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INDIE PRODUCERS ON THE GOOD, BAD AND DIFFERENT IN THE NEW INDEPENDENT FILM SPACE

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THE AGBO

METHOD

“We are an artist-led company. This company doesn’t function like a studio; it functions like an artist collective.”

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AGBO’S CINEMATIC UNIVERSE PHOTOGRAPHED BY KREMER JOHNSON

FEATURES 24 THE COVER: ALL SYSTEMS GO FOR AGBO Anthony & Joe Russo and Mike Larocca talk about how their artist-first production banner collaborates and creates.

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36 INDEPENDENT VARIABLES The indie film world is changing, and Robert Salerno, Roxanne Taylor and Jonathan Wang have some thoughts.

46 POWER OF POSTPRODUCTION Megan Mascena Gaspar, Bianca Ahmadi and Jacob Mullen do a deep dive into postproduction work.

A DAY IN SUNIL’S LIFE

DEPARTMENTS 13 TOOL KIT Imminent Collision’s Hieu Ho mixes digital and analog methods—and a touch of nature—for his creative process.

62 IN THE FOOTSTEPS OF GIANTS

The p.g.a. mark now extends to TV and streaming movies.

Stephanie Allain Bray remembers working with the late, great John Singleton.

16 A DAY IN THE LIFE

56 MARKING TIME

Lost Survivors producer Sunil Perkash reaps the rewards from a hard day’s work.

Producers of films who earned the p.g.a mark share their experiences.

21 IF I KNEW THEN ARRAY Filmworks president Paul Garnes has learned to fight the good fight to tell stories that matter.

54 PRODUCERS MARK FAQ

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61 MEMBER BENEFITS Belonging to the Guild brings multiple rewards.

NEW MEMBERS AS YOU FLIP THROUGH THE PAGES OF PRODUCED BY, MEET SOME NEW MEMBERS OF THE PGA.

THE MOST NOMINATED FILM OF THE YE AR

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BEST PICTURE JANE CAMPION, TANYA SEGHATCHIAN, EMILE SHERMAN & IAIN CANNING, ROGER FRAPPIER

PRODUCERS GUILD AWARD NOMINEE OUTSTANDING PRODUCER OF THEATRICAL MOTION PICTURES JANE CAMPION, p.g.a., TANYA SEGHATCHIAN, p.g.a., EMILE SHERMAN, p.g.a. & IAIN CANNING, p.g.a., ROGER FRAPPIER, p.g.a.

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VICE PRESIDENTS, MOTION PICTURES Lauren Shuler Donner Jon Kilik VICE PRESIDENTS, TELEVISION Mike Farah Gene Stein TREASURER Megan Mascena Gaspar SECRETARIES OF RECORD Mark Gordon Hawk Koch VICE PRESIDENT, AP COUNCIL Lynn Hylden VICE PRESIDENT, NEW MEDIA COUNCIL Iris Ichishita VICE PRESIDENT, PGA EAST REGION Donna Gigliotti PRESIDENTS EMERITI Gary Lucchesi Lori McCreary NATIONAL BOARD Bianca Ahmadi Stephanie Allain Michael Ambers James P. Axiotis Nina Yang Bongiovi Yolanda T. Cochran Donald De Line Gary Goetzman

OF DIRECTORS Charles P. Howard Hillary Corbin Huang Rachel Klein Kristie Macosko Krieger Dan Lin James Lopez Jacob Mullen Jonathan Murray

Ravi Nandan Peter Saraf Jillian Stein Christina Lee Storm Mimi Valdés Angela Victor Lorin Williams Magdalena Wolf

REPRESENTATIVES, PGA NORTHWEST REGION Richard Quan John Walker volume XVII number 4

REPRESENTATIVE, PGA CAPITAL REGION Katy Jones Garrity REPRESENTATIVE, PGA ATLANTA CHAPTER Jeremiah Bennett ASSOCIATE NATIONAL EXECUTIVE DIRECTOR Michelle Byrd

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I N T H IS S T O RY O F V E N U S A N D S E R E N A W I L L I A M S ’ R I S E TO B E C O M E T H E G R E AT E S T T E N N I S P L AY E RS I N H I S TO RY . W I L L S M I T H ’ S LA N DMA RK P E RFORMANCE HAS AUDIENC ES R I S I N G TO T H E I R F E E T TO P R OV E T H AT I N A S P O R T W H E R E “ L OV E ” M E A N S “ Z E R O ” —

HERE, LOVE MEA NS EVERYTHING.” AFI

W W W. W B AWA R DS . COM

C H A M P I O N S B E G I N AT H O M E

“SONICALLY FLAWLESS, AUTHENTICALLY TEXTURED AND DEEP-ROOTED IN CULTURAL SIGNIFICANCE, SUMMER OF SOUL SUCCEEDS MAGNIFICENTLY IN CAPTURING THE SCALE, SPIRITUAL RESONANCE AND, YES, SOUL OF THE HARLEM CULTURAL FESTIVAL. IT WILL NOT BE FORGOTTEN THIS TIME.” FOR YOUR CONSIDERATION

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TOOL K I T

HIEU HO’S TWO WORLDS The Imminent Collision cofounder uses an analog and digital approach to get his producing jobs done.

rom notebooks to nature, Hieu Ho has his go-to list of things to help him get through a day of work. Along with Michael Golamco and Randall Park, Ho founded Imminent Colliision, a TV and film production company that creates distinct and universal stories from Asian American perspectives. Before launching his own production banner, Ho worked with Jon M. Chu as the president of Chu Studios. Prior to that, he served as the VP of development at BuzzFeed and started his career in the industry working in the global management program at Warner Bros. Now as a cofounder and partner at Imminent Collision, he oversees their extensive TV and film development and production slate with projects at Amazon, Netflix, Disney+, HBO Max, Hulu, ABC and Universal. This includes Jo Koy’s ABC sitcom Josep, Take Out starring Lana Condor at Hulu, HBO Max’s adaptation of Maulik Pancholy’s book The Best at It and the Disney+ family action-adventure drama Secret Guide to Celestial Creatures. On the feature side, he is set to produce a yet-to-be-titled action comedy at Amazon starring Park and Sterling K. Brown and an adaptation of the graphic novel Shortcomings by cartoonist Adrian Tomine. Ho manages to focus on his full plate of projects and be at one with nature. Here’s a very balanced list of materials Ho keeps on hand to pull that off.

MOLESKINE NOTEBOOK As part of the generation that grew up both analog and digital, I’m still old-school when it comes to writing out thoughts and notes by hand. I always have a notebook around to quickly jot down ideas, draw and visualize connections and to just doodle and process different concepts.

March | April 2022

TOOL K I T

WGA WEBSITE With a constant eye toward developing and packaging projects with diverse storytellers, the WGA online database is an incredible resource for sourcing and researching a multitude of talented writers.

BREVILLE BAMBINO PLUS ESPRESSO MACHINE Working from home has definitely been more manageable with an espresso machine. Grinding the beans, pulling shots, and steaming oat milk has become a surprisingly meditative part of my morning routine—and this particular machine makes it so easy.

GOOGLE WORKSPACE Remote and real-time collaboration between our team and partners has been remarkably efficient with Google’s suite of cloud-based tools. From email to video chats to interactive docs, it’s been invaluable during these wild times of ours.

PLANTS Yup, I’m a proud plant person. Love bringing inside as much nature as possible. I have several plants in my home office, from the classic fiddle-leaf fig to the striking rojo Congo to the beautiful ctenanthe, which help create a very calming environment.

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A DAY IN THE LIFE

WORK HARD, PLAY HARD Producer Sunil Perkash puts in the work and hustle, but also decompresses on a night out with friends and a spread of cheat-day food.

Sunil Perkash is a Stanford University grad with a degree in economics and communications, two of many things that are very helpful to a Hollywood producer. He got his start by working as a production coordinator on Guillermo del Toro’s feature directorial debut Cronos. From there, he hit the ground running, working on a mix of big-banner titles and indie pics including Blast From the Past, Premonition, Enchanted, Salt and The Divorce Party. Most recently, he added the postapocalyptic indie thriller Last Survivors to his resume. Coming up next for Perkash is the sequel to Enchanted, the appropriately titled Disenchanted, which sees the return of Amy Adams as the fairy-tale heroine. Needless to say, Perkash is a busy guy. He shared what a typical day looks like for him, which includes a full plate of work—and a full plate of nachos.

6:30 a.m. I wake up early every morning to ensure I can get done all I need to. There is such a wonderful fresh energy in the early morning. I start my day with 100% free-range farmers market eggs cooked in grass-fed ghee. I put them on Ezekiel muffins and eat breakfast without my computer or cell phone to set the vibe for the day. I love a great, healthy breakfast! So important to orient your mind, readying for the game play of the day!

9:00 a.m. I have coffee with my producing partner, Drew Van Acker. He produced and starred in our just-released film, Last Survivors, with Alicia Silverstone and Stephen Moyer. We are going over the next round of films we are putting together, specifically discussing an offer we just made to a major star on our up-

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6:00 a.m.

9:00 a.m.

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ACADEMY AWARD NOMINATIONS ®

BEST ANIMATED FEATURE • BEST ORIGINAL SCORE BEST ORIGINAL SONG “DOS ORUGUITAS”

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C O N S I D E R A T I O N

WINNER PGA

BEST ANIMATED FEATURE N O M I N AT I O N

BEST ANIMATED FEATURE

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WINNER NATIONAL BOARD

BEST ANIMATED FEATURE

9 ANNIE NOMINATIONS 2 CRITICS CHOICE AWARD BEST ANIMATED FEATURE BEST ANIMATED FEATURE I N C LU D I N G

N O M I N AT I O N S I N C L U D I N G

OF REVIEW

BAFTA

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A DAY IN THE LIFE

coming film Back Home. Then we discuss a project we are working on with Alan Ritchson. We then go over recent press on Last Survivors.

