Formula Kino. Who is the main in Russian cinema - director or producer

Mumin Shakirov: Who is the main character in Russian cinema – the director or the producer? AT Soviet times the state entrusted money for the production of the film through the studio to the director of the picture. It was this man who managed the budget of the film, which, depending on the scope of the production, ranged from half a million to a million. Soviet rubles. A lot of money. The director of the picture made an estimate and was responsible for each loin spent. But he most often followed the instructions of the director, that is, the creator, who realized his plan according to the script.

With the appearance of a producer in Russian cinema, the status of a person who spends money on film production today has changed dramatically. The names of these people are well-known along with the names of successful directors. The viewer, of course, pays little attention to the leaders of the project, more following the actors, less often - the directors. But cinema today rests largely on producers who get money for a picture, risk capital and are responsible to sponsors or investors for the money spent. Sometimes producers and directors act as one person.

My interlocutor is Sabina Eremeeva, General Director of the Elephant Studio. She belongs to young generation producers who came to cinema in the early 2000s. Behind her shoulders are such projects as "Mars" directed by Anna Melikyan, "Manga" by Pyotr Khazizov, "You and I and you and me" by Alexander Veledinsky and "No one knows about sex" by Alexei Gordeev. Who is a producer in modern Russian cinema?

Sabina Eremeeva

Sabina Eremeeva: This is the person who comes up with the project, is the initiator of everything, because basically he is looking for a script plus a director. Since we still have directorial cinema, and everyone relies primarily on the director, regardless of whether this is a debutant or an already well-known master of Russian cinema, nevertheless, this is a moment of choice. Short films are reviewed, works are reviewed, scripts are read and a bet is made on the script, choice of plot and director, and everything else is added in the process, when you already understand that the choice has been made. This is still a choice of topic, since each producer has such a super-task: how to anticipate the situation? Because filmmaking is a year until the film is released, while all this is being thought about - this is, relatively speaking, one and a half to two years. Anticipate the situation that will be in demand in two years. This is an analysis of the market today and its prospects. This is a certain risk.

I try not to follow the patterns, but at the same time I analyze the situation: what is being launched and according to what principle. Sometimes it confuses me when a successful film - and on it a similar movie is created on a similar topic, and so on. It's not even a sequel, it's just repetitions, at the same time. I do not understand the motivation, because, as a rule, only the first successful projects are collected. I want to come up with something new, even risky, but again, I come from personalities, I come from personalities, from an idea, from a script and from a director. For example, what I'm interested in is comedy melodramas. I feel like it could be in demand and it aligns with my personal interests - comedies and melodramas.

Mumin Shakirov: Producers often intervene in the creative process, participate in the development of the script, give advice on film set and even sit in the editing room. Everyone has their own methods of working with directors, others completely trust the creators, limiting themselves to solving financial and production problems.

Sabina Eremeeva: I cannot say that I am interfering, because I am also a co-author of the project, not literally, but in a broader sense. I would call it cooperation – starting from the very beginning. For me the most milestone- this is a preparatory moment, and the most difficult is the editing and tinting, "post-production".

On the set, the producer is a completely useless creature, because the car is running, and you can do the best you can - watch the materials, somehow comment. But the producer cannot significantly influence the course of events, except to stop the shooting, because everything is decided “on the shore”. If you didn’t have time to do something before filming, then it means you didn’t have time or didn’t understand.

Then the difficulties begin on “post-production”, which is the most painful, because this is always the moment of the right approach and choice. When there is a certain working version, and you don't have a clear decision, positioning, you start collecting opinions - festival selectors, if it's an "art-house" film, and you understand that the film can be promoted through the festival. I made a conclusion for myself: until the film is as ready as possible, do not show it to anyone. Because, as a rule, they give a diagnosis, and the diagnosis is also obvious to the authors, but they do not give a prescription. And you kind of wait, counting on a frank opinion on what can be done about it. There is no recipe, everything is clear with a diagnosis, and any statement about an unfinished film when it comes out is always very painful for the film, because it is always very preliminary. When, for example, my friends show me a film and ask for comments, I always speak very carefully and only tell them, because I cannot speak publicly about a film that is not ready. I can only qualitatively discuss the finished and made film.

Mumin Shakirov: An important component of the director's work is the choice of actors.

