Producing : A Thought on Producing: We’re Not Just “Finding Money” — We’re Running a Company by Sandra Correia

In production, a producer operates like a CEO—managing the team, budget, timeline, and the overall vision of the project.

In the same way, a writer is the CEO of their own work.

Understanding this changed how I approach writing—not just as a craft, but as a profession.

I've spent time researching contracts and negotiations, even consulting with lawyers to better understand how the business side works.

One thing became very clear:

Producers will often resist giving up profit participation.

And another critical point:

Never agree to deals based on net profit.

If possible, even a small percentage from gross revenue—1% if necessary—can make a significant difference.

Writing the story is one part of the job.

Protecting its value is another.

My experience in life and all the different types of jobs I have had, from Norwegian Navy Ranger e i Navy Seal, security consultant simultant being a manager for 3 divisions, building up my own gym and helping out everything from young athletes in a wide range of sports to retired people, as a therapist in natural medicine, building up and running running a farm, building up a green house and produce the best herbs in Europe and received a diploma for that.

Being a producer means working 24/7 way before the real production starts, during so the production runs smoothly and don't waste money, and run the D-briefing during and after.

We are all humans, and we do mistakes, the clue is to learn from them and not repeat them.

As a writer, actor, stuntman a singer and a producer to become (I hope) I hope to be able to do and fulfill what I just wrote.

One question I always find worth asking early in any partnership:

Do you see profit participation as a shared investment in the work — or primarily as a negotiation point?

I ask because transparency around backend structures tends to define the tone of the entire collaboration.

The best partnerships I've seen are built on aligned incentives — not just aligned vision.

I'm a full-time CEO of Tom Stohlgren, Author, LLC with assets (script copyrights) held in a trust in case I get hit by a bus. My main role is writing more assets, but I also have to edit, update, and rewrite the scripts often (maintenance), and pre-sales (pitch decks, query letters, and posting on social media sites). My manager helps with promotions and sales. Making new connections and maintaining old connections is equally important. What I struggle with the most is the tradeoff in time for each of the above tasks, when I know that I took the job to create new stories. Luckily, my editor and CFO is my lovely bride, and she's been easy on me for almost 48 years. Life is great! Never overwork. Treat every day like a toy.

Going through it now and the most challenging aspect is attaching Directors and Cast. Managers want cash offers...and those days are done. Investors need to see budgets that make sense and fully packaged projects. They also need to see a realistic plan to recoupment and profits. Fortunately...peak television is also pretty much dead and lots of people aren't working.

Sandra Correia This is the world I come from and feel the most comfortable in. I think I am starting to understand how to apply those skills and talents in a way that can propel my writing vs. if I was not using those skills.

DON´T KNOW WHeRE TO WRITE , BUT SINCE THE CUESTION IS SERIOUS I WRITE HERE: THIS IS A FAKE PROFILE:https://www.stage32.com/profile/1366376/about

JOSEPH DONALD, seemes like a gorgeous guy. Oh yes! BUT IT IS A FAKE PROFILE. he called me over the phone and I saw a black man mocinG of me and making fun of me!

so remember don´t trust everybody.

He pretended to read my script and when I told him he has to sign a CONFIDENTIALITY CONTRACT he called me over the phone and then the black man answer the phone!!!!

Being CEO at Bazooka Bunny isn’t about titles, it’s about keeping an indie company alive in an industry where a lot of others aren’t making it. We’re a small group of six people, and most have been with me for years. That loyalty matters, and it’s something I take seriously. It’s also about adapting. The way film and TV works is changing fast, so you have to stay flexible, find new ways to create, and still deliver work that actually meets proper standards.

One thing I don’t compromise on is quality control and post-production. Too many people overlook that side of things or run out of money, but it’s what separates something decent from something professional.

At the end of the day, it’s about balance. You’ve got to build something sustainable, but you’ve also got to enjoy what you’re making. Otherwise there’s no point.

