Studio Structure: Types of Film Studio Jobs

President / Head of Production

The head of all film production for the studio; has the authority to give the go-ahead to produce a film from one of the studio’s screenplays (green-lighting a film); involved in all big producer deals, large literary acquisitions, and star casting.

Senior VP, Production

Has most of the same authority as the President, but cannot greenlight a film; oversees the development and production of films, occasionally overseeing a large solo project without intervention from the President. (Developing a film is the process whereby a studio purchases a screenplay from the writer for a negotiated price, then the studio hires the writer or other writers to write or re-write the screenplay, based on comments and notes from one or more studio executives.)

VP, Production

Oversees the development and production of scripts that he and the Creative Executives have found; often must “pitch” their idea or script to the President or Sr VP to get the go-ahead to develop it.

Director of Creative Affairs

Intermediate level between the VP and Creative Executive; usually someone who is on a fast track to a higher position, but not quite ready for VP level; looks for scripts which can be developed and ultimately produced by the studio.

Creative Executive (CE)

A junior executive who helps senior executives supervise development and production; reads scripts; writes story notes; generates cast and director lists.

President / Physical Production

The head of all physical production for the studio; has the authority to approve all production budgets when films are greenlit by his creative counterpart, the President/Head of Production; is usually the supervisor of the higher-budgeted, more complex and often sensitive productions.

VP, Physical Production

Oversees the physical production of greenlit films (the nuts-and-bolts of making the film); approves the hiring of the line producer & unit production manager; liaison between the production company and the studio’s creative executives assigned to the film; trouble-shoots daily production of film.

Executive Production Manager

An experienced DGA UPM hired in a staff position to supervise, negotiate and approve all labor and equipment deals; usually only visits the set if a major problem occurs that the Production Executive cannot handle; also supervises the Production Executive.

Production Executive (PE)

Usually assigned to two or more films at a time; prepares initial production plan for the film (schedule, budget, locations, key crew recommendations, etc.); also provides recommendations on the structure of the production company (should it be an in-house production, a stand-alone company or subsidiary company?) before the Director, Line Producer and UPM are hired; provides liaison between the filmmakers and the studio; usually visits the set at start of photography, reappears half-way through, then returns at the end to assist wrap-up of production; will visit the set more frequently if production problems arise; needs to be as knowledgeable of studio’s requirements as he is about the filmmakers’ needs.

VP, Post-Production

Oversees the post-production period of films (editing, mixing, scoring, dubbing, etc.); approves the hiring of the editing team; liaison between the post-production team and the studio’s creative executives assigned to the film; trouble-shoots daily post-production of film.

Post-Production Supervisor

Usually assigned to two or more films at a time; prepares initial post-production plan for the film before the filmmakers are hired, which includes schedule, budget, key crew recommendations, and lab deals; liaison between the post-production team and the studio; usually visits the post-production offices at start of post-production, then reappears at key deadlines to ensure delivery requirements are being met.

VP, Legal & Business Affairs

Oversees all legal aspects of films in development and in production; approves the contracts of all Above-the-Line (ATL) and Below-the-Line (BTL) talent; assigns outside counsel when a film is designated an Article XX, Negative Pick-Up Deal, or Acquisition; supervises project attorneys.

Understanding the deal structures

Article XX refers to the 20th clause of the union agreement between the AMPTP and the IATSE. A studio signatory to the IATSE Agreement has the right to finance a non-union film as long as it notifies the IATSE 30 days prior to the start of principal photography. This notification period allows the IATSE to try to “organize” the film by convincing the crew to become members of the IATSE locals.

Negative Pick-Up refers to a studio or independent financier agreeing, before shooting begins, to purchase the negatives of the exposed film from the production company for a pre-negotiated fee. With such an agreement, the studio is merely “funding” the film and not “producing” it — allowing the production company to use non-union labor. The downside: as a financier and not a producer, the studio cannot exert any creative control over the film.

Acquisition refers to buying the exposed negative of the film from a Producer once photography is complete but before post-production has begun. By acquiring the film at this stage, the studio or independent financier can exert creative control over post-production, marketing, and the eventual release.

Project Attorneys

Assigned to one or more films at a time; prepare and negotiate ATL & BTL talent contracts; negotiate all union/labor agreements; supervise, negotiate and approve all location contracts and music clearance deals.

VP, Production Finance

Supervises the budgeting, estimating and daily/weekly cost reporting of films in development and production; assists in setting up the structure and bank accounts of outside companies when it is determined that the film will be produced as an Article XX, Production/Finance Deal, Negative Pick-Up Deal, or Acquisition; negotiates and locks in exchange rates for foreign productions; has initial approval over all film budgets.

Director, Production Finance

Second in command with most of the same authority as the VP, Production Finance; often visits set when financial problems arise or cost reports reflect questionable figures, or the danger of an over-run.

Senior Auditor

Assigned to one or more pictures at a time; tracks daily costs of production and reports to the studio executives; approves daily and weekly cost reports; often visits set at least once for EFC Meeting (Estimated Final Cost).

Manager, Budgeting & Estimating

Works with the Production Executive (PE) in developing a budget for a film before it is greenlit; supervises and organizes budgets from various studio departments; assists Director and Producer in preparing their budget for submission to the President for approval and greenlight; maintains lists of current studio labor and equipment rates; investigates rates and working conditions of competitive films; publishes a variety of budget vs. actual cost analyses.

VP, Production Resources

Supervises the acquisition and trade-out agreements for the placement of products prominently displayed in a film (e.g., Campbell Soup in a kitchen, Sony stereo in an office); assists Producer with negotiating cast and crew accommodations on location, often obtaining significant discounts.

Director, Production Resources

Assists the VP with negotiating the trade-out and acquisition of products for placement in film; assists Producer with negotiating cast and crew accommodations on location; tracks on a daily basis delivery deadlines of all products and their placement in films, ensuring that the product is given the exposure required per the product agreement with the filmmakers.