11:00 a.m.

11:00 a.m. A Zoom interview with Showbiz India, one of the largest English-language entertainment shows in the world. One of our other producers, Akaash Yadav, and I are discussing what it means to be Indian and navigating the complex waters of Hollywood.

1:00 p.m. Time for a quick change to get ready for lunch with a vice chairman of a major film conglomerate. The CEO also joins us at the Palm in Beverly Hills. We are discussing a potential new project to do together. We share some laughs about the world, musing over whether theatrical film will ever return to what it once was. We all believe the communal experience to see movies will bring audiences back once COVID is truly behind us.

1:00 p.m.

4:00 p.m.

4:00 p.m. Back at my desk to shoot off a bunch of emails. I’m trying to lock in a star on one project, financier on another, and a director on another. Polite emails nudging everyone to pay attention to your projects is an integral part of every day!

5:00 p.m. Take a break and go to the gym. Working out is a daily necessity for me to keep my mind clear and focused. Today it’s 30 minutes HIIT on the elliptical.

7:00 p.m.

5:00 p.m.

7:00 p.m.

I meet a fellow filmmaker for a drink at the Pendry Hotel rooftop. It’s outdoors and very relaxing as we look at gorgeous city views. So happy we are back to being able to meet in person—producing is about personal connection more than just strict business transactions.

9:00 p.m. Meet a friend for some really unhealthy but delicious food at Barney’s Beanery. Who doesn’t love nachos?! I usually stay in five nights a week, eat super healthy and get to bed early, but I allow myself two nights a week to break the routine and have some fun!

9:00 p.m.

11:00 p.m. Back home and shoot off a last round of emails I neglected at dinner. I take a moment to process what occurred during the day and what I need to mentally prepare for tomorrow … and then it’s lights out.

March | April 2022

“ONE OF THE BEST FILMS OF THE YEAR!” “INTOXICATING; A BEAUTIFUL ILLUSTRATION of Lucille Ball and Desi Arnaz”

IF I KNEW T H E N

DON’T ASK FOR PERMISSION President of ARRAY Filmworks Paul Garnes has learned that producing is both a team sport and a matter of playing by your own rules. INTERVIEW by Dino-Ray Ramos

aul Garnes started working with Ava DuVernay on her films Middle of Nowhere and Selma, and since then their partnership has flourished. After putting the work in on shows like Queen Sugar and Cherish the Day, he was named president of ARRAY Filmworks—DuVernay’s independent film distribution banner and advocacy collective—in July 2021. Prior to stepping into his new role, Garnes had served as ARRAY’s head of physical production. Even before his time at ARRAY, he cut his teeth in various producing positions, working in film and TV at nearly every major studio and network including Disney, Dreamworks, HBO, ABC, NBC, BET and Paramount Pictures. He also worked as VP

of operations and production for Foxx-King Productions as well as head of production for Simmons Lathan Media Group. Garnes also worked for another major player in the business as VP and executive in charge of production for the Tyler Perry Company. With all that under his belt, Garnes has learned to not ask for permission and is determined as ever to tell stories that matter.

WHAT MOVIE, PERSON, TV SHOW OR HOLLYWOOD PROJECT INSPIRED YOU TO BECOME A PRODUCER AND A STORYTELLER? Growing up on the South Side of Chicago, I never imagined a pathway that included Hollywood, movies, TV shows—those

March | April 2022

IF I KNEW T H E N

NEW MEMBERS A SPOTLIGHT ON SOME OF THE NEWEST MEMBERS OF THE PRODUCERS GUILD AND WHAT MAKES THEM TICK

things seemed so far away. In high school I got involved in theater, which opened me up to the concept of arts as a career. But then around my junior year, Spike Lee released School Daze, and that changed everything. For the first time I saw people who looked like me working behind the scenes, and I knew that’s what I wanted to do. That inspired me to go to film school at Columbia College Chicago. Producers Paul Garnes, Ava DuVernay and Howard Barish

HOW DO YOU APPROACH STORYTELLING?

Divya D’Souza

Storytelling is a team sport. You depend on writers, directors and actors for vision and passion, but successful storytelling happens in the details. Putting the perfect team together and focusing on what’s important. Producing for television and film is such a unique storytelling forum. You don’t do it by yourself.

After starting her career as an AD in film, D’Souza was drawn to producing because of its collaborative aspect. From the director to the studio to the crew, she always looks to create the best product possible and develop diverse voices that introduce the world to different stories.

WHAT ONE PIECE OF ADVICE WOULD YOU GIVE YOURSELF WHEN YOU WERE COMING UP AS A PRODUCER? Don’t wait for anyone to give you permission or to validate what it is that you want to do. In so many different careers there are set pathways to find your way. I’ve learned over and over again that in producing, there is no one set path. Often you’ll find yourself alone and questioning whether you should keep going. I would love to go back to young me, not for advice through the uncertainty, but just to encourage me to keep going! Fight for it!

WHO GAVE YOU WHAT YOU WOULD CONSIDER YOUR FIRST BIG BREAK THAT HELPED LIGHT A FIRE UNDERNEATH YOU AS A PRODUCER? In the late 1990s I met Reuben Cannon through a mutual acquaintance, which led to my first movie credit as associate producer on the indie film Dancing in September. Anyone who’s done an independent film knows how wild an experience that can be, but that film validated my dream of spending the rest of my career working in this industry as a producer. I’m proud that all these years later, Reuben is still a mentor and a friend.

NOW THAT YOU KNOW WHAT YOU KNOW NOW, HOW DO YOU WANT TO MOVE FORWARD WITH YOUR CAREER AND THE KIND OF STORIES YOU WANT TO TELL? The kind of stories that interest me haven’t changed. I love to explore the complexity of who we are, why we do what we do, and why we feel what we feel. What has changed as I’ve gotten older and done this longer is a greater need for the projects I work on to mean something to others.

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What’s the best piece of advice you’ve ever received about producing? The hardest thing for a producer to say should be no, because when you say no you need to be able to provide an answer for a different or better way to move forward—or at least guide the person in helping them get to that solution.

ACADEMY AWARD NOMINATION BEST ANIMATED FEATURE ®

ANNIE AWARD

PGA AWARD

Best Animated Feature

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OUTSTANDING PRODUCER OF ANIMATED THEATRICAL MOTION PICTURES

Andrea Warren, p.g.a.

CRITICS CHOICE BAFTA AWARD A W A R D

N O M I N A T I O N

Best Animated Feature

N O M I N A T I O N

Best Animated Film

S Y T S E M L L S A

GO FOR AGBO

Anthony and Joe Russo and Mike Larocca’s production company is changing with the Hollywood landscape, serving inclusive, artist-first blockbuster projects with an indie spirit. Written by Dino-Ray Ramos Photographed by kremer johnson

Mike

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Anthony

joe

March | April 2022

ALL SYSTEMS GO FOR AGBO

THE AGBO ORIGIN STORY AGBO may be flourishing, but in 2015, when it was originally incepted by the Russo brothers, it was just a glint in their eyes. The production company was named Getaway then. It officially launched as AGBO in 2017 (the name derives from “Gozie Agbo,” a handle Joe Russo has used as an actor in Marvel films). As Larocca remembers, “Joe and Anthony were just coming off of Winter Soldier, and right when we started, they were headed off to Atlanta for Civil War.” The then-Getaway production banner made a deal with Sony for the Russos’ action thriller The Gray Man, which would go on to star Ryan Gosling. The Russos and Larocca had great reputa-

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tions and were linked to huge Hollywood projects, but it wasn’t all glamorous for them. Joe says that they were working out of a modest bungalow at Sony—but Larocca remembers differently: “It wasn’t even a bungalow. We had like the worst office and these guys were making Civil War and now here we are six years later with a billion-dollar valuation, eight or 10 movies, and billions of dollars in production budget. So it’s been a pretty insane six years.”

Mike Larocca, Jeremy Steckler and Matthew Carnahan on the set of Mosul

PHOTO COURTESY JOSE HARO

he Russo Brothers have been synonymous with the Marvel Cinematic Universe and are arguably the duo responsible for making the expansive superhero saga what it is today. From Captain America: War to Avengers: Endgame, Anthony and Joe Russo could have easily ridden that blockbuster wave of cinematic spectacle. Although they continue to keep that mentality, they created their artist-first production company, AGBO, to level up on their own terms and to bolster talent across the board. With former Chernin Entertainment Senior VP Mike Larocca steering the AGBO ship as co-founder, the trio are not only sculpting the Hollywood landscape with the way they make global content for film, television, and digital platforms, but are also allowing themselves to change with it. Nestled in downtown Los Angeles in an area that once served as food distribution hub for the city, AGBO blends in with discreet brick buildings that that include a number of restaurants. Among them is chef Steve Samson’s Rossoblu, where the Russo brothers and Larocca first met. The AGBO campus has Silicon Valley start-up energy and is filled with a determined artistic vibe as well as contemporary Instagrammable Easter eggs throughout. Across the way is a sizable parking lot that played host to a drive-in presentation of Spider-Man: Homecoming in the early days of the pandemic. The growing inside of the campus includes several state-of-the-art editing suites, a viewing theater, a huge work-inprogress motion capture studio, and true to the LA spirit, kombucha on tap.

