MAUREEN A. RYAN is a producer based in New York concentrating on feature films and documentaries. She is co-producer of James Marsh’s Man on Wire, a documentary that won the 2009 Academy Award for Best Documentary and the 2009 BAFTA Award for Best British Film. She was also the Production Advisor for Making a Murderer (Season One) for Netflix. She is currently Chair and Director of Production at Columbia University’s Graduate Film program. Her books include the brand new Producer to Producer: A Step-by- Step Guide to Low Budget Independent Film Producing, 2nd edition from MICHAEL WIESE PRODUCTIONS. We spoke recently about the new sections on hiring crews, her tango between academia and producing movies, and why pre-production is all that matters.
You can order Maureen's new book here.
Dave Watson: First, congratulations on the book. This is the second edition. How is it different from the first?
Maureen Ryan: The first book was published in 2010 and since then we have had a digital revolution in the film/media industry. The 2nd edition reflects how we make films now. The post production sections outline current digital workflows including the Digital Intermediate (DI) process. I also added sections on Safety and Hiring Crews, areas that I wanted to address with new chapters because they are so important. Additionally I changed the word “film” to “project” throughout the entire book. Because now we are creating web content, video streaming, digital series, branded content, episodic series, and more kinds of projects that haven’t been formed yet. It’s not just a ninety-minute linear film anymore. The producing steps are pretty much the same but we need to broaden our concept to include all kinds of productions and formats.
DW: The subhead is a step-by-step guide. What are some of the pitfalls independent producers can make these days?
MR: The book is geared towards low budget, independent filmmaking so the Production Triangle is key. The three sides of the triangle are Fast, Cheap and Good. You only get “two out of three.” If you want it to be Cheap AND Good (the low budget indie model), it will not be fast. Pre-production is all that matters. And that includes re-writing the script until it is incredibly good before you even consider prep. Too many filmmakers go into pre- production before they have a great script. No matter how good a producer you are, it won’t be a good film.
DW: In the film Independent’s Day, Sydney Pollack said it’s sometimes hard to distinguish an independent film. He asks whether it’s finance, the director, or distributed. Is it sometimes hard to distinguish?
MR: I agree with Pollack’s assessment and perhaps everyone has their own definition. I define it as a project that is not generated within a network or studio. It’s a full range of different kinds of projects.
DW: You balance the creative side with the business part, starting with content acquisition and proposal. Do many people overlook this part?
MR: Yes, especially in the non-fiction space. I think filmmakers often think that you just go out and shoot and shoot and shoot and then spend months/years in an edit room when making a documentary. Every documentary I have produced has had an extremely detailed written treatment that reads like a script and we go shoot all the material required for that particular film only. Then we edit. Otherwise you are wasting a tremendous amount of time and money.
DW: You always say to get a sales agent or create a concrete distribution strategy. Are these crucial to nail down prior to production or does the timing of these vary?
MR: The timing varies. For first time filmmakers/creators, the chances of getting a sales agent on board before the film is finished, or at least at rough cut stage, is very rare. But you always need to think about who the audience is, how will you get the project out to them once it is completed and if those sales will be enough to re-pay the investors. Otherwise, you should re-think the project so you have a better chance to sell it when
completed.
DW: You cover legal and budgetary aspects, line by line. What do you wish you’d known before producing yourself?
MR: How difficult, time consuming and frustrating music licensing can be! It can really negatively impact your film’s profitability if you don’t get all the rights you need prior to a sale. It’s really important to get that nailed down in an affordable way at the beginning of post production so you know your final costs. If something will be too expensive, then the director and editor have time to make different choices before you “lock picture.”
DW: For you, what do some of the best current independent producers do?
MR: Prep, research, plan, communicate well and treat everyone with respect. I think those are the pillars of great producing.
DW: When a film is criticized as overproduced, what does that mean to you? For me it means there are so many effects on the screen they get in the way of the story and therefore the power of film. The latest Kingsman comes to mind.