Ugur Kayikci, you’re touching on two essential pillars for anyone building a sustainable career in this industry: treating writing as a profession and protecting the value of the work. Understanding the business side — contracts, negotiations, participation — is what allows writers and producers to collaborate from a place of clarity instead of confusion.

And I completely agree with you: knowing when and how to negotiate participation and understanding the difference between net and gross can change the long‑term trajectory of a project.

Coming from a business background myself as a founder and CEO before stepping fully into filmmaking, that mindset has helped me enormously. It taught me to think about creative work the same way I would think about building a company: vision, structure, protection, and long‑term value. It’s a skill set that serves both writers and producers, and it’s great to see more people in this community embracing it. Thank you for sharing.

Magne Osnes Haugen, WOW, What an extraordinary range of experiences you bring into this industry. Everything you’ve done — from military discipline to building businesses, supporting athletes, running a farm, and creating award‑winning products — shapes the way you approach storytelling and production. That kind of lived experience is a real asset, because producing demands exactly that blend of resilience, leadership, adaptability, and long‑term vision.

You’re absolutely right: producing starts long before the cameras roll, and the ability to learn, adjust, and keep people aligned is what keeps a project alive. The fact that you’re already thinking about this with such clarity, as a writer, actor, stunt performer, singer, and producer-in-the-making, shows you’re building the foundation the right way.

Keep bringing all those parts of your life into your creative work. They’re not separate chapters; they’re the toolbox that will make you a strong producer when the time comes.

Ugur Kayikci, for me it’s absolutely a shared investment. That’s what we call smart money, when everyone at the table is contributing not just resources but belief, alignment, and long‑term commitment to the project’s value. When participation is seen that way, the collaboration becomes healthier, and the incentives stay aligned from the start. And I’ve seen the impact of that approach firsthand. For my first short film, I stepped in as executive producer alongside my producer, and that shared investment made us an incredibly committed team. When everyone is rowing in the same direction, the work and the relationship are stronger.

What a joy, Tom Stohlgren, your message radiates both clarity and gratitude. You’ve built a structure around your creative life that many writers aspire to: treating your scripts as real assets, protecting them, maintaining them, and still making space to create new work. That balance is not easy, especially when you’re wearing the hats of CEO, writer, editor, marketer, and relationship‑builder all at once.

And I love how you frame the time tradeoff; it’s the challenge so many of us face. The work behind the work often takes more hours than the writing itself, yet it’s what keeps the whole ecosystem alive.

The fact that your editor and CFO is your bride of almost 48 years is just beautiful. Having someone who believes in you and keeps the foundation steady makes all the difference in this industry.

Your reminder to never overwork and treat every day like a toy is one I’m taking with me today. Thank youuuu

Ugur Kayikci, sorry. Can you write in English? I don't understand your language :)

David Weinberg, absolutely, attaching directors and cast is the toughest part right now. Managers want offers, investors want fully packaged projects, and the market has shifted. The upside is exactly what you said: with so many people between jobs, strong, well‑planned indie projects have a real shot at getting traction.

Darrell Pennington, that’s a powerful realization. Likewise, I come from the same field, so I see it as a real advantage. The discipline, structure, and way of approaching challenges translate directly into the creative process. It’s great to watch you leaning into that and letting it strengthen your work.

Vesna Floric, what a situation, thank you for bringing this to the community’s attention. Like in any business, we find all kinds of people, and it’s important to stay alert and protect our work and our boundaries.

I’m really grateful for your advice here. As a Stage 32 moderator, I’ll share this with the Head of Community so they can look into the profile and be aware of what happened. Your warning helps keep the space safer for everyone.

Andrew Dymond, this is such a grounded way of describing what it really means to lead an indie company today. Keeping a small team alive, loyal, and motivated in a shifting industry is no small feat; consistency is a reflection of your leadership. And you’re absolutely right: adaptability and uncompromising quality control, especially in post, are what separate sustainable companies from the ones that burn out.