“I THINK IT’S IMPORTANT TO NOTE WE ARE AN ARTIST-LED COMPANY. IT FUNCTIONS LIKE AN ARTIST COLLECTIVE. THAT’S HOW WE DEVELOP OUR MATERIAL. THAT’S HOW WE COLLABORATE WITH OTHER ARTISTS. IT’S VERY MUCH BASED ON THAT MODEL, WHICH I THINK IS DISTINCTLY DIFFERENT FROM THE NORMAL STUDIO MODEL.”—ANTHONY RUSSO

“This is a film that knows how to soar.” THE HOLLYWOOD REPORTER

“A fable that succeeds on many levels, from its rich sense of atmosphere to its dynamic female leads.” THE WRAP

ACADEMY AWARD NOMINATION ®

BEST ANIMATED FEATURE FILM

10 ANNIE AWARD N O M I N AT I O N S I N C L .

BEST ANIMATED FEATURE

PGA AWARD N O M I N AT I O N

BEST ANIMATED FEATURE

CRITICS CHOICE AWA R D N O M I N AT I O N

BEST ANIMATED FEATURE F O R Y O U R C O N S I D E R A T I O N

OUTSTANDING PRODUCER OF ANIMATED THEATRICAL MOTION PICTURES

Osnat Shurer, p.g.a., Peter Del Vecho, p.g.a.

ALL SYSTEMS GO FOR AGBO

THE CHOSEN ONE Choosing Larocca to head AGBO seemed like a no-brainer for the Russos. As the vice chair, Larocca has served as the producer on four of the production company’s projects including Extraction, Mosul, Relic, 21 Bridges, and Cherry. He also serves as producer on The Gray Man as well as the forthcoming Electric State and Citadel on Amazon. That said, he’s doing pretty well as the captain of the AGBO ship. “Joe and I have worked together for so long that we got to the point where we realized we needed a partner who was an incredible producer in order to sort of dimensionalize ourselves and continue to grow and thrive as filmmakers,” says Anthony. “For us it was a big choice—it’s introducing someone new to our dynamic—and we were very thoughtful about it.” He continues, “We took a long time exploring people who could potentially be that kind of a partner to us, and we were led by many roads to Mike. It just ended up feeling right.” “I think we complement each other really well,” Joe says of Larocca. “We all have different strengths, so I think it’s important as a director to feel supported and have a partner who can take responsibilities off your shoulders—someone you trust implicitly to manage issues from start to finish. I mean, that’s two years of hard work. We make movies at a large scale. They’re very complex, and the machinations and the politics behind them are very complex. It requires a very, very proficient, well-respected partner who can pick up the phone and talk to studios and solve problems.” After coming on board, Larocca wanted to help parlay the Russos’ brand and success into producing. The brothers had produced a couple of projects but hadn’t yet grown in the space with the strength of the Marvel movies. “It was about starting to make things that we could be proud and excited about,” says Larocca. “I’d been working with Peter Cherin’s company since its inception, so I think I had a sense of what it takes to get something going. Like Joe and Anthony, Peter had every advantage in the world to be successful as a producer—but it’s still incredibly hard work.” Larocca came in ready to work. He rolled his sleeves up and made great things—which ballooned into many more projects. “The ambition of where we ended up isn’t what we talked about in

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the beginning, but they’re unbelievably entrepreneurial partners, and a lot of opportunities came our way,” says Larocca. “I think we’ve done a good job taking advantage of them and growing the business—much bigger, I think, than what I was anticipating from the jump.”

A PRODUCER’S JOB IS NEVER DONE Anthony and Joe Russo may be known for their MCU work, but they have also floated effortlessly back and forth from indie films like their first feature Welcome to Collinwood to cult TV projects like Community to big blockbusters on the big screen. The Russos’ road to cinema was embedded with storytelling, and Anthony says that from his earliest memories of movies, it was a language that resonated with him. “The communication that was happening through storytelling sometimes felt more resonant to me than what was happening in my real life,” says Anthony. “I remember coming to that moment when I felt like I had a fluency. In a way, I can communicate through film more effectively than I can in other ways in my life.” The brothers had storytelling flowing through their veins and through their career. They could craft a story. That naturally dovetailed into their roles as producers—something that Larocca helped bring forward. “What does a producer do?” is a question they often get asked. “There’s a misconception that producing has to do strictly with financing or the business elements. But I think it’s pretty evident what everyone in film does if you think about it,” Larocca points out. ”If the actors act and the directors direct, the producers produce—literally. “Producers make it happen. They put the elements together, push it through, and literally produce it into the world. For whatever reason, some people don’t understand how all-encompassing the producer role is.” Anthony admits that his and Joe’s first taste of producing was with their first feature Welcome to Collinwood. “We had written it and were directing it, and there was nobody else working with us, so we were by default producing it. That was basically how we learned what producing is.” Joe chimes in to say that they had seen other people take the written by, directed by, and produced by credit, so they

ALL SYSTEMS GO FOR AGBO

“WE HAD LIKE THE WORST OFFICE AND THESE GUYS WERE MAKING “CIVIL WAR,” AND NOW HERE WE ARE SIX YEARS LATER WITH A BILLIONDOLLAR VALUATION, EIGHT OR 10 MOVIES, AND BILLIONS OF DOLLARS IN PRODUCTION BUDGET. SO IT’S BEEN A PRETTY INSANE SIX YEARS.” —MIKE LAROCCA

followed suit. “That was a great experience for us because we were pretty much doing everything,” says Anthony. “We had to learn everything on that film, including producing. That’s when we understood what Mike was talking about—there’s nothing there unless there’s somebody there making it happen.” “It’s so funny because the details, scale, and time can change but at the end of the day, it’s all the same. It’s making sure everybody shows up, making sure you’ve got the equipment, making sure everybody knows what story you’re telling, making sure the money’s there to pay for it all. That’s it.”

MCU IN AGBO From Community to the MCU to AGBO, the Russos are all about keeping it in the family. We’ve seen Community cast members like Jim Rash, Ken Jeong, Danny Pudi and Yvette Nicole Brown appear in Marvel movies, while such actors as Chris Hemsworth, Tom Holland and the late Chadwick Boseman have appeared in their AGBO projects like Extraction, Cherry and 21 Bridges. For the Russo Brothers, it’s not about branding or separating projects. They reject the notion of “auteur” and lean into the “collective theory,” which champions collaboration. “I don’t know that we make very conscious decisions about branding or separation. We just go to work every day,” Joe says. “We like to work a lot. We come from sort of a blue-collar background. Our grandpa worked in the steel mills until he was 80. So it’s always been about the work for us. It’s what excites us to get out of bed every day and can justify leaving your family for 12, 13 hours a day.” Because they have worked in a diverse array of spaces in film and TV, the Russo brothers’ career has been very unorthodox, paralleling that of Steven Soderbergh, their mentor during their indie days. “We flow all over the place

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Joe and Anthony Russo and Tom Holland on the set of Cherry

depending on what is exciting to us in the moment. It was never a conscious decision to separate AGBO so much as to create a space where creatives feel protected—to make this feel like a collective and to pay our karmic debt to the universe by getting some young filmmakers,” Joe adds. This has flowed through their work veins from the jump. The Russo brothers codified a process with their MCU collaborators Steve McFeely and Christopher Markus that they brought to Marvel co-presidents of story, where the four of them would sit in a writers room, spend months breaking story, and then work on an outline. “Then we’d spend months talking about the outline, making sure we liked the structure and direction of the story. Then we’d go to a script and we’d sit and read the script line by line in the room,” says Joe. For four years, they used this disciplined process at Marvel. If Marvel

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boss Kevin Feige would pop his head into the room and say, “I need a script for Civil War, ” they would use the process to crank one out in a couple of months. Finding this incredibly effective, the Russo brothers asked, “What if we built a studio around this?” Fast-forward to 2022, and they have a billion dollars’ worth of projects in production. “We’re very, very busy and we feel like it’s still a lean company,” says Joe. “Everybody wears multiple hats. I think our process has made it very efficient for us to tell stories of quality.”

BLOCKBUSTER MINDSET, INDIE SPIRIT As mentioned, the Russo brothers got their start in indie film and thrived in cult TV series. That spirit continues to be present in their projects all the way to Endgame. The Russos and Larocca manage to achieve a balance of studio films with an indie aura that no one else can quite get.

Sure, a film like Cherry has Tom Holland, but it frames him in a story that gives off Sundance energy. “We have certainly made films here that are indie in spirit and execution,” Larocca says. “Then we made Mosul, which is an Arabic language film that we financed in its entirety for under $15 million. We’ve done the Daniels film (Everything Everywhere All at Once) with A24; we’re executive producers on another film at A24 called Legend of Ochi; and we did the horror Relic with a firsttime director from Australia. So we’ve definitely kept a foot in indie spirit.” “I think it’s important to note we are an artist-led company,” says Anthony. “This company doesn’t function like a studio; it functions like an artist collective. That’s how we develop our material. That’s how we collaborate with other artists. It’s very much based on that model, which I think is distinctly different from the normal studio model.”

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Larocca says that they were lucky to not have quotas or output requirements from their partners over the years. He thinks this comes with the territory of being independent. However, he still feels the need for a sense of urgency when pushing projects forward—but he insists that things have to be fully baked and not rushed. “That said, we’ve capitalized the company,” he says. “We love making movies.”