MR: I haven’t seen the latest Kingsman so I can’t comment on that film - I loved the first one! I’m not sure I believe in the word “overproduced.” More often, it could be more about demands by the financier or two many ideas and no one person with their eye on what a film is or isn’t. It’s hard to know, unless you have firsthand knowledge of the behind-the-scenes process.
DW: You’re a professor and appear to go back and forth between academia and the film world. Is this challenging?
MR: I’m the Chair and Director of Production of Columbia University’s Film program AND an independent producer. It is definitely a challenge but one that I feel privileged to accept. I love teaching and we have the best and the brightest at our school - I get to support them in what they want to accomplish and pass on whatever insights I have gleaned over the years. I also teach 2-day Line Producing seminars for various organizations like Producers Guild of America and other filmmaking non-profits around the world.
DW: When and how did you get into film?
MR: I always wanted to make films and made my first film when I was ten. My family didn’t even own a still camera so I borrowed my friend’s Dad’s Super 8mm camera and made a film because I didn’t want to write another book report for school. In my last year of college I got a few internships in film and started working as a PA after I graduated. I then worked for several years as a grip/electric before getting my MFA degree at Columbia and then becoming a producer. Having been a grip/electric has made me a better producer for sure.
DW: What’s next for you?
MR: I’m working on a few feature documentaries right now in various stages of production or finishing. It takes awhile with non-fiction projects so you have to take the long view. I hope one or two of the films will be released in 2018.
DW: What is your favorite cinematic moment?
MR: Brazil is my favorite film – I love dark, dark comedies. Scenes from that film pop into my head every week – especially now in these surreal times. If I had to pick one scene from that film I think it would be the long tracking shot through a frenetic hallway into Mr. Kurtzmann’s (Ian Holm) office. I saw the film when it premiered in 1985 and director Terry Gilliam’s view of the world resonated deeply with me and I felt it was incredibly prophetic. His commentary on terrorism, bureaucracy and tyranny through “advanced” technology were spot on then and unfortunately are truer today than I think he could ever have imagined. Years later, on my first feature documentary Wisconsin Death Trip, Mr. Holm narrated our film and it was a real thrill!
Clip: Brazil
Dave Watson is a writer and educator. He lives in Madison, WI.
Dave Watson: First, congratulations on the book. This is the second edition. How is it different from the first?
Maureen Ryan: The first book was published in 2010 and since then we have had a digital revolution in the film/media industry. The 2nd edition reflects how we make films now. The post production sections outline current digital workflows including the Digital Intermediate (DI) process. I also added sections on Safety and Hiring Crews, areas that I wanted to address with new chapters because they are so important. Additionally I changed the word “film” to “project” throughout the entire book. Because now we are creating web content, video streaming, digital series, branded content, episodic series, and more kinds of projects that haven’t been formed yet. It’s not just a ninety-minute linear film anymore. The producing steps are pretty much the same but we need to broaden our concept to include all kinds of productions and formats.
DW: The subhead is a step-by-step guide. What are some of the pitfalls independent producers can make these days?
MR: The book is geared towards low budget, independent filmmaking so the Production Triangle is key. The three sides of the triangle are Fast, Cheap and Good. You only get “two out of three.” If you want it to be Cheap AND Good (the low budget indie model), it will not be fast. Pre-production is all that matters. And that includes re-writing the script until it is incredibly good before you even consider prep. Too many filmmakers go into pre- production before they have a great script. No matter how good a producer you are, it won’t be a good film.
DW: In the film Independent’s Day, Sydney Pollack said it’s sometimes hard to distinguish an independent film. He asks whether it’s finance, the director, or distributed. Is it sometimes hard to distinguish?
MR: I agree with Pollack’s assessment and perhaps everyone has their own definition. I define it as a project that is not generated within a network or studio. It’s a full range of different kinds of projects.
