participate in the Motion Picture Industry Health Plan”) within 60 days of starting eligible employment. If the producer does not submit a signed participation form, they may be deemed to have waived their right to contributions with respect to the job. Participation forms should be provided by the employer upon request. If you have difficulty obtaining a form, or if the production seems unwilling to make contributions on your behalf, contact the Guild’s National Executive Director/COO Vance Van Petten, and the PGA will seek to assist you in straightening the matter out. A few notes to bear in mind: First, standard practice has dictated (though not required) that once a production has begun making contributions on behalf of one producer, it will make similar contributions for any eligible producer employed by the production, provided coverage is requested in a timely fashion. Second, employees of non-AMPTP signatory companies are eligible to provide coverage, if the company in question is a signatory to both the IATSE Basic Agreement and the Motion Picture Industry Health Plan. Coverage requests made to such companies can be more difficult to secure. A good way to know if your production has signed on to the IATSE Basic Agreement is to check if the camera, grips, or sound providers are members of the West Coast IA.
SELF-PAID HEALTH COVERAGE For those members who are ineligible for employer-paid coverage, the Guild has developed and tapped into some viable options. First question: Do you have a company that is a C-corp, an S-corp or an LLC, which is more than a sole proprietorship? Do you pay others, and is your company seen as a separate entity from yourself for tax purposes? (That is, if you have an LLC, do you file a separate tax return for that
UNIONS, PROFESSIONAL ASSOCIATIONS AND ACCESS
The PGA is not a union, but a professional association. That distinction is critical in understanding our limitations with regard to heath care. A union represents its constituents in collective bargaining agreements and receives pension, health and welfare payments from the employers of the members, as well as a percentage of its members’ salaries. Those funds are pooled to provide benefits for all of the working members of that union. As an association, the PGA collects a relatively small amount of dues that are voluntarily paid by the membership once a year, but the Guild neither receives money from employers nor takes a percentage of member salaries. As producers are considered a “management” position as defined by the National Labor Relations Board, the PGA is ineligible to become a union. Thus, the Guild cannot engage in collective bargaining that would provide sufficient leverage to collect the funds for a Guild-wide guaranteed health plan. The insurance industry has labeled associations such as the PGA with the ominous designation of having “adverse selection.” In a union or company, all employees are covered regardless of age or health. But among association members, those who are young and healthy are more likely to purchase a low-cost, high-risk plan on the open market. Those who will voluntarily buy a more comprehensive plan through the association are those who are most likely to use it often (i.e., older or sicker members)—thus costing its underwriters more. That in turn causes the rates to rise among that group, which in turn drives healthier members to look for more cost-effective options, causing the rates to rise even more, continuing in an upward “death spiral.” (Those who have followed the ongoing health care negotiations in Congress have seen politicians debate the viability of “high-risk pools,” a broader variation on this same dynamic.) So how do we overcome “adverse selection?” In a word: VOLUME. There must be enough people—healthy and sick, alike—buying into the group plan to overcome market fluctuations and balance out the fraction of members who will become heavier users of the policies. Fortunately, the PGA has continued to grow at a rapid pace. Coupled with the unfortunate collapse of more reasonably-priced options in the individual insurance marketplace, the PGA’s growing membership is gradually making the Guild a desirable market for underwriters.
entity?) Even if you don’t run such a company, is it possible that you could form one? All it requires is two employees, one of whom could be yourself. If the answer to one or more of those questions is yes, then we recommend the OpenHealth Entertainment Trust MEWA (Multiple Employer Welfare Association). OpenHealth is a relatively new player in the health care sphere, a group whose plans are derived from the health care offerings of the Cast & Crew payroll service. MEWAs are set up so that small compa-
nies can benefit from the price breaks afforded to large organizations, and large organizations can benefit from the more stable pricing that comes with an even larger pool of policies. OpenHealth has two different MEWA offerings: one for staff members and the other for projects. The company is an independent operation, which does not require you to payroll through Cast & Crew. If you run your own company, we strongly urge you to check the MEWA options available at www.cc-openhealth.com.