Balancing survival with joy in the work is the real art. It’s inspiring to see you holding both with such clarity. Thank you for sharing.

Hi Vesna Floric, I want to let you know that the account was investigated and removed. Thank you again for the warning. If you or any member ever runs into an account of suspicion or concern, please report it to the Support Team at Support@Stage32.com or to Ashley Smith at Community@Stage32.com. Thank you.

I believe in working with people who are transparent and act in good faith, as long as both sides can find common ground. In this situation, there will always be those who say, “That’s not how things work” or “If something is already moving forward, don’t interfere,” but I prefer to stay away from that mindset. I truly care about ensuring that both sides are satisfied in this kind of collaboration.

Please don’t misunderstand me, I’m not saying anything against you personally. Thank you for your sincerity.

Sandra Correia you know last year I did my first feature film as a director and had to produce it myself. While I did what I had to do and organized everything and even still have stuff to do, I won't say that I like this part of filmmaking or production. Also I would have loved to have the extra time to work more with actors or other things that go into production, rather than dealing with logistics and other similar stuff.

Vital Butinar, you are very fortunate. My greatest desire is to see a film that I have written on the screen and to feel, by watching it, what kind of work I have done—and to make others feel it as well. No matter how difficult it is, you have a team, and I think you are very lucky.

Ugur Kayikci, thank you for saying that, and no worries at all; I didn’t take it personally. I completely agree with you: transparency and good‑faith collaboration are the foundation of any healthy partnership. There will always be people who say “that’s not how things work,” but like you, I prefer to work with those who are willing to find common ground and make sure both sides feel respected.

Your approach reflects real integrity, and it’s the kind of mindset that makes collaborations stronger, not harder. Thank you.

Vital Butinar, I hear you! Producing your own feature out of necessity is a massive undertaking, and it can pull you away from the creative work you actually want to be doing. Handling logistics, schedules, vendors, and a thousand moving parts is a whole different muscle, and it’s completely normal not to enjoy that side of the process. It isn’t all roses, and anyone who’s done it knows that.

What matters is that you did what needed to be done to get the film made. That’s real commitment. And now you also know exactly why having a strong producer beside you is invaluable, it gives you the space to focus on your actors, your vision, and the work only a director can do.

Your experience will make your next project stronger, because you’ve seen both sides of the equation. We want to see it when will be avaiable :)

Thank you Ugur Kayikci and in regards to after ten years of making music videos, shorts, commercials and everything in between I've been able to pull together a bunch of good people and pull of a feature film without a budget, then yes I'm extremely lucky and also grateful that I've been able to do these things. But at the same time at what cost? Currently I'm in the red with my balance, don't even have 10 bucks to pay my phone bill or put in the tank of the 26 year old car, that's about 5 year over due for a service. Yet at the same time I've directed heartwarming corporate commercial videos for 6 of 11 of my countries biggest exporting companies and all I've wanted to do for the last 11 years is make films that nobody is prepared to fund.

Thank you Sandra Correia. I agree with you completely and yes the few days before we started shooting I said to myself when we go on this journey I'm prepared to do everything and anything to finish this feature. If it meant that I have to play multiple roles and operate the camera I'd do that.

But what you said is still true and I do understand the value of a good producer, I've been in this role multiple times, that's why I hoped that for this film I could only focus on directing. But you do what you must to get the project done.

Vital Butinar, I hope one day everything turns out the way you want. For those experiencing the same difficulties in Turkey, it’s even harder, believe me. I hope everything falls into place.

A producer as a CEO is about much more than just finding financing. Money is only one part of a much bigger responsibility. At its core, producing means leading an entire ecosystem of people, decisions, and creative direction.

A real leader doesn’t stop leading when things become difficult. In fact, that’s usually when leadership matters the most. And I think it’s the same for producers. You are constantly holding the vision, making decisions under pressure, and guiding different departments through uncertainty while still protecting the core of the story.