Sabina Eremeeva: We speak initially, whom we would like. The first step is that the director makes the proposals. I always go from the director. It is foolish to invite a director in order to impose your point of view on him. I think this is wrong. I choose a certain director with a certain taste, and that is what makes him valuable to me. Therefore, I, first of all, listen to what the director wants. When I have some doubts, of course, I discuss it. But I can say from the little experience I've had that I've never had a conflict with a director in terms of casting. We somehow always found mutual language, we thought, looked and did additional tests. From me, as a producer, there are no instructions about the actors, and there cannot be.

Mumin Shakirov: Sabina Eremeeva reserves the right to interfere with the film editing process.

Sabina Eremeeva: Yes, I can, and, in fact, I always reserve such a right. This, unfortunately, is a waste of time, because the picture always dictates and begins to live its own life. And it is always clear what is superfluous. Unfortunately, this is very close to the director and it is difficult to part with each frame. He may not always be objective - this is understandable. I'm just biding my time. Someone needs a week - I say: "Okay, a week." Someone needs a month - I say: "Okay, a month." Then, when I run out of patience, I say: "That's it!" For me, it is undesirable to remove the director from editing. Fortunately, I have always avoided this, we somehow agreed, but I reserve the right to edit.

Mumin Shakirov: In spite of a huge impact producer for film production and for the fate of the picture, Russian cinema remains directorial. This point of view is shared by Sabina Eremeeva.

Sabina Eremeeva: First, we have certain traditions that cannot be destroyed in a few years. Moreover, doing each of my projects, I work mainly with debutant directors, with those who have a second film. There is a certain trend: I am for everyone new project I have a hard time finding money. Moreover, the directors with whom we worked, after the release of the film, they have a lot of interesting offers, financial offers, more profitable than I can offer them. And I also start from scratch, I also start applying for state support, I regularly use it and look for co-producers. And the director in this case made the film - he has more choice. Since I exist completely independently, it is always much more difficult for me to find a larger budget. All the glory in case of success and so on goes to the director. And thank God!

Mumin Shakirov: But times are changing - the position of the producer is being strengthened.

Sabina Eremeeva: The generation is changing, so it cannot but reflect all the trends. For example, young people come who have a different consciousness, who are already enslaved by the producer. They are all well informed, and they know what is happening in the West, what role the producer plays there, they already have little experience in television, where the dominant function, in general, main man- this is a producer, and this is not even discussed. Therefore, when they come to film producers, they are already depressed, they are ready to agree to everything, they are a priori ready to make any compromises. Sometimes it annoys me, because I want a certain will, and when a young director comes to me, I say: “What are you interested in?” - he says: “What are you interested in?” I say: "I want to go from you, from your ideas." He says: “I can do anything! Is that what you need?" And in this case, it's not interesting, because all the same, the projects that I do, they are such author's projects, very individual, I'm interested in the director, his originality. I don't need to make some average films, I don't perceive what I do as clean business because it's not a business for me. It is clear that I earn some money, but this is not an end in itself.

Mumin Shakirov: There are many well-known and successful film producers in Russia. For Sabina Eremeeva personal experience It is an opportunity to learn and achieve new results.

Sabina Eremeeva: As a rule, these are Konstantin Ernst and Anatoly Maximov, and Alexander Rodnyansky with Igor Tolstunov. And this is not only due to the fact that they have television resources. I like their approach. Making a movie is half the battle, it's just one part of the process. How to promote it? And this is not only money, because there were examples when there was money, there was additional PR, but, nevertheless, the films did not receive that resonance. This is, first of all, creativity and concept. And a clear intuition of how to promote, what to promote and what to sell. And I think these producers succeed. For example, "Dozor", "9th company", "Piter-FM" - I think this is the most interesting.

And it's not just a resource. This is just an understanding of what can be pulled out of the project. For example, I saw the working version of Piter-FM and was at the premiere - I sincerely congratulated all the participants in this film, because they pulled out everything possible from this project, the film took shape, the film was a success. It was a very interesting advertisement. And in the end, the film raised money. I was very happy. Moreover, the producers all had concerns - could such a movie be in demand? And I am very glad that this movie is in demand, the audience went to see it. This means that you can do more risky projects and get your audience.

Mumin Shakirov: About who is a producer in Russia today, we talked with CEO Studio "Elephant" Sabina Eremeeva.

