The Production Manager is right at the centre of a production, responsible for the day-to-day logistics in prep, on the shoot, and beyond. Based both on set and in the office, they must have a good working knowledge of all aspects of the production, and the responsibility to make sure a shoot goes smoothly rests with them. Production Managers also look after staff wellbeing and mental health, so must be approachable for crew members to discuss problems or issues - professional or personal. All of which means the role is at the very heart of the filming process, and a hugely important one to any production.
“We’re the ones on the front line, who not only need to understand what’s happening on the ground, but also in the backroom, and down the line, and in every possible scenario” says Liza Carmel. “If we have done our job well, we will have created a safe working environment where not only do our crew feel supported, but where we are able to deal with the inevitable challenges collaboratively.“
Liza has huge experience in the industry, but has taken her time to reach the role of Production Manager: “I’ve been a Guild member for a long time, and I worked as a coordinator for almost 20 years before stepping up to Production Management” she says. “My first role was on McCallum in 1997, but my first PM credit wasn’t until 2017, with Trigonometry (released 2020) – this is probably unusual these days!”
For Damian Anderson, this level of experience is also key: “I specifically decided not to rush my journey in the industry, and to experience as many areas of the production office as possible – so when I became a PM myself I knew it was right. I pride myself in understanding the department in its entirety. Titles – be it manager, supervisor – need to be taken seriously in this industry.”
Like Liza, Damian’s journey in the industry has been a long one. “I started when I was 16 years old, working on Panavision’s trucks, cleaning workstations. I understood very quickly that it was important to know where your talents lie, what your natural role is. And despite working with cameras, I wasn’t a DoP – the order and cleanliness of my workstations was the work of a producer!”
“Laura Fattori gave me my big break, working on Cliffhanger, when she was the Production Manager, and I was an Assistant” says Damian. “She always made me sure to respect the calibre of the artists I was working with, and the opportunity to work in this incredible industry, and I try to do the same.”
For Roger Evans, the journey has been a little different – he began his industry career on the other side of the camera. “I almost got into production by mistake” says Roger. “As an actor, I got to be on set, and see exactly how the industry works. After that, I was 1st AD on a series of low budget films, before getting the role of travel coordinator on Werner Herzog’s Queen of the Desert. After a similar role on Mission: Impossible 5, I did the Guild’s PM course, with Steve-Clark Hall and Paul Sarony, and moved in that direction!”
For Roger, the role of Production Manager is “the heart of the machine, disseminating information”, as well as the one who works out “how we can make things happen on set.”
There are multiple facets to the role – “You are protecting the line producer, bringing things in to budget, hiring crew and facilities, liaising between departments – but you are also a sounding board, a complaints department” says Roger. “It’s about having good relationships with everybody – because sometimes there are difficult conversations to be had.”
Liza agrees: “There is a solution to everything. You just have to be clear and level-headed. It’s all about listening, and admitting that no one knows everything – we’re all always learning.”
Aside from the relationships, all three production managers agreed on the importance of preparation and systems: “The most important time is the prep – a strong solid infrastructure, from people to suppliers, makes such a difference” says Liza. “When everyone’s needs, and welfare, is being taken care of, it creates a safe and fun culture on the set, where people are happy to come to work.”
Damian likes to think of each project as “having three acts, both in front of and behind the camera. On our side act one is the prep, two is the shoot, and the third act is the post. You don’t want these acts to overlap, and the pace and character of each is very different.”
Another thing all three members agree on is the importance of the guild to their careers.
“My career started in Italy, so when I arrived here in the UK, despite working on some big projects (Black Hawk Down, Oceans Twelve), I was a bit of a newcomer, it was like starting over. My understanding of who was out there, and who to contact came through the PGGB – I really couldn’t have done it without them!” says Damian.
“The Guild have always supported my journey. It’s such a wonderful support group, and gives people an opportunity to connect in an industry that moves so quickly. It’s there for people who are ready to take on the industry.”
For Roger, “the Guild gives you access to the industry. Anybody who’s anybody is a member, and you just feel like you are part of something. Key players on major productions will more than likely be PGGB members – it’s a stamp of approval, the top table.”
“You’re taken more seriously as a member – it speaks to your level of experience” agrees Liza.
Finally, Damian sums up the importance of the Guild to the industry. “There are good times and bad times as a freelancer in this industry, as we all know – from Covid to this year’s strikes – and to be part of something so consistent and supportive is just invaluable. I can’t impress enough how important it is to have a central hub where we can go for information, from finance to training, to jobs and CVs.”