HERE’S TO YOUR HEALTH
Start Do you have health insurance?
Is it employerpaid?
Are you the owner of a company?
Are you typically credited as Producer/Produced by/Executive Producer, Associate Producer?
Congratulations! You’re one of the lucky ones.
Do you work for an AMPTP signatory? Yes
Do you work on a theatrical motion picture, primetime network program, or primetime first-run syndicated program?
Contact Open Health at (866) 491-4001 and request information about their MEWA offerings.
Could you form a company? You only need two employees, one of whom can be yourself.
Contact The Actor’s Fund at (800) 2217303 (New York) or (888) 825-0911 (Los Angeles) to inquire about self-paid coverage.
Does your production utilize a West Coast IA crew?
Have you been credited with 600 hours of such work over the past six months. The MPIHP presumes a 60-hour workweek.
Contact your payroll or labor relations department. Request the “Election to Participate in the Motion Picture Industry Health Plan” form to give to your employer.
If you’re simply an individual or single family looking for coverage, we urge you to do your own research and find the best option for you and your family. One way to see those options is to consult with the Actors Fund (www.actorsfund.org). Don’t be put off by the name; it’s not just for actors. With offices in New York, LA and Chicago, it is the official organization representing the Affordable Care Act to the entertainment industry. The Friedman Health Center for the Performing Arts has just opened in its headquarters in New York City. If you have the opportunity, make an appointment for them to walk you through the marketplace, or join their
Did your employer agree to make contributions to the MPIHP?
monthly seminars on finding the best health care options. At the Producers Guild, we are hopefully on the doorstep of securing a plan for our individual members (and their families), which will be competitive with the open market as well as state and federal marketplaces. What we are seeking is a “guaranteed access” plan that any member would be eligible for as long as they are in good standing (current on dues) with the Guild. The more members we get to sign up for a plan, the more stable the premiums will remain. Our goal is to cover at least 1,000 people including members and their families. With a na-
Congratulations! You’ve got employerpaid health coverage. You must work 400 hours (the MPIHP presumes a 60-hour workweek) to maintain your coverage.
tional membership now exceeding 8,000, this should be within reach. Whatever you do, do something. Everyone should have some form of health care; nobody is invincible. 95% of Americans spend less than $1,000 per year on health services but one bad day can change all of that. A car accident or even a simple bug bite can send you to an emergency room and amass thousands of dollars in expenses that would eclipse years of paying into the health care system. Don’t be that person. As producers, we need to be prepared for any eventuality on set—make sure you bring that level of preparedness to your home and family life as well.
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P G A AT YO U R SERVICE
FAQ: THE PRODUCERS MARK those three little letters have a lot backing them up.
WHEN I SEE P.G.A. AFTER A PRODUCER’S NAME IN A MOVIE’S CREDITS, WHAT DOES IT MEAN? It means that according to the rules of the Producers Guild’s certification process, that producer performed a major portion of the producing functions on that particular motion picture.
DOES THE P.G.A. AFTER THE PRODUCER’S NAME MEAN THAT THE PRODUCER IS A MEMBER OF THE PRODUCERS GUILD? NO. A producer does not need to be a member of the PGA to receive the “p.g.a.” designation after their name. In many cases, the sets of initials you see in movie credits (such as A.S.C. and A.C.E.) indicate membership in an organization. The Producers Mark is different. It’s a certification mark; its purpose is to designate that the producer has met an officially recognized standard of performance on that film.
IF A PRODUCER DOESN’T RECEIVE THE P.G.A. MARK FROM THE PRODUCERS GUILD, WHAT HAPPENS TO THEIR PRODUCING CREDIT? Nothing. The Producers Mark doesn’t control or affect the “Produced by” credit in any way, nor does it invalidate that credit by its absence.