CHANGING WITH HOLLYWOOD

Zach Zyskowski Having grown his career in the television space, Zyskowski is paving his way to produce his first feature film. To accomplish this, he follows the best advice he has received about producing: “When things get overwhelming, always just focus on the next right action—just put one foot in front of the other!”

Who or what inspired you to go into producing? Growing up as a gay kid in a rural and conservative town, TV and film offered me a glimpse into a more accepting, diverse and inclusive world. I have always been passionate about social change and making the world a better place, and as a creative individual I could see no better medium in which to do so than film and television. I always wanted to be able to make my dreams and ideas a reality, and producing seemed like the best way in which to do so.

With the pandemic, a racial reckoning and outdated practices, Hollywood is changing no matter what. AGBO has been impacted by some of this change and has been adapting. They were lucky to dodge the COVID shutdown with their productions of Everything Everywhere All at Once and Cherry. However, they had to get into the COVID-filmmaking mindset with The Gray Man, Citadel and Extraction 2— but they got the job done. When it comes to films, streamers have thrown a wrench into how the box office works, and AGBO is also adjusting to that. Joe waxes poetic on how things like box office numbers and Nielsen ratings are becoming more and more outdated metrics. Meanwhile, streamers like Netflix have offered compelling things to the landscape. “One is diversification—it was certainly a white man’s game for a very long time but streamers’ specificity of appealing to regional markets has pushed diversity agendas toward the industry as a whole, and now we’re getting more inclusive stories. We’re getting them on a greater platform.” He looks to Squid Game as an example. The critically acclaimed pop culture phenomenon would not have the impact it did if it had been released 10 years ago. “I think audiences are changing,” he says. “They’re not afraid of reading subtitles, and streamers can take bigger bets on something like a Squid Game because they don’t have to worry about the blowback from an opening weekend, or box office numbers that color the public’s perception. I think we’re in a great place.” The Russo brothers’ embrace of diversity comes from an upbringing in an Italian immigrant family. The two also grew up in Ohio near an arthouse cinema called the Cleveland Cinematheque, which played a variety of foreign films. So they have always been multicultural in their thinking. Even their time at Marvel allowed them to travel the world and connect with a global audience. “I hope this doesn’t sound navel-gazey, but I feel like AGBO was way ahead of that curve,” Anthony says. “The fact that our very first movie would be an entirely Arabic-language film set in Mosul with an entirely Middle Eastern cast at the budget we were at—there was no other company in the world that would’ve made that movie in that way.” For AGBO, it’s about figuring out how to make cultures feel seen, and getting excited about it. “It’s this opportunity to make things you never thought you’d get a chance to make—to work across a language barrier,” adds Larocca. “And the globalization of all this is incredibly exciting and fun to work in. We’ve embraced it as a company for the simple reason that we were interested in it.” As AGBO looks to bolster inclusion, they also see it as an opportunity to tell even more stories outside their regular purview. “What we like about storytelling is that it builds community and can be

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inclusive when you tell the right stories,” says Joe, adding that releasing SpiderMan: No Way Home during the pandemic helped build a community. “I was proud of that movie bringing people together,” adds Joe. “It doesn’t matter what side of the aisle you’re on. It doesn’t matter what race, color, creed. People are in a theater, laughing, cheering and responding. That’s the power of storytelling.”

AGBO AND THE FUTURE With so much growth, Larocca and the Russo brothers are obviously looking to the future of AGBO. At the beginning of 2022, the company closed a sizable investment deal with Asia-based video game maker Nexon that would allow them to develop films or series from Nexon’s extensive catalog of game titles. The deal will also allow Nexon to build out game extensions based on AGBO titles. It seems on brand for AGBO.

“We spent a lot of time over the past couple years building our company. In addition to all the things we’ve talked about, we are looking for it to be a place that can be a ‘plug-and-play franchise universe creator,’” says Larocca about the deal. “To us, audiences want to engage with more than just one film, and if it’s successful, they don’t want to wait for three years.” With Joe and Anthony’s ability to team with Christopher Markus and Stephen McFeely to build unique, interlocking universes and franchises, this is a huge step for AGBO. Larocca says that we will see this in the Extraction franchise. Along with the sequel, AGBO is talking about creating spinoffs. This also goes for The Gray Man and Citadel. Larocca says that a huge focus for AGBO is to present complete worlds and universes while being at the cutting edge of the technology that will make it more and more possible.

“WHAT WE LIKE ABOUT STORYTELLING IS THAT IT BUILDS COMMUNITY AND CAN BE INCLUSIVE WHEN YOU TELL THE RIGHT STORIES. IT DOESN’T MATTER WHAT SIDE OF THE AISLE YOU’RE ON. IT DOESN’T MATTER WHAT RACE, COLOR, CREED. PEOPLE ARE IN A THEATER, LAUGHING, CHEERING AND RESPONDING. THAT’S THE POWER OF STORYTELLING.” —JOE RUSSO

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VARIABLES Filmmakers Robert Salerno, Roxanne Taylor and Jonathan Wang talk about navigating the new independent film landscape in the 21st century. Interview by Dino-Ray Ramos

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Shamea Morton, Katt Williams, and Sisse Marie in Roxanne Taylor-produced The House Next Door: Meet the Blacks 2

ROXANNE TAYLOR

JONATHAN WANG

he concept of “indie film” has changed since the ’80s and ’90s, and the lines that define it have blurred. Many auteurs dubbed as “up and coming” have gone on to direct gigantic comic book tentpoles and streamers, further altering the terrain as to what exactly an indie is. To explore this shifting landscape, Produced By hosted a roundtable conversation with filmmakers Robert Salerno (I’m Thinking of Ending Things, We Need to Talk About Kevin), Roxanne Taylor (The House Next Door, Black and Blue), and Jonathan Wang (Swiss Army Man, Everything Everywhere All at Once). The filmmakers have different experiences and are in various stages of their careers. Some have worked in the studio space, but all of them got their start in the indie world. In a candid discussion, they unpack the good, the bad, and the truth about how indie film is changing and where it is going.

WHEN YOU FIRST ENTERED THIS BUSINESS, WAS BEING A PRODUCER A ROLE YOU KNEW YOU WANTED?

ROBERT SALERNO

Robert Salerno: I don’t know what I initially I wanted to be. I majored in communications and advertising, and I was interested in being an actor. I started taking acting lessons and doing commercials. Because I used to be a gymnast, I had a bit of a schtick. I could do a backflip, so I would get hired in commercials to do one.

CAN YOU STILL DO A BACKFLIP? RS: No, I haven’t tried in some time (laughs). Anyway, I realized acting wasn’t as easy as I thought. I started seeing the people on the other side of the camera. It looked more interesting, more ability to control and tell stories. I got a job interning, and PAing and going through the process. I got inspired working with the Shooting Gallery, a New York independent company. We made movies like Laws of Gravity with Nick Gomez, and Hal Hartley films. The one that put the company on the map was Sling Blade with Billy Bob Thornton.

THAT’S A GOOD BREAKOUT MOVIE FOR AN INDIE COMPANY. WHAT ELSE DID YOU WORK ON? RS: I had an opportunity to work with Al Pacino when I was there, producing a movie that he was directing and starring

in called Chinese Coffee. That was one of the early times that I was really inspired. He forced you to dig. He wanted feedback on the script and story and then every single cut. I was 25. It was a pretty amazing experience. I started to fall in love with crafting and creating stories and felt like, “Oh, my God—this iconic figure is taking my voice seriously and is interested in what I have to say.” It sparked a lot of love and interest in the independent film world. Roxanne Taylor: Very similar to Robert, I never sought out to be a producer. I was a computer science major, but always a fan of film and all the layers of it. After deciding, “Hey, I don’t want to be a programmer anymore,” I packed up my house, got a U-Haul and moved to LA. I lived in a Motel 6 and worked for temp agencies and figured, “OK, I know the business.” I joined this company called All Star Agency, which placed people in film. The closest thing I did land was a job at Walker, Texas Ranger as a PA. I wasn’t on set. I was just in the office because I was trying to learn. I wanted to be in front of the camera, but whenever the camera

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Robert Salerno on the set of I’m Thinking of Ending Things

shines on me, I completely crumble. I ended up landing a job at the DGA, working for the national executive in charge of theater, awards and facilities management for the New York and LA office. I was able to maneuver that world very quickly, but I found it was a totally different world than what I was used to. I learned a lot about production. It was a little overwhelming, and at that time, very abusive—which sometimes it can still be.

HOW LONG DID YOU STAY AT THE DGA? RT: I ended up quitting. I went to music and doing concerts, which is very similar. I ended up coming back to film because my business partner wanted to do his own film. Again, I didn’t know anything about it. I was winging it. That was 17 years ago, but I fell in love during that process. I was really in the trenches. This was with Rutger Hauer, which was a very interesting experience, I must say.

WHAT DID YOU LEARN? RT: When you’re thrown in like that,

it teaches you what filmmaking really is—being independent and having to be out there on the ground; scraping and scratching and trying to figure it out and raising your own money from 20 different people. Independent filmmaking is wearing multiple hats. Jonathan Wang: I didn’t ever want to be in front of the camera, so I guess I’m unique there (laughs). Like you, Roxanne, put a camera in front of me and I have no brain function. I was a touring musician. I was in bands, and I really didn’t like the experience of songwriting. I was self-aware, always asking, “Am I cool? Is this a good song? Is this going to be a hit?” I wanted to step away from that. I started doing tour management and the business side of entertainment. Then I realized that the film industry is the one that I really love.

way into work with Roman and Sofia Coppola. I used that name a lot, even though I was an intern. I was like, “Yeah, I work with the Coppolas.” (laughs) I asserted myself as a producer and jumped into the deep end. I called all my music contacts and started producing music videos, being the PA, art director, everything in one, because I didn’t know any better. From there, I worked on bigger and bigger music videos, learning more until I became friends with the Daniels. We made a bunch of music videos, got Grammy nominations and MTV Music Video Award nominations. Studios started calling to ask, “Do you guys have movie ideas?” and we answered, “Yes, we do.” Then we made movies and started to figure it out. You fake it till you make it and then you keep on faking it, right?