From my own experience as a producer, I’ve learned that organisation, preparation, and structure are essential. You need to think ahead, anticipate problems, and stay adaptable when things inevitably change. But what I’ve realised even more is that mindset is what actually carries the process. How you think directly influences how you lead, how you communicate, and how you handle chaos when it shows up.

I like this framing a lot, mostly because it finally gives producing the weight it actually carries.

The “creative CEO” idea feels accurate, but I’d add one wrinkle: unlike a traditional CEO, a producer doesn’t get a stable company, a long runway, or a consistent team. You’re spinning up a company from scratch, asking everyone to believe in it immediately, and then dissolving it the second the job’s done. That’s a very strange version of leadership.

What’s always felt hardest to me is holding the vision while constantly compromising in small ways. Not the big obvious decisions, but the thousand tiny ones. Time, money, location, casting, schedule. Each one chips at something, and your job is to make sure the core of the thing still survives intact. That takes a kind of discipline that’s less about control and more about knowing what actually matters.

The part that’s energizing is when all those moving pieces suddenly sync up. When the right people are in the room, decisions are landing, and you can feel the project gaining momentum instead of fighting itself. That’s when it actually does feel like you’re steering something, not just reacting to it.

I also think the CEO comparison is useful for one other reason: it forces producers to think beyond just “getting it made” and into “what is this in the marketplace?” Because if you’re not thinking about audience, positioning, and lifespan early on, you’re just building something and hoping it finds a home later.

I produced air shows for years - and it takes years to establish the relationships & production skills/knowledge for a successful show - a show people show up for & talk about indefinitely.

I've realized the similarities in movie producing. Yet: What I truly want to do is WRITE, much like I just wanted to fly & ride the wing of a biplane. We don't always get what we want. (That's our theme song for the day.)

As a teacher, leadership and communication come naturally to me — but doing it in English is still a challenge! Strategy and financing are completely new territory for me. I'm still learning.

I think producing is like a buffet — you have to taste a little bit of everything, but you also need to understand how each dish is made, what's in it, and how it all comes together.

Totally agree. One of the hardest parts of the job can sometimes come when a lot of people are ready to commit but they need one person to commit first and that ends up being you. Its a big step with a lot on the line.

Sorry, but I find most of the comments as XXXXX, I have and have several short films and 2 features... 2nd is in work.....the reality of actually shooting a $0 budget film, VS a "low budget Film" is so challenging.... You have newbie actors who have no idea of set behaviour. You don't have money to spend on actors and crew at all (common in low-budget films), but with $0 films, you need to find editors and staff to prepare to work for no more than a credit line. I have several movies made with $0 Budget films. It's a vastly different world. Yet I feel I have made "ok" stuff with no money. In reality is not a $0 budget; it's taken money from your own card to buy the necessities, like food and water for actors and crew. My first $0 film is called "Enter the Hamster" This was shot in 2008. The money came from the actors and friends for the unaffordable project that wanted to see the film be successful "https://youtu.be/9gXslANzGAI" is a film directed in 2008. It was made on hopes and dreams. If I actually had money, the film would have been far more polished, but the main cast and crew gave up their weekends to make the film. In 1 scene, you will see a boat arrive to help our downtrodden heroes. We got the boat for free because we were all allowed to rent the boat from the boat rental company, and put them in the credits, and left the boat rental stickers to stay (this was great news for them because every other film covered up the signage). It's hard making something from nothing than a thought. One day, I hope to actually have money to make a fully funded film

Sandra Correia This is a strong and insightful post that clearly articulates the scope and responsibility of producing in a way that feels both grounded and professional. Framing the producer as a CEO is a compelling and accurate perspective, and the breakdown of responsibilities helps reinforce that idea effectively. It reads with clarity and authority, while still inviting discussion.

The structure works very well clean, organized, and easy to follow and the checklist format adds practical value. It also does a great job balancing the creative and business sides of producing, which is often overlooked.

If there’s any room for improvement, it might be in adding a more personal touch or a specific example from experience to deepen the connection and make the perspective even more memorable.