WHAT IMPACT DOES THE P.G.A. MARK HAVE ON AWARDS? Determinations for the Producers Mark and for producer award eligibility are determined at the same time and via the
same process. In addition to the PGA, AMPAS, HFPA and BAFTA all rely on the PGA process to guide their decisionmaking. However the final selection of nominees is always at the discretion of the organization giving the award. Overwhelmingly, these organizations concur with the PGA determinations, but occasionally, the decisions diverge.
WHAT’S THE PROCESS? The process is initiated by the copyright owner of the film. After the postproduction process has commenced, but 4-6 weeks before credits are locked, the owner submits a film for consideration via ProducersGuildAwards.com. Within 2-3 weeks, the PGA sends out eligibility forms to every producer credited as “Produced By” or “Producer” on the film and sends confidential verification forms to a wide variety of third parties associated with the production of the film: the director(s), writer(s), department heads, company executives and key crew members. Once forms have been returned, the PGA convenes a panel of arbiters, each of them active and experienced producers with numerous (and recent) credits, typically in the genre or category of the film under consideration. (i.e., If the film is a major studio tentpole, we try to utilize arbiters with considerable experience in making those big-budget studio pictures. If the film is a smaller indie movie, we rely on producers familiar with that type of production, etc.) An initial arbitration panel typically has three arbiters, though in rare circumstances two are used. The arbiters review all materials
returned to the PGA by the producers and third parties, with all personal names and company names redacted, so that arbiters can arrive at a judgment based on the testimony provided rather than the name recognition and perceived reputation of the producers. Following the determination, the PGA staff informs the producers of the decision. Producers who object to the decision have five days to notify the Guild of an intent to appeal. After giving producers the opportunity to add to or clarify their testimony, the PGA will convene a new panel of arbiters. All appellate panels consist of three producers. If the initial decision was unanimous, the appellate panel will consist of one producer from the original panel and two new producers; if the initial decision was not unanimous, the appellate panel will consist of three new producers. The decision of the appellate panel is final.
SO WHEN ARBITERS ARE LOOKING AT THESE FORMS, WHAT ARE THEY SEEING? The eligibility form filled out by producers asks them to indicate their level of responsibility for a variety of producing functions spanning development, preproduction, physical production and post-production. The form also includes a free-response section for the producer to more fully elaborate on the specifics of the production and their role on the film. The verification forms filled out by third parties typically ask the respondent questions related to the nature of their collaboration with the credited producers.
P G A AT YO U R SERVICE
(For instance, the verification form for editors asks the editor to designate which producer(s) consulted with the editor regarding dailies, gave notes on cuts or participated in screenings.)
WHO SELECTS WHICH ARBITERS VET THE CREDITS OF WHICH MOTION PICTURES? That determination is made by the PGA’s Director of Legal Affairs and Arbitrations in consultation with the National Executive Director.
WHAT IF THE PGA SELECTS AN ARBITER WHO (UNBEKNOWNST TO THEM) IS BIASED AGAINST A GIVEN PRODUCER OR FILM? The Guild takes proactive measures to prevent that from happening. Prior to convening the panel, the PGA provides all producers with a list of potential arbiters. Producers are free to strike any arbiter for any reason. Such arbiters will not be empaneled for that particular film. Furthermore, all arbiters are asked to affirmatively state that they have no interests in the films to be arbitrated that might result in a biased judgment. Even if all of those hurdles are cleared, an arbiter will be removed from the process if they or the PGA administrator feels that bias is affecting their judgment.
WHY CAN’T THE PGA BE MORE TRANSPARENT ABOUT THE PROCESS? We maintain the strictest confidentiality around the identities of the producers, third parties and arbiters involved because such confidence is the only
p.g.a. way we can hope to get accurate and truthful information. Many producers are powerful figures in this industry and this might put pressure on third parties and arbiters to achieve a desired decision. Keeping those identities confidential is the only way to maintain the integrity of the process.
participate, we can’t force them to submit for certification. The Producers Mark also is recognized by the WGA, DGA and SAG-AFTRA. The PGA has agreed not to license the Producers Mark for use with any combined credit (e.g., “Directed and Produced By …”)
ONCE A PRODUCER’S CREDIT IS CERTIFIED WITH THE P.G.A. MARK, IS THAT CERTIFICATION APPLIED PERMANENTLY TO ALL OF THE PRODUCER’S FILMS?