Today, the loud title of producer has become surprisingly popular and fashionable. The profession of a producer seems to be incredibly profitable and prestigious, many strive to become them, and individual stars change their producers like gloves, or they are engaged in producing on their own. What is the benefit of an honorary title? Why is being a producer difficult, interesting and dangerous?

Who is a producer?

Producer (from lat. Produce - produce, create) is a trustee of a product, brand or manufacturer. Currently, the high demand for the profession is due to the interest in the implementation creative projects for various purposes. The responsibilities of a producer may include both evaluating the investment in order to increase it, as well as a professional sense of the future popularity of an artist or movie.

Every self-respecting actor or director has a personal producer, which increases the chances of professional recognition in wide public circles. Today it is impossible to do without the services of a specialist in this field of art: without what the producer does, it is difficult to independently establish the necessary connections and relationships. Only a good specialist is able to correctly assess the potential of an artist, singer or group and apply official duties producer to the fullest. Sometimes, in order to create a masterpiece is not enough. You need business acumen and experience that are inherent in producers.

The role of a producer is not only to accompany his wards on various events, hangouts, organizational functions, this is, first of all, financial investment in the selected product - one or another "star". In the world of show business, producers, like bees to honey, flock to those who want to be promoted, to become interesting to him. First and foremost, the responsibility of the producer is to finance and care for their contributions.

In the entertainment industry and the world of show business, the profession of a producer is one of the most popular and dangerous at the same time. He must determine the payback of the project on his own, with experience and intuition to feel the potential in this or that artist. Each producer is a king and god for his ward, because he opens the world of popularity, fame and success for him. Sometimes, having invested in, the producer achieves unprecedented popularity for his ward.

The financial side of the issue still remains with the producer. This is the main responsibility of the producer - controlling all processes. However, in fact, it is possible to produce not only a star - a singer, artist, actor or dancer. The subject of production can be a brand or a product, but the most important thing in all this is the experience and subtle flair of a specialist.

How to become a producer?

Many people think that being a producer has many advantages and unique opportunities, but in reality this is far from the case. To become a producer, it is worth having not only a solid capital, aspiration, experience and great desire, as well as a lot of useful acquaintances and skills. Otherwise, only failures and financial losses await him. About how to become a good producer, no one can teach or tell, because successful people the secret of their wealth and success will never be shared. Also, the key to achieving certain results is a thorough knowledge of the proposed product, regardless of its type and genus. Sometimes experienced films and achieve success in producing.

In the music or show industry, a producer must be a generalist who is well versed in tastes and modern preferences, since the wrong choice of production object can be deplorable.

Many producers are also good sound engineers, organizers and even stylist managers. On the early stages the producer must independently assess the person, consider his chances of success, and only then connect all his assets in order to achieve the desired result.

Is it easy to become a producer

If you do not know how to become a producer, then specialized courses and seminars can help. Having mastered the profession, you will be able to independently produce clients in the music, dance, film and show industries. Multidisciplinary experience allows you to monitor the situation from a wider panorama, anticipating the desires of the public and studying all related information as deeply as possible. Of course, you should study to be a producer if you have sufficient capital for investment, business acumen and a high degree of responsibility.

You can easily find out where they teach to be a producer, having received an education in accordance with the chosen profile. Job Descriptions Producers also do not exclude mastering an additional profession by actors, screenwriters, directors for independent promotion of projects. By choosing courses where you will study as a producer, you can quickly learn the intricacies of this type of art, while mastering organizational, directing, as well as camera and acting skills.

What is the core of a producer's job?

To find out what the producer is doing, just look at the degree of payback of the project and the popularity of a particular star. Of course, one cannot do without the personal qualities of intuition and instinct, multiplied by extensive experience. This is what distinguishes the director from the producer - producing involves a delicate calculation of the payback of the project, which is often inaccessible to his creative flight of fancy.

In addition to organizing events, press conferences, parties, shows, the producer is busy controlling all the processes leading to fame and success. Therefore, for young talents, a creative producer is a person who forms the creative component and is able to raise them to the top of Olympus.

Producer or charlatan

You also need to be able to choose a producer, because it’s not worth giving yourself into the first hands that come across. It is enough to evaluate his skills, connections and means. Today in the domestic open spaces there are many who wish to rise at the expense of others, receive fabulous fees and quickly recoup their investments. Fundamental documents are those that an experienced lawyer should look at before signing.