HOW DID YOU SET FOOT IN THE FILM INDUSTRY?

RT: Yes! Fake it till you make it!

JW: I reached out to a friend and asked. He was working with American Zoetrope. They didn’t have an internship, but they created one for me. Somehow I made my

THE INDIE FILM LANDSCAPE HAS CHANGED SINCE THE DAYS OF KEVIN SMITH’S CLERKS AND THE TARANTINO ERA.

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HOW DO EACH OF YOU DEFINE INDEPENDENT FILMMAKING? RT: For me, independent filmmaking is doing it all on your own, literally—from raising the capital, the equity, financing, all the nuts and bolts of the production, finding distribution, putting the film out— everything from concept to delivery. You don’t have studio backing, a negative pickup deal, or all of these other things. Sometimes I have disagreements with people in the industry when they say they’re independent, but they have all of these backings and all of these things in place before the films have been made. I’m like, “OK, well, then what’s independent about you?” I struggle with that because I am truly an independent filmmaker. We literally raise our own financing, write the scripts, and hire the crew. We make the movie and then go find a distributor. Then there’s the P&A. To me, that’s real independent filmmaking. JW: I totally agree that there’s this thing that’s happened within our culture where indie music and indie film have become a genre in and of themselves. Indie producing is a different thing than an indie film. I think there’s a certain kind of auteur story that gets broken as soon as you put it into a big studio. It’s true there is the indie producing side where we talk about finance, but when you talk about an indie story, there’s something there that could happen within a small studio. It’s an interesting, amorphous thing: indie storytelling versus indie producing. RS: I think it’s two things. Now you’re finding more streamers and companies taking the gamble and going for something that would be classified an indie film. But there’s the indie producer, which is more than ever, during COVID, such a struggling place to be. It’s almost impossible. I’ve worked in both worlds. I’ve worked with full-on studios. I’ve worked fully independent, raising every dime and dollar and had credit cards maxed out.

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What that means is that the producer is shouldering all of the responsibility and all of the problems. I just finished a film with a studio that was like heaven. For every single thing, there’s support. I’m normally setting up the signatory companies for the Screen Actors Guild and for the DGA or the WGA and having to do all that and all the financial assurances. Then you’re stuck with this for years after everybody’s gone. With the studio, all that gets parsed out. On top of that, you as the independent producer are focused on working with the filmmaker. You need to have a good story—something that’s entertaining, that works. But you’re pulled in 5,000 different directions and you’re shouldering all of the burden creatively, fiscally and legally.

COVID GREATLY IMPACTED THE INDUSTRY. HOW DO YOU THINK IT HAS IMPACTED THE INDIE FILM SPACE? RS: It made everything more heightened and hyper to handle. We have so many additional costs for COVID protocols. It’s difficult for an independent film to shoulder. And we also have the liability. If we shut down, where is that coming from? There’s no big brother. It’s usually a bank or an independent equity person who is not in it to keep throwing money toward helping out. Now there’s also more independently minded stories that streamers and studios are making. I think that’s where indie film is blurred. I did a movie with Charlie Kaufman, I’m Thinking of Ending Things. Thank goodness Netflix was there. They did a great job supporting and helping get that financed, but that would’ve been really difficult if it were truly independent. RT: I agree 200%. It is so hard to be able to support the filmmaker 100% and be creatively invested when you are doing it independently. You don’t have enough time in the day. You have no infrastructure. I’m still doing movies from six years ago. There are so many layers, but people don’t understand. The backing that a studio gives you is priceless. It’s so important

“I think that with high competition comes ingenuity, right? When you have a saturated marketplace with thousands and thousands of stories every day, what’s going to cut through? It’s unique, fresh stories.” —Jonathan Wang

to have that sometimes to tell that story, as Robert said, and get what you want from those actors on the screen—not having to rush through every single take. Every single setup is super hard. We shot a film in July 2020, right after the country shut down in the middle of the pandemic. It was a million-dollar film, but the reason I did it was really, as an independent, to figure out how to shoot in this landscape. I went to Tahoe, where there were no COVID deaths. The population was low, the mandates weren’t there, and it was in one location with minimal cast. I still have about six projects set up at other studios as work for hire. They’re twiddling their thumbs, trying to figure out if they have the budget and the means. All of the other layers are coming into play now, and everybody’s trying to go “the independent way,” right? Because the world has turned upside down.

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LANDSCAPE OF FILMMAKING? THIS IS PROBABLY MORE FOR JONATHAN SINCE HE HAS DONE EXTENSIVE WORK WITH A24. JW: I think A24 is great because they understand the size that they are, and they’re also growing very rapidly. There’s this organic process where it still feels like you’re an indie producer. They have the resources to help you, but they’re not saying, “Here’s our specific way it has to be.” There is a more organic process. The first movie that we did with them, they picked up. From that, I’ve seen their office grow exponentially. I used to know everyone in the office. Now there’s hundreds and hundreds of people in there. It’s an interesting time for them to see that sort of growth, where they are still indie but have the reach and an HR team to give you real production support. It’s a good home currently to be at.

They’re not doing many co-fi or negative pickup deals. They’re not doing developing much at all. They want you to come in there with a finished project. They want to buy it out and say thank you and put it out. Content is king. All these streamers are looking for content, and it makes it a viable business for the YouTubers and the influencers. There’s an outlet for people who used to beg to try to find a place for them. Now there’s a home for anyone. But yeah, not to get off track, but that’s super hard—being an independent producer and trying to manage and take on that liability and carrying that through for the life of the film. It’s very challenging. JW: Yeah. I put an exclamation mark on what Roxanne and Robert said. It’s not any one specific thing. It’s the cumulative effect of all the small decisions. If you think about COVID and the risk you

have to take on as an individual person without a health and safety team, without a full legal department—you as an indie producer have to make informed decisions on testing protocols and union rules. You have to figure that out yourself. Now, if you go to Disney or Netflix, you might be like, “Oh, this is so restrictive. I wish I was in the other corner.” So you have the two extremes. It’s really hard parsing through the COVID protocols, not to mention SAG, financing, cast deals, all that stuff, plus creative.

WE’VE TALKED ABOUT STREAMERS, BUT WE ALSO HAVE NEWER COMPANIES LIKE A24 AND NEON THAT CAN BE CONSIDERED A HALFWAY POINT BETWEEN BIG STUDIO AND INDIE FILMMAKING. HOW HAS THAT IMPACTED THE

WE’VE SEEN FILMMAKERS LIKE TAIKA WAITITI, CHLOE ZHAO AND PATTY JENKINS, WHO WERE MORE ON THE INDIE AND ARTHOUSE SIDE, DIP INTO HUGE BLOCKBUSTER MOVIES. BUT DO YOU THINK THERE ARE CERTAIN INDIE FILMMAKERS WHO AVOID ENTERING THE BIG STUDIO SPACE LIKE THE PLAGUE? RT: Everybody’s different. Everybody’s going to have a different perspective, but everybody starts somewhere. You have to go from nothing to get to something. I think most filmmakers probably dream big, but at the end of the day, they’re storytellers and they want to make the movies they want to make. I personally think that yes, you want to get to that studio level or that Marvel level. You want to have that experience and the infrastructure that you wouldn’t normally have. In that same sentence, you are restrained in the flexibility of what you get to do because you have to answer to so many different layers of people. In my experience, they will sometimes go to the more green filmmakers to give them that next opportunity in a Marvel or

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Director Daniel Kwan, actor Ke Huy Quan, and Jonathan Wang on the set of Everything Everywhere All At Once

whatnot, because they can micromanage them. They can mold them on how they want things to go. Sometimes, if you get a more experienced filmmaker, it’s going to be more pushback on how they want to move and the vision that they want to see. But for my personal opinion, who wouldn’t want to do a Marvel film or go to that next level? If you’re a true filmmaker and a true storyteller, you will go around and flipflop and still do an independent movie because it’s about the story that you want to tell. RS: I think that’s true. It’s also the reality of the business. There’s a lot of money at stake. If you’re independently wealthy and able to pick out your specific artistic vision of a script that is smaller and you know is not going to have a major audience, it might be a major critical success, but you may not make that money back. If that’s what you want to do, then you should go for it. But a lot of people aren’t able to do that. A smart filmmaker is probably taking

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that indie film and then going for the bigger-budget film that they can direct and try to make a name for themselves. All that does is help them to go back and do their more personal art film. Somebody’s more apt to give you money if they’ve seen a big-budget success or more apt to grab that A-list talent on your little million-dollar movie if you’ve had success elsewhere. Alfonso Cuarón was brilliant at that. He’s gone from Y Tu Mamá También to Harry Potter to Roma. He was able to do that because of his track record and his background. You’ve got to do the big studio thing sometimes. It’s a balancing act. JW: Maybe I’m a bit more punk rock, but I think that we are 100% in a business, and we can’t be foolish and just think, “Oh, we’re going to make whatever and who cares whether or not we make money.” Because then you’re never going to get money again, or it’s going to be harder. In that same breath, I don’t want to confuse the visions. If the goal is to make money and make a big movie for the sake of making money, then I’d say don’t do

it. But if the goal is to make a good movie and it also so happens that you’re inspired by the script and you want to level up on the studio level, then great. Sometimes these big tentpole features feel like they’ve thrown a lot of money at it, but maybe didn’t have enough passion for the story and enough passion for what the actual vision is. I think that that’s why God blessed us indie producers who will always put story first and always be fighting to tell the best story, rather than “Let’s just throw ungodly amounts of money at a thing to fix a thing.” You have to check yourself to ask, “Why do I want to level up?” Is it because you want to make more money? Fine, but make sure you’re not going to make something that’s bad for the world just because you wanted to make a bunch of money. RS: It’s true. As an indie producer and an indie filmmaker, it’s easier to be punk rock in your 20s. There’s a lot less riding on things and you can go for it. But as you age up, you have a wife, kids, responsibilities. So it’s trying to find that balance

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INDEPENDENT VARIABLES

NEW MEMBERS of doing the projects you’re passionate about that have real personal meaning that you want to get out into the world, with having to make an income.

