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Hi Anna! You're a Producer!
Producer Profile – Anna Bardsley-Jones
Anna, we have a few questions sent in from camera departments around the country that as a producer, you may be able to shed some light on.
From JAMES BROWN ACS:
As a Producer, is it common that supporting the vision of the project is often at odds with the needing to keep the budget in order? What do you think is the key to finding that balance?
Yes. I think the key is to be open about budget restraints but, in a way that feels optimistic. If people have knowledge they feel more powerful – and they usually they want to help!! A challenge is fun when you see it as an opportunity, that’s where I think you can find balance. When a producer understands a director – schedule and budget are usually easier to scope. You know the script they need to shoot… but you also know what they’ll want to shoot. This said, your head of departments may not be secured yet and various locations could still be question marks etc. That’s an example of how supporting the vision of a project and needing to keep the budget in check can prove difficult. As you start work and your team builds, you find and secure locations, plans come together, dreams grow big!! While budget, stays the same.
Pleasing everybody isn’t easy – because I know none of us want our work compromised and I really care about that. All departments could accept a sub-par product as a result of a limited production budget; but none of us do. It’s what makes our industry truly unique.
From KIERAN FOWLER ACS NZCS:
What makes a successful working relationship between a DP and Producer, and what are some important aspects of communication and qualities that contribute to this?
A successful working relationship with a DP is for me, usually born out of wanting the same thing – wanting what’s best for the story, and the Director’s vision. If that understanding is clear – planning what needs to be shot, and how a DP wants to shoot it, is really fun. If there’s that level of respect coming from both sides – important aspects of communication like limitations and challenges… (that will ultimately affect a cinematographer’s work) become more collaborative and solution focussed.
The relationship is particularly powerful – when the director, DP and the producer, are on the same team. I think so much more magic happens when the trio are in sync – and I also think that’s something that gets felt by the crew.
From HUGH MILLER ACS:
Being a Producer, why would you even do it? Why on earth would you do it? It’s like, the hardest ****** job?
I’ve got no ****** idea.
From ERNIE CLARK ACS:
How do you keep up with the latest technology in cinematography?
I’ve never been precious about asking stupid questions? If I don’t know something I’ll ask. And I’m just really lucky!? I’m good friends with great cinematographers, who have always made sure I’m up to date. And, I love listening – which helps because you all love your tech.
From ANDY COMMIS ACS:
What are you looking for from a cinematographer, besides the pictures?
I appreciate kindness, and reliability. For me these values encapsulate so many other traits. A DP is responsible for leading an entire team of people and these qualities I find, permeate through a crew – ultimately guiding and influencing others, making for a better result.
When individuals feel valued and supported, that’s when I see people excel at their craft. If you think about that happening on a large scale – on-set – and through pre-production, you can see how influencing others in this way makes for the betterment of an entire project.
From BEN DOWIE:
I know you love to be very creatively involved in the projects you work on – where do you find your inspiration?
If I’m looking for inspiration, I never find it! It lands when I least expect it, often when I’m by myself. When I try think about what brings that feeling though – maybe it’s everything I experience before inspiration lands? Like being in awe of a place, talking to strangers.
What’s the most valuable skill / thing / lesson you learnt early on, that still holds importance today, and that you apply to every job?
Hard work.
If you weren’t in the industry, what would you be doing, do you think?
Haha we’ll see.
From JOSH FLAVELL ACS:
What is it about your role as a producer that you love most?
Supporting people to do their best work.
You work with lots of different directors, DPs, production designers, PM’s, 1st Ads etc. How do you choose your team? What are the qualities you’re looking for? Apart from being good at the job of course.
There are so many qualities I admire in the crews I have the opportunity to work with. If someone holds talent that makes them good at their job, they’ll bring with them their own unique qualities – those unique qualities are the ones I look for in each individual. The times an individual shines brightest, is usually when a job starts to get stressful, or something goes really wrong. I don’t care at all about mistakes or shit storms. I care how problems are resolved, if people’s intentions are good, and if they’re trying their hardest.
Just a couple of final questions if we may, how do you choose a DOP for your projects?
The director chooses. When I’m asked my opinion I’d say I go with by instinct, a gut feeling. It’d be someone whose aesthetic is aligned with the director’s vision, and whose own inherent style can contribute to the storytelling in a way that’s both technical and artistic. I don’t think all DPs are right for the same job. Decisions are certainly made quicker when one can see a body of work that’s consistent. Like if my director hasn’t worked with a DP I’m suggesting, they’ll want to see a variety of projects clearly viewed from that person’s lens.
I’d encourage emerging cinematographers, in the process of building their portfolio, to concentrate on your own style. People will gravitate towards your work because of the way you have decided to capture imagery, not anybody else.
And show quality over quantity.
And finally, why are you a Member of the ACS?
The free drinks.
Thanks for sharing Anna!
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