We hear about the profession of a producer every day: on TV, radio, in ordinary conversation. And we all know that a producer is such a job. Only a few people know exactly what this work implies.

And this is not surprising, because even he himself will not be able to list all the duties of a producer. This work is very complex and responsible. I think it's worth starting with the fact that there is a producer in the cinema, and there is a music producer.

The profession of a film producer appeared a long time ago, back in the early 20th century, when cinema became popular and accessible to many.

A film producer is a person on whose shoulders the entire burden of responsibility for making a film falls. He participates in every process: he develops the idea of ​​a film, looks for money and sponsors who will help financially, he also looks for a director, cameramen, actors and, in general, creates a team.

The same person is doing film promotion when it's already taken. Advertising, rental and more. The main task of the producer is to create the right “climate”, the right atmosphere for the filming to take place as quickly, comfortably, and most importantly, with high quality. It is the producer chief on the set.

He is the initiator, he is the source of funding, and it depends on him what the film will be like. A producer on the set is like a captain on the deck of a ship. All processes flow like streams to it, as if into a big river. To be a producer, you need to have not only a creative streak, but also commercial.

The producer manages not only creative process but also technical. Therefore, it is important to be able to see not only beautiful picture, but also to make it convenient for the viewer, understandable. And also to have iron will and be able to achieve the goal.

In order to get the profession of a producer in the future, it is necessary to finish university in film and television. And then for many more years to work, starting from the bottom, in order to experience the whole process and know all the pitfalls.

A music producer is a person who is responsible for the success of an artist. Everyone has popular artists have their own producers. Just like film producers, they work very hard and the scope of their activities is also wide, only directed in a slightly different direction.

Music producer monitors the development of new compositions, for the schedule of the artist's performances, for the promotion of a star, advertising, recording in the studio, concerts, musical accompaniment and many other issues are decided by the producer.

The most important task music producer is the creation and maintenance of the image and popularity of the artist. And this concept, as you know, includes great amount questions: how to dress a star for an interview, what song to send to the radio, which director to choose for filming new clip and where to get the money for this very clip.

Financial questions, probably the most priority for the producer, since the success of the artist depends on good financing. There is a difference when new song comes out once a month or once every five years, when you are no longer known, and have long been forgotten.

By the way, in music industry There are two types of producers: executive and musical. And their professional responsibilities are slightly different. Although, if desired, each of them can perform cross-functions.

Among other things, today you can meet such a profession as an Internet producer. Of course, nothing stands still and the Internet today is the most popular niche in which you can develop.

The work of an Internet producer is similar to the above. Like his fellow internet producer supervises a specific project and makes every effort for its dynamic development.

One way or another, but the work of a producer is connected with image promotion and creating comfortable conditions for the development of a particular project. Whether it's an artist, a film or a play. A producer can work anywhere. For example, to promote any events, organize performances in the theater.

The producer is the one who does everything. Generalist. He not only accompanies the project from beginning to end, but in the process also interacts with all employees who are at least a little bit related to this project.

If suddenly you decide to become a producer, then do not forget to take care and make sure that you have the right set of qualities. Such as: business acumen, perseverance, multitasking, perseverance, sociability, the ability to find a common language with different people, and most importantly, be able to achieve your goal at all costs.

The job is definitely not easy. Not everyone has a penchant for both creativity and commerce. It will not be superfluous to understand the technology. However, the result of this work, for sure, inspires the creation and support of new projects.

Srdjan Sarenac is a film and television director, producer and screenwriter with fourteen years of film production experience in Serbia, Bosnia, France and Croatia. He studied at film schools in Serbia, Spain and the Netherlands.

In November 2013, within the framework of the Listapad film festival, a master class was held by the Serbian documentary filmmaker Srjan Sarenac, who, using the example of his latest successful project “The Village Without Women”, spoke in detail about the strategy of independently finding a producer and financing to implement his idea. FESTAGENT publishes the most important and interesting parts of the master class.

About the film "The Village Without Women": fundraising - 2 years, shooting - 2.5 years, post-production - 6 months. The film went to 54 festivals and received 14 awards. Film distribution in Bosnia, Croatia and Mexico, shown on 17 TV channels. The film's budget is 200 thousand euros (from 3 producers and 6 TV companies).

