How Lucy Fisher and the PGA from “Gladiator 2” try to figure out what a producer does

On October 25, 2024By Yukito

It takes a village to make a movie, but when it comes to producers, they are stereotyped as money men at best, and at worst their efforts are undermined by honorary titles handed out like Halloween candy to anyone who needs recognition. It can be difficult to distinguish what producers do because, unlike regulated positions in trade unions and guilds where responsibilities are clearly defined, they do not have an overarching, protective governing body. Complicating matters is the multitude of titles that are often misunderstood: how many people actually know the difference between what an executive producer, co-line producer and line producer do?

This is work that women in the independent world have been doing for a long time. This awards season, awards contenders like “Nightbitch,” “Babygirl,” “Anora,” “The Brutalist” and more all have women in some producing capacity.

More from Variety

The PGA is trying to change this confusing perception of what a manufacturer does on behalf of its more than 8,200 members. The professional body grants membership rights to a range of 31 different positions under the manufacturer’s umbrella. (Some crew members who qualify for membership may even come as a surprise, such as production, post and visual effects coordinators.)

As part of this effort, the organization’s website includes a newly updated Author Codes section, featuring an extensive interactive list of titles and responsibilities by format. It’s easy to navigate the various pages and understand the many nuances associated with job titles in the world of film and television, as well as in digital shorts, immersive special places, video games and transmedia. The extensive list of roles is designed to cultivate an understanding of how PGA members work on a set that goes beyond pervasive stereotypes.

Susan Sprung, CEO of the PGA, says the image many people have of producers comes directly from “The Producers” in any of its film or stage versions.

“It’s not an honorary title,” Sprung says. “It’s not a gold star that you get because someone decides to give you something that makes you feel important. There’s real work behind it… and real legal and fiscal responsibility. If the Rust thing has shown people anything, it’s that before you claim credit for it, you want to be sure you’re really taking on what it means to produce something.”

Stephanie Allain and Donald De Line are producers who currently serve as joint presidents of the PGA. “I think what might surprise people,” Allain says, “is how broad our reach is with film. Not just development, but nurturing talent, hiring a director and so on; literally working with the writer on the pages, walking around and talking to the costume designer. We are involved in almost every aspect.”

Although other crew on set may offer solutions to the problem, that does not make them a producer either. “Can you imagine (saying), ‘I helped with this shot, I should also have DP credit,’ or ‘I called this actor, shouldn’t I be the casting director?'” Allain states.

Stereotypes are a common problem, and the image of a money bag also harms producers. “In recent years, producers have suffered greatly from the devaluation, undervaluation (and) dilution of our wages,” says De Line, adding that without a collective bargaining agreement, “producers are out on the net and in the name of basic things like health care, we have no guarantees .

PGA members receive none of these benefits from the organization, and producers who bring a concept to fruition can work for years without any compensation.

Lucy Fisher, co-chairman of Red Wagon Entertainment and producer of “Gladiator II,” describes working on the film as “the ability to rub two sticks together and make something out of nothing.”

Stories of projects that took years to complete are not the exception, but the norm. The fastest turnaround from concept to shoot that Fisher can remember in his long career took another two years: Jarhead.

It’s important to distinguish Fisher’s role in the world of film because a film producer functions differently than, say, a video game producer, where a company might hire a producer who already has a specific concept in mind. That’s part of what makes this role so difficult to take on.

Not every manufacturer designs, handles finances, or focuses on exactly the same elements of production.

Michelle Byrd, deputy national executive director of the PGA, says the organization must “protect and strengthen the role of producers and help them protect their credit.” Education and knowledge are the most important.

The Guild will launch a campaign this fall with these ultimate goals in mind. We plan to interview producers with various titles about their job responsibilities. The resulting videos will be published on social media with the hashtag #ProducingIsAJob. Members recently received a letter from the guild presidents urging them to start recording their own interviews as well and linking them with the same tag.

“Real producers,” says De Line, “are an extremely intelligent, diverse group that engage in very specific activities, identifying, nurturing and creating (projects)… sometimes for years without earning a cent of remuneration, and without them these projects will never would reach the screen.”

Producers can always request that the pga mark be used next to their name in the credits to highlight the importance of their work beyond just the job title. Anyone who meets the criteria can receive an insignia license by submitting an application, regardless of guild membership status.

Fisher describes the complex balance at work as attention to detail without losing sight of the bigger picture. If one is engaged with a specific element of a film, he or she must classify its overall meaning rather than delve into the details. There are always “a million unforeseen circumstances that will always come at you like a hurricane, no matter what you think (have planned for the day),” he notes.

Fisher is a producer at the forefront and continues to work towards his films even as the rest of the cast and crew move on to new projects. If the production is the family, the producer is the parent who does not throw the child out of the house at the age of 18, but unwaveringly supports and guides him.

That said, not every manufacturer is like Fisher from start to finish. Each role has its own set of skills within specialization. If there is a single thread connecting PGA members with members of other associations and guilds, it is that there is always more to the story, even when it comes to the people behind it.

The best of diversity