DW: You balance the creative side with the business part, starting with content acquisition and proposal. Do many people overlook this part?
MR: Yes, especially in the non-fiction space. I think filmmakers often think that you just go out and shoot and shoot and shoot and then spend months/years in an edit room when making a documentary. Every documentary I have produced has had an extremely detailed written treatment that reads like a script and we go shoot all the material required for that particular film only. Then we edit. Otherwise you are wasting a tremendous amount of time and money.
DW: You always say to get a sales agent or create a concrete distribution strategy. Are these crucial to nail down prior to production or does the timing of these vary?
MR: The timing varies. For first time filmmakers/creators, the chances of getting a sales agent on board before the film is finished, or at least at rough cut stage, is very rare. But you always need to think about who the audience is, how will you get the project out to them once it is completed and if those sales will be enough to re-pay the investors. Otherwise, you should re-think the project so you have a better chance to sell it when
completed.
DW: You cover legal and budgetary aspects, line by line. What do you wish you’d known before producing yourself?
MR: How difficult, time consuming and frustrating music licensing can be! It can really negatively impact your film’s profitability if you don’t get all the rights you need prior to a sale. It’s really important to get that nailed down in an affordable way at the beginning of post production so you know your final costs. If something will be too expensive, then the director and editor have time to make different choices before you “lock picture.”
DW: For you, what do some of the best current independent producers do?
MR: Prep, research, plan, communicate well and treat everyone with respect. I think those are the pillars of great producing.
DW: When a film is criticized as overproduced, what does that mean to you? For me it means there are so many effects on the screen they get in the way of the story and therefore the power of film. The latest Kingsman comes to mind.
MR: I haven’t seen the latest Kingsman so I can’t comment on that film - I loved the first one! I’m not sure I believe in the word “overproduced.” More often, it could be more about demands by the financier or two many ideas and no one person with their eye on what a film is or isn’t. It’s hard to know, unless you have firsthand knowledge of the behind-the-scenes process.
DW: You’re a professor and appear to go back and forth between academia and the film world. Is this challenging?
MR: I’m the Chair and Director of Production of Columbia University’s Film program AND an independent producer. It is definitely a challenge but one that I feel privileged to accept. I love teaching and we have the best and the brightest at our school - I get to support them in what they want to accomplish and pass on whatever insights I have gleaned over the years. I also teach 2-day Line Producing seminars for various organizations like Producers Guild of America and other filmmaking non-profits around the world.
DW: When and how did you get into film?
MR: I always wanted to make films and made my first film when I was ten. My family didn’t even own a still camera so I borrowed my friend’s Dad’s Super 8mm camera and made a film because I didn’t want to write another book report for school. In my last year of college I got a few internships in film and started working as a PA after I graduated. I then worked for several years as a grip/electric before getting my MFA degree at Columbia and then becoming a producer. Having been a grip/electric has made me a better producer for sure.
DW: What’s next for you?
MR: I’m working on a few feature documentaries right now in various stages of production or finishing. It takes awhile with non-fiction projects so you have to take the long view. I hope one or two of the films will be released in 2018.
DW: What is your favorite cinematic moment?
MR: Brazil is my favorite film – I love dark, dark comedies. Scenes from that film pop into my head every week – especially now in these surreal times. If I had to pick one scene from that film I think it would be the long tracking shot through a frenetic hallway into Mr. Kurtzmann’s (Ian Holm) office. I saw the film when it premiered in 1985 and director Terry Gilliam’s view of the world resonated deeply with me and I felt it was incredibly prophetic. His commentary on terrorism, bureaucracy and tyranny through “advanced” technology were spot on then and unfortunately are truer today than I think he could ever have imagined. Years later, on my first feature documentary Wisconsin Death Trip, Mr. Holm narrated our film and it was a real thrill!
Clip: Brazil
Dave Watson is a writer and educator. He lives in Madison, WI.
