The greatest producer and theater impresario Gil Cates shockingly left us November 1 and I for one miss him. He leaves not one legacy but three: the founding dean of the UCLA School of Theater, Film and Television; the creation of the Geffen Playhouse; and a giant force with the Directors Guild of America. His death has left the industry in a state of shock.
For me, he was a great friend, colleague, and confident. Many times over the years my phone would ring and “Myrly” he would say on the telephone, “Could you cover my <acting> class next week? I have to go to New York on Guild business.” Yes, I knew Gil Cates; he was my Guild president, he wrote the foreword in both of my books, hired me to administrate the UCLA film school, and I produced his tribute when he stepped down as Dean nine years later. He knew my son and he often came into my office, as he did with everyone, sat down and got to know what you were all about, always remembering the details that you told him the time before. Gil always made you feel like you were the most important person in the room; that whatever you had to say or however you felt you knew you could trust his confidence. He always gave great advice and his wisdom went beyond anything anyone could explain. At meetings he would sprinkle his dialogue with yidishkite words and every now and then he would say with a twinkle in his eye “just between us Jews” whether you were Jewish or not.
Gil’s extraordinary ability as a producer and his non- confrontational approach to dealing with studios, university chancellors and superstars helped him earn the trust of everyone he came in contact with.
"There are few people in the history of the guild who have matched Gil's vision and influence on the organization and our industry," Director’s Guild President Taylor Hackford said in a statement. "There was no greater champion of the creative and economic rights of directors and their teams and no truer friend to the membership, board and staff of the DGA.… Gil Cates embodied this guild."
A great man, a kind man, and a gracious man has touched many lives. Mine being one of them. Thank you Gil. Rest in Peace!
OUTRAGEOUS CENSORING In the United States there is no censoring…or is there?
A number of companies have without authorization from either studios or filmmakers, been editing, selling and renting alternate versions of motion pictures to the public. They use a software called Movie Mask (pre-programmed masks or filters) or other technologies to remove what they consider to be offensive language, violence, nudity and sexual content or to put clothes on actors. In fact they are going far beyond deleting a few words, as they are also inserting products into the film, or turning swords in light sabers. Further, once the edits are made to remove what these companies consider "objectionable" material it is possible for them to remove political opinions or other undesirable elements of the story.more
COLLABORATIVE
RELATIONSHIPS AND $$
Independent production is collaboration. Somewhere buried in the show of the business is the creativity that allows it to flourish. And that creativity is always found in the marriage of people. People who speak the same language and have the same sensitivity and respect for one another. And this collaboration is usually with the producer, director, cinematographer and editor.
The producer and director do most if their collaboration during the pre production process, while the director and the cinematographer do theirs during the production process and finally the director and the editor complete the working creative relationships. Although the producer is there each and every step of the way encouraging and nurturing the quarterback (the director) to carry the ball (the vision) to a certain point, the collaboration is key. We hear a lot about the producer and the director, and the director and the cinematographer but a different kind of magic takes place during the editing process and the editor must be in synch as well. Filmmaking is about collaboration!more
The Indie Producer's Handbook, Creative Producing From A to Z
From script analysis to post production, here is the all-inclusive guide to producing for film and television.
See why Movie Maker Magazine has declared it:
"THE #1 BOOK IN THE UNITED STATES ON PRODUCING."
“I recently finished producing my own independent film and found this book right at the beginning of my post-production period. “I wish I had found it earlier. It is full of no-nonsense advice and information that is practically bullet-proof, and I ended up agreeing with about all of it. Schreibman, who apparently has a long history of producing films for t.v. and theatrical market, has paid his dues, done his homework, and knows another "feel-good" you-can-do-it book isn't necessary. He tells you like it is, doesn't pull any punches, and helps you avoid the most common mistakes, both legally and aesthetically. Writing and directing are generally the more "arty" positions in film production - the Producer is supposed to keep the ship moving forward and avoiding any fatal mistakes. This book directs you in the right direction. My film was a "micro-budget" film, and this book may ultimately be more useful for "larger" independent features, including ones with SAG deals, distribution in place, and budgets closer to 7 figures. While all the advice here applies to everyone making a movie, it's the attitude Myrl conveys that I really appreciated and believed in, more than some of his nuts-and-bolts info. The contract samples at the end were also very helpful when I went out and began looking for more help finding money to finish my film (which I eventually did). Now I'm dreaming of using the rest of the info here for my next film! ”
The Film Director Prepares
This is the first interactive book on directing. Read the review as published in the DGA Quarterly.
OUTRAGEOUS CENSORING 