FROM COVID TO THE ADVENT OF STREAMERS TO BOX OFFICE INSTABILITY TO THE CALL TO ACTION FOR MORE INCLUSIVITY IN FRONT OF AND BEHIND THE CAMERA, WHAT DO YOU SEE IN THE FUTURE FOR INDIE FILMMAKING? RS: The reality is that it’s more complicated between the streamers and the studios. They’re making so much film right now. They’re sucking up the crew and actors, and it’s really difficult attaching your cast because there’s so many things happening at once. These people are getting paid, and why shouldn’t they? For sure. But with independent film, it’s a lot more complicated to keep crew inspired to want to do this when they’re getting offered a bigger studio film. In the indie film world, you have to remember we’re asking for lots of favors. It’s difficult to accomplish that. There is a bit of a breaking point happening because there are also studios that are giving negative pickup deals. I think that’s happening because they can’t get insurance for COVID anymore, so it gives them a step removed from the project and it puts it all onto the producer to figure out how to self-insure and take all the liability on. And then you’re finished and you deliver that to the studio, which says, “OK, they’ve successfully gotten through this.” A ton of challenges are happening for the independent producer right now, in part because there’s so many movies and shows being made. But I’m also encouraged because I think there’s a lot of new young voices coming up and the world is in a bit of turmoil. I think there’ll also be stories that will come out and help resonate and continue. JW: I agree. I think that with high

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competition comes ingenuity, right? When you have a saturated marketplace with thousands and thousands of stories every day, what’s going to cut through? It’s unique, fresh stories. So this old model of “let’s stack a cast of traditionally white characters” is kind of stale now, thank God. Now we are going to see diverse characters and stories. We’re going to have interesting, unique voices. Seeing the kind of young artists that are out there right now and knowing that there’s so many stories, it’s not stifling; it’s more inspiring. That’s the optimistic view. As Roxanne was saying, as an indie producer, there is a need for content. Even though I don’t like that word “content,” people need to buy stuff. So if you can find unique stories that cut through, there’s going to be a marketplace for it. It’s different right now because of COVID, but I’m not fatalistic. A lot of people think, “Oh, cinema’s dead.” I don’t think that at all. I just think we’re in a lull that’s going to lead to creativity and ingenuity and new future voices. But it definitely makes everyone’s life harder. Trying to, as Robert said, overpay for everyone because you can’t compete with these big streamers—it’s hard, but as indie producers, we just put our boots on and get to work. RS: It’s tough. You might get a DP, a designer who’s willing to take a cut in order to do that amazing tier-one thing they’re inspired by. But I find that they have a tough time getting the swing gang and the grips and the electrics, because those are all people that are amazing and creatively adding to the film, but they also work in a more labor-intensive position. If they can do the same job and get paid a much higher rate and have better protocols, then they’re going to go and do that. It is a challenge. It’s not impossible, but we’re in a challenging time for an independent producer. JW: That is where the ingenuity comes

A SPOTLIGHT ON SOME OF THE NEWEST MEMBERS OF THE PRODUCERS GUILD AND WHAT MAKES THEM TICK

Toni Kamau In 2013, Kamau attended a talk by Roger Ross Williams at the IDFA. He talked about the process of directing and producing God Loves Uganda, and its incredible impact on combating LGBTQ discrimination. It was the first time that Kamau had met a producer of color at a major festival. After hearing the talk and meeting other producers of color at Hotdocs, Sundance and Durban Film Festival, Kamau began to realize that as a young Kenyan female writer/ producer of color, she wanted to produce and release stories of impact on a global stage.

What’s on your producing bucket list? Social justice documentaries are my first love. Softie, directed by Sam Soko, and I Am Samuel, directed by Pete Murimi, will always have a place in my heart. I would love to work on a historical heist documentary feature or series, though! They seem challenging, and fun to work on.

INDEPENDENT VARIABLES

in. You hear about companies taking points and doling it out to positions like that— where suddenly a third grip is sharing in ownership of a film. Well, those people are going to be excited to work on your movie because now they’re taking ownership in it. They have stock in it. This is the creative thinking that indie producers have to do, but that’s cool. I think that’s exciting. RT: There’s a couple different pieces for me, but it goes back to the question of “What is an indie producer?” and “What does that mean for everyone?” Everybody’s at a different level of independent filmmaking and it’s changing a little bit for the better, because it’s creating more opportunities. Even streamers throwing astronomical amounts of money at these films is changing. They’re restructuring, retooling and rethinking their approach. From my experience, they want the independent producer who can come in and make a movie for a smaller budget, like making five movies for $20 million instead of one movie for $20 million. That’s where an independent producer can come in, and because of their background, be creative and figure out how to work with different teams of people. I’ve been very blessed—I have the loyalty of my crew because I’m consistently working and employing them. They’re OK with sometimes taking that lesser cut because they keep working. From film to film, there’s leverage there. Being a Black woman, I create diversity in front of the camera and behind the camera and give opportunities that most people wouldn’t normally have. I think the crew is loyal to you if you take care of them. A lot of these networks in these studios are looking for independent producers for original programming and content because there’s no new ideas or storytelling. Independent producers are the ones who bring that fuel. We’re going to see it change for the better for us. We come from a different world than most people. That gives us the one-up opportunity to be great and shine through—to build more opportunities and more projects that will live forever.

Roxanne Taylor on the set of Fear with AD Walter Perry

“Being a Black woman, I create diversity in front of the camera and behind the camera and give opportunities that most people wouldn’t normally have. I think the crew is loyal to you if you take care of them. ”—Roxanne Taylor Instead of every generation trying to re-create the wheel and bring people up on the ladder to mentor, I am trying to create generational wealth. That might be an extreme, but that’s exactly what I’m trying to do. Right now I own 15 IPs. If I can get another 15 in five or six years, then I’ll have 30 and maybe I can go option another 15 from third parties that

would never have a chance to have their projects made. In five years, I will own a library of 60 films. Maybe I can go have Lionsgate acquire that library. There are so many worlds to independent filmmaking. If you figure out where you want to be and what you want out of it and stay on track, the opportunities can be much bigger than working for a studio.

March | April 2022

The Power of

POSTPRODUCTION

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Megan Mascena Gaspar, Bianca Ahmadi and Jacob Mullen unpack their postproduction careers—from humble beginnings through the pandemic and beyond. Written by Sara Merican

March | April 2022

THE POWER OF POSTPRODUCTION

Bianca Ahmadi (below) starts the postproduction process once footage is dropped off.

n a field marked by tech savviness and relentless innovation, postproduction was uniquely suited to adapt to the seismic shifts and challenges of the last two years. Postproduction professionals Megan Mascena Gaspar, Bianca Ahmadi and Jacob Mullen share their unexpected journeys into the edit room and weigh in on how the space has transformed over the course of their careers. “Postproduction needs to be demystified a little bit,” postproduction supervisor Ahmadi says. She oversaw The Source, an eight-film documentary series for Vice World News. One of the films, The Shockwave, which spotlights the Beirut port explosion, earned a prestigious Alfred I. duPontColumbia University Award earlier this year. She adds, “Sometimes people may think about (postproduction) in terms of how it was before the pandemic and don’t really acknowledge all the shifts that have happened.”

