- Charlie Chaplin in his 1920s silent-film prime.
Unlike their big screen brethren, movie producers are not hired hands. Producers earn money by putting together all the meaningful aspects of making movies--from casting, to financing and logistical details. In the Hollywood system, payment is based on a formula consisting of the producer's base salary, plus a percentage of the film's total earnings, or "points." The independent level film or theatrical producer works for a smaller percentage, or may only get it through ticket sales, or when a project's investors are repaid. Charlie Chaplin pioneered self-production during the 1920s, when he began using his acting profits to gain creative control of his movies. The success of this arrangement led him to join director D.W. Griffith and the husband-wife acting team of Douglas Fairbanks and Mary Pickford in forming the first independent film studio, United Artists. - "El Mariachi"'s hero gets ready to exact retribution.
By the 1980s, spurred on by new access to foreign markets, a rise in video rentals, and the blockbuster profits of films like "Raiders Of The Lost Ark," a sleek, new breed of superachiever emerged. High-powered studio executives like Michael Eisner, David Geffen and Don Simpson were pulling down tens to hundreds of millions of dollars, thanks to incentives and stock options that quickly became standard contractual practice. Independent producers, on the other hand, had to continue wearing multiple hats and hoped to build enough "buzz," or advance word of mouth, for their films. One of the most celebrated examples occurred with director-producer Robert Rodriguez's breakout hit, "El Mariachi" (1992). Shot for just $7,000, Columbia Pictures executives liked the film enough to pick up its marketing, promotion and distribution rights, giving hope to a new generation of outsiders. - Disney head Michael Eisner personified the new breed of super-executive.
Not surprisingly, producers' salaries vary greatly, depending on the type of project and nature of their work. Figures compiled through 2006 by the U.S. Bureau of Labor Statistics showed the median annual wage at $58,310 for producers and directors, with the middle 50 percent earning $37,980 to $88,7000. Median film and video industry earnings were $70,750, versus $47,30 for radio and TV. The bureau's figures showed a median hourly wage of $34.01 for producers and directors, easily tripling and doubling those of actors and technical employees. However, most producers are not full-time employees, which may require an aspiring Michael Eisner to supplement his income by working in other fields. Union membership is important in this industry, since it enables access to health insurance and pension benefits, as well contacts for future jobs. - A scene from "Clerks," one of the cornerstones of Miramax's 1990s success.
Long, irregular hours are the norm, even for those working full time; 16-hour days are not unusual for legendary overachievers like Michael Ovitz, for example. As the principal overseers and financial backers of films, producers may have to spend weeks or months away from home, often shooting on location in unpredictable climates. If the producer is actively providing input on a film's production, her presence may also be required in the postproduction process, such as the editing. Career advancement depends greatly on an individual film's success, which can be leveraged into a higher-profile position at a major studio, or forming a new entity--as Harvey and Bob Weinstein did with Miramax, which became America's most successful independent film studio during the 1990s. They cemented their status in 1993 by accepting an $80 million acquisition offer from Disney. - The bureau estimates that about 28 percent of all actors, directors and producers are self-employed, offering their skills and abilities to whomever will hire them. As a result, competition is expected to remain keen, with job prospects staying relatively constant. The bureau projects an 11 percent growth rate between 2006 and 2016, with many of those opportunities driven by the rise of interactive media, direct-to-Web productions, expansion of new cable TV networks, and continued demand for American entertainment around the world. However, many aspirants are likely to leave the field, since work tends to be intermittent, hard and low-paying. Those who survive these obstacles to join a major studio--or become successful in their own right--can pride themselves on joining an elite group, indeed.
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