Cinema Quarterly (1933 - 1934)

THE FUNCTION OF THE PRODUCER 1. THE STUDIO PRODUCER MICHAEL BALCON Production Chief of the GaumontBritish Studios at Shepherds Bush The work of the film producer is to determine the choice of subjects, of directors, and of artistes, for every picture, and to decide the cost to be borne. Under his supervision director, scenario editor, and unit executives prepare the script, the plans of sets, and the time schedules for each production. When the film is in the making its daily progress is reported to him. He is the sponsor, and the guide, and the ultimate court of appeal. A position of this sort, while not without its compensations, must inevitably have its full share of difficulties. The kind of energy which the producer must stimulate and direct is based upon the creative and artistic impulses of directors, writers, camera men, and artistes. Such impulses are so personal that they constantly require the close attention of one directing mind to blend them into the harmonious unity which is essential for any successful achievement in a form of entertainment which depends upon the specialised work of so many different hands. The history of the cinema shows that every period of successful output is traceable to the producers who have had not only the good fortune to be able to surround themselves with first-rate executives, but who have also had the courage to trust implicitly in the genius of their chosen directors, technicians, and actors. This division of labour, however, does not absolve him from his personal responsibility. In a large organisation the work of a producer is endless. He must be ceaselesslv on the look-out for new ideas and and new methods, without for a moment relaxing his attention from the work in hand, whether it be in the embryo stage of a proposed 5