NAVIGATING THE SHIFTS

The massive shifts in postproduction have come not just in technology and software, but also in how people organize themselves and work together. Ahmadi emphasized the rising importance of good leadership from post producers and postproduction supervisors, especially when team members are no longer just a holler down a physical office hallway. Beyond technological competencies, the ability to manage a remote team—set realistic deliverables, build a healthy working culture and keep the big-picture creative goal in mind—has become the defining feature of Ahmadi’s job. She has also found her international experience especially useful in her recent documentary project for Vice, gained through time working in human rights in Brazil and studying in Hungary. “As a post supervisor,

you’re finding the editors, leading the team, making sure that we’re on schedule, delivering everything for films on different schedules from all over the world.” This is a far cry from how postproduction looked like when Ahmadi started more than 15 years ago. “Everyone was in the office, and you had editors that you could hire locally. Now, you can hire anyone if you like their work,” shares Ahmadi, pointing out that she has hired editors in New Zealand, Spain, New York and Los Angeles. “Just because you live somewhere doesn’t mean the postproduction process has to stick to that strictly.” Gaspar has worked on major scripted series like Speechless,

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THE POWER OF POSTPRODUCTION

Fresh Off the Boat and JAG in her decadeslong career. She has adapted to the technological upheavals and cultural shifts in the industry. The first show she worked in postproduction was “one of the last shows which used a full orchestra to score,” yet also one of the first shows to go high-definition. Regarding the transition to remote work, Gaspar shares that her team was well prepared: “We have been doing semi-remote mix playbacks for years for our executive producers who couldn’t leave the lot.” She is working on Doogie Kamealoha, M.D. and The Wonder Years currently, crediting platforms like Evercast for making postproduction collaboration easier. She has also organized virtual team-building events like cheese taste-offs to promote rapport. On postproduction teams now working from home, Gaspar says, “I just didn’t think it would work, but it can—and some people are now really used to it.” Mullen has also adapted in this new landscape. Previously working on shows like FX’s It’s Always Sunny in Philadelphia and AMC’s The Walking Dead: Origins, he participated in one of the most unique episodes of television he has ever worked on during the quarantine days of the pandemic. He served as a postproduction supervisor for Apple TV+’s Mythic Quest when all the productions in Los Angeles came to a grinding halt. Showrunner Rob McElhenney got together with the writing team and created a “Mythic Quest: Quarantine”episode and pitched it to Apple and Lionsgate. With enthusiastic approval from both, Mullen’s team formulated a plan to shoot remotely via Zoom and entirely on iPhones. Apple shipped out nearly 50 iPhones for the production, along with microphones and lighting setups. The camera lens faced the talent, while the team monitored the shoot through a “video village” assembled via Zoom. “We shot, edited and finished an episode of television entirely on the iPhone from our homes during a pandemic,” Mullen shares. “It was an exhilarating experience.”

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WINDING PATHS

Working in postproduction was not something that Gaspar, Ahmadi or Mullen had thought about at the beginning of their careers. Hearing about a job in production accounting while at Emerson College, Gaspar jumped at the opportunity to land her first postgraduation job in Los Angeles even though her original goal was to work in production. “I quickly learned that I wasn’t made for set work. I didn’t like having to be quiet,” shares Gaspar. She held assistant coordinator roles in various departments for JAG until a role in postproduction opened up during JAG’s fourth season. “I had no idea what post people did, but I wanted to stay with the show,” Gaspar says. She asked for the position and has stuck to postproduction ever since. Gaspar enjoyed supervising “big VFX” and worked with aircraft carriers, planes, army bases and explosions. “But my favorite place to be is on the mix stage, working with all the pieces, dissecting sound effects, working to make a line of dialogue sound better, massaging a score cue,” she shares. “That is where I come alive.” After leaving a year-long sales job in Houston to move to Los Angeles, Mullen rode waves of rejections before landing a role as a runner with a postproduction facility in Culver City. He eventually connected via LinkedIn with It’s Always Sunny in Philadelphia producer Jeff Luini. After much persistence from Mullen, Luini brought him in to work on a pilot. “The Sunny post team is like my second family. They are also the Mythic Quest post team, so we have been in the trenches together for some time now,” shares Mullen, reflecting on his decision to stay long-term on a handful of shows rather than hop around on different projects. “If I take on a pilot or something new, I bring the team along. Having trust in your department is crucial to success. It makes things dramatically easier and more fun when you operate with the same crew show after show.” Unlike Gaspar and Mullen, who felt the pull to head out west to Los Angeles, Ahmadi was determined to find work in New York City. While working as a logger in San Francisco, she found a television editing role in New York. After a “very intense” few years working on several unscripted crime series, Ahmadi decided to move into the lifestyle space for a change in environment. “I want to look at homes and beaches,” she explains. Now she finds herself taking on documentaries and video journalism for platforms like Vice World News and Discovery+. “I’ve always liked real stories,” Ahmadi shares. “I would say that now I’m actually doing what I’ve always wanted to do.” She knows that her years working in postproduction assistant and coordination roles, quietly observing the ins and outs of the industry, have given her a comprehensive understanding of postproduction. “That whole trajectory was really helpful, because sometimes if you don’t do every piece, it’s like you skip a grade. You can’t make sense of why certain things are needed,” Ahmadi shares. “I was doing different positions until I got into a supervisory role.

THE POWER OF POSTPRODUCTION

Jacob Mullen has worked postproduction on shows such as Mythic Quest, The Walking Dead: Origins and It’s Always Sunny in Philadelphia (below)

If you get the title too quickly, you don’t know all the different pieces that you need when you’re at that level.”

LEADERSHIP AND MENTORSHIP

What has kept Mullen, Ahmadi and Gaspar in postproduction is also the field’s unique mix of technical, creative and leadership skills. Describing his job in great detail, Mullen points out that each studio and network requires different things from a postproducer. Day-to-day, Mullen’s role is to ensure that postproduction and production are on the same page. “I’m releasing memos, crew lists, scheduling any meetings and script coverage for post, writing down questions for production meetings, and getting acquainted with new faces,” he shares. Month-to-month, he works on the credits process, tracks VFX shots, and schedules and supervises mixes and color sessions. “A lot of time goes into making sure we stay on schedule and under budget.” Gaspar was drawn to the opportunity to see a project through to its fruition. “In

March | April 2022

THE POWER OF POSTPRODUCTION

postproduction, you are able to live with the story for its entire life,” she says. She is able to peek in when a project is breathed into life at preproduction, then supervise the production process before shaping how the film is “rewritten” during postproduction. “There are few positions that have this gift.” Now as a senior leader in postproduction, Gaspar brings the philosophy of a “teaching hospital” to her team, which ensures that everyone is learning as much as possible. “I’ve had a few people come through my team who are now running their own shows, and that makes me so happy.” For example, Gaspar loops in her production assistant and other team members on emails that may not have direct relevance but will allow them to understand the bigger context of the show they are working on. “By seeing the emails and replies, the production assistant is able to understand what we’re all working on, so we’re able to feed her more stuff because she understands the process.” Gaspar says that this is important for production assistants, because this is the time when “people open the doors” for them. She also invites more staff to production and concept meetings. “My whole team goes, because those conversations are really important to learning how to make a show.” Reflecting on her current role and desire to pay it forward, she shares, “I think it is really important for those who have had success to give back and mentor younger people.”

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Megan Mascena Gaspar (right) has worked in postproduction on numerous TV shows including New Girl.

“IN POSTPRODUCTION, YOU ARE ABLE TO LIVE WITH THE STORY FOR ITS ENTIRE LIFE. THERE ARE FEW POSITIONS THAT HAVE THIS GIFT.”

P G A AT YO U R SERVICE

You asked for the Producers Mark in Television and we got it! Now it’s up to YOU to get production companies, networks and distribution platforms to submit Televised and Streamed Motion Pictures to the PGA for certification! IS THE PRODUCERS MARK AVAILABLE FOR ALL TYPES OF MOVIES? No. Historically, only theatrical motion pictures, documentary motion pictures and animated motion pictures were eligible to be submitted for Producers Mark consideration. But we are happy to report that the Producers Guild recently expanded its determination process to include televised/streamed motion pictures.

WHEN I SEE “p.g.a.” AFTER A PRODUCER’S NAME IN A MOTION PICTURE’S CREDITS, WHAT DOES IT MEAN? Regardless of the distribution platform, 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 specific motion picture.

WHY DO SOME MOTION PICTURES CARRY THE PRODUCERS MARK, BUT NOT OTHERS? The Producers Mark is voluntary, and the PGA cannot force any copyright owner to submit for certification. All of the major studios—Universal, Disney, Warner Bros.,

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the Producers Mark

ON YOUR MARK

Sony, Paramount and Fox—and nearly all theatrical distributors of independent motion pictures, welcome the PM process.

ARE ALL PRODUCERS ON A MOTION PICTURE ELIGIBLE TO BE CONSIDERED FOR THE PRODUCERS MARK? No. On theatrical motion pictures, documentary motion pictures and animated motion pictures only those individuals receiving “Producer” or “Produced By” credit may be considered for use of the Producers Mark. On televised/streamed motion pictures, only those individuals receiving “Executive Producer,” “Producer” or “Produced By” credit, whichever is the primary producing credit as supported by the submitted credits, may be considered for use of the Producers Mark.

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 “Executive Producer,” “Produced By” or “Producer” credit in any way, nor does it invalidate that credit by its absence.

WHAT IMPACT DOES THE PRODUCERS 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 AMPAS, HFPA and BAFTA, all rely on the PGA

process to guide their decision making. However the final selection of nominees is always at the discretion of the organization giving the award. And, while 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 …”).

SO WHAT’S THE PROCESS FOR LICENSING THE PRODUCERS MARK? 1. The process is initiated by the copyright owner of the motion picture. 2. After the post-production process has commenced, but four to six weeks before credits are locked, the owner submits a motion picture for consideration via ProducersGuildAwards.com. 3. Within two to three weeks, the PGA sends out eligibility forms to every producer credited as “Executive Producer,” “Produced By” or “Producer” on the motion picture, depending on the type of production and the submitted credits, and sends confidential verification forms to a wide variety of third parties associated with the production of the motion picture: the director(s), writer(s), department heads, company executives and key crew members. 4. 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 motion picture under consideration. (I.e., if the motion

P G A AT YO U R SERVICE Because the Producers Mark is brand new for televised and streamed motion pictures, it is incumbent on you to request that the production companies, networks and distribution platforms submit the movies you produce for them to the Guild for processing the Producers Mark. If you are currently producing a televised or streamed movie and are contractually due the primary producing credit, please contact tvpm@producersguild.org for info and assistance on licensing the Producers Mark.

picture is a major studio tentpole, we try to utilize arbiters with considerable experience in making those big-budget studio pictures. If the motion picture is a smaller indie movie, we rely on producers familiar with that type of production. If the motion picture is produced for distribution via television or streaming platform, we use arbiters with that particular type of production experience, etc.) An initial arbitration panel typically has three arbiters. The arbiters review all materials returned to the PGA by the producers and third parties, with all names of individuals credited on the motion picture 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. 5. 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 produc-

ing functions spanning development, pre-production, physical production and post-production. The form also includes a free-response section for the producer to elaborate more fully on the specifics of the production and their role on the motion picture. The verification forms filled out by third parties typically ask the respondent questions related to the nature of their collaboration with the credited producers. 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.

that bias is affecting their judgment.