Overall, a thoughtful and engaging post that’s likely to resonate with both emerging and experienced producers, and encourages meaningful conversation.

Vital Butinar, exactly. That mindset you described, of being ready to wear every hat if needed, is what gets first features made. And like you said, it also makes you appreciate the value of a strong producer even more. Having someone you trust handling the logistics so you can stay fully present with your actors and your vision is a gift.

That was actually the reason I wrote, co-produced, and directed my debut short film, The Misstep. I wanted to learn the entire journey from the inside out, from the first line on the page to the last decision in post‑production. The best way I found to do that was to step into every angle myself. The result was good, but also because I brought in a very experienced DP and a great actor. Their craft elevated the film and allowed me to focus on the storytelling while still learning the full process.

That experience gave me exactly what I needed: a real, practical understanding of how all the pieces fit together. And now I feel ready to step into the feature writer‑director’s chair with intention. My business background gave me the CEO mindset, so navigating the bigger picture, teams, decisions, and pressure is actually an advantage for me.

Your journey and mine overlap in that way: we did what we had to do, and now we’re stronger directors because of it :))

Roxane Yoman, beautifully put. Producing is far more than securing financing; it’s leading an entire ecosystem and staying steady when things get difficult. Organization and preparation matter, but you’re right: mindset is what actually drives the process. How you think shapes how you lead, communicate, and navigate chaos. Coming from a business background, I recognize that CEO muscle you’re describing; it’s exactly what strong producers bring to a project. Thanks for sharing.

Kelly Needleman, this is such a sharp breakdown, especially the reminder that producers aren’t leading a stable company but building one from scratch every single time. That temporary ecosystem leadership is its own kind of discipline. And you’re right: the hardest part isn’t the big compromises; it’s the thousand tiny ones that slowly chip away at the edges. Knowing what truly matters is what keeps the core intact.

I also agree that the CEO comparison is useful because it forces us to think beyond “getting it made.” Audience, positioning, and lifespan have to be part of the conversation from the beginning, not an afterthought. That’s where producing becomes strategic, not just operational. Your perspective reflects the kind of clarity that comes from real producing experience. Thank you for sharing.

Debbie Seagle, the parallel you draw is beautiful; producing anything at a high level really does come down to years of relationships, trust, and instinct. And I get what you mean about wanting to write. Sometimes we take on roles out of necessity, not desire, but they end up giving us skills we need later. That was true for me with The Misstep; I wrote, co‑produced, and directed it to learn the whole journey from scratch, and working every angle (with a great DP and actor beside me) gave me exactly the foundation I needed.

Szabina Györei, I love that analogy; producing really is a buffet. You taste everything, but you also need to understand how each piece is made and how it all fits together. And honestly, the fact that you already have strong leadership and communication skills puts you ahead. Strategy and financing can be learned; mindset and clarity are much harder to teach.

You’re already doing the most important part: staying open, asking questions, and growing into the role. Keep going.

Ewan Dunbar, absolutely; that moment when everyone is waiting for one person to jump first, and it ends up being you, is one of the toughest parts of producing. It’s a real leadership leap, because you’re committing before the safety net exists. But it’s also the moment that often unlocks the whole project. Someone has to take that first step, and more often than not, it’s the producer who carries that weight so the rest of the team can follow.

Paul Vorrasi, I hear you! Making a true $0‑budget film is a completely different world from working with even a small “low budget.” When you have no money, you’re not just producing; you’re negotiating favors, managing beginners, feeding people out of your own pocket, and holding the entire project together with goodwill and persistence. That takes a level of resilience most people never see.

Your example with Enter the Hamster shows exactly that a film built on weekends, friendships, borrowed resources, and pure determination. Getting a boat for free because you kept the rental stickers visible is the perfect illustration of how creative you have to be when there’s no financial cushion.