WHO DOES THE PRODUCERS GUILD REPRESENT?
No. A Producers Mark appended to a producing credit applies to that film only. It represents the nature of the work performed on that film alone and does not “carry over” to future productions.
WHY DO SOME FILMS CARRY THE P.G.A. MARK, BUT NOT OTHERS? The Producers Mark is voluntary. Each of the major studios—Universal, Disney, Warner Bros., Sony, Paramount and Fox— has signed a contractual agreement to submit their films to the Guild for credit certification, as have The Weinstein Company, Lionsgate, DreamWorks and DreamWorks Animation, Lucasfilm, Marvel, MGM, New Line and Pixar. If an independently owned film elects not to
The PGA is composed of over 7,500 professionals working in motion pictures, television and digital media throughout the United States and around the world.
HOW IS THE PGA DIFFERENT FROM ITS FELLOW GUILDS? Unlike the DGA, WGA and SAG-AFTRA, the PGA is not a labor union. This means that we can’t go on strike, set wage minimums, or negotiate collective bargaining agreements on behalf of our membership. As we are now the largest professional trade organization in the entertainment industry, the PGA provides numerous benefits for its members, including educational and training events, employment opportunities, social and networking functions, and a collective voice that represents and protects the varied interests of producers and their teams, including the Producers Mark. ■
P G A AT YO U R SERVICE
MEMBER BENEFITS ■ Discounted registration for Produced By Conference and Produced By: New York. ■ Vote on Producers Guild Awards and receive discount tickets to the event, as well as DVD screeners for awards consideration. ■ Admission to special PGA pre-release screenings and Q&A events. ■ Full access to PGA website including events, calendar, social networking tools, members-only video library.
■ Eligibility for PGA Mentoring Program. ■ Listing of contact and credit information in searchable online roster. ■ Arbitration of credit disputes. ■ Eligibility for individual, family and small business health care options through Producers Health Insurance Agency. ■ Free attendance at PGA seminars.
■ Access to PGA Job Board, online resume search, employment tools and job forums.
■ Wide variety of discounts on events, merchandise, travel.
■ Participation in the Motion Picture Industry Health, Welfare & Pension Plan.
■ Complimentary subscription to Produced By.
SIGNING A DEAL AT CANNES? PROTECT YOURSELF. p. 38 PRODUCEDBY April | MAy 2017
PRODUCEDBY THE OFFICIAL MAGAZINE OF THE PRODUCERS GUILD OF AMERICA // APRIL | MAY 2017
Clark Spencer volume xiiI number 2
SPENCER “The producer is not the sole answer to anything. It really is all about the people you surround yourself with.”
SEE THE DIGITAL EDITION PRODUCERSGUILD.ORG LET’S GET SOCIAL
Advertising Info: Ken Rose at email@example.com or 818-312-6880
P G A AT YO U R SERVICE
NEW MEMBERS The Producers Guild is proud to welcome the following new members, who joined the Guild in May and June 2017.
