Aidan Oldroyd
- Would you tell me about a couple of projects you
have produced, please...
João Paulo Simões - Ok, I suppose I can tell you that, as
a producer, it all started full on with Frontier Media. As I established the
company and started doing work as Frontier Media, that’s when I fell by default
into the role of a producer. So Frontier Media was conceived precisely to do
commissioned documentaries, music videos, promos, adverts and things like that.
So, I could tell you about a couple of projects that I recently worked on, that
cover those areas and I found particularly rewarding. I did a series of documentaries
called Transmitting Musical Heritage. It was prompted by a research project by
the University of Sheffield and, amongst all the films I have made within the
factual genre, it’s probably the one that kind of established most a new way of
working and I found that particularly rewarding as a filmmaker and, as far as
the producing role is concerned, the one that I think of most fondly. Simply
because things can go wrong very easily and with that one everything just ran
smoothly, you know - which is not to say that something hard is not rewarding
either. It’s sometimes even more rewarding as you manage to overcome
difficulties that challenge you along the way. But I think it’s the one with
most legacy - with a very specific role for posterity, in a way, because of
what it tries to explore, to make a record of… And it has opened doors to all
sorts of other projects.
Gingerbread - Music Video produced by Frontier Media |
AO - You say it was difficult to schedule. Is that because of the artist
that couldn't do certain dates?
JPS - As well, I mean, yes. You are working to everyone’s schedule, I had
to work with the actress’s schedule, I had to work with transport and I had to
work with the singer and around her gig dates and, you know, all those things.
But, at the same time, it was a project that I had full creative control over.
The concept for the music video was approved quite quickly and we all just
committed to doing it the best it could possibly be.
AO - The money side of producing: you would have been given a budget to
work to?
JPS – Yes, it was established from the outset, the kind of budget I had to
work within. When you do this kind of work, which is certainly commissioned but
also something that you believe in and commit to, you must embrace it with passion.
That’s the only way I think anyone should work, because it shows in the end
result. You have to be prepared to be flexible. In this particular case, the fixed
budget was established, incorporating my fee, production costs and
post-production time. All that stuff was included.
AO - So you have to keep within the budget. There no room for
overspending...
JPS - You have to keep in budget, otherwise you would be compromising on
some part of it - on how much you would get paid to edit it or how much you
would get paid shoot it, for instance. So, yes, Gingerbread was very carefully
scheduled and broke-down in terms of costs. It was a limited budget but it was
budget nonetheless and what mattered was how we could attain the best result -
the finished product that totally honours the original idea, within these
limited resources because there were a lot of limitations. So, that’s always
what a producer (and myself, as a filmmaker who has to think as a producer) bears
in mind.
AO - In a bigger production, the producer is like the boss. The director often
comes up with the idea and sometimes writes the script, but the producer has
control over the money and has the power to say whether that certain idea can
be financially created. So the producer will have a say in the overall creative
process. How much say does the producer have?
JPS - I can give you an answer to that, I think. In regards to the
director ever being the boss I think it only really happens if he is the
producer, as well. I have worked with producers on projects before and I’m
thinking of one example in which I was only directing and had, therefore, my
decisions undermined by the producer I was working with and, on another
occasion, I had a producer pulling the plug mid-shoot, so I have experienced it
all, in a way.
I have had a few years of producing my own
material, enabling a couple of shorts by younger filmmakers, but mostly I
produce my own work.
Uma Curta de Amor (A Short of Love) |
You will also find that the tricky thing in this
business is the amount of people that are producing but have always wanted to
direct and then end up taking offense or resent if they are treated as someone
who just sorts practicalities out and gets on the phone to secure permission
for this and that. I appreciate it all. I mean, I wouldn't say that I have
encountered it all, but I have come across a lot of different egos, a lot of
different approaches.
I find that it to be a great advantage being my
own boss. There’s always a certain degree of friction in the dynamics. If you look
at productions of a large scale, for instance, people often wonder who the boss
is. It is right acknowledge that the producer is the boss. He has the power to
shut down a production, while the director is in there trying to make something
special. But it works both ways. There are producers that are more creative
than directors and there are producers that are mere accountants working with
directors with “too much of a vision”, so it’s just the way it is…
AO - Do you have any words of advice for an aspiring producer?
JPS Photographed by Marina Vieira da Silva |
Create your own database and treat everyone with
the same level of respect and importance really. Don't just pursue it for the
profit or the fame. Do it because you love it with passion and it will show
through in your work.