You’ve already proven you can create from nothing. When the day comes that you have real funding behind you, all that resourcefulness is going to make you unstoppable :)

Abhijeet Aade, thank you; that means a lot. I agree that adding personal experience can deepen the perspective, and it’s something I’m leaning into more as I grow. Your feedback is sharp and generous, and I appreciate the way you articulated it.

Dear Sandra Correia,

Thank you for your kind words. I'm on my way, although I'm still at the beginning and the goal is still far away. Almost everything related to film interests me. For now, my focus is mainly on learning how to write a good screenplay — but I'm open to everything.

Sandra Correia you've got a point! I mean, I've been producing as well as directing from the start, ever since my partner and I shot our first dance video. So when we shot our first short film, I did it anyway. But I was really hoping to be able to only direct on the feature, so when everyone else had less experience I did what I had to. Like you said.

Hi Szabina Györei, thank you for your message, and truly, being at the beginning is a powerful place to be. Your curiosity and openness already put you on the right track.

And you’re in the perfect community to learn, evolve, and make meaningful connections. Stage 32 has so many writers who started exactly where you are and grew through collaboration, feedback, and showing up consistently.

If your focus right now is screenwriting, the platform also offers an extensive library of webinars and classes that can really help you strengthen your craft step by step. It’s a great way to build confidence and technique while staying connected to other creatives.

You’re doing all the right things, keep going.

Vital Butinar, totally. And like you said, you did what you had to. The good news is that all of this makes us stronger directors in the long run. Each project gets us closer to the moment where we can focus solely on directing, because we’ve already done the heavy lifting and know exactly what it takes to. That day will arrive for us, Vital :))

Very true! Producers have to wear so many hats. And they don't get paid unless they make and/or sell the project!

Sandra Correia Appreciate that, thank you. I agree personal experience really adds something honest and grounded to the work. Looking forward to seeing how your voice evolves.

Geoffroy Faugerolas, absolutely. Producers carry the weight of every hat on set, and the risk is real. You only get paid if the project gets made and actually moves. It’s a tough path, but it’s also why producers are the backbone of any production :))

Thank you, Abhijeet Aade, likewise.

I am so happy to have read this, you truly hit the nail on the head! Seeing yourself as a CEO doesn't just apply to producing—the exact same process applies to so many other paths. In acting or general entrepreneurship, you are ultimately selling yourself first by utilizing those exact same fundamentals of a CEO mindset. Incredible breakdown Sandra Correia

Timothy Miller, thank you so much; I really appreciate that. And you’re absolutely right. That CEO mindset goes far beyond producing. We need also to be open-minded to learn and have the visionary skills of an entrepreneur. I'm glad it was useful to you.

This is helpful. Thinking like a CEO changes how you approach every part of production. The most energizing part is building the team. The hardest part is keeping morale steady when things fall apart. What part of the CEO role challenges you most?

Agreed! Rising creatives of all disciplines must be entrepreneurial in order to succeed in the current climate

Kendall Fletcher And with creators/producers/entrepreneurs being able to access audiences directly, the sky's the limit!

I love this take. I think the same kind of creativity that goes into filmmaking can be channeled into the business side of things!

Thank you, Sam Rivera. Thinking like a CEO really does shift the entire way you move through a project, from the creative decisions to the emotional temperature of the room.

For me, the most challenging part of the CEO role is holding the emotional center when everything around you is shaking. Not the big crises, because those almost activate a different kind of clarity, but the subtle moments when morale dips, when doubt creeps in, when people start protecting themselves instead of the story. That’s where leadership becomes less about decisions and more about presence. Building the team is energizing, absolutely. But keeping everyone aligned, steady, and still believing in the vision when the path gets messy. That’s the muscle I’m always strengthening.

Kendall Fletcher, absolutely. In this climate, every rising creative has to think entrepreneurially. It’s the only way to build something sustainable :)

Geoffroy Faugerolas, spot on! The sky is the limit :)

Absolutely, Matt Toronto. I feel the same. The creativity we use to build worlds on screen can flow straight into how we build the business around them. It’s all storytelling, just in different languages.