PRODUCERS COUNCIL Timur Bekmambetov Bernard Bellew Fred Berner Joseph Boccia Adam Bohling John Bravakis Lisa Caruso Steven Drieu Yusuf Esenkal 1 Chris Fenton Daniel Flaherty Carla Gardini BD Gunnell Youree Henley Kate Hilgenberg Michael Holstein Samantha Housman Debra Jackson Kim Jackson Howard Klein Scott Kluge Kerry Kohansky-Roberts Michelle Kouyate Jeffrey Kwatinetz Bert Marcus Tyler Marquess Sam McConnell Michael Menchel Nick Moceri Maggie Murphy Serdar Ogretici Chris Ohlson Tony Patterson Jordan Peele Nicholas Phillips Jonathan Platt Canyon Prince Nicole Pusateri Nadine Rajabi
Christopher Ray Richard Reid David Reid Reza Riazi Brandon Riley Aaron Saidman Miguel Santos 2 Richard Saperstein Bradford Schlei Stephan Schultze Christina Segel Rachel Shane Adam Sidman Desma Simon Lindsay Sloane Arthur Smith Eugene Stein Orlee-Rose Strauss April Taylor Jay Thames Eric Timm Lucan Toh Bryan Unkeless Matthew Vaughn Caroline Waterlow Erik Weigel Josh Weintraub Robert Williams Pamela Williams Vahan Yepremyan Annika Young 3 Edwin Zane Viviana Zarragoitia Derek Zemrak
NEW MEDIA COUNCIL Marjorie DeHey Laura Eshelman Eric Hungerford Edrei Hutson 4
Eric Jaffe Lucas Longacre Andrew Merkin Ted Schilowitz 5 John Wooden Nikole Zivalich
AP COUNCIL ASSOCIATE PRODUCER/ PRODUCTION MANAGER/ PRODUCTION SUPERVISOR Shelby Adams Jennifer Bates Korin Beckham Lena Bhise Tyson Bidner Alan Chu Corinne Gilliard Tracy Larson Daniel Meincke Yvett Merino Michelle Morrissey Anthony Orlando Shanna Pinsker Jacquelyn Ryan Daymeon Sumlin Erin Viola Michael Warch Tom Weeks Benn Wiebe Ian Williams Brian Zirbel
SEGMENT/FIELD/ STORY PRODUCER Ariel Algus Blair Baskin Jessica Brown Anna Cuellar
Lauren Franson Alexis Heller Zoe Jackson Natalie Shabtai Kelly Weinhart-Henry
PRODUCTION COORDINATOR Hannah Depew Jordan Gilbert Jessica Snavely Jonathan Trimby Kenya Sumner
POST PRODUCTION Kathleen DeRose Brian Fetterer Allie Goldstick Julie Hansen Derek Hogue Zackary Kirk-Singer Jamie McBriety Brian Moraga Christopher Sachs Chris Schwachenwald Kelsey Stroop Audrey Wood
VISUAL EFFECTS Daniel Carbo David Dranitzke Benjamin Farmer Catherine Hughes Yasamin Ismaili Lauren Miyake Devon Patterson Barry St John Peter Tobyansen Rebecca West
P G A AT YO U R SERVICE
ALL EYEZ ON ME David Robinson, p.g.a. LT Hutton, p.g.a.
AMITYVILLE: THE AWAKENING Jason Blum, p.g.a.
THE BIG SICK
The Producers Guild proudly salutes the following whose credits have been certified with the Producers Mark. This list includes films released in June and July 2017. Certification via the Producers Mark indicates that a producer undertook a major portion of the producing duties on the motion picture.
Judd Apatow, p.g.a. Barry Mendel, p.g.a.
BLIND Michael Mailer, p.g.a. Jennifer Gelfer, p.g.a. Pamela Thur, p.g.a.
CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE Mireille Soria, p.g.a. Mark Swift, p.g.a.
MEGAN LEAVEY Mickey Liddell, p.g.a. & Pete Shilaimon, p.g.a. Jennifer Monroe, p.g.a.
THE MUMMY Alex Kurtzman, p.g.a. Sean Daniel, p.g.a.
OPENING NIGHT Topher Grace, p.g.a. Daniel Posada, p.g.a. Jason Tamasco, p.g.a.
THE RECALL Kevin DeWalt, p.g.a. Danielle Masters, p.g.a.
ROUGH NIGHT Matt Tolmach, p.g.a. Lucia Aniello, p.g.a. & Paul W. Downs, p.g.a.
CARS 3 Kevin Reher, p.g.a.
DESPICABLE ME 3 Chris Meledandri, p.g.a. Janet Healy, p.g.a.
