As I delve into the lives of these extraordinary production executives, I am struck by their unique journeys and the serendipitous twists that led them to where they are today. Carol Turner, with her impressive portfolio managing over 70 projects across various divisions at Disney, embodies a relentless pursuit of success. Her story is a testament to the power of perseverance and adaptability in an ever-evolving industry.
Following the recognition of the inaugural honorees in Global Entertainment Marketing by EbMaster, it was only fitting that the next category for the EbMaster 10 was Leaders and Innovators in Physical Production. Since one group of notable figures is responsible for crafting promotional campaigns, another team, led by those on this list, must complete a project first.
Various production leaders being recognized today admitted that their roles can be challenging to grasp by those not familiar with the industry. However, Lucasfilm’s physical production executive vice president, Momita SenGupta, provides a clear analogy: “Our filmmakers are like architects, and we are the builders who construct the houses they design.” With this image in mind, and collaborating with the Association of Film Commissioners International, EbMaster is delighted to bestow awards upon 10 individuals whose work has brought forth countless realms for viewers to delve into.
Gigi Causey
VP, production, FX Networks
With 25 Emmy nominations and over 10 million viewers tuning in, “Shōgun” was more than just a popular TV series; it became a significant cultural event. Causey shares that her journey with the James Clavell adaptation started seven years ago, which makes its success all the sweeter. “Not every project I work on receives the recognition, even though each one requires similar dedication,” she explains.
Initially focusing on conventional creative fields such as writing, directing, and cinematography, Causey soon discovered she had a knack for assisting individuals in those roles to accomplish their mutual objectives. Although she’s currently coordinating entire armies to materialize projects like “Shōgun”, her meticulousness and diligence stem from a philosophy she acknowledges may sound “cheesy” when spoken aloud. “My motto is ‘care more’,” she says. “Yes, I worked on ‘Shōgun’, but I also put in the same effort for ‘Scary Movie 5’. That’s because I care.” — Todd Gilchrist
Andy Davis
President, production administration, Sony Studios
Davis, who has spent much of his career as a line producer, sees his job as solving puzzles – “establishing an environment with defined financial boundaries so that the filmmakers have creative freedom.” He emphasizes that there’s always a way for filmmakers to bring their creative visions to life if everyone remains adaptable and open-minded. He also mentions that technological advancements can be beneficial, such as Sony Pictures’ visualization tool Torchlight, which can be utilized for virtual scouting and planning purposes.
In his analysis, he highlights recent movies that thrived with beautiful settings and reliable production resources. As an example, he mentions the romantic comedy “Anyone But You,” starring Glen Powell and Sydney Sweeney, which was backed by Sydney (the city) and the Australian government. He also notes that a part of “Venom: The Last Dance” – the upcoming sequel featuring Tom Hardy – was filmed in Alicante, Spain, utilizing the recently reopened Ciudad de la Luz Studios.
As a member of the California Film Commission, Davis remarked that “The Equalizer 3,” set for release in 2023, left an impression due to its filming on the stunning Amalfi Coast. In her words, “Say no more!” – Carolyn Giardina.
Paul Garnes
President, Array Filmworks
According to Garnes, Ava DuVernay’s adaptation of Isabel Wilkerson’s nonfiction book “Caste” seemed like a trip back to the independent film scene that both of them started in over a decade ago. He explained, “We were seeking a way to address the technical and creative needs of the [film].”
Despite being filmed in nine diverse locations spanning Germany, India, and the U.S., Garnes chose Savannah, GA as the primary production site, describing it as a “unique blend.” He explains that each location offers distinct qualities, so it’s about adapting your expectations to suit the specific characteristics of the places. However, he also cautions against assuming you know it all, as local filmmakers in these areas may have unique techniques and insights.
According to Garnes, the global journey of their project “Origin” has inspired Array to create more productions set around the world. They’re eager to film in various locations and immerse themselves in cultures they haven’t been able to experience before. – Jazz Tangcay
Michele Imperato Stabile
President, physical production, Warner Bros. Pictures
Imperato Stabile acknowledges the necessity of wearing multiple roles in her position. “I handle and aid. I supervise every project, yet I have an outstanding team,” she explains, further noting that this involves collaborating closely with the creative minds. “It’s crucial for productions to run smoothly while enabling the filmmakers to remain faithful to their vision.”
After her move to the film production company in March 2023, previously from MGM, she’s been responsible for managing projects such as Tim Burton’s “Beetlejuice Beetlejuice,” filmed in the United Kingdom, and Maggie Gyllenhaal’s “The Bride!”, shot in New York. Her next assignment is Alejandro G. Iñárritu’s unnamed movie featuring Tom Cruise.
She offers a shout out to film commissions from around the world, saying, “From location scouting and problem-solving to incentives and local job training programs, they are our partners when we’re on the ground ensuing production runs smoothly.” — CG
Dylan Massin
Exec VP, production, Sony Pictures Television Studios
Experienced producer Massin, whose work spans series like “The West Wing,” “Parenthood,” “Star Trek: Picard,” and “Spider-Noir,” utilizes the knowledge amassed over three decades in the industry to manage between 15 and 50 shows at various stages of development.
Over my college summers, I got a Production Assistant job on the movie “So I Married an Axe Murderer,” which set me on a career path in the television world. As a die-hard movie fan from Houston, this opportunity was a dream come true. I joined Sony in January and am already leaving my footprint there. I see this industry as a team game, so being part of Team Sony feels like a major victory for me.