WHO SELECTS WHICH ARBITERS VET THE CREDITS OF WHICH MOTION PICTURES? That determination is made by the PGA’s Corporate Counsel in consultation with the General Counsel.

ONCE A PRODUCER’S CREDIT IS CERTIFIED WITH THE PRODUCERS MARK, IS THAT CERTIFICATION APPLIED PERMANENTLY TO ALL OF THE PRODUCER’S MOTION PICTURES?

WHAT IF THE PGA SELECTS AN ARBITER WHO (UNBEKNOWNST TO THEM) IS BIASED AGAINST A GIVEN PRODUCER OR MOTION PICTURE?

No. A Producers Mark appended to a producing credit applies to that motion picture only. It represents the nature of the work performed on that motion picture alone and does not carry over to future productions.

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 motion picture. Furthermore, all arbiters are asked to affirmatively state that they have no interests in the motion pictures 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 (PGA’s Corporate Counsel or the National Executive Director/COO) feels

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 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.

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 motion picture 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 motion picture.

For all the details about the Producers Mark, please go to producersguild.org.

March | April 2022

P G A AT YO U R SERVICE

MARKING TIME Two producers share their experiences of making the projects that earned them the Producers Mark certification. Certification via the Producers Mark indicates that a producer performed a major portion of the producing functions on the motion picture. The full list of Producers Mark certifications can be viewed at producersguild.org.

Unplugging

Debbie Liebling, p.g.a. In an effort to experience a “digital detox,” a husband and wife plan a weekend getaway from their busy lives without kids, phones or social media. They go into this mission hoping to get clean, fresh air from the great outdoors so they can rekindle that spark in their marriage. All is good, until they realize they can’t use GPS to guide them, which results in a comedic adventure that could either reconnect their relationship— or cause some serious network connectivity problems. Out in theaters April 22.

UNPLUGGING IS ABOUT DISCONNECTING, BUT CONSIDERING THE CURRENT SOCIAL LANDSCAPE AND WHAT THE WORLD HAS BEEN THROUGH, HOW DID YOUR PERSPECTIVE ON THE STORY CHANGE FROM THE FIRST DAY YOU BOARDED THE PROJECT? My perspective has not changed radically, since I think the issues of staying connected to your partner are ubiquitous through time—just with different distractions. I am not sure we

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are any less phone-dependent than we were pre-pandemic. Perhaps we are more dependent now given the limited opportunities these past two years for direct human interaction. While we may have been running around more before and not connecting with each other, instead we are in our homes in different rooms on our own devices still not connecting with each other. The story is relevant either way, as many couples find ways to distract themselves from dealing with each other. Technology has replaced other avoidance techniques—golf, martini lunches, watching sports, chatting on the phone, Instagram, Zoom meetings, Wordle, online shopping, more sports, bingeing streamers. Unplugging is a story for folks in any relationship who find ways to distract themselves from true intimacy and connection.

WHAT WAS THE BIGGEST CHALLENGE YOU ENCOUNTERED DURING THE COURSE OF UNPLUGGING PRODUCTION AND HOW WERE YOU ABLE TO OVERCOME IT? We shot this film early in the pandemic when folks were really afraid to fly, so several actors who had been cast in supporting roles understandably

Above: Matt Walsh and Eva Longoria in Unplugging Right: Debbie Liebling

P G A AT YO U R SERVICE

lost their nerve to travel as the crisis worsened. We had to scramble to fill a few roles while we had already begun shooting with no schedule flexibility. Fortunately, between Matt Walsh, Brad Morris and me, we were able to reach out to friends in the comedy community who were happy and willing to help us out.

WHAT SURPRISED YOU THE MOST WHILE PRODUCING THIS FILM? The best surprise was shooting in Tulsa, Oklahoma. The tax credit is extremely generous. The film office was so accommodating, from housing to location to food and crew. The city itself is more versatile for locations than I thought it could be. Folks opened their doors to their homes, and stores and offices and were very excited to have us there. We also discovered a cool foodie scene in Tulsa. I would love to shoot there again.

The Devil’s Light

Jessica Malanaphy, p.g.a. Sister Ann, age 25, believes that performing exorcisms is her calling. However, she is met with resistance from the religious institution because only priests—not nuns—are allowed to perform exorcisms. With the support of a mentor, she is allowed to observe training sessions. While trying to prove herself, she meets one of the school’s most disturbed patients and is faced with a demonic force that is tied to her own past. Out in theaters October 28.

THE DEVIL’S LIGHT IS ABOUT EXORCISMS, WHICH HAVE BECOME AN ENTIRE GENRE WITHIN THE HORROR/THRILLER SPACE. WHAT IS IT ABOUT THIS STORY THAT RESONATES WITH YOU PERSONALLY? I love the ability that genre movies have to talk about serious issues—emotional trauma, societal inequalities, etc.—in the context of an entertaining film. For me, The Devil’s Light is about a young woman battling sexism and the patriarchy—in this case, within the Catholic church. Sister Ann’s talents are undeniable, but her unconventional approach to exorcism, drawing strength from her own vulnerabilities, is deemed dangerous by the establishment. I also love that we’ve flipped the female role here. Women are traditionally victims in exorcism stories, but Sister Ann is both caretaker and warrior.

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P G A AT YO U R SERVICE

WHAT WAS THE BIGGEST CHALLENGE YOU ENCOUNTERED DURING THE COURSE OF THE DEVIL’S LIGH T PRODUCTION AND HOW WERE YOU ABLE TO OVERCOME IT? The rite of exorcism is centuries old and seen in some of the most iconic genre films of all time. So to reinvent what exorcism could look like from a woman’s perspective was a big challenge. As we were developing the project, we wanted to make sure we were faithful to the canon, but then departed from it in ways that were entirely character-based. Then, (director) Daniel Stamm and (actor) Jacqueline Byers worked with amazing stunt performers, choreographers and contortionists to physically show Sister Ann’s internal struggle as she battled these demons.

NEW MEMBERS A SPOTLIGHT ON SOME OF THE NEWEST MEMBERS OF THE PRODUCERS GUILD AND WHAT MAKES THEM TICK

were figuring out all of the protocols and new tech as we were going. I was initially concerned that editing remotely, with our team literally spread out across the world, would make collaboration more difficult. But because we were all able to focus just on this while the rest of the world was shut down, it made the partnership stronger in a lot of ways. That and having our kids make appearances on Zoom during our sessions.

Javier Gonzalez-Rubio Jessica Malanaphy

WHAT SURPRISED YOU THE MOST WHILE PRODUCING THIS FILM? We shot this in July 2020, so for most of us, it was the first time working in this new pandemic world. We

Jacqueline Byers and Lisa Palfrey in The Devil’s Light

Gonzalez-Rubio was inspired to go into filmmaking after his father, a film buff and actor, encouraged him to do so—but he didn’t know he wanted to be a producer. It wasn’t until his father gave him Robert Evans’ autobiography The Kid Stays in the Picture that his fate as a producer would come into focus. Now as a producer, Gonzalez-Rubio hopes to create a series about the brief and tragic story of the rule of Emperor Maximlian and Empress Carlota during the Second Mexican Empire.

What’s the best piece of advice you’ve ever received about producing? My go-to person when it comes to advice is my good friend and mentor, Marie Cantin. She’s such an amazing producer. I think the best advice she has given me is to always have a plan B, C and D to make things happen.

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RE A C E K NE WE TA EOCW R A R K TAU EO OF N W W O R OF OU

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UPPING THE CREATIVITY LEVEL ON TROLLS WORLD TOUR

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P WHAT CAN SOCIAL MEDIA REALLY TELL YOU ABOUT YOUR PROJECT?

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THE POWER OF DIVERSITY EQUITY INCLUSION SUCCESS

“The responsibility of the executive producer in TV is the same as in film—we protect our crews, in all ways. So can you imagine trying to protect your crew from something that is invisible, that you can’t smell, that you can’t touch or taste?”

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IN THE FOOTSTEPS OF GIANTS

All in a Day’s Disagreement Written By Stephanie Allain Bray

How trust and mutual respect—and the director’s mom—trumped a brief on-set spat.

his is from the set of Hustle & Flow, which we shot in Memphis, Tennessee, during the hot, sticky summer of 2004. John Singleton and I were producing and had just recovered from a dragged-out fight the night before concerning whether to use a stunt double for a particularly rough sequence when the character DJay (Terrence Howard) kicks Lexus (Paula Jai Parker) out of his house. John wanted it to be physically rough, and I was arguing against that, believing our audience wouldn’t recover from the lead being so brutal. This stopped production for several hours as we each presented our case to the director, Craig Brewer. Finally we all agreed to let Craig’s mother make the decision, and she sided with me. This was the fourth film John and I made together, and as you can see, despite how passionate we both were about our points of view, nothing could destroy the trust and connection we had with one another.

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