How to Produce Comedy, pt. 2

So I said last week that I’d do a second installment on what it means to be a comedy producer, and here it is.  I’ve been a writer, I’ve been talent, I’ve directed, I’ve created comedy -- but the role of producer is the one area that I’ve learned absolutely has to be solid if you want something to actually come to life, come to life well, and to really function in the world (meaning, find its place in the flow of the media business).  

A producer is like the queen boss of a production -- he or she has two roles:  creative overseeing, and project management.  And you have to be good -- super good -- at both.  If you lack creativity, you’ll get in the way of the creatives, they won’t trust you, and the project will suffer.  If you lack project management, the creative energy won’t have direction, the project will stall, and everything will limp along toward what will surely be a failed conclusion.

Thinking like a producer is different than thinking like a writer, actor, director, creator, etc.  Whereas creatives can largely lead with creative thoughts -- this would look cool, this would be funny -- a producer has to always have a second voice going on that says this isn’t possible, this is too expensive, this will make this project unmarketable.  When the two voices inside a producer's head groove well, it makes everyone feel comfortable that they’re being effectively guided and supported, and the project is being protected as it comes to life.  If the producer has an anxious vibe, a confused vibe, is too pushy or not pushy enough, again, things limp.

So let’s cruise through some of the questions that occur instantly in my producer head when I come upon any project, any pitch, any idea.  Usually, if any of these questions set off big red warning lights, I’ll pretty quickly mentally check out of the conversation, go into pleasant/polite mode, and dismiss the idea of getting involved.  If, on the other hand, all of these start to light up green, I’m way into it and will start devising plans almost instantly for how I can help get this thing moving forward.

So, producer questions:

()  Does this project have money?

-  Not “can it raise money” (crowdfunding, investors), but what

money does it start with?  If it has no money, it’s going to

take forever to get started, it’s going to have to compromise

everywhere on quality, and it’s likely to die on the vine.

()  Does this project have anyone who can raise money?

-  Someone for real.  Most creatives cannot raise money.  Is there a dedicated, talented, experienced someone involved who can yank money into this thing?

()  Can this project make money after it’s made?

-  Is there a production company that makes similar things and which already has deals in place and might buy this and get it distributed?
-  Is this so grooved with a product that there might be a natural way to pitch it as a commercial of some variety?
-  Would people want to see this badly enough that they would pay?

()  Can this project gain fans?

-  Not friends and family, but can this project, seen on it’s own,

inspire allegiance, evangelism, a desire to see more stuff from

these creators?

()  Are the creators -- creatively, proj management wise -- actually competent?

-  Not to be cruel about it, but I want to know what it will be like working with the principals.  Are they experienced?  Do they know how stuff works? Do they have enough creative juice to infuse every iota of this proj with cool, original, surprising, stimulating stuff?  Are they open to input, or do they think they already have it all wired, and you’re just along on their ride?

()  Who else will be hired here?

-  Is everyone at every position going to be good?  Will they know their equipment, their job?  Will they have backups, will they be able to shift quickly?  Who in this production might bring it down?

- What’s the hiring process going to be?  Who’s making the hiring decisions?  Are they competent at that?

()  Is the idea super-charged?

- Is this a mediocre idea, or a super idea?  If it’s mediocre -- familiar, one-note, already done, easy to predict -- then it’s going to put much pressure on everything else to be great.

()  Are there “easy marketables” in this?

-  Celebrity.  Are there name actors in this who will generate media

and fan interest?

-  Sex.  Are the actors super attractive?  Is there nudity?  Is there

advertiseable sex?

-  Actor quality.  Are there excellent actors in this, who people

already admire for what they will bring to the project?

-  Script.  Is the script amazing?  Seriously, I don’t want to be told

it’s amazing and then get slapped in the face with its huge

flaws -- boredom, uninteresting characters, flat diaologue,

slow pace, predictability, etc. Is the script awesome?  If

not, don’t start the project.

-  Writers.  Do the writers have name recognition from other

admired projects?

-  Successes.  What other successful projects like this can we

claim associations with?  

-  Quality.  Is the project so good that it will get a life of its own

basically no matter what?

-  Lack of flaws.  Most projects have major flaw points that drag

them down.  What are the flaws here?  Can they be fixed?

-  Company credibility.  Has this company made other amazing

things?  So we can expect this to be awesome, too.

-  Funniness.  Is this actually funny?  Are the principals funny?

Is the script funny?  Are the actors funny?  Is the freaking

makeup person funny?  The more funny people -- really funny,

not get in the way of the funny because you think you’re

funny -- the better.