Back in the good old days it was customary for production companies to employ sales representatives that were exclusive to the company. Dispersed throughout the country, East, Midwest and West, a unified force was assembled to benefit the greater good of the company. In doing so, those individuals were part of a team. A synergy was developed between executive producers, directors and the people who were busting their butts to sell them. It was an alliance intended to profit all parties.
But then the climate for which this relationship flourished began to change. During this transformation, economic times took a hit. Production companies mindful of their decreasing budgets had to provide the same level of service but for a lower bottom line. As the cost of production rose, markups decreased. Overhead was slashed, which had an adverse effect on the sales reps, resulting in reduced commissions.
Like an approaching storm, precautions were made in order to withstand the changing climate. The onus became survival and not prosperity. In an effort to reach a middle ground, sales teams were allowed to leave their exclusive ranks to take on more clients in an effort to augment the reduction in fees.
As the problem was further exacerbated, more and more companies joined the fray until the sales people became wholly owned selling machines rather than managing partners working toward a common goal. Directors had to accept that the sales rep was now trying to sell a larger roster, built from many companies. The synergy was lost.
As is the case with most companies, they start with a “star” director, a reputable name in the industry who has an established base of clients. From there, the company expands, maximizing the talent it has to complement the varying styles and sensibilities each individual director exudes.
What became an ostensible practice was sales reps working for multiple production companies choosing those “stars,” directors they knew they could sell. In doing so, a company of eight directors was reduced to a company of a few viable visionaries. Building the career of a young director became an even more challenging task.
Since the practice of selling multiple companies became an industry standard, I have been discouraged. Independence does not always breed good fortune.
Recently, my company has returned to the days of old. The company retains our entire sales force. They still sell other companies, but in a non-conflict environment. We have come to find that this approach is equally rewarding for both the sales team and directors. Peter McCann, head of our sales force says, “I believe so strongly in the talent of the directors, the strength of the EPs and the overall vibe of the company. Most of all I love the relationship and daily banter I am able to have with the directors about their careers, which is difficult to do when representing several different companies.” It reminds us that though we must be vigilant of change, there are always lessons we can learn from the past.
Michael Romersa is owner/executive producer of Reactor Films, Santa Monica.
L.A. Location Lensing Declines In 2024 Despite Uptick In 4th Quarter
FilmLA, partner film office for the City and County of Los Angeles and other local jurisdictions, has issued an update regarding regional filming activity. Overall production in Greater Los Angeles increased 6.2 percent from October through December 2024 to 5,860 Shoot Days (SD) according to FilmLA’s latest report. Most production types tracked by FilmLA achieved gains in the fourth quarter, except for reality TV, which instead logged its ninth consecutive quarter of year-over-year decline.
The lift across all remaining categories came too late to rescue 2024 from the combined effects of runaway production, industry contraction and slower-than-hoped-for post- strike recovery. With just 23,480 SD filmed on-location in L.A. in 2024, overall annual production finished the year 5.6 percent below the prior year. That made 2024 the second least productive year observed by FilmLA; only 2020, disrupted by the global COVID-19 pandemic, saw lower levels of filming in area communities.
The continuing decline of reality TV production in Los Angeles was among the most disappointing developments of 2024. Down 45.7 percent for the fourth quarter (to 774 SD), the category also finished the year down 45.9 percent (to 3,905 SD), which placed
it 43.1 percent below its five-year category average.
The two brightest spots in FilmLA’s latest report appeared in the feature film and television drama categories. Feature film production increased 82.4 percent in the fourth quarter to 589 SD, a gain analysts attribute to independent film activity. The
California Film & Television Tax Credit Program also played a part, driving 19.2 percent of quarterly category activity. Overall, annual Feature production was up 18.8 percent in 2024, though the... Read More