GUIDELINES FOR BEST PRACTICE

Drawn up by the Producers’ Roundtable in consultation with BFI, BBC Films, Film4 and PACT.

1) In order for production companies and producers to be able to sustain themselves, and the writers and directors they work with, we recommend the production fee on any film under $3.9m (£3m) should be no less than 8% of the direct costs of production, to be divided between the producer(s) and production company(ies) as the lead producer sees fit.

2) Deferral of producer fees for development or production should not be encouraged, endorsed or suggested by any financier or their representatives, and the Producers’ Roundtable strongly encourages producers not to defer any of their fees, instead finding alternative solutions and savings within the budget. Most producers have already deferred their fees during the development of the project, and even successful features which find an audience are unlikely to see a return at the back end for the producer themselves, making fees pivotal.

3) Given the importance of talent relationships and transparency across the board, as well as a need to not undermine the fundamental role of the producer, especially at an early stage of their career, the producer must be involved in all meetings and correspondence with the writer or director, pertaining to the shared project. Financiers must not meet with the writer or director, specifically about the shared project, except as organised and attended by the producer(s). This should be the case during the consideration of the project, during development and production, and during the project’s initial exploitation.

4) No production financier may participate in net profits from the producer pool of net profits, even in the event of receiving a producer credit; this must be reserved only for the filmmakers.

5) Given the importance of film festivals in promoting and selling a film, and in career progression for all filmmakers involved, it is vital that the producer of a film is supported in attending its premiere, equal to the director, especially as salaried executive producers are often paid to attend themselves. We therefore encourage sales agents to make sure the producer is always tied to the director in attendance of any international and UK premiere of the film, including their travel, accommodation and accreditation expenses. We hope financiers will also encourage and financially support this move.