While some may find it daunting, Massin cherishes the constantly changing nature of his job as what makes it most appealing and shapes his work ethos. “I believe the error lies in viewing it as a widget-producing industry,” he notes. “Each performance is unique. What works for one might not work for another.” — Brent Simon
Jonathan Mussman
VP, production, nonfiction & live, Netflix
Mussman is spearheading the movement towards live programming, with initiatives such as “The Ultimate Roast: Tom Brady,” the forthcoming Mike Tyson vs. Jake Paul boxing match, and not one but two highly-anticipated NFL games on Christmas Day.
Crediting an “exceptional team” for their explosive progress, Mussman says, “knowing when to lead, follow or get out of the way” is the key to successful leadership in physical production. “It’s essential to actively listen, value different opinions and empower your team.”
With 15 years of experience at MTV under his belt, and additional producing credits for prestigious events like the Academy Awards and Grammys, Mussman has developed a unique affinity for local crews and talent. Through his extensive work travels, he’s learned that investing in local resources and communities not only boosts our creative endeavors but also demonstrates our dedication to the local community. This approach creates jobs, fosters opportunities, and brings invaluable local insights to our productions. — JT
Sue Palladino
Exec VP, production, Warner Bros. Television
Palladino knows more than most that her industry might best be summed up by David Bowie’s “Changes.” But consistently turning “to face the strange” is a challenge she relishes. “Those of us in production management — we love the controlled chaos of it,” she says.
Lately, she’s been kept occupied with projects like “Abbott Elementary,” “Presumed Innocent,” “Shrinking,” and “Ted Lasso” among others. However, her professional journey can be traced back to Witt-Thomas Production Company, where she spent 20 years, starting from the shows “Soap” and “The Golden Girls.” Later, she moved on to Warner Bros., where she’s been for over two decades.
Palladino’s work style, reminiscent of a nurturing mother, has been crucial in her overcoming the chaotic impact of COVID. Flexibility is another key component to her triumph. According to her, “Show business might have taught me parenthood, or vice versa. It’s because that’s my fundamental philosophy – with compassion and respect as the foundation.” — BS
Momita SenGupta
Exec VP, physical production, Lucasfilm
During a period of significant turmoil across the industry, SenGupta played a crucial role in guiding Lucasfilm through the chaos, simultaneously wrapping up two television series for Disney+ – “The Acolyte” and Season 2 of “Andor”, which she confidently described as “spectacular”. Additionally, she was involved in Jon Favreau’s spinoff feature of “The Mandalorian & Grogu”. Her enthusiasm was evident when she shared, “It’s been a source of daily joy for me to not only complete these projects but also to see our movie come together amidst such challenging times.”
Initially intending for medical school (“It’s amazing how many biology majors you find in practical fields”), SenGupta – who describes herself as a “highly organized, OCD individual” – found her vocation after switching to film studies. A brief tenure at Netflix before Lucasfilm equipped her with the knowledge of preserving creative authenticity amidst varying and unavoidable limitations. “I’m someone who enjoys arranging people’s lives so they can excel at what they do best,” SenGupta explains. “In practical production, ‘no’ is never an option. It’s always, ‘How can we make it happen?'” — TG
Carol Turner
Head of production, Disney Entertainment Television
2023 spring brought me a significant promotion within Disney Entertainment Television, placing me at the helm of physical production for their diverse array of divisions: 20th Television, ABC Signature, ABC Entertainment, FX, Disney+, and Freeform. Since then, I’ve been managing over seventy projects across various stages of development, from long-running series like “Grey’s Anatomy” on ABC to the forthcoming “American Sports Story” on FX. This year, Disney has leveraged California’s production incentives for numerous projects, yet remains a frequent guest in Georgia, Toronto, and exotic locations such as Budapest, where we are currently filming Hulu’s limited series based on the Amanda Knox case.
On Disney’s Burbank studio, there is a poster of one of her favorite productions – the Vancouver-filmed Disney+ series “Percy Jackson and the Olympians” – proudly displayed in her office. This series, particularly in its first season, heavily relied on an LED volume stage technology. As Todd Longwell points out, this innovation enabled them to travel to various locations within a single setting, speeding up the production process significantly.
Gary Wordham
Exec VP, physical production, Universal Pictures
In his twenties, much like others before and since, Wordham chose to relocate to Los Angeles with dreams of making a significant impact in the creative sphere of the entertainment industry. However, his professional journey deviated unexpectedly when a collaborator from a play asked him to be a production assistant on the 1995 film “Boys on the Side.” This opportunity set him on the path that eventually led him to his current role, overseeing the planning, logistics, and budgeting of Universal’s global feature productions.
Over the past few months, his job required him to travel to New Mexico and Winnipeg, Canada. However, for the preceding two and a half years, London served as his temporary abode, as both “Fast X” and parts 1 and 2 of “Wicked” were being filmed concurrently there. Wordham comments, “Though we were constructing our new studios (Sky Studios Elstree), they weren’t fully operational yet. Therefore, it was a considerable task to locate the necessary space for ‘Wicked,’ which had the largest production area I’ve ever had to manage.” —TL
Read More
- PENDLE PREDICTION. PENDLE cryptocurrency
- Skull and Bones Players Report Nerve-Wracking Bug With Reaper of the Lost
- Unlocking the Mystery of Brawl Stars’ China Skins: Community Reactions
- SOLO PREDICTION. SOLO cryptocurrency
- Smite 2: Overcoming the Fear of Your First Match in the MOBA Universe
- Understanding the Constant Rain in Pacific Drive: A Reddit Discussion
- Dragon Quest III HD-2D Remake Review: History Repeats
- Team Fight Tactics (TFT) Patch 14.23 Notes: What to Expect from Set 13 Release
- Clash Royale: The Perils of Firecrackers and Cringe Decks
- W PREDICTION. W cryptocurrency
2024-08-23 20:20