Creative Collaboration and the Production Process

  • Duncan J. Petrie

Abstract

In addition to the technological, financial and aesthetic contexts already discussed, the structuring of creativity is also affected by the nature of interpersonal relationships within the process of film-making itself. As I indicated in Chapter 1, Coates asserts the existence of a necessary conflict between a film director’s individuality on one hand and ‘opposing material’, including key collaborators, on the other.1 Film-makers require this confrontation to refine and direct their own vision and creative energies. This raises the question of whether film-making should be considered as a collaborative undertaking. Certainly the logistics of making a film requires the involvement of a considerable number of people from start to finish and these people must be able to work together towards the same end — the production of the best possible film given the resources available. As producer Steve Woolley remarks:

Films are an absolute collaboration right from the word go. You are collaborating all the time: with writers, with agents, with financiers.2

Collaborative relationships are crucial in such a context and are therefore not entered into lightly.

Keywords

Marketing Line Producer Editing Fenton Photography 

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Notes

  1. 1.
    Paul Coates, The Story of the Lost Reflection (London: Verso, 1985), Chapter 2.Google Scholar
  2. 3.
    Alexander Walker, Hollywood England (London: Harrap, 1986), p. 215.Google Scholar
  3. 11.
    Hanif Kureishi, ‘The Diary. “Some Time With Stephen”’ in Sammy and Rosie Get Laid (London: Faber & Faber, 1988), p. 62.Google Scholar
  4. 16.
    James Park, Learning to Dream: The New British Cinema (London: Faber & Faber, 1984), p. 118.Google Scholar
  5. 18.
    Alexander Walker, National Heroes (London: Harrap, 1985).Google Scholar
  6. 38.
    Nestor Almendros: ‘Some Thoughts On My Profession’ in Mast and Cohen (eds), Film Theory and Criticism, Third Edition (New York: Oxford University Press, 1985).Google Scholar
  7. 39.
    Dennis Schaeffer and Larry Salvato, Masters of Light: Conversations with Contemporary Cinematographers (London: University of California Press, 1984), p. 1.Google Scholar
  8. 56.
    John Ellis, Visible Fictions (London: Routledge & Kegan Paul, 1982), p. 91.Google Scholar

Copyright information

© Duncan J. Petrie 1991

Authors and Affiliations

  • Duncan J. Petrie
    • 1
  1. 1.University of EdinburghUK

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