Doing Something About It

(In a past issue of THE CAUCUS QUARTERLY, Steering Committee co-chair, Roger Gimbel, addressed the problem of the proliferation of credits (HOW MANY PRODUCERS MAKE A PRODUCER?) Here are two extracts from that article.)

One way to look at this dilemma is to strip away the glamour of the Producer title. The "boss," (not unique to the television or movie industry) isn't that where it all begins? The boss is what the television Producer is supposed to be. He takes the risks (not always money) and afterwards he reaps the rewards (not always money). Still he or she is the one everybody looks to for decisions and guidance during production. Then why the erosion? Why the need for 5 or 6 producers--a committee?

For roughly the first thirty-five years of television's history, the Producer was allowed to fully utilize his or her talent and expertise to control both the creative and budgetary aspects of a project under his or her control. The Network, of course, was free to cancel the program if it failed to meet its expectations. In the last 10 or 12 years, the Networks gradually arrogated unto themselves so many of the key creative decisions that they have become the de facto producers of almost every show on television.

The resulting erosion cost all concerned millions of dollars, and shows and films led by committee that often resulted in mediocrity. When the producers were strong and hung on to this sole Producer title as well as the reins, the results continue to be impressive and there are many examples.

In a series of recent meetings with Network presidents and executives, a small Caucus group, supported by the PGA, asked the networks (who control on-screen credits), to approve fully qualified producers only. This controversial proposal was the only way to stop an out of control situation, and now NBC and CBS have adopted a firm policy--where not earned, the Producer credit will not be granted--it's as simple as that and it's starting to work. And only the Executive Producer, Producer and Associate Producer will be considered. It doesn't take a licensed investigator to find the Producer who ran the show and fought to make it the best. Sometimes it's a new Producer who gets in there and becomes the boss--it's not a closed shop.