DUNKIRK Emma Thomas, p.g.a. Christopher Nolan, p.g.a.
THE EMOJI MOVIE Michelle Raimo Kouyate, p.g.a.
THE EXCEPTION Judy Tossell, p.g.a. Lou Pitt, p.g.a.
GIRLS TRIP Will Packer, p.g.a. Malcolm D. Lee, p.g.a.
THE HERO Houston King, p.g.a. Sam Bisbee, p.g.a. Erik Rommesmo, p.g.a.
THE HOUSE Nathan Kahane, p.g.a. Will Ferrell, p.g.a. & Adam McKay, p.g.a. To apply for producers mark certification, visit us online at producersguildawards.com.
AN INCONVENIENT SEQUEL: TRUTH TO POWER Richard Berge, p.g.a. Diane Weyermann, p.g.a.
SCALES: MERMAIDS ARE REAL Kevan Peterson, p.g.a.
SPIDER-MAN: HOMECOMING Kevin Feige, p.g.a. Amy Pascal, p.g.a.
STRANGE WEATHER Jana Edelbaum, p.g.a. & Rachel Cohen, p.g.a.
TRANSFORMERS: THE LAST KNIGHT Lorenzo di Bonaventura, p.g.a. Ian Bryce, p.g.a.
VINCENT-N-ROXXY Keith Kjarval, p.g.a.
WAR FOR THE PLANET OF THE APES Peter Chernin, p.g.a. Dylan Clark, p.g.a.
WISH UPON Sherryl Clark, p.g.a.
WONDER WOMAN Charles Roven, p.g.a. & Richard Suckle, p.g.a. Zack Snyder, p.g.a. & Deborah Snyder, p.g.a.
LEGENDARY NIGHTS BEGIN AT SUNSET
Living a little is for people that havenâ€™t learned to live a lot.
1200 ALTA LOMA ROAD WEST HOLLYWOOD CALIFORNIA, 90069 800.858.9758 SUNSETMARQUIS.COM
THE BEST ON-SET PHOTO OF ALL TIME
IN TOO DEEP
his issue’s Best On-Set Photo of All Time comes to us from the camera of PGA member Richard Gladstein, producer of such films as The Cider House Rules, Finding Neverland and Quentin Tarantino’s most recent feature The Hateful Eight, which provided the setting for the shot you see above. That’s three-time Oscarwinning DP Robert Richardson in the foreground, gazing stoically outside the frame, perhaps admiring some of the majestic scenery that provides a vital counterpoint for Tarantino’s characteristically brutal story. As Gladstein shared with Produced By back in 2015 just prior to The Hateful Eight’s release, weather was by far the production’s biggest challenge. Whether it was the threat to their horses’ legs posed by the depth of the snow and the rocky terrain beneath, or the sheer amount of manpower required to re-set a snowbound stagecoach for a second take, the harsh conditions of the Telluride, Colorado locations repeatedly tested the patience and ingenuity of the team. (Protip: If driving horses through deep snow, pack the white stuff down as much as you can without undermining your shot. Your horses will thank you.) While Richard is an accomplished producer, the masterful framing of this image suggests that he could have pursued an alternate career as a cinematographer. Or maybe a person just picks up those skills by osmosis when they spend enough time around Bob Richardson. However he got it, it’s a stunning pic. Produced By is grateful for his sharing it with us. ■
We know what you’re thinking. “Best of all time? No way. I’ve got an on-set photo way better than that.” If that’s the case, we dare you to prove it. Submit it to BOSPOAT@producersguild.org. Before you submit, please review the contest rules at producersguild. org/bospoat. Because no matter how great your photo is, we have no desire to get sued over it.
SCREEN ACTORS GUILD AWARD
PRODUCERS GUILD AWARD
OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A DRAMA SERIES
OUTSTANDING PRODUCER OF EPISODIC TELEVISION (DRAMA)
TV PROGRAM OF THE YEAR
The Official Magazine of the Producers Guild of America