“If you want to follow my path, you need to speak English well,” the director noted at the very beginning of the master class.

Why does a director need a producer?

The cinematographer is just one person, and the producer most often has a company that can help raise the money. And that's the main reason a director needs a producer. The director can receive money from the film fund only for writing the script.

What topics are producers interested in?

Producers may be interested in any projects that reach the international level, in universal topics. For example, my film tells the story of three lonely men who live on top of a hill. They are desperate because they are not married. And a person from any part of the world can watch a movie and say, “Yes, we also have single men who need wives.”

How to find your producer and establish contact with him?

There is national registries with lists of producers. In addition, there are always producers at film festivals (they come along with films), at film markets - in search of distributors for their films. It is very important to know which producer is needed for your film. Therefore, before contacting anyone, it is worth finding out what films he has produced before and whether this is right for you. For example, you will not offer a documentary to a producer who works with horror films. Also, don't pitch your low-budget documentary to someone who only works on big-budget projects.

Contact the producer: write a letter or arrange a meeting. Of course, if he doesn't answer the e-mail, it's worth calling and making sure that the letter has been received. It is important that you be able to say in one or two sentences what kind of film you want to make (logline). Tell us a little about yourself and your previous work. It is also worth sending a synopsis (no more than one page). Some producers receive up to 200 emails per day (including from your competitors). Therefore, you need to be brief enough so that the producer understands whether he wants to do this project. If needed Additional Information he will ask about it.

When meeting with a producer, it is important to tell him about the essence of the project in 5-7 minutes. Before the meeting, you should know the answers to 3 questions:

• Why do you want to make this film?
• What do you want to tell people with this film?
• Why does it have to be you?

What does a producer think about before meeting with a director?

• Is this story unique? Have you ever worked with this topic, is there something similar?
• How big is the budget and is it possible to finance the project? If the budget is too big or too small, then you have contacted the wrong person.
• Do I need to find co-producers for the project? If you can find funding from one source, don't make things difficult for yourself. "Village without women" was financed by 3 producers and 6 TV companies. In order to make any decision, I needed to get the approval of all the people involved in the project.
• Are competitors working on a similar topic? For example, in 2014, the anniversary of the First World War. Accordingly, there will be at least 30 documentaries on this topic.
• Why would anyone invest in this film?
• Similar titles and the success of these projects: films on a similar topic with the same budget. Were they successful?
• Do I really want to spend the next 3 years with this director?
• What happens if I can't raise money for the film? Will it ruin my reputation?
• Who will reimburse me for all expenses if the project is not implemented for any reason?
• Isn't the director an ordinary egoist?
• Will the director be able to fit into deadlines And are you ready to compromise?

What does the director think about before meeting with the producer?

• Does the producer understand the story I want to tell?
• Will he be attentive to the project and will he devote enough time to it?
• Can he finance this film?
• This producer is fair man or not?
• Will he stick to the deal?
• Does the company run by this producer have any problems?

Director and Producer Decide to Work Together: Like a Long-Term Marriage

• Get ready for both the good and the bad times
• Relationships should be built on trust: honesty and openness
• The producer and director must understand that each party is doing everything possible to ensure that the project takes place
• If you get angry, it's better to wait and answer the next day

The first important treaty: Option agreement
The Option Agreement is the first contract between a producer and a director. In it, the director agrees that the producer can use the film idea for a while. Typically, under the terms of the agreement, the producer has 12 months to raise funds to finance the film and purchase the rights. If in 12 months he does not find money for the project, then all rights are returned to the director.

If the producer does not yet have the opportunity to buy the rights, but he still wants to work on your project, then you can give the project away for free. It all depends on your choice. For example, the producer of my next film couldn't buy the script. We agreed that both work for free for 6 months, and if he can find money after the expiration of the period, then we continue cooperation.

Project development (development): script and trailer

Development - the process of writing and rewriting a script prior to delivery final version. During this time, the director needs to shoot a trailer. The producer calculates the budget and tries to finance the film.

How to find money to create a trailer? It is on the trailer at the initial stage that an important part of the budget goes. Neither TV companies nor movie funds believe the script, they believe in the trailer. You can look for money through national or international film funds (see useful links).

After creating